LIBERTY UNIVERSITY
School of Visual and Performing Arts | Theatre Arts Department
THEA 108-001: DANCE I (Ballet/Modern)
Adjunct Professor: Michelle Thomas
Email: Mathomas17@liberty.edu
Office Phone: (434) 582-7078
Cell Phone: (434) 942-1574
BALLET
(Exploration 4)
1.) The 8 positions of the body.
a.) Croise devant – crossed in front
b.) A la quatrieme devant – to the fourth front
c.) Ecarte – thrown wide apart
d.) Efface – shaded
e.) A la seconde – to the second
f.) Epaule – shouldered
g.) A la quatrieme derriere – to the fourth back
h.) Croise derriere – crossed in back
(CECCHETTI METHOD)
2.) The Seven Basic Movements of Dance.
a.) Plie – to bend
b.) Releve – to rise
c.) Saute – to jump
d.) Glissade – to glide
e.) Elance – to dart
f.) Tourne – to turn
g.) Tendu – to stretch
Ballet's Seven Movements generally are credited to 18th-century influences Raoul Auger Feuillet and
Jean-Georges Noverre. They are the basis of ballet pedagogy. Ballet evolved from highly formal and rigid
court dances, yet it retains the basic set of elements and steps. Using these seven categories of movement,
along with the basic positions of the feet, arms and body, in different ways allows choreographers and
dancers to tell stories, display emotions and interpret music.
a.) Plier [plee-AY] means “to bend” and describes the bending of the knees. are typically the firstPliés
exercise performed at the barre. The is the single most important step in ballet because it allowsplié
the knees and ankles to absorb the force of the movements in a fluid, spring-like way that makes
dancing look elegant and effortless.
b.) Relever [ruhl-VAY] means “to rise” and describes the lifting of the heels off the ground to balance on
the ball of the foot. Women may also rise to the tips of their toes if they are wearing pointe
shoes. build strength in the entire body but especially the foot, ankle, and calf muscles. ARelevés
beautifully executed relevé can produce the effect of floating.
c.) Sauter [soh-TAY relevé.] means “to jump” and is the natural progression from the The dancer pushes
off from into the air, leaving the floor with pointed toes and extended legs. But the truly difficultplié
part of a is landing softly and quietly, which takes tremendous strength and control (and years!)sauté
to master.
d.) Glisser [glee-SAY] means “to glide” and describes the sliding movement of the feet against the floor.
Just like ice-skating, a smooth brushing of the foot propels the leg smoothly into extension and off of
the ground.
e.) Élancer [ay-lahn-SAY] means “to dart.” Movements done are done in a darting manner along orélancé
just above the surface of the floor with strongly stretched legs and pointed toes. This term most often
relates to jumping rather than up.along
f.) Tourner [toor-NAY] means “to turn around” and describes any turning of the body. Turns can be done
in place, across the floor, or in the air. A pirouette (whirl or spin) is usually done on one leg.
g.) Étendre [ay-TAHN-druh] means “to stretch” and describes the stretching of the toe, ankle, and knee,
resulting in the ballet aesthetic of a straight leg with a pointed toe. Tendu tahn-DEW [ ] or “stretched”
exercises typically follow pliés and are critical for developing foot and leg strength.
(JEAN-GEORGES NOVERRE | April 29, 1727 – October 19, 1810)
Jean-Georges Noverre was a French dancer and ballet master, and is generally considered the creator of ballet
d'action, a precursor of the narrative ballets of the 19th century. His birthday is now observed as International
Dance Day. His first professional appearances occurred as a youth in Paris at the Opéra-Comique,
at Fontainebleau, in Berlin before Frederick II and his brother Prince Henry of Prussia, in Dresden and Strasburg.
In 1747 he moved to Strasbourg, where he remained until 1750 before moving
to Lyon. In 1751, he composed his first great work, for Marseilles. The work was revived inLes Fêtes Chinoises
Paris in 1754 to great acclaim. In 1755, he was invited by Garrick to London, where he remained for two years.
Between 1758 and 1760 he produced several ballets at Lyon, and published his Lettres sur la danse et les
ballets [fr]. It is from this period that the revolution in the art of the ballet for which Noverre was responsible can
be dated. Prior to Noverre, ballets were large spectacles that focused mainly on elaborate costumes and scenery
and not on the physical and emotional expression of the dancers. He was next engaged by Duke Karl Eugen of
Württemberg, and later Austrian Empress Maria Theresa, until 1774.
In 1776, he was appointed maître des ballets of the Paris Opera at the request of Queen Marie Antoinette. He
returned to Vienna in Spring of 1776 to stage ballets there, but in June 1776 he returned again to
Paris. He regained this post until the French Revolution reduced him to poverty.
He died on October 19, 1810 at Saint-Germain-en-Laye.
LIBERTY UNIVERSITY
School of Visual and Performing Arts | Theatre Arts Department
THEA 108-001: DANCE I (Ballet/Modern)
Adjunct Professor: Michelle Thomas
Email: Mathomas17@liberty.edu
Office Phone: (434) 582-7078
Cell Phone (434) 942-1574
BALLET
(Vocabulary & Terminology)
(Exploration 4)
46.) Deux – two
47.) Devant – front
48.) Developpe – to unfold or develop
49.) Ecarte – thrown apart or separated
50.) Echappe – to escape
51.) Efface – shaded
52.) Elance – to dart
53.) Eleve – rise without a plie
54.) Elevation – height of jump in the air
55.) Emboite – fitted together
56.) En – in, on, by or to
57.) En Arriere – backwards to the back
58.) En Avant – forwards to the front
59.) En Bas – low position
60.) En Croix – in the shape of a cross
