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Ballet Vocabulary – BALLET 5, 6 & 7 1
-A-
ADAGE (ADAGIO) [ a-DAHZH ] – Adage is a French word derived from the Italian ad agio , meaning at ease or leisure. A series of exercises following the centre practice consisting of a succession of slow and graceful movement which may be simple or of the most complex character, performed with fluidity and apparent ease. ALLÉGRO [ a-lay-GROH ] – Brisk, lively. A term applied to all bright and brisk movements. All steps of elevation (jumps) come under this classification. The most important qualities to aim at in allégro are lightness, smoothness and ballon. ALLONGÉ, ALLONGÉE [ a-lawn-ZHAY ] – Extended, outstretched. Usually in reference to an arm or a leg. APLOMB [ a-PLAWN ] – Assurance, poise. This term applied to the dancer means that he or she has full control of body and limbs with the weight correctly centered during a movement. ARABESQUE [ a-ra-BESK ] – One of the basic poses in ballet. It is a position supported on one leg, with the other leg extended behind and at right angles to it, with the shoulders always held square to the line of direction, and the arms held in various harmonious positions creating the longest possible line from the fingertips to the toes. ARRIÈRE, EN [ ah na-RYEHR ] – Backward. A term used to indicate that a given step is executed moving backward, away from the audience. ASSEMBLÉ [ a-sahn-BLAY ] – 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. ATTITUDE [ a-tee-TEWD ] – A particular pose in dancing. It is a position on one leg with the other lifted in back, the knee bent at an angle of 90 degrees and well turned out so that the knee is higher than the foot. AVANT, EN [ ah na-VAHN ] – Forward. A term used to indicate that a given step is executed moving forward, toward the audience. -B- BALANCÉ [ ba-lahn-SAY ] – Rocking step. This step is very much like a pas de valse and is an alternation of balance, shifting the weight from one foot to another. Balancé may be done crossing the foot either front or back. BALANCÉ EN TOURNANT [ ba-lahn-SAY ahn toor-NAHN ] – Balancé, turning. The turn may be done with quarter or half-turns. BALANÇOIRE, EN [ ahn ba-lahn-SWAHR ] – Like a seesaw. This term is applied to an exercise with a series of battements tendus jetés or grands battements executed with a continuous swinging motion through the first position to the fourth position front and back.
Ballet Vocabulary – BALLET 3 & 4 2
BALLON [ ba-LAWN ] – Bounce. Ballon is the light, elastic quality in jumping in which the dancer bounds up from the floor, pauses a moment in the air and descends lightly and softly, only to rebound in the air like the smooth bouncing of a ball. BALLONNÉ, PAS [ pah ba-law-NAY ] – Ball-like or bouncing step. A step in which the dancer springs into the air extending one leg to the front, side or back and lands with the extended leg either sur le cou-de-pied or retiré. BALLOTTÉ [ ba-law-TAY ] – Tossed. This step consists of a coupé dessous and coupé dessus performed in a series with a rocking, swinging movement. BAS, EN [ ahn bah ] – Low. As in a low position of the arms. BATTEMENT [ bat-MAHN ] – Beating. A beating action of the extended or bent leg, as in grands battements and petits battements. The petits battements are battements tendus, dégagés, frappés, and tendus doubles. BATTEMENT, GRAND [ grahn bat-MAHN ] – Large battement. An exercise in which the working leg is raised from the hip into the air and brought down again, both knees straight. BATTEMENT, PETIT [ puh-TEE bat-MAHN ] – Small battement. A term for any small beating action of the foot or leg. The term petit battement is probably most commonly used to describe an exercise at the bar in which the working foot is held sur le cou-de-pied and the lower part of the leg moves out and in, changing the foot from sur le cou-de-pied devant to sur le cou-de-pied derrière and vice versa. BATTEMENT JETÉ POINTÉ, GRAND [ grahn bat-MAHN zhuh-TAY pwen-TAY ] – Large battement thrown and pointed. A term of the Russian School. This step begins with a grand battement with the foot lowering to the floor pointe tendu instead of fifth position. The foot is raised from this position and continues the movement, returning to fifth position at the completion of the last battement. Same as grand battement jeté piqué , and grand battement fini piqué. BATTEMENT PIQUÉ, PETIT [ puh-TEE bat-MAHN pee-KAY ] – Little pricked battement. Same as battement tendu jeté pointé. BATTERIE [ bat-REE ] – The French technical term for beaten steps. A collective term meaning the entire vocabulary of beats, which are any movement in which the legs beat together or one leg beats against the other, the actual beating being done with the calves. BATTU [ ba-TEW ] – Beaten. Any step embellished with a beat is called pas battu. As, for example, in assemblé battu. BRISÉ [ bree-ZAY ] – Broken, breaking. A small beating step in which the movement is broken. Fundamentally a brisé is an assemblé beaten and traveled. BRISÉ VOLÉ [ bree-ZAY vaw-LAY ] – Flying brisé. In this brisé the dancer finishes on one foot after the beat, the other leg crossed either front or back. -C-
Ballet Vocabulary – BALLET 3 & 4 4
CROISÉ / CROISÉE [ krwah-ZHAY ] – Crossed. One of the directions of épaulement. In this position the legs appear to be crossed while the body is placed at an oblique angle to the audience, facing either one of the two front corners of the room. In croisé devant , the leg nearer the audience is pointed in the fourth position front à terre or raised to the fourth position en l’air. In croisé derrière , the leg farther from the audience is pointed in the fourth position back à terre or raised to the fourth position en l’air. These positions are included in the eleven basic positions of the body. CROIX, EN [ ahn krwah ] – In the shape of a cross. Indicates that an exercise is to be executed to the fourth position front, to the second position and to the fourth position back, or vice versa. As in battements tendus en croix. -D- DANSEUR [ dahn-SUHR ] – Male dancer. DANSEUSE [ dahn-SUHZ ] – Female dancer. DE CÔTÉ [ duh koh-TAY ] – Sideways. A term used to indicate that a step is to be made to the side, either to the right or to the left. DEDANS, EN [ ahn duh-DAHN ] – Inward. Indicates that the leg moves in a circular direction, counterclockwise from back to front (when done with the right leg). DÉGAGÉ, BATTEMENT [ bat-MAHN day-ga-ZHAY ] – Battement disengaged. A term of the Cecchetti method. Same as battement tendu jeté. DEHORS, EN [ ahn duh-AWR ] – Outward. Indicates that the leg moves in a circular direction, clockwise (when done with the right leg). DEMI [ duh-MEE ] – Half. As in demi-plié, demi-pointe. DEMI-POINTE. SUR LES [ sewr lay duh-mee-PWENT ] – On the half-points. Indicates that the dancer is to stand high on the balls of the feet and under-side of the toes. DERRIÈRE [ deh-RYEHR ] – Behind, back. This may refer to a movement, step or placing of a limb in back of the body. DESSOUS [ duh-SOO ] – Under. Indicates that the working foot passes behind the supporting foot. As for example, in assemblé dessous. DESSUS [ duh-SEW ] – Over. Indicates that the working foot passes in front of the supporting foot. As for example, in assemblé dessus. DÉTOURNÉ [ day-toor-NAY ] – Turned aside. A détourné is a pivot turn on both points or demi-pointes. It is a complete turn toward the back foot and reverses the position of the feet. DEVANT [ duh-VAHN ] – In front. This may refer to a step, movement or the placing of a limb in front of the body. DÉVELOPPÉ, BATTEMENT [ bat-MAHN dayv-law-PAY ] – Battement developed. A développé is a movement in which the working leg is drawn up to the retiré position and slowly extended to an open position en l’air and held there with perfect control.
Ballet Vocabulary – BALLET 5, 6 & 7 5
DIAGONALE, EN [ ahn dya-gaw-NAL ] – In a diagonal. Indicates that a step is to be done traveling in a diagonal direction. DOUBLE [ DOO-bluh ] – Double. As for example, in pirouette double (a double pirouette). DOUBLÉ, DOUBLÉE [ doo-BLAY ] – Doubled. As, for example, in sissone doublée. -E- ÉCARTÉ [ ay-kar-TAY ] – Separated, thrown wide apart. In this position the dancer faces either one of the two front corners of the room. In écarté devant , the leg nearer to the audience is pointed to the second position à terre or raised to the second position en l’air. In écarté derrière , the leg that is farther from the audience is pointed to the second position à terre or raised to the second position en l’air. These positions are included in the eleven basic positions of the body. ÉCHAPPÉ [ ay-sha-PAY ] – Escaping or slipping movement. An échappé is a level opening of both feet from a closed to an open position. There are two kinds of échappés: échappé sauté, and échappé sur les pointes. In each case échappés are done to the second or fourth position, both feet traveling an equal distance from the original center of gravity. EFFACÉ, EFFACÉE [ eh-fa-SAY ] – Shaded. One of the directions of épaulement. The term effacé is used to qualify a pose in which the legs appear open (not crossed). In this position the dancer stands facing either one of the two front corners of the room. In effacé devant , the leg farther from the audience is pointed in the fourth position front à terre or raised to the fourth position en l’air. In effacé derrière , the leg closer to the audience is pointed in the fourth position back à terre or raised to the fourth position en l’air. These positions are included in the eleven basic positions of the body. ÉLANCÉ, ÉLANCÉE [ ay-lahn-SAY ] – Darting. When this term is used with a step it indicates that the step is to be done in a darting manner. Any jump performed élancé is done just above the surface of the floor with one or both legs strongly stretched and toes well pointed. ÉLANCER [ ay-lahn-SAY ] – To dart. One of the seven movements in dancing. ÉLÉVATION [ ay-lay va-SYAWN ] – Élévation is the ability of a dancer to attain height in dancing. It is a term used to describe the height attained in springing steps such as entrechats and grand jetes, combined with ballon, so that the dancer jumps with a graceful elasticity like the bouncing movements of a rubber ball which touches the ground a moment and then rebounds into the air. EMBOÎTÉ [ ahn-bwah-TAY ] – Fitted together, “boxed”. The name is derived from the close fitting of the feet like a lid upon a box. It is a type of jeté done without a brush of the working foot. ENTRECHAT [ ahn-truh-SHAH ] – Interweaving or braiding. A step of beating in which the dancer jumps into the air and rapidly crosses the legs before and behind each other. Entrechats are counted from two to ten according to the number of crossings required and counting each crossing as two movements, one by each leg. The even numbered entrechats, deux, quatre, six, huit, and dix, are those which land on two feet. The odd numbered entrechats, trois, cinq, sept and neuf, are those which land on one foot. ENVELOPPÉ [ ahn-vuh-law-PAY ] – Enveloped. A term of the French School. ÉPAULÉ / ÉPAULÉE [ ay-poh-LAY ] – Shouldered. In the Russian School, this position may be executed devant or derrière. In épaulé devant , the dancer stands facing either one of the front
Ballet Vocabulary – BALLET 5, 6 & 7 7
knee of the supporting leg. Fouettés are usually done in a series. They may be executed en dehors or en dedans. FOUETTÉ SAUTÉ, GRAND [ grahn fweh-TAY soh-TAY ] – Large fouetté, jumping. This fouetté is performed with a temps levé on the supporting foot instead of a relevé. There are numerous kinds of grands fouettés sautés. The step is usually preceded by a glissade, sissone simple, faille, etc. FRAPPÉ, BATTEMENT [ bat-MAHN fra-PAY ] – Struck. An exercise in which the dancer forcefully extends the working leg from a cou-de-pied position to the front, side or back. It is the basis of the allégro step, the jeté -G- GARGOUILLADE [ gar-goo-YAD ] – Gurgling or rumbling. In the Cecchetti method and the French School the step resembles a pas de chat with a double rond de jambe, actually a rond de jambe and a half with commencing leg. A brilliant executant will also do a double rond de jambe with the closing leg. The step may be done either en dehors or en dedans. See rond de jambe double. GLISSADE [ glee-SAD ] – Glide. A traveling step executed by gliding the working foot from the fifth position in the required direction, the other foot closing to it. Glissade is a terre à terre step and is used to link other steps. When a glissade is used as an auxiliary step for small or big jumps, it is done with a quick movement on the upbeat. Glissades are done with or without a change of the feet, and all begin and end with a demi-plie. There are six glissades: devant, derrière, dessous, dessus, en avant, en arrière, the difference between them depending on the starting and finishing positions as well as the direction. GLISSADE PRÉCIPITÉE [ glee-SAD pray-see-pee-TAY ] – Glissade hurried. This is a quick glissade, about half the size of an ordinary glissade. It is always followed by a posé and the two steps together take the same amount of time as an ordinary glissade. GLISSADE SUR LES POINTES [ glee-SAD sewr lay pwent ] – Glissade on the toes. GLISSER [ glee-SAY ] – To glide. One of the seven movements in dancing. GRAND, GRANDE [ grahn, grahnd ] – Big, large. As in grand plié, grand battement. -H- HAUT, EN [ ahn oh ] – High. Used to indicate a high position of the arms. -J- JETÉ [ zhuh-TAY ] – 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. There is a wide variety of jetés and they may be performed in all directions. JETÉ BATTU [ zhuh-TAY ba-TEW ] – Jeté beaten. JETÉ EN TOURNANT, GRAND [ grahn zhuh-TAY ahn toor-NAHN ] – Large jeté, turning. A term of the French and Russian Schools.
Ballet Vocabulary – BALLET 3 & 4 8
JETÉ ENTRELACÉ [ zhuh-TAY ahn-truh-la-SAY ] – Jeté interlaced. A term of the Russian School. This jeté is often called tour jeté, and is done in all directions and in a circle. It is usually preceded by a chassé or a pas couru to give impetus to the jump. This jump is named for the moment when, at the height of the jump, the legs almost come together and appear to interlace in the air. JETÉ, GRAND [ grahn zhuh-TAY ] – Large jeté. In this step the legs are thrown to 90 degrees with a corresponding high jump. The dancer tries to remain in the air in a definitely expressed attitude or arabesque and descends to the ground in the same pose. It is done forward to attitude croisée or effacé, and to all the arabesques. It may also be done backward with the leg raised either croisé or effacé devant. Grand jeté is always preceded by a preliminary movement such as a glissade, pas couru or coupé. It is important to start the jump with a springy plié and finish it with a soft and controlled plié. JETÉ SUR LES POINTES [ zhuh-TAY sewr lah pwent ] – Jeté on the point. In the Russian School this term is used like the French School term “piqué”. It is a step onto the point of one foot from a demi-plié, and is done either petit or grand in all directions and poses. -L- L’AIR, EN [ ahn lehr ] – In the air. Indicates that a movement is to be made in the air; for example, rond de jambe en l’air. -M- MANÈGE, EN [ ahn ma-NEZH ] – As at a riding school or in a circus ring. A term of the French School. Indicates that the dancer is to travel around the room in a circle while performing a combination of steps or turns. MAZURKA – A Polish folk dance in ¾ time, which has been introduced into a number of ballets as a character dance. MOVEMENTS IN DANCING – There are seven movements in dancing: plier, to bend; relever, to raise; étendre, to stretch; sauter, to jump; tourner, to turn around; glisser, to glide or slide; élancer, to dart. -O- OUVERT, OUVERTE [ oo-VEHR, oo-VEHRT ] – Open, opened. This may refer to positions (such as the second and fourth positions where the feet are in an open position), limbs, directions, or certain exercises or steps. -P- PAS COURU [ pah koo-REW ] – Running step. Pas couru is a run in any direction and is composed of three or five running steps on the demi-pointes to gain momentum for such steps as grand jeté en
Ballet Vocabulary – BALLET 3 & 4 10
PAS SEUL [ pah suhl ] – Solo dance. PENCHÉ, PENCHÉE [ pahn-SHAY ] – Leaning, inclining. As, for example, in arabesque penchée. PETIT / PETITE [ puh-TEE / puh-TEET ] – Little, small. As, for example, in petit battement. PIQUÉ [ pee-KAY ] – Pricked, pricking. Executed by stepping directly on the point or demi-pointe of the working foot in any desired direction or position with the other foot raised in the air. As, for example, in piqué en arabesque. See also posé. PIQUÉ TOUR [ pee-KAY toor ] – Piqué, turning. This is a pirouette in which the dancer steps directly onto the point or demi-pointe with the raised leg sur le-cou-de-pied devant or derrière, in attitude, arabesque or any given position. This turn is executed either en dedans or en dehors. PIROUETTE [ peer-WET] – Whirl or spin. A complete turn of the body on one foot, on point or demi-pointe. Pirouettes are performed en dedans, turning inward toward the supporting leg, or en dehors, turning outward in the direction of the raised leg. PIROUETTE, GRANDE [ grahnd peer-WET ] – Large pirouette. This is a series of turns on one foot with the raised leg held in the second position en l’air, in attitude or arabesque, or in a combination of poses. PLACEMENT, PLACING – A dancer is said to be well-placed when he or she has learned to hold body, head, arms and legs in their proper alignment to each other, has acquired the turn-out of the legs, a well-poised head, level hips and a straight spine in all steps and poses. PLIÉ [ plee-AY ] – Bent, bending. A bending of the knee or knees. PLIER [ plee-AY ] – To bend. One of the seven movements in dancing. POINTS OF THE ROOM / STAGE – The corners and the sides of the practice room and stage are numbered to help the dancer develop a sense of direction, and to help the dancer determine the direction for a movement or a pose, or to indicate the degree of the turn of the body. The dancer stands in the center of the room facing side 1, which is the front of the room or audience. The numbers go clockwise around the room, alternating from wall to corner, finishing at the front left corner, which is point 8. POLONAISE – A processional dance in ¾ time with which the court ballets of the seventeenth century were opened. It may be seen today in such ballets as The Sleeping Beauty and Swan Lake. The polonaise is a march in which two steps are taken forward on the demi-pointes and then the third step is taken flat with the supporting knee bent in fondu and the other leg raised in front. PORT DE BRAS [ pawr duh brah ] – Carriage of the arms. A movement or series of movements made by passing the arm or arms through various positions. PORT DE BRAS, GRAND [ grahn pawr duh brah ] – Large port de bras. This is a circular movement of the arms combined with cambré. POSÉ [ poh-ZAY ] – Poised. A term of the Cecchetti method. This step is the same as piqué. It is preceded by a fondu on the supporting leg, while the working leg performs a petit développé before stepping onto the demi-pointe or point in any desired position.
Ballet Vocabulary – BALLET 5, 6 & 7 11
PROMENADE, TOUR DE [ toor duh prawm-NAD ] – Turn in a walk. A term of the French School used to indicate that the dancer turns slowly in place on one foot by a series of slight movements of the heel to the required side while maintaining a definite pose such as an arabesque or attitude. The turn may be performed either en dedans or en dehors. Same as tour lent. -Q- QUATRIÈME DERRIÈRE, À LA [ a lah ka-tree-EM deh-RYEHR ] – To the fourth position back. One of the eleven basic positions of the body. QUATRIÈME DEVANT, À LA [ a lah ka-tree-EM duh-VAHN ] – To the fourth position front. One of the eleven basic positions of the body. -R- RELEVÉ [ ruhl-VAY ] – Raised. A raising of the body on the 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 LENT, BATTEMENT [ ruhl-VAY lahn ] – Slow raising. A term of the Russian School. This term refers to the slow raising of the stretched leg to 90 degrees in any direction. RELEVER [ ruhl-VAY ] – To raise, to lift. One of the seven movements in dancing. RENVERSÉ, RENVERSÉE [ rahn-vehr-SAY ] – Upset, reversed. Of Spanish origin, this is the bending of the body during a turn in which the normal balance is upset but not the equilibrium. It applies to only three steps: a pirouette, a pas de bourrée en tournant, and a détourné. Renversé may be performed en dehors and en dedans with either a relevé or a temps levé on the supporting foot. 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 (retiré devant), behind (retiré derrière) or to the side (retiré de côté) of the supporting knee. RÉVÉRANCE, GRANDE [ grahnd ray-vay-RAHNSS ] – Big reverence or curtsey. The elaborate curtsey performed by the female dancer to acknowledge the applause of the audience. It is also done at the end of a ballet class to show the respectful admiration of the students for their teacher. ROND DE JAMBE [ rawn duh zhahnb ] – Round of the leg, that is, a circular movement of the leg. Can be done à terre or en l’air. All are done en dehors or en dedans. ROND DE JAMBE DOUBLE [ rawn duh zhahnb DOO-bluh ] – This is a term of the Russian School for a gargouillade. In this method, both legs execute a rond de jambe en l’air almost simultaneously, while the body is in the air. It may be performed en dehors or en dedans. ROND DE JAMBE EN L’AIR [ rawn duh zhahnb ahn lehr ] – Rond de jambe in the air. It may be a single, or double, en dehors or en dedans. 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, the whole movement being made by the leg below the knee.
Ballet Vocabulary – BALLET 5, 6 & 7 13
SOUBRESAUT [ soo-bruh-SOH ] – Sudden spring or bound. A springing jump from both feet usually performed traveling forward in either a croisé or effacé direction and landing on both feet. SOUTENU, BATTEMENT [ bat-MAHN soot-NEW ] – Battement sustained. This is a fondu on the supporting leg while the working leg slides to a pointe tendu in the fourth position front, to the second position, or to the fourth position back, followed by the straightening of the standing leg while the working leg closes into fifth position. This may also be performed with a petit développé before the working foot points to the floor. SUPPORTING LEG – A term used by dancers and teachers for the leg which supports the body so that the working leg is free to execute a given movement. SUS-SOUS [ sew-SOO ] – Over-under. Sus-sous is a relevé in the fifth position. The dancer springs onto the points or demi-pointes, drawing the feet and legs tightly together. -T- TEMPS DE CUISSE [ than duh kweess ] – Thigh movement. A compound step consisting of a battement degage and a sissonne fermée. TEMPS DE FLECHE [ tahn duh flesh ] – Arrow movement. This step is so named because the first leg acts as a kind of bow and the second leg the arrow. There are several variations of this step. TEMPS DE POISSON [ tahn duh pwah-SAWN ] – Fish step or movement. This is a form of soubresaut in which the dancer jumps with the back arched. The legs, which are well extended, are behind and held close together with the pointed feet crossed so as to represent a fish’s tail. TEMPS LEVÉ [ tahn luh-VAY ] – Time raised, or raising movement. A term of the Cecchetti method. This is a hop from one foot with the other raised in any position. TEMPS LIÉ [ tahn lyay ] – Connected movement. A very valuable exercise for the achievement of a soft demi-plié, it teaches control and balance in transmitting the weight of the body from one position to another with a smooth, rhythmical movement. TENDU, BATTEMENT [ bat-MAHN tahn-DEW ] – Battement stretched. It is an exercise to force the insteps well outward. The working foot slides from the first or fifth position to the second or fourth position without lifting the toe from the ground. Both knees must be kept straight. TENDU JETÉ, BATTEMENT [ bat-MAHN tahn-DEW zhuh-TAY ] – Stretched and thrown. A term of the Russian school. This step is similar to the battement tendu but is done at twice the speed and the working foot rises about three inches from the floor with a well-pointed toe, then slides back into the first or fifth position. Same as battement dégagé. TENDU JETÉ BALANCÉ, BATTEMENT [ bat-MAHN tahn-DEW zhuh-TAY ba-lahn-SAY ] – Battement stretched, thrown and rocked. A term of the Russian School. Battements tendus jetés balancés are a series of battements jetés in which the working leg sweeps forward and backward with a continuous movement through the first position at 25 degrees. Also called battement tendu jeté balançoire , and battement tendu jeté en cloche. TENDU JETÉ POINTÉ, BATTEMENT [ bat-MAHN tahn-DEW zhuh-TAY pwen-TAY ] – Stretched, thrown and pointed. A term of the Russian School. Dégagé the working foot to the second or fourth position à terre, then lift the toe slightly and lower to the floor one or more times. The foot is then closed to the first or fifth position. Same as petit battement piqué.
Ballet Vocabulary – BALLET 3 & 4 14
TERRE, À / TERRE, PAR [ a tehr / par tehr ] – On the ground. Along the ground. These terms indicate that either the entire base of the supporting foot or feet touches the ground, or that the foot usually raised in a pose is to remain on the ground with the toes extended. TERRE À TERRE [ tehr a tehr ] – Ground to ground. Term used to indicate that in the execution of a step the feet barely leave the ground, as in glissade. TOMBÉ, TOMBÉE [ tawn-BAY ] – Falling. This is a movement in which the dancer, with the working leg raised in the air, falls forward, backward or sideways into a fondu on the working leg. TOUR [ toor ] – Turn. A turn of the body. TOUR DE BASQUE [ toor duh bask ] – Basque turn. This is a type of pas de basque performed en tournant either sur les demi-pointes or sur les pointes. Commonly called a soutenu turn. Same as tour glissade en tournant (sur les pointes). TOUR EN L’AIR [ toor ahn lehr ] – Turn in the air. This is essentially a male dancer’s step although contemporary choreographers use this tour for girls. It is a turn in the air in which the dancer rises straight into the air from a demi-plié, makes a complete turn and lands in the fifth position with the feet reversed. The turn may be single, double or triple, and may also be finished in various poses such as attitude, arabesque or on one knee. TOUR GLISSADE EN TOURNANT SUR LES POINTES [ toor glee-SAD ahn toor-NAHN sewr lay pwent ] – Glissade, turning on the points. A term of the Russian School. Commonly called a soutenu turn. TOUR LENT [ toor lahn ] – Slow turn. A term of the Russian School. A slow turn, used in adagio, performed on the whole sole of the foot. It is done either en dehors or en dedans by a slight movement of the heel in the required direction. These turns are done in all poses, or with a change from one position to another during the turn. Same as tour de promenade. TOURNANT, EN [ ahn toor-NAHN ] – Turning. Indicates that the body is to turn while executing a given step. As, for example, in assemblé en tournant. TOURNER [ toor-NAY ] – To turn around. One of the seven movements in dancing. TOUR SAUTILLÉ [ toor soh-tee-YAY ] – Hopping turn. A term of the Russian School. These turns are done with a series of tiny hops turning in demi-plié on the supporting foot with the heel barely leaving the floor. TURN-OUT – This is the ability of the dancer to turn his or her feet and legs out from the hip joints to a 90-degree position. This turn-out is one of the essential principles of the classical dance, giving the dancer freedom of movement in every direction. -V- VARIATION [ va-rya-SYAWN ] – Variation. A solo dance in a classic ballet. -W- WORKING LEG – A term used by dancers and teachers to denote the leg that is executing a given movement while the weight of the body is on the supporting leg.
