12 exercises with warm-up and stretching: a complex from Ilze Liepa. Fitness

A representative of the famous ballet dynasty, ballerina and actress Ilze Liepa is for many an example of elegance and excellent physical shape. Of course, her profession requires constant work on herself, but Ilze also “brings choreography to the masses” - she is the author of her own method of physical training. It is based on classical choreography and Pilates and is part of the studio program that Ilze Liepa opened for women who care about the perfection of their body. We offer a set of exercises from her new book.

I called the express set of exercises “12 steps to grace.” I force myself to do this mini-exercise when I want to take a break from my profession, but not lose shape and muscle tone.

I am confident in the effectiveness of these exercises. I would like them to become your start to the day, morning exercises that will give tone, vigor, correct and strengthen the muscles of problem areas.

This express complex in no way denies your other activities, whatever they may be. This is also your lifesaver if you want to take care of yourself, but don’t know where to start.

For classes you will need:

chair
towel
mirror
free space
wish

How to do the exercises correctly

Breathing is an important element of any activity. It is advisable to inhale through the nose and exhale through the mouth. Please note that the exhalation corresponds to the most difficult moment of the exercise. (They often say: “Exhale for effort!”)
When performing any exercise, try to reach up. The gaze is directed forward. The chin is perpendicular to the chest (maintain the natural curve of the neck). It will be great if you can keep your pelvis level. It is great when the lower part of the body is in a mid-position and the abdominal muscles are neatly tucked. This position of the pelvis allows you to engage the deep abdominal muscles, which is necessary for a toned stomach and is safe for the back.
It is very important to keep the chest open at the top (gently pulling the shoulders back) and the lower ribs closed (as if pulled together by an invisible corset).
Dropped shoulders, shoulder blades pointing down and towards the center are also very relevant. (Imagine taking the scarf off your shoulders.)
When performing any exercises, choose a range of motion that is comfortable for you.

The reference points of correct body position should be maintained in any position - standing, sitting, lying, kneeling. It would be great if you made it a habit to start each session by reminding yourself of the important technical points. At first it is very difficult to control your body. At this stage, a mirror can become your assistant. It will prompt and show all the inaccuracies.

Content

Adagio
Allegro
A la seconde
Aplomb
Arabesque
Attitude
Assembly, pas
Emboite, pas
Enavant
Enarriere
Endedans
Endehors
Enl'air
Entournant
Enface
Entree
Entrechat
Balance,pas
Balancoire, battement
Ballon
Ballonne, pas

Ballote, pas
Battements
Brise, pas
Variation
Glissade, pas
Grand
Divertissement
Code
Corps de ballet
Coupe, pas
Croisee, pose
Level, temps
Manage
Marche, pas
Menus, pas
Pas
Pas de bourree
Pas de chat
Pas de ciseaux
Pas de poisson
Pass-pied

Passe
Plie
Port de bras
Releve
Renverse, pas
Ciseaux
Saute, temps
Suivi
Sussous
Ferme
Fermee, sissonne
Fondu, battement
Fondue, sissonne
Frappe, battement
Fouette
Chaines, tours
Changement depied
Chasse, pas
Chat
Ecartee
Echappe, pas
Epaulement

In classical choreography, as in other dance styles, there is its own set of terminology. The peculiarity of the ballet is that the terms are mainly taken from the French language. Initially, during the birth of this art in France, the names were borrowed from Italian, but already at the beginning of the 18th century, the vocabulary of ballet developed and was based on French terms. The only Italian words left in terminology are:

pirouette (full 360° turn of the whole body on one leg);
cabriole (a jump during which the dancer kicks one leg with the other);
revoltad (a jump during which one leg is crossed over the other and a turn is performed).

Most of the terms imply a specific movement that the dancer performs (stretching, bending, extending, sliding, lifting, etc.), some focus on the nature of the performance (solemnity, gurgling, etc.), while others determine the occurrence of the movement, for example, bourre. Some names do not belong to either category, such as entrechatroyale (royal leap in honor of Louis XIV) or sissonne (invented by François de Roissy, Count of Sisson, in the 17th century).

To understand the language of classical choreography, we suggest that you familiarize yourself with the dictionary of ballet terminology.

classical dance dictionary

CLASSICAL DANCE. GLOSSARY OF TERMS (HELP FOR STUDENTS)

Classical dance is the basis of choreography. Classics allow you to learn all the subtleties of ballet art, feel the harmony of movements and music. Many will think, why bother with the “old” when there are many new modern trends. But you need to understand that everything new originates from the dances of past centuries. Thus, the classics absorbed all the most elegant movements from folk and everyday dances of several centuries, gradually improving the positions of the arms and legs, the positions of the head and body. All dance movements in classical dance have names in French, so dancers from different countries can easily understand each other. Classical dance classes allow you to develop flexibility, coordination of movements, strengthen the musculoskeletal system, contribute to the development of endurance, physical and intellectual development, and also teach control your body. Various combinations allow you to dance beautifully and elegantly, even if it is simple movements of the hand, foot or head. In children engaged in classics, correct posture is corrected and established, and some cases of spinal curvature are corrected. Often, even experienced dancers of various dance styles continue to practice classical dance, because its fundamentals are universal.. In classical dance classes, they teach the basic positions of the arms and legs, correct body positioning, introduce professional terminology and the history of the development of ballet, cultivate musicality, develop stability and coordination, and They also prepare small classical performances in the form of etudes, adagios or various variations. All movements in classical dance are based on turnout - one of the most important qualities in classical dance, which is simply necessary for any stage dance. Turnout and development of the step are necessary regardless of the height to which the leg is raised; turnout seems to hold the leg, leading it to the desired position, promoting the purity of plastic movements and smoothing out the angles formed by the heels when lifting the legs. Insufficiently flexible knee, ankle and instep restrict the free movement of the legs, making them cramped and unexpressive. Based on turnout, there are five foot positions in classical dance. Moreover, in all these positions, not only the feet are turned out, but the entire legs, starting from the hip joint. Regular long-term flexibility and endurance training allows you to take the necessary positions without much effort.

When starting to practice, you need to remember about the stance, because nothing will work if you do not stretch your body vertically, avoiding a bent or arched spine, and do not distribute the weight between your legs. Developing correct posture requires a lot of patience and time. You should never forget about your posture - neither during classical classes, nor during independent training, nor on any other day. Classical dance, like many others, is not only a set of movements, it needs to be revived, emotions and feelings must be put into it. And as soon as strong feelings are revealed in the dance, the impression of it changes significantly; it fascinates with its plastic expressiveness, leaving complete aesthetic pleasure.

In the 17th century (1701), the Frenchman Raoul Feuillet created a system for recording elements of classical dance. These terms are recognized by experts in the field of world choreography even today. Knowledge of special terms speeds up the learning process. This is the international language of dance, the opportunity to communicate with choreographers, understanding of specialized literature, the ability to briefly record training combinations, lessons, etudes, floor exercises, compositions.

Choreographic terminology is a system of special names designed to denote exercises or concepts that are difficult to briefly explain or describe.

Exercise at the support or in the middle is a set of training exercises in ballet that promote the development of muscles, ligaments, and the development of coordination of movements in the dancer. Exercises are performed at the “machine” (attached with brackets to the wall) and in the middle of the training room every day. Exercises consist of the same elements.

1.demi plie - (demi plie) - incomplete “squat”.

2.grand plie - (grand plie) - deep, large “squat”.

3.relevé- (relevé) - “lifting”, lifting into a toe-stand with lowering to the IP (starting position) in any position of the legs.

4.battement tendu-(ba opening, closing sliding movement of the foot to the position of the leg on the toe forward, to the side, back with a sliding movement returning to the IP.

5.battement tendu jeté-(ba, swing to a downward position (25°, 45°) with a cross.

6.demi rond - (demi rond) - incomplete circle, semicircle (toe on the floor, 45 to 90° and above).

7.rond de jamb parterre - (rond de jamb par ter) - circle with the toe on the floor; circular movement of the toe on the floor.

8.rond de jamb en l'air - (rond de jamb en leer) - circle with the leg in the air, stand on the left to the right to the side, circular movement of the shin outward or inward.

9.en dehors - (andeor) - circular movement away from oneself, circular movement outward in the hip or knee joint, as well as turns. 10.en dedans - (andedan) - circular movement towards oneself, circular movement inward.

11.sur le cou de pied - (sur le cou de pied) - the position of the foot on the ankle (in the narrowest place of the leg), the position of the bent leg on the ankle joint in front or behind.

12.battement fondu-(ba, “melting”, simultaneous flexion and extension of the legs at the hip and knee joints.

13.battement frappe-(ba - a short kick with the foot on the ankle joint of the supporting leg, and rapid extension at the knee joint (25°, 45°) to the toe or downward position.

14.petit battement-(petit ba-alternately small, short kicks with the foot in the cou-de-pied position in front and behind the supporting leg.

15.battu- (botyu) - “hit” continuously, small, short blows to the ankle joint only in front or behind the supporting leg.

16.double- (double) - “double”, • battement tendu - double heel press • battement fondu - double half-squat • battement frapper - double blow.

17.passe-(passe) - “to carry out”, “to pass”, the position of a bent leg, toe at the knee: in front, to the side, behind.

18.releve lent- (relay velyant) - “raise” slowly, smoothly slowly on a count of 1-4 1-8 raising the leg forward, to the side or back and higher.

19.battement soutenu-(ba-from stoics on toes with a half squat on the left, slide the right one forward onto the toe (back or to the side) and slide back to IP.

20.développe-(develop) - “opening”, “unfolded”, from a stoic position on the left, right with a sliding movement to a bent position (toe at the knee) and straightening it in any direction (forward, sideways, backward) or higher.

21.adajio - (adagio) - slowly, smoothly includes grand plie, development, relevant, all types of balances, pirouettes, turns. Joint bundle for 32, 64 counts.

22.attitude - pose with the leg bent at the back, stand on the left, right to the side - back, shin to the left.

23.terboushon- (terbushon) - a pose with a bent leg in front (attitude in front) of a stoic on the left, right forward, shin down to the left.

24.degaje-(degazhe) - “transition” from the stand on the left to the right forward on the toe, step forward through a half-squat in the 4th position, straightening up, stand on the right, left back, on the toe. From the stand on the left, right to the side on the toe, step to the side through a half-squat in the 2nd position, stand on the right, left to the side on the toe.

25.grand battement-(grand battement at 90° and above through the position of the foot on the toe.

26.tombée-(tombe) - “fall” from a stand on your toes in the fifth position, lunge forward (to the side, back) with a sliding movement returning to IP.

27.picce-(picke) - “stabbing”, stand on the left right forward to the bottom, quickly touch the floor with the toe repeatedly.

28.pounte-(pointe) - “on the toe”, “touching the toe” from a stoic position on the left, right forward, to the side or back on the toe swing in any direction with a return to IP.

29.balance-(balance) - “swinging”, pendulum movement of the legs forward up - back down, forward - back, forward - back up.

30.allongée-(allange) - “reaching out”, completing the movement with the arm, leg, torso.

31.por de bras - (por de bras) - “bends of the body”, bending forward, backward, to the side. The same goes for stretching.

32.temps lie-(tan lie) - a series of continuous dance movements, a small adagio, 1 - half squat on the left, 2 - right forward on the toe, 3 - shift the center of gravity to the right, left back on the toe, 4-IP 5.to the same to the side and back.

33.failli-(fay) - “flying”, IP - 5th position right in front. Push 2 jump up, lowering into a cross lunge with the left to the side, left hand up, right hand back - push with the left and swing the right back downwards jump up 2 hands down. 34.allegro- (allegro) - “cheerful”, “joyful”, part of the lesson consisting of jumps, performed at a fast pace.

Addition: A LA SECONDE [a la segond] - a position in which the performer is positioned en face, and the “working” leg is open to the side at 90°.

ALLONGE, ARRONDIE [alonge, arondi] - the position of a rounded or elongated arm.

ARABESQUE [arabesque] - a classical dance pose in which the leg is pulled back “toe to the floor” by 45°, 60° or 90°, the position of the torso, arms and head depends on the shape of the arabesque.

ARCH [atch] - arch, bending of the torso back.

ASSEMBLE [assemble] - a jump from one leg to two is performed with the leg abducted in a given direction and the legs collected together during the jump.

ATTITUDE [attitude] - the position of the leg, lifted off the floor and slightly bent at the knee.

EPAULMENT [epolman] - the position of the dancer turned 3/4 in t. 8 or t. 2; there is a difference between epaulement croise (closed) and epaulement efface (erased, open),

FOUETTE [fuette] - a turning technique in which the performer’s body turns towards a leg fixed in a certain position (on the floor or in the air).

GLISSADE [glissade] - a ground sliding jump without lifting off the floor, moving left-right or forward-backward.

GRAND JETE [grand jete] - a jump from one leg to the other moving forward, backward or to the side. The legs open as much as possible and take a “split” position in the air.

PAS BALANCE [on balance] - pa, consisting of a combination of tombe and times de Ъоуггее. It is performed moving from side to side, less often - back and forth.

PAS CHASSE [pa chasse] - an auxiliary jump with advancement in all directions, during which one leg “catches up” with the other at the highest point of the jump.

PAS DE BOURREE [pas de bourrée] is a dance auxiliary step consisting of alternating steps from one foot to the other ending on demi-plle.

PAS DE CHAT [pas de sha] - a cat's limiting jump. The legs bent at the knees are thrown back.

PAS FAILLJ [pa faille] - a connecting step consisting of passing the free leg through the passing demlplie in the first position forward or backward, then the weight of the body is transferred to the leg with some deviation from the vertical axis.

PASSE [passe] - a passing movement, which is a connecting movement when moving the leg from one position to another, can be performed in the first position on the floor (passepar terre), or at 45° or 90°.

PIQUE [pique] - a light prick with the tips of the toes of the “working” leg on the floor and raising the leg to a given height.

PIROUTTE [pirouette] - rotation of the performer on one leg en dehors or en dedans, the second leg in the position sur le cou-de-pied.

PLIE RELEVE [plie releve] - position of the legs on half toes with bent knees.

PREPARATION [preparation] - a preparatory movement performed before the start of an exercise.

RELEVE [releve] - lifting onto half toes.

RENVERSE [ranverse] - a sharp bending of the body, mainly from an atitude croise pose, accompanied by a pas de bouree en tournant.

ROVD DE JAM BE EN L 'AIR [ron de jambe enler] - a circular movement of the lower leg (ankle) with a fixed hip, abducted to the side to a height of 45° or 90°.

SAUTE [sote] - a classical dance jump from two legs to two legs in positions I, II, IV and V.

SISSON OUVERTE [sisson overt] - a jump with a flight forward, backward or to the side; upon landing, one leg remains open in the air at a given height or in a given position.

SOUTENU EN TQURNANT [soutenu en turnan] - a turn on two legs, starting with retracting the “working* leg into the fifth position.

SURLE COU-DE-PIED [sur le cou-de-pied] - the position of the extended foot of the “working” leg on the ankle of the supporting leg in front or behind.

Link: https://jin-roh.com.ua/forum/viewtopic.php?f=22&t=62

A - E

Adagio (from Italian adajio translates as “slowly”, “calmly”). A part of the dance that is performed slowly to calm music. The concept is used not only in the sense of music, but also:
- A separate dance, or part of a musical choreographic production, which is performed by one, two or more soloists. The most common is the adagio performed by a duet;

Allegro (allegro in Italian means quickly, deftly, quickly) is a set of exercises in the center of the hall, which consists of jumps of different heights and speeds;
A laseconde (literal translation - to the second) - the working leg is moved (opened) to the side on the toe, or rises to a height; in this position, the working leg is open with the toe to the floor or raised;

Aplomb (balance) – the ability of a dancer to stand in one position or another on one leg for a long time;
Arabesque (Italian arabesco - Arabic) is one of the main movements in classical choreography. During its execution, the working leg is extended at the knee and opens back with the toe extended to the floor, or rises up. The position of the hands is allongee, the gaze is directed into the distance, which gives the pose gracefulness and expressiveness. Arabesque symbolizes an elusive dream, this is the leitmotif of Giselle or La Sylphide - popular romantic heroines. During the exercise, the supporting leg can stand completely on the foot, half toes/toes, be extended or bent at the knee. Sometimes it is performed with emphasis on the knee and abduction of the second leg. If the pose is performed in a jump, then the position of the leg may be different (strictly perpendicular to the floor, thrown forward, etc.). The Russian ballet school divides arabesque into four types. The first two are open (arabesque effacee), the third and fourth are closed (arabesque croisee). The old ballet school identified a fifth type of arabesque, in which the body tilted and the arms rose forward allongee. Arabesque penchee - a pose in which the body leans forward so that the working leg can rise as high as possible;

Attitude (pose, position):
- It is one of the main positions in classical choreography. During execution, the working leg bends at the knee and rises back to a height. The supporting leg can stand on the foot, fingers or toes, hands in the allondie position. The figure is the basis for a big jump. To perform it, like the arabesque, you need a strong and flexible back. If the attitude is performed forward, the leg bent at the knee is raised forward, and the heel should be higher than the level of the knee. This is the leitmotif of proud heroines, for example Aurora (ballet “Sleeping Beauty”).

Assemble, pas (verb assembler - to assemble). When performing this movement, the working leg can open in any direction with the toe on the floor or in the air, while the dancer simultaneously squats on the supporting leg. Then the working leg is placed in the 5th position on the toes or half-toes. The movement ends in demi-plie. If the figure is performed in a jump, then the legs come together at the moment of flight. The execution of the jump can be varied: on the spot (throw of the leg to a small height, small jump petit pas assemble), or with advancement (strong throw of the leg at 70-90o, extremely high take-off grand pas assemble). In the first case, the movement begins with a jump and throw of the leg from the 5th position. To perform a grand pas assemble, an approach is always required, which will allow you to achieve maximum height in the jump. To maintain balance, the arms are lifted into position and assist in the jump. Additional complications in the form of lifts or double turns can add entertainment and virtuosity to the movement. The main difference between the pas double assemble (performed on the fingers or half-toes on a small jump) is that the figure is performed twice from the same foot. If the position is performed to the side, the change of legs to position 5 is performed at the moment of the second movement;
Emboite, pas (literal translation tongue and groove) is a figure that is performed by changing legs and transferring body weight from one leg to the other several times in a row.

Petit pas emboite saute - a jump in place or with a turn around its axis with a change of legs. With each execution, the working leg is alternately brought forward or backward into surlecou-de-pied. Grand pas emboite saute is performed with advancement while simultaneously throwing the bent legs as high as possible, often forward or, less often, backward.

Pas emboite can be performed as a run. In this case, each rut is thrown into the air in turn (forward or backward).

Petit pas emboite saute entournant is alternate jumps and a simultaneous turn of 180°. Finally, the replacement leg is brought into the surlecou-de-pied position. The movement is performed with advancement in a straight line or diagonally. Can be performed in a circle in combination with other turns.

Pas emboite sentournant is performed on the fingers or half-fingers, instead of a jump - steps with a simultaneous turn. The leg bent at the knee is brought in the surlecou-de-pied position to the knee and above.

Enavant (forward) is a term for the position of the front foot or the forward movement of the dancer;
Enarriere (backward) – This term is used to indicate the back position of the leg, or the backward movement of the dancer;
Endedans (inward) - indicates the direction of rotation during pirouettes, tours and movements that are performed Entournant to the supporting leg;
Endehors (outward) - indicates the direction of rotation during pirouettes, tours and movements that are performed by Entournant from the supporting leg;
Enl'air (in the air) - the term shows that at the moment of execution either the working leg or the whole body is in the air;
Entournant (in a turn) - the term indicates that the movement is performed simultaneously with the rotation of the body;
Enface (opposite) – the performer works for the viewer, facing the audience;
Entree (entrance) – exit of artists in parts;
Entrechat (entrechat? - from Italian intrecciato - braided, also used to define a crossed jump) - a vertical jump with both legs. At the moment of execution, the legs spread slightly and join in 5th position. The legs do not hit one another, as they are in an everted position from the hip;

Execution technique

Take the starting position: place the bar on your shoulders, place your feet wider than your shoulders, turn your toes to the sides.
Inhaling, slowly lower yourself down.
On exit, quickly but also smoothly return to the starting position.

The legs can be placed wider or narrower. Try different positions to determine which option is right for you to work the target muscles.

As with other types of squats, the pelvis must be pulled back during the downward movement. At the lowest point, position your buttocks so that your thighs are parallel to the floor, or even lower.

In order to increase the range of motion when performing exercises with weights below, you need to place your feet on platforms or gymnastic benches - this option is suitable for you if you are not a beginner.

Hold at the bottom for 1-3 seconds to get the best results from the exercise.

As you lift, focus on working the target muscles: if you want to work your glutes first, focus all your attention on them while doing the lift.

Pull your body up using your gluteal muscles. In exactly the same way, you can shift the main load to the thigh muscles to tighten this area.

Squats involve performing wide-amplitude movements, so for training aimed at increasing muscle volume, 6-12, sometimes 15, repetitions are sufficient.

If your goal is primarily to lose fat and tone your butt or thighs, you can do 25 to 50 repetitions or even more.

Common Mistakes

In order to get good results, you need to work with heavy weights, however, be careful and do not use too much weight. If you are unable to maintain proper technique, it is better to reduce the weight of the weight than to do the plie incorrectly.
Move your pelvis back while performing a squat. Many beginners leave it at almost the same level as when they are standing. This is wrong - the buttocks must necessarily go back during the downward movement.
Maintain a slight arch in your lower back throughout the approach and keep your shoulders back. Don't round your back or slouch. Your gaze should be directed forward or upward, this will help maintain the correct position of the body.

B - V

Balance, pas (verb balancer - to swing) - movement in any direction and with stepping of feet in place, consists of pastombe. In essence, this is a pascoupe - an exercise with or without clear fixation of the surlecou-de-pied. The swaying effect is created by slightly bending the body at the waist and tilting the head. It is often performed several times in a row from different legs in any direction, with the addition of various movements and translations of the arms. Due to the fact that the movement is borrowed from the waltz, it is performed in musical time signature ?;
Balancoire, battement (literally translated - swing) - a movement performed several times in a row with the body engaged. When throwing the working leg forward or backward, the body sharply deviates in the opposite direction. The French ballet school calls large battements grands battements encloche, which translates as bell;

Ballon (ball, balloon) is the name given to a dancer’s ability to hover in the air while performing a jump. Simultaneously fixing various figures;
Ballonne, pas – jump on one leg with extension of the working leg and advancement in any direction. Both legs return to the surlecou-de-pied position;
Ballot e, pas (verb ballotter - to swing) - a jump in which one leg closes and kicks up the other. In this case, the tilt of the body gives a swinging effect;
Battements (kick, beat) - movements in classical choreography, which are aimed at developing strength, eversion of joints, sharpness and elasticity of muscles, as well as coordination;
- Battements Tendus (pull): Battement tendu jete (jeter - throw at 45°), Battement tendu pourbatterie (preparation for skidding), Grand Battement Jete (throw above 90°), Grand Battement Jete pointe, Grands Battements Jete balance;
Battements sur le cou-de-pied: Battement frappe (frapper - to hit), Battement double frappe, Petit battement sur le cou-de-pied, Battement battu (battre - to beat), Battement Fondus (fondre - to melt) - 45° and 90°, Battement soutenu (soutenir - support) - in any direction .
Battements Developpes (developper - develop). A movement during which the working leg slides along the support with outstretched toes and then opens in any direction. Battement Retire (retirer - take away, pull back). Grand Battement Developpe Passe (passer - to carry out);

Bris e, pas (verb briser - to hit) - advancement is performed behind the leading leg in a small jump. The end point of the breeze is 5th position. Translated from French it means a light sea breeze;
Variation is a short and complete dance to be performed by one or more dancers. Often this is part of Pas dedeux, Pas detrois, Grand Pas, but it can be introduced as an independent dance.

Third hand position

Hands rise from the preparatory position to the first position. Maintaining roundness, they rise upward, as if enclosing the head in an oval frame. The tendency of students to pull their arms back should be prevented.

Exercise

The hands rise from the preparatory position to the 1st position, from here, continuing the movement, they rise to the 3rd position, from the third position they return to the first and from the first they fall to the first preparatory position. The exercise is also performed with one hand, which moves exactly against the middle of the body, while the other hand maintains the preparatory position.

The movement of the hands here and in subsequent exercises should be smooth. The arms retain their original roundness and move independently, regardless of the body.

The musical accompaniment style is very smooth, four-quarter and three-quarter time signatures. The exercise is performed evenly over four beats.

Only after the first and third positions have been mastered can one begin to study the second position.

G

Glissade, pas (verb glisser - to slide) has two meanings:
- jump with advancement. Start and end of movement in 5th position. Performed together with a demi-plie on one leg, at the moment when the second one opens in any direction in a slide. Afterwards, the dancer performs a small jump and fixes the 2nd or 4th position in the air and moves towards the leg that opens. Used as an approach for other jumps with amplitude depending on the strength of the planned jump;

Grand (large) – a prefix that is used to determine the maximum amplitude of movements during performance: grand plie, grand pirouette, grand battement jete, grand passaute, grand pas dechat, etc.;
- Grand pas - in classical ballet - a complex form that consists of the dancers entering, alternating changes of soloists and corps de ballet, and a final coda. Examples: grand pas from “Don Quixote”, “Paquita”, etc.;

K - S

Code translated from Italian (coda) - tail, train. The term has three meanings:
- The final part of a solo performance consisting of various spins and jumps, which are performed in a circle or diagonally. Can be performed moving towards the viewer;
The end of the performance, where all the characters take part, including the corps de ballet.

Corps de ballet (corps de ballet literal translation - ballet frame) - the main part of the troupe, artists, ensemble dancers who perform mass numbers;
Coupe, pas (verb couper - to cut, trim) - a movement in classical dance, performs an auxiliary function, performed together with other figures, found in exercises at the barre, in the center of the hall, in jumps;
Croisee, pose (verb croiser - to cross) is a figure in classical dance that rises from the epaulement croise position to the 5th position. Performed by moving the leg forward or backward. Small figures are performed with the toe extended to the floor, medium ones with the leg raised by 45°, large ones by 90° and higher. The supporting leg is on the foot, fingers or toes, stretched or half-bent. The working leg can be either fully extended or bent at the knee. The movement can be performed while jumping. Endless variations are given to the figure by different positions of the arms, legs and head;

Leg positions

First position of the legs : the legs should be straightened as a single unit strictly perpendicular to the floor, while the heels are brought together and the toes are spread apart. In this case, the location of the feet should be on the same line.

Second position : legs apart at a distance of the length of one foot, while the feet should be lined up on the same line, as if continuing one another. Due to this position, the inner part of the leg comes forward to the fore.

Third position : legs aligned and parallel to each other. The toes are turned to the sides, forming two parallel feet. The feet are slightly shifted to the sides so that the heel touches the center of the foot of the other leg.

Positions 4-5 : the position of the feet in this position should be parallel. The toes of the feet should point strictly to the left and to the right, respectively. These positions differ only in the distance between the legs, see the image.

L

Level, temps (verb lever - to lift) a term that means lifting the dancer onto his toes/half-toes, or performing jumps on one/both legs:
- Lifting to the toes/half toes on one or both legs in any position or pose. In Moscow ballet it is called temps releve. If the name contains the prefix re, this means repetition of the exercise. Can be performed both on outstretched legs and in a demi-plie pose with jumping and squeezing;
Temps leve with a change of position - lifting onto the toes/half-toes of one foot, or jumping on one leg while simultaneously abducting the other, which is raised in the air. Grand temps leve passe is an amplitude and spectacular jump of a dancer with advancement. During the execution, one leg is thrown forward, and during the jump, stretched at the knee, it is thrown back as much as possible. The second leg is also extended at the knee, thrown forward and at maximum height the legs are fixed in a split;

M

Manege (en manege literally means running in a circle) - jumps that are repeated one after another several times, moving in a circle. Often executed as code elements;
Marche, pas (literal translation - transition) - marching across the stage;
Marche, pas (verb marcher - move, advance) - light dashes on low half-toes. With this type of running, there is an accentuated movement of the strong part of the leading leg in a half-squat;
Menus, pas (literal translation - small) - movement, used in minuet. Small steps on low half-toes, performed by groups of three dancers;

P

Pas – movements, steps, leitmotifs that are the basis of the dance. In a broad sense, this is a completed dance combination, or composition:
- Pas dedeux (dance of two) - a similar form of dance has been adopted in ballet since the 19th century. This musical and choreographic composition consists of the beginning (Entree), adagio (Adajio), variation of the ballerina and dancer (Variation), final part (coda with fouette and grand spirouette). An example is the pas de deux in “Swan Lake”;

Pas de bourree is a bourree dance movement. Pas de bourree suivi (verb suivre - stick to, continue) - movement in the women's party, alternating small moves on the fingers/half-toes in 5th position without changing legs in one place, around oneself, or with advancement. In Mikhail Fokine's work "The Swan" is the main movement;
Pas de chat (literal translation - cat movement (pa)) is a movement based on the imitation of a cat's grace. Today, several different jumps are called this way, however, A.Ya. Vaganova defined by this term a jump with throwing half-bent legs back in turn with a simultaneous bend in the body and arms in an allongee position. The movement ends by moving the leg from behind to the front in position 5 or 4;

The simplest form of pas de chat. When the legs move forward, they alternately bend and move to the 5th or 4th position during the jump. Moving backwards is also possible, but this is rarely seen on stage. Depending on the bending of the knees, the height and amplitude of the jump varies: from a small surlecou-de-pied to a high and amplitude passe (retire). Italian pas de chat is a variation of this jump. At the moment of execution, the leg that makes the first movement is extended at the foot and knee and thrown into the 2nd air position;

Grand pas de chat (grand pas jete developpe) is an amplitude jump, during which one leg is bent and opens in the air. During the execution of such a figure, the working leg rises up, while bending in a straight position, at the moment of takeoff it opens as high as possible forward. At this time, the second leg is stretched at the knee and thrown high back. In modern performances, dancers open their legs into a split at the moment of the jump. Hands can be in any position. It is possible to perform a “ring” jump, with the back leg bent and the body bent backward;

Pas de ciseaux (literal translation - scissor movement) - jump from one leg to the other. Both legs are thrown forward, after which one is pulled back after 1 position into an arabesque figure. Exit options may vary;

Pas de poisson (fish movement) - jumping from one leg to the other, throwing the leg back;
Pass-pied – moving the foot to 5th position from back to front or front to back. There are several options:
- translation possible via surlecou-de-pied;
change to 5th position through small steps with promotion;

Passe (verb passer - pass, translate) - an auxiliary figure for transferring the working leg from one position to another:
- Passe parterre - the working leg is open to the toe to the floor, or to a height, transferred to a groan/forward/backward in 1 position. Legs can be extended or bent (demi-plie);
Transferring the leg to the fifth position through the position “at the knee”;
Passe (position) – in the Russian school this term is semantically incorrect. In this position, the working leg is bent at the knee in a straight or inverted position, brought to the calf or knee of the supporting leg;

Plie (verb plier - to bend [meaning knees]):

Squatting on both or one leg in any of the existing positions is performed on the full foot, toes or half toes. The movement may differ in tempo and character, and the strength of knee flexion. Depending on the degree of flexion, it is divided into demi-plie (half squat) and grand plie (deep squat). The first type can be either an independent or a connecting movement, for example, when moving from one position to another. Most jumps, spins and leaps begin and/or end with a demi-plie. The exercise, as a training option, helps develop coordination and muscle strength. Classical dance uses spins that begin with a grand plie in any position;
May refer to flexion of the working leg, which is raised upward in any direction;

Port de bras (Porter - wear, Bras - hand) - correct movement of the hands into the main positions (1,2,3), rounded (Arrondi), elongated (Allonge) with a turn or tilt of the head and body. There are port de bras first, second and third;

Virtuosity

In order for a ballet jump to be light and airy, creating a feeling of weightlessness and flight, students must work long and hard for years. Muscle strength, good stretching, flexibility and joint mobility are crucial.

Compared to the soft legs of ordinary people, the ballerina's calf muscles have a steel hardness.

When a dancer runs up before jumping, he develops a high horizontal speed - 8 m/s, and a vertical speed - 4.6 m/s. If we think in scientific terms, the acceleration of artists when jumping in ballet is 2 g, which is comparable to the take-off run of an airplane.

Just as a book is made of words, a house is made of bricks, any ballet is made of movements. Strict, once and for all established positions of arms and legs, poses, jumps, rotations, connecting movements are the basis of classical dance. By combining these movements and arranging them in a certain order, the choreographer creates a choreographic pattern for the ballet. The beauty and power of movements depend on whether they accurately express the character of the music, and on the meaning that the director - choreographer and performer - ballet dancer puts into them. And it turns out that the same movement can look different, it can be good and evil, brave and cowardly, beautiful and ugly, and this sometimes depends on the tilt of the head, sometimes on the position of the arms and body, on the strength and expressiveness of the jump, from the smoothness and speed of rotation. That’s why ballet performances are so different from each other.

There are basic movements and concepts in ballet that every lover of this art should know! The main 4 poses in ballet are called Arabesque, Ecarte, Alaskan and Attitude. These are poses in which the performer balances on one leg while holding the other in the air.

ALASGON, ARABESQUE, ATTITUDE, EKARTE. The main poses, the “pillars” on which classical ballet rests. In all these poses, the performer stands on one leg and the other is raised high: to the side (alasgon), back (arabesque), back with a bent knee (attitude), diagonally forward or backward (ecarte).

ASSEMBLY. A jump during which one leg opens to the side, forward or backward, and at the end of the jump is pulled towards the other leg.

Adagio - A dance of two or more ballet characters, aimed at revealing the emotional state.

Pa (French pas - step) is a separate expressive movement performed in accordance with the rules of classical dance.

Glide path is a special movement, the main purpose of which is preparation before the jump.

Glissé (from glisser - to slide) is a step in which the toe slides along the floor from position V to position IV. Used as an approach to pirouettes, to jumps. Glisse r. in arabesque, repeated several times, is one of the most beautiful and expressive movements of classical dance.

Grand batman (from the French grands battements) - a leg throw to the maximum height.

Plie (plié - fold, gently bend) - demi plié - a small squat.

BURN. Jump from one leg to the other. Grand jetés are performed as a jump over an imaginary obstacle in all the main ballet poses - arabesque, attitude, alasgone.

CABRIOLE. A jump during which one leg kicks the other. The legs are strongly extended. This jump is performed in all directions: forward, sideways, backwards.

Balloon (from the French ballon, from balle - ball) - the dancer’s ability to maintain the pose and position taken on the ground while jumping (in the air) - the dancer seems to freeze in the air.

Batri (from the French batteries - to beat) - jumping movements decorated with skids, i.e. kicking one foot against the other in the air. During the impact, the legs are crossed in the V position (before the impact and after it, the legs are slightly spread apart).

Entre (from the French entree - introduction, entrance to the stage) - in ballet, the appearance of one or more performers on stage. Introductory movement to pas de deux, pas de trois.

PA DE DEUX. The main dance scene in a ballet or one of the acts of a ballet. The pas de deux reveals the relationships between the characters and shows the dancing skills of the performers. The pas de deux consists of an adagio, a dancer's variation and a ballerina's variation and coda - short, technically difficult dance pieces between the dancer and the ballerina.

Coda (from French Coda) - fast, final part of the dance, following the variation

FIFTH POSITION. Basic leg position of classical dance. The legs are turned one hundred and eighty degrees. The heel of the right foot is pressed tightly to the toe of the left, and the heel of the left foot is pressed tightly to the toe of the right. The dance most often begins from this position, and this position most often ends.

PIROUETTE. Rotation around its axis on half toes or toes of one foot. Pirouettes are small when, during rotation, one leg is tightly pressed to the other in front or behind. Large pirouettes are performed in all basic poses.

Arondi (from the French arrondie - rounded) - rounded position of the hand.

SOTE. A jump during which the legs are strongly extended in the first, second or fifth positions.

TOURS. Rotation around its axis during a jump. Tours are made with one and two revolutions. A round with two turns is an element of male dance.

Brize (from the French brisé - to break; means a light, gusty sea wind) - a small jump, moving forward or backward behind the leg. The jump ends in V position. Variation: brise dessus (forward) - dessous (backward).

CHAZHMAN DE PIED. A jump during which the legs are in fifth position and change places.

Ronde de Jambe - literally translated from French - circle with your foot. In fact, in this movement the leg describes a semicircle.

Shazhman de Pie is a special jump from the fifth position, in which the legs change places.

Fouette is the ballerina’s most famous movement, or more precisely, her spin on the toes of one foot like a top. The ballerina rotates around her axis on the toes of one foot. After each turn she opens the other one to the side. Fouette is usually performed at a very fast tempo, sixteen or thirty-two times in a row.

Entrechat (entrechat - Italian intrecciato - braided, also defined for the type of jump as crossed) - a vertical jump with two legs, during which the legs are slightly separated in the air and connected in the V position again, without hitting each other, since they are in a reversible position from the hip.

VARIATION. Solo dance, dance monologue. A short dance for one or more dancers, usually more technical. There are variations for men and women, terre a terre and jumping. The first are built on small, technically complex movements, the second - on large jumping movements.

A la zgonde (from the French a la seconde) is a classical dance pose when the leg is raised to the second position to the side by 90° or higher.

Elevation (from the French elevation - elevation, elevation) - in classical dance means a high jump.

SUPPORT. An essential element of classical dance. During the dance, the dancer helps the ballerina, supports her, and lifts her up.

Eversion is the opening of the legs at the hip and ankle joints.

PACK. A ballerina costume consisting of many short starched tulle skirts. These fluffy and light skirts make the tutu airy and weightless.

POINTE SHOES. One of the main elements of female dance in classical ballet is dancing on the tips of outstretched fingers. For this you need ballet shoes with a hard toe.

LESSON. Ballet dancers never stop learning. Every day they come to the ballet class for a lesson. It lasts at least an hour. The lesson is divided into two halves: the smaller one - exercise (exercise) at the barre and the larger one - exercise in the middle of the hall. During the lesson, all the movements that a ballet dancer needs in dancing are improved and practiced.

CHOREOGRAPHER. A person who composes, or, as they say, choreographs a ballet. Sometimes a choreographer, or ballerina, is the name given to the performers of male parts in ballet. It is not right. A man in ballet is called a dancer.

Divertissement (from the French divertiss-ment - amusement, entertainment) - 1) Inserted (ballet or vocal) numbers performed between acts of a performance or at the end of it, often forming a single entertaining performance not related to the plot of the main one; 2) A structural form within a ballet performance, which is a suite of dance numbers (both concert solo and ensembles, and plot miniatures).

LIBRETTO. Literary script of the ballet, its content.

Corps de ballet (from the French corps de ballet, from corps - personnel and ballet - ballet) is a group of dancers performing group, mass dances and scenes. The corps de ballet can perform both independently and in mass dances.

Premier (from the French premier - first) - a ballet soloist who performs the main roles in the performances of a ballet troupe; dancer of the highest category. The first premier dancer in the history of ballet was Pierre Beauchamp, a soloist of the ballet of the Royal Academy of Music, created in 1669 by King Louis XIV (danced from 1673 to 1687).

Having studied these concepts, you will always understand what various experts are talking about during the intermission of another beautiful ballet.

ADAGIO. A dance of two or more ballet characters in which they reveal their inner state. ASSEMBLY. A jump during which one leg opens to the side, forward or backward, and at the end of the jump is pulled towards the other leg.

VARIATION. Solo dance, dance monologue.

GLISH SAD. Sliding lateral movement. Usually it connects one movement to another, serves as a preparation, a run-up for a jump.

BURN. Jump from one leg to the other. Grand jetés are performed as a jump over an imaginary obstacle in all the main ballet poses - arabesque, attitude, alasgone.

CABRIOLE. A jump during which one leg kicks the other. The legs are strongly extended. This jump is performed in all directions: forward, sideways, backwards.

LIBRETTO. Literary script of the ballet, its content.

PA DE DEUX. The main dance scene in a ballet or one of the acts of a ballet. The pas de deux reveals the relationships between the characters and shows the dancing skills of the performers. The pas de deux consists of an adagio, a dancer's variation and a ballerina's variation and coda - short, technically complex dance pieces between the dancer and the ballerina.

PACK. A ballerina costume consisting of many short starched tulle skirts. These fluffy and light skirts make the tutu airy and weightless.

SUPPORT. An essential element of classical dance. During the dance, the dancer helps the ballerina, supports her, and lifts her up.

POINTE SHOES. One of the main elements of female dance in classical ballet is dancing on the tips of outstretched fingers. For this you need ballet shoes with a hard toe.

ROND DE JAMBE. In French it means circle with your feet. In fact, half of the circle is described by the leg on the floor and in the air, during a jump and squat.

SOTE. A jump during which the legs are strongly extended in the first, second or fifth positions.

TOURS. Rotation around its axis during a jump. Tours are made with one and two revolutions. A round with two turns is an element of male dance.

LESSON. Ballet dancers never stop learning. Every day they come to the ballet class for a lesson. It lasts at least an hour. The lesson is divided into two halves: the smaller one – exercise (exercise) at the barre and the larger one – exercise in the middle of the hall. During the lesson, all the movements that a ballet dancer needs in dancing are improved and practiced. CHAZHMAN DE PIED. A jump during which the legs are in fifth position and change places.

FOUETTE. The ballerina rotates around her axis on the toes of one foot. After each turn she opens the other one to the side. Fouette is usually performed at a very fast tempo, sixteen or thirty-two times in a row.

Terminology in ballet

This page is a glossary.

French school

Looks like Russian. Movements: les fouettés en dedans et en dehors, les fouettés sautés, les fouettés sur pointes ou demi-pointes

A pique is made on the right leg, the left leg is raised forward, a tour on the toe (sur la pointe) or half-toe (demi-pointe) occurs and the left leg remains extended in the air. ends in en arabesque sur pointe (ou demi-pointe).

American school

Fouette en tournant at 45° En dehors

. If in the Russian school during a tour the right leg touches the back of the calf of the supporting left leg, then moves on to touch the front of the calf of the left leg (like a petit battement), then here the working leg makes a demi rond at 45°, which gives the movement additional force, but it’s dangerous “ releasing the hip,” which can cause the ballerina to go off axis, and Fouetté results in moving forward or to the side.

Grand Fouette
.
It contains something from both the French and Italian schools (approx. Vaganova)
.
les fouettés en dehors
.
Pose croiseé back with the left leg. Coupé on the left foot on the half-toes, hands in the second position, lower on the left leg to the demi-plié, the left hand goes down to the 1st position. Bringing the half-bent right leg forward 90° (modern 120°), rise on the left half toes, quickly sweeping the Grand Rond de Jambe
back with the right leg and finishing it on the left leg on the
demi-plié in III arabesque (in the en face position)
. The hands do the following Port de bras: The left one rises to the third position and passes to the II, while the right goes to the III position and passes through the first to the III arabesque while lowering the left leg to the plié.
les fouettés en dedans et en dedans
- The movement is done according to the same principle.
. Stand in a forward croiseé position (left leg in front), lower yourself into a demi-plié position on your left leg, jump onto your toes and throw your right leg into the second position (alaseconde) at 90° (120°) - Grand battement jeté. Turning, swing your right leg across the floor through a passé par terre (passing motion). The supporting leg turns on its toes (turn to en dedans), keeping the right leg at the same height. Finish the movement with 3 arabesques on plié mli on arabesque.
Grand Fouette en tournant en dedans (Italian fouette)
. It is performed on the fingers according to the same principle. Only it starts not with plié, but with sur le cou de pied, but is swayed in the attitudé position on pointe shoes, croisé, the right hand in the third position, and the left in the first.
Grand Fouetté en tournant sauté
is performed according to the principle of
Grand Fouetté en tournant en dedans
, only the left leg leaves the floor with a jump, the turn is also made in the air, with the left leg jumping.

R

Releve (verb release - to lift) - raising the working leg to any height, or lifting onto the toes/half-toes of one or both feet:
- Relevelent, battement - slow raising of the working leg, stretched at the knee, as high as possible (from 90o) in any direction. Is an element of adagio;
Releve, temps – preparatory movement for performing tours and pirouettes. In its pure form it is a preparation for rotations. Petit temps releve a la 2nd: the working leg is in the surlecou-de-pied position, the supporting leg is in a squat, the arms are in the first position. The half-bent working leg is moved to the side at a height of 45-60°, while the supporting leg is leveled or placed on its toes/half-toes. Hands open into 2nd position. Temps releve endehors is performed from the surlecou-de-pied position in front, endedans - from the surlecou-de-pied position at the back. Grand temps releve a la 2nd – the same exercise, but the working leg is brought out more than 90o;

Renverse, pas(the verb renverser is translated as overturning) - a movement during which the body is thrown back in a turn. Involves bending the body forward in a demi-plie, then jumping onto the toes/half-toes and slightly bending the body back, followed by a pas de bourree entournant. During the first step, the deflection of the body increases; during the second step, the body levels out. The tempsleve technique is performed by Renverse with a jump.
- The most common form is renverse en attitude (renverse en dehors). At the beginning of the movement, squat in an open or closed position, after which a jump is performed in the attitude croisee and pas de bourree endehors position. When performing renverse en dedans, the jump is done in a forward croisee position and the pas de bourree is performed back - in a turn en dedans;

Weights when performing the plie squat exercise

At the very beginning, to perform such an exercise, it is better for beginner fitness girls to take a dumbbell weighing 2-3 kg, and then increase the weight. More experienced fitness athletes perform sets of plie squats with weights of 10 kg or more. in the form of dumbbells, sometimes kettlebells. Use stands or benches under your feet for a deeper squat.

You can use a barbell; you can read about barbells in this article on my blog. To perform safely and God forbid you get injured, use a Smith machine.

The technique is identical to using a dumbbell-shaped load. You definitely need to tell us what mistakes beginners make, pay attention and adopt them. When performing the exercise plie squats with dumbbells, 3 sets of 12 repetitions, an average of 150 calories are consumed. You can see the comparative effectiveness of performing exercises on different muscle groups in the table on my blog.

S

Ciseaux is the same as pas de ciseaux;
Saute, temps (verb sauter - to jump) is a term coined by the Moscow school. Means the same as temps leve, a jump on both legs in any position;
Suivi is the same as pas de bourree suivi;
Sussous (literal translation - above-under; see also dessus-dessous):
- Leg position in 5th position;

F

Ferme (verb fermer - to close) - a term denoting closing a leg open to the air in the 5th position;
Fermee, sissonne – jump on both legs with advancement in any direction;
Fondu, battement (the verb fondre means to melt, melt, pour) - the term means slow bending and straightening of the legs;
Fondue, sissonne - sissonne fermee, at the end of which the legs do not immediately return to position. Landing occurs on one leg, while the second closes in the 5th position with a delay, after gently moving the entire foot along the floor;
Frapp e, battement (verb frapper - to hit) - the working leg, open in any direction, is sharply brought into the urlecou-de-pied position, after which it is pointedly opened to the toe on the floor or in the air;

Fouette (Russian transcription [fuete], the adjective fouette means “whipped”, the verb fouetter) is a movement that the dancer performs on pointe in the finale of Pas dedeux. This is a sequence of tours that are performed at one place. During each turn, the working leg performs a rond de jambe en l'air of 45°.

This movement has several variations:

Fouette en tournant at 45° En dehors. At the moment when the left leg is in demi-plie, the right one opens in 2nd position at 45°, tout en dehors on the left leg. At the moment of execution, the working leg touches the supporting leg on the calf. The hands at this time are in the preparatory or first position. The stop is performed in demi-plie, arms and legs open in 2 positions. The movement begins with the right leg, while the supporting leg does not collapse. If you perform Fouette several times in a row, it begins with preparation in 4th position, getting up on pointe shoes, performing tour en dehors;
Fouette en tournant at 45° En dedans is performed in the same way, but the working leg first goes in front of the calf and then back. The exercise is required in the training program, but rarely occurs on stage;

The French ballet school is similar to the Russian one. Movements: les fouettesen dedans et endehors, les fouettes sautes, les fouettes sur pointes ou demi-pointes. The dancer performs a pique on the right leg. At this time, the left one rises forward, the dancer performs a tour on a finger (surlapointe) or half-finger (demi-pointe), and the left one remains extended in the air. The movement ends at en arabesque sur pointe (oudemi-pointe).

At the American ballet school Fouette en tournant at 45° En dehors. Unlike the Russian school, where during the tour the working leg touches the middle of the calf from behind, and then moves to the front of the calf of the left leg (petit battement), in the American school the working leg performs a demi rond at 45°. This gives the figure additional force, but at the same time it can threaten to “release the hip” and cause the ballerina to go off the axis. Due to this execution, Fouette is performed with advancement to the side or forward.

Grand Fouette. He absorbed the teachings of the French and Italian schools;
Les fouette sendehors. Croisee pose means back of the left leg. Coupe on the half toes of the left foot, hands move to the second position, the left leg lowers into demi-plie, and the left hand into 1st position. At the moment when the dancer moves her half-bent right leg forward 90 degrees, she rises to the half-toes of her left, quickly circles her right leg Grand Rond de Jambe back and ends on her left leg in demi-plie in III arabesque (in the en face position - facing the viewer ). The hands perform Port de bras: the left one is raised to 3rd position and passes to 2nd, while the right one is moved to 3rd and passes through the right one to III arabesque while lowering the left leg into plie;
Les fouette sendedanse tendedans – identical principle of execution;
Grand Fouette en tournanten dedans. The dancer takes a croisee position forward with her left leg, lowers herself into a demi-plie on her left leg, jumps up on her toes and throws her right leg into the 2nd position (alaseconde) at 90° (120°) - Grand battement jete. During the turn, he swings his right leg through passe parterre (passing position). At this moment, the supporting leg rotates on half toes, and the right leg remains at the same height.
Grand Fouette entournanten dedans. Or Italian fouette. It is performed on the fingers according to the same pattern. The only difference: the movement begins not with plie, but with surlecou depied. Ends in attitude on pointe shoes. 3rd position for the right hand and first for the left.
Grand Fouette en tournant saute execution is the same as Grand Fouette en tournan tendedans, only the left leg leaves the floor in a jump, the turn is performed in the air as the left leg jumps.

Plie squat working muscles

Unlike the usual exercise, squatting. Deep plie squats allow you to more effectively work the muscles of the thighs, buttocks and core of the body as a whole. The main working muscles are the inner thigh (adductor, medial, vastus, pectineus, etc.), and the quadriceps are also involved (the muscles of the anterior thigh, gluteus maximus and gluteus minimus). In addition to the legs, the muscles of the back, core, and lower back are activated when performing. Speaking anatomically, the inner surface of the thighs consists of long and thin muscles. It is problematic to remove fat deposits from them, because the structure of the female figure is determined by the deposition of fat in these areas to obtain the sex hormone - progesterone. It is very difficult to load these additional muscles (I wrote about the muscles of our body in this article) simply by squats. Therefore, in gyms and fitness centers they offer to perform plie squats with weights in the form of dumbbells. To effectively perform the exercise and obtain a high-quality result, you need to approach the execution technique wisely.

CH-SH

Chaines, tours (literally a chain of turns). The movement is the same as tour schaines-deboules - several quick half-turns on the fingers/half-fingers in a row. At the time of execution, advancement can be made in a circle or diagonally. Each turn is performed 180 degrees by stepping from foot to foot. Depending on the dancer’s physique and artistic goals, the movement can be performed in 1, 5 or 6 positions on straight legs or in a demi-plie. In classical ballet, this movement often completes variations or dance compositions. There may be other options at the discretion of the stage director;
Changement depied (literally translated - change of legs) - change of feet in the 5th position in any way. Usually this term means changement depied saute - a jump on both legs with advancement in any direction (changement depied de volee). At the moment of execution, the legs change in 5th position. The movement can be performed at any amplitude of jumps, with a maximum fixation of the 5th position before changing legs (grand changement depied), or on small jumps with minimal lifting of the toes from the floor (petit changement depied). It can be performed with a turn to any part of the circle, up to a full 360o turn. Italian changement depied is performed by bending the legs while jumping (the bend angle can be completely different);

On the toes/half-toes, the figure is performed as a jump on both legs with a simultaneous change of legs in position, or in the form of a jump that begins and ends on the fingers/half-toes in position 5, without completely lowering onto the foot;

Chasse, pas (verb chasser - to drive, accelerate) - a jump during which the outstretched legs gather in the air in the 5th position, and the dancer moves in any direction. The beginning can be with sissonne tombee, pas failli, running and other movements that allow you to jump and move forward in the air. Can be used as a preparatory movement for a jump or big spin. Performs independently several times in a row. In historical and everyday performances, it is performed without a jump in a slide and lifting onto half-toes in the 5th position;
Chat is the same as Pas dechat.