Ballet Term of the Week - Chasse'

Chassé
[sha-SAY] Chased. A step in which one foot literally chases the other foot out of its position; done in a series.

Ballet Term of the Week - Glissade

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. After a demi-plié in the fifth position the working foot glides along the floor to a strong point a few inches from the floor. The other foot then pushes away from the floor so that both knees are straight and both feet strongly pointed for a moment; then the weight is shifted to the working foot with a fondu. The other foot, which is pointed a few inches from the floor, slides into the fifth position in demi-plié. 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 change of feet, and all begin and end with a demi-plié. 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 may also be done sur les pointes.

Ballet Term of the Week - Temps lie'

Step to connect; to thicken; a movement where the legs transfer the weight of the body from one leg to the other - it can be done front, side or back.

["joined movement"]. This is a term for a whole series of conventionally connected movements executed in the center of the room, often during an adagio. However, it is also the term for an independent form of a step.

In the basic form of the temps lié, stand in 5th position croiseé, arms in preparatory position. The working leg is drawn, without taking the toe off the floor, into croisé devant, while the supporting leg bends into demi-plié; simultaneously, the arms are raised into 1st position with the head slightly inclining towards the shoulder corresponding to the supporting leg. Then, the weight is transferred through demi-plié to croisé derrière onto what was the working leg. Here, both legs are completely stretched with the now working leg stretched toe to the floor in back. At the moment of weight transfer, the arm that corresponds to the now working leg is raised overhead, while the other arm opens sideward; the head turns towards the sideward arm. Finally, the working leg closes in 5th back; arms may remain or stay.

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Ballet Term of the Week - Sous-sus

Sous-sus ["under-over"] (or sus-sous ["over-under"]). A relevé in a tight fifth position with one foot almost on top of the other.

Ballet Term of the Week - Sickling

Sickling
This term is used for a fault in which the dancer turns his or her foot in from the ankle, thereby breaking the straight line of the leg.

Ballet Term of the Week - Port de bras

Port de bras
[pawr duh brah]
Carriage of the arms. The term port de bras has two meanings: (1) A movement or series of movements made by passing the arm or arms through various positions. The passage of the arms from one position to another constitutes a port de bras. (2) A term for a group of exercises designed to make the arms move gracefully and harmoniously. In the Cecchetti method there are eight set exercises on port de bras.
In the execution of port de bras the arms should move from the shoulder and not from the elbow and the movement should be smooth and flowing. The arms should be softly rounded so that the points of the elbows are imperceptible and the hands must be simple, graceful and never flowery. The body and head should come into play and a suggestion of épaulement should be used. In raising the arms from one position to another the arms must pass through a position known in dancing as the gateway. This position corresponds to the fifth position en avant, Cecchetti method, or the first position, French and Russian Schools. In passing from a high position to a low one, the arms are generally lowered in a line with the sides. Exercises on port de bras can be varied to infinity by combining their basic elements according to the taste of the professor and the needs of the pupil.

Ballet Term of the Week - Attitude

Attitude
[a-tee-TEWD]
A particular pose in dancing derived by Carlo Blasis from the statue of Mercury by Giovanni da Bologna. 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. The supporting foot may be à terre, sur la pointe or sur la demi-pointe. The arm on the side of the raised leg is held over the head in a curved position while the other arm is extended to the side. There are a number of attitudes according to the position of the body in relation to the audience.

Ballet Term of the Week - Arabesque

Arabesque
[a-ra-BESK]
One of the basic poses in ballet, arabesque takes its name from a form of Moorish ornament. In ballet it is a position of the body, in profile, supported on one leg, which can be straight or demi-plié, with the other leg extended behind and at right angles to it, and the arms held in various harmonious positions creating the longest possible line from the fingertips to the toes. The shoulders must be held square to the line of direction. The forms of arabesque are varied to infinity. The Cecchetti method uses five principal arabesques; the Russian School (Vaganova), four; and the French School, two. Arabesques are generally used to conclude a phrase of steps, both in the slow movements of adagio and the brisk, gay movements of allégro.

Ballet Term of the Week - Battement frappé

Battement frappé
[bat-MAHN fra-PAY]
Struck battement. An exercise in which the dancer forcefully extends the working leg from a cou-de-pied position to the front, side or back. This exercise strengthens the toes and insteps and develops the power of elevation. It is the basis of the allegro step, the jeté