A Complete Collection of Ballet Terminology
One of the most important features of ballet is that the actress points to the ground on her toes when performing, so it is also called toe dancing. The following is a complete collection of professional terms of ballet compiled by me, and you are welcome to consult it.
Ballet technical terms 1
1. The general name for the leg movements of Batmang Battement
2. Batmang Tang corrects Battement tendu to wipe the floor
3. Dempuli is also Demi plie's half squat
4. Ge Jean Deppuli is also Grand plie's squat
5. Batmang Tang corrects Japanese Battement tendu jete's small kick
6, Jean de Xiang Bo Rond de jembe draws a circle with his leg
7, Ataire Atere's ground
8, Batmang Wind corrects Battement fondu's one-legged squat
9, Cou—de—pied's Cou-de-Pied action foot is located in the main ankle
1, Battement frappe's small bounce leg
11, Adagio Adagio Adagio Adagio, Multi-fingered control movements
12, Angler En lair in the air
13, Ge Jean de Barthelmand's Grand Battente kick
14, the fear of Releve rising day by day, multi-fingered and half-toed, Toe movements
15, the front of En face
16, the movements of Epaulement's head and shoulders
17, Crossay's Croise crossing
18, Efface's opening
19, Arabespue's dancing in the wind
2, Egarde (front) Ecarte climbing style
21, Egarde (back) Ecarte overlooking style
22, Attitude crane vertical dance
23, Temps lie shifting the center of gravity in Tangli
24, Balencia Balance swing dance
25, Piroue Pirouette rotation < Endeavor's En dehors outward
27, Endeavor's inward
28, Saute's small jump
29, Shashimang Change's five-foot-changing jump
3, Esabe Echappe's displacement jump
31, and Golisha Glissade's joint-assisted movement
32. A sang bu lei Assemble double jump and double fall
33, Ba Ri Dai Pasjet double jump and single fall
34, Sissnne fermee's split-leg jump
35, Sissonne ouverte's controlled leg jump
36, Kubei Coupe's landing, More as an auxiliary action of jumping
37, Grande Asan is not tired, Crossay Grand assemble croise's double-ups and double-downs jump forward to do
38, Grande Asan is not tired, Ega's Grand assemble ecarte's double-ups and single-downs jump sideways to do
39, Bashasai Pas chasse pursues
4, En tournant turns around
41, Pointing on the toe of Point
42, Grand rond de jembe jete's big leg
43, Petit battement of Bitibateman refers to the leg swinging sideways
44, Bobatri Pour batterie is an auxiliary exercise for the middle strike. Only do
45 on the handrail, do the exercises of hands and waist of Brasport de Bras
46, take the vestment Failli to flicker
47, spit out the Tour en lair idling (male)
48, and make a Grand jete jump. Refers to the volley jump
49, Ambode's Emboite jumping
5, Basai Riwei's Passereve standing on one foot (tiptoe)
51, Su Yiwei's Suivi ballet technical terms 2
1, Adagio [meaning] [Adaruo]
adagio. Slowly and peacefully. The terms used by teachers in Italy, America and the Soviet Union refer to: ① some combinations made by holding hands or doing them in the middle of classroom teaching-consisting of slow, elegant and coherent movements, which are used to train the ability of control, balance and stability, the harmonious coordination of legs, feet, arms and trunk, and beautiful dancing. (2) The second part of the classical pentathlon is often lyrical, in which the female partner performs slow movements with the help of the male partner, showing elegant and beautiful lines and balanced posture, or completing some complicated movements and dances that cannot be completed without the help of the male partner.
2. Arabesque[ French] [Ala Beske]
One of the basic dances. The name comes from a leaf-like continuous pattern of Moors. The dance posture is one leg crouching or standing upright, the other leg is straight back, at right angles to the supporting leg, and the arms are in a corresponding and harmonious posture, thus forming a straight line as long as possible from the fingertip to the toe. It can be done on tiptoe, and it can also remain unchanged during flight (jumping) or turning around. It is one of the most beautiful dances in classical ballet.
Czekaj's younger brother system:
① The first Ala Beske-one leg is supported upright, the other leg is straightened backward, at right angles to the supporting leg, the upper body leans forward slightly, the chest and waist are bent backward, the back is forced to be straight, and the shoulders are in the same straight line. Don't twist your shoulders, don't lift your hips, your upper body is facing the front, and your shoulders should not be raised. One arm on the same side as the support leg extends forward, and the other arm is backward, slightly lower than the forearm, above the hind leg, with the palms of both hands facing down. An arm that looks forward, and the fingertip is on the extension line of the midpoint between the eyes.
② The second Allah Beske is the same as the first Allah Beske, but the two arms are switched, with one arm on the same side as the support leg backward and the other arm extending forward; Raise your head slightly and turn to the audience slightly.
③ The third Allah Beske is the same as the first Allah Beske, but the two arms are raised horizontally forward, and the arm on the same side as the support leg is slightly higher, so that the fingertip is on the extension line of the application point between the eyes.
④ The fourth Allah Beske-the same as the first Allah Beske, but with the leg close to the audience as the supporting leg, crouching; Straighten your back hard and tilt your upper body to the audience; One arm on the same side as the reared leg extends forward and the other arm moves backward, and both arms are slightly bent.
⑤ The fifth Allah Beske-I is similar to the third Allah Beske, but the arm far away from the audience is lifted up and higher than the other arm, and the supporting leg closer to the audience is used, and the upper body is inclined to the audience. The fourth and fifth Allah Beske, with his left leg as the supporting leg, faces the right front of the platform, and with his right leg as the supporting leg, faces the left front of the platform.
French school:
① Beske, which is open-the leg far away from the audience is supported upright, the other leg is extended back at right angles to the supporting leg, the upper body leans forward slightly, the arm on the same side as the supporting leg is lifted forward, and the other arm is extended back and parallel to the hind leg. Various hand gestures can be added to the stage performance.
② Beske crossing-same as above, but the leg close to the audience is used as the support leg, and the arm on the same side of the support leg is lifted forward and the other arm is extended backward.
Russian school:
① The first Allah Beske-two legs far away from the audience are supported upright, the other leg is straight back, at right angles (or more than right angles) to the supporting leg, and the front of the upper body is forced to be straight, and the arm on the same side of the supporting leg is extended forward, and the other arm is opened sideways, with the palm down.
② The second Allah Beske is the same as the first Allah Beske, but one arm on the same side as the support leg is as far back as possible, the other arm is extended forward, the head is turned to the audience, and the back is straight and slightly arched.
③ The third Allah Beske —— Stand upright with the leg close to the audience and support the other leg, then lift 9. The upper body leans forward, and the second bud on the same side of the leg is opened back, and the other arm is extended forward.
④ The fourth Allah Beske is the same as the third Allah Beske, but the arm on the same side as the support leg is extended forward, and the other arm is pushed back to the back of the trunk. The back is forcibly straightened, the waist is twisted, and the upper body is turned 25 degrees away from the audience. Turn your head to the audience.
3. Attitude [France] [Artid]
The original meaning is posture. One of the basic ballet dances. The supporting leg can stand upright or squat slightly, or stand on tiptoe or semi-tiptoe, and the other leg is bent forward or backward to lift. It is said that it was designed by Italian dancer karlo BoLatsis with reference to Giovanni de Pologna's works-the statue of Mercury, the ancient Roman god of commerce. According to the different angles between the actor's trunk and the audience, it can be divided into cross, straight ahead and 45-degree Artide.
4. Alance[ French] [balancey]
Swing step. Change the center of gravity alternately with your fingers, and swing from one foot to the other, much like a waltz. Stand five, with your right foot in front. Half squat, wipe your right foot sideways, and at the same time, your left leg gently jumps; The right foot landed and squatted, and at the same time, when the foot was completed, the head and upper body tilted to the right. Then the left foot landed on the back half toe, and the right leg was slightly lifted to form a front sur le cou-de-pied, and the upper body remained upright. Immediately, his right foot landed in front and squatted for half, while his left foot became sur le cou-de-pied, and his upper body tilted. Then do a symmetrical movement to the left. If you add arm movements, you can make the movement from side to side more obvious.
5. Develop [France] [Develope]
The original meaning is stretching. Basic action name. The action leg slides along the supporting leg from the fifth position through the suction leg-tiptoe, and reaches the knee, and slowly opens forward, sideways or backward to a certain air position, and stops in the air. After reaching the highest point, it fell into five places. It is used to train the balance in the handhold exercise, so that the legs can stop at any angle and keep it for a period of time. When leaving the handle, it can be in positions such as crose, efface and Allah Beske; The two spans should be level and at right angles to the direction the actors are facing. In Czekaj's younger brother's system, when the action leg stretches and sucks the leg, the toe is stretched and points at the inner side of the knee of the support leg; The Russian school points to the front or back of the knee.
6. Fouette[ Fouvette]
The original meaning is to whip. Lift one leg with one finger and make a rapid circle in the air. It can pass in front of or behind the supporting legs, or it can turn from one orientation to another with the trunk as the axis. There are two kinds: big and small: the small Vervet swings from front to side and back, which can be done on the ground, standing on tiptoe or jumping; The big Vervet can jump, stand on tiptoe or do it in turn. According to legend, it was written by Italian dancer Lenny Yanni in the 178s. At first, only 14 were made, and then it developed to 32. In 194, Rowena Jacobson of Australia set a record of 121 in Melbourne.
7. Glissade [French] [Glishad]
Sliding. A sliding action in which one foot slides from five positions to a specified position and the other foot gathers in the same position. The heel of the slipped foot must land before the heel of the closed foot. Often used to link other actions. Five-and-a-half squats, the action leg slides out one step to the side or before and after rubbing, the body jumps slightly, shifts the center of gravity to the action leg, squats half, and the other leg stretches straight and rubs back into five-and-a-half squats. According to the position and sliding orientation of the feet at the beginning and end, it can be divided into six types: forward, backward, backward, forward, forward and backward. You can change your feet or not, or you can stand on your toes.
8. Pirouette[ France] [Piroue]
rotate in situ. A complete rotation with one foot standing on tiptoe or half tiptoe as the fulcrum. Its motivation comes from the combination of squatting and arm movements, which requires the actor to have balance ability. When moving, the feet of the supporting legs must be pressed against the ground to increase the supporting area and help the body to be stable. The "starting method" depends on the exertion of both arms, not on the twitching of the body or shoulders, with the open arm leading and the other arm connected to supplement the power; Keep a fixed eye on a certain point in the rotation. Can be rotated outwards or inwards for several times until the supporting legs and feet fall to the ground. When turning inward, the action leg usually ends in five places before supporting the leg; When turning outward, it is behind the support leg coupe. The action leg is raised as sur le cou-de-pied, while the French school advocates lower than the calf, while the Italian school advocates higher than the calf. The big one rotates in the same place (grand-), and it is lifted into a big position with one leg and rotated outward. Every time you turn around, the support leg should squat once. In a series of rotation applications, the action leg can also gradually descend from sophomore to sur le cou-de-pied.
9. Tour en l' air[ Tour en Lyle]
Turn in the air. Jump up directly from the semi-squat, turn around once or twice at the same time, and exchange the position of the front and rear feet to complete the five-and-a-half squat. When jumping, use your arms to help you jump up, and keep your head fixed at a certain point when turning. You can end up in different positions, such as sophomore position or one leg brittle ground, and you can also do several aerial turns continuously.
expanding content
some professional terms of China classical dance and classical ballet dance
[main leg]
are special terms in dance training. Also known as "support legs". As the name implies, dancing is the leg that supports the center of the body.
[power leg]
is also a special term in dance training. Also known as "action legs". It is the leg that is moving in the dance poem, and generally does not serve as the task of supporting the body center.
[body] [face]
The direction of the tide on the front of the body is "body". In the movements of China dance, the body often faces in one direction, while the face (face) turns to the other direction, that is, faces. For example: "body" and "face" at 8 o'clock. If "orientation" and "body orientation" are consistent, only "body orientation" is said.
[Body Rhyme]
(a specialized term of China classical dance) is called body posture and rhythm. "Body posture" belongs to the external technique category, while "rhythm" belongs to the artistic connotation, and the combination of exterior and interior constitutes "body rhyme", which is a part with strong performance characteristics in China classical dance and can also be said to be the artistic soul of China classical dance.
[viewpoint]
(a specialized term of China classical dance) means