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History of Ballet Positions

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Ballet Positions, Ballet Terms, and Ballet Terminology

Fundamental Ballet Positions

Beauchamps is credited for standardizing the initial five foot ballet positions which are considered as fundamental in the dance. Ballet positions can also denote the various poses of the body which was first used in 1588 by Thoinot Arbeau and set down by Pierre Rameau in The Dancing Master in 1725.

These ballet positions are the starting and ending points for the intricate movements of the dance. In all the ballet positions each leg is turned sideways from the hip. This give the toes extension out to each side and the feet form straight or parallel lines on the floor. The body weight should be evenly distributed over both feet, which can either remain flat on the floor, rest on the balls of the feet (demi-pointe) or rest on the toes (pointe - for women only). Corresponding ballet positions of the arms and hands (port de bras) complete the perfect balance of the figure.

* Ballet Positions - First Position
The heels are together with toes turned out until the feet are in a straight line. Arms are lowered while the hands are little in front of the thighs. This is the ballet dancer's equivalent of "stand at ease." Arms forward (held curved and apart as though embracing a large object). This position is known as the gateway position since it is the mid point of transition between other positions.

* Ballet Positions - Second Position
The feet are in a parallel line, separated by a distance of about 12 inches (30 cm) and both turned outward with the weight equally divided between them. The weight is supported by one foot while the other is raised at the side. Arms held out to the side, curving slightly forward.

* Ballet Positions - Third Position
The heel of one foot rests against the instep of the other. Both are firmly turned out and the weight is divided between them. Used extensively in the 18th century social dances such as the minuet and gavotte, this position has almost disappeared from theatrical usage. Arms held aloft (en couronne - "like a crown")

* Ballet Positions - Fourth Position
One foot rests about 12 inches in advance of the other, both are turned out and the weight is divided between them. Like the second position, fourth has its equivalent en l'air. One arm extended to the side, other held curved in front.

* Ballet Positions - Fifth Position
In the fifth position, the feet are turned out and pressed closely together, the heel of the one foot against the toe of the other. One arm raised overhead, other held curved in front - note change in character from head straight to head tilted.

In addition to the fundamental five ballet positions, there are two major body positions in classical ballet. The arabesque is a position in which the weight of the body is supported on one leg, while the other leg is extended in back with the knee straight. The attitude is another position similar to the arabesque except that the knee of the raised leg is bent. The raised leg is held at a 90° angle to the body in back or in front (attitude an avant); the knee may be either well bent or nearly straight (attitude allongée).

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History of Ballet

History of Ballet in Different Eras

The history of ballet is separated in diverse famous European periods. Before we consider those, let us first discover where ballet originated.

When Louis XIV was hailed king, his hobby was strongly supported and encouraged by Italian Cardinal Mazarin. In 1653, as a teenager, he achieved his most memorable feat as a dancer who wore a fancy golden Roman-cut corset and a kilt of golden rays. In 1661, Louis XIV established the Academie Royale de Danse in a room of the Louvre, the world's first ballet school. At the court, Moliere collaborated with Lully where Moliere was choreographing the steps and Lully was composing the music. There was also another ballet master, Pierre Beauchamps, who worked with them in the interludes of the dramatic parts. Beauchamps was then appointed by Loius XIV as superintendent of the king's ballets in the Academia Royale de Danse. Now, Beauchamps is considered as one of the renowned "fathers of ballet" and is credited for standardizing the initial five foot positions of ballet (see above).

* History of Ballet in the Renaissance Era
It was during the Renaissance that society began to focus on the individual rather than the whole. As a result, it was during this time that the male and female dancers became an "ideal" man and woman, and these ideals endure to this day. During the 1400's, there were a number of men who are considered to be the earliest "ballet masters" in the history of ballet. One such ballet master, Domenico da Piacenza, was well known as a dance teacher and choreographer throughout Europe.

* History of Ballet in the 1740's Era
In 1738, the Russian Monarchy established the St. Petersburg ballet school - the world's second oldest ballet academy. After about 1735, England started paying a lot more attention to ballet. Italian Gaspero Angiolili and French-Swiss Jean Georges Noverre had not pursued the ballet d'action on their own. Because of the huge costumes worn by the ballet dancers of the day, it was difficult for them to dance, and because they wore leather masks, it was difficult for them to act. Noverre pushed to change the conventional costume of ballet dancers, contributing sigificantly to the history of ballet and its evolution. In 1763, Jason and Medea were staged without masks. With the facial expressions of the dancers visible, the "vividly expressive show" was sometimes shocking for the audience.

* History of Ballet in the Pre-Romantic Era
As Ballet entered the nineteenth century, it entered a transitional phase. During the pre-romantic era, male dancers reached their peak. It was during that time that ballerinas first started dancing on the very tips of their toes (en pointe). Italian Marie Taglioni (1804- 1884) became the lady who was traditionally credited with being the first dancer to dance en pointe - a turning point in the history of ballet.

* History of Ballet in the Romantic Era
The Romantic age perhaps began with the staging of Giselle. With the reasonably new skill of dancing en pointe improving, the ladies were now clearly the focus in ballet. In Russia and Denmark, however, men advanced alongside women, as the ballet in those countries was still supported by the court of the royalty. The Russians also supported ballet and contributed to the history of ballet considerably.

* History of Ballet in the Modern Era
After the Russian Revolution ballet was saved by Anatoli Lunacharsky, the first ever People's Commissar for Enlightenment, when he stated that art "creates human types and situations, which we live on from century to century and which are real to millions of people." During the 1930s in Leningrad, Agrippina Vaganova made artistic director of the former Imperial Ballet. In 1961, just as Margot Fonteyn was about to retire, the world's spotlight moved to Russian Rudolf Nureyev (1938-1993). After starting late at the ballet academy in Leningrad, Nureyev made Soviet cultural news for his "impassioned and powerful dancing" and was also noted by the security police as paying far too much attention to the west. In the history of ballet, Margot Fonteyn and Rudolph Nureyev, who partnered each other for some years, are undoubtedly the most famous ballet dancers of our era.

Famous Ballet Dancers

- Margot Fonteyn and Rudolph Nureyev

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Ballet Pictures

flying high over san francisco by torbakhopper

An Evening of Burlesque, Teatro Smeraldo, Milano, 30 gennaio 2012 by sergione infuso

automatically generated by Flickr

Ballet Terms

Ballet Terminology - in French

You may have watched the ballet Romeo and Juliet last night but you did not even notice that it was a "pas de deux" performance. Romeo made an "avant" towards Juliet so she immediately jumped "arriere". All in all, both ballet dancers were "virtuoso".

So why are ballet terms in French? Simple - in this dance that originated on the 17th century in Europe, most ballet terminology developed in the French language. And nowadays, even if you will be in a studio in Canada or Russia, they will still use the same ballet terms, because this ballet terminology is universally understood.

Here are some of the more common ballet terms, their pronunciations, and their meanings:

* Arrière, en [ah na-RYEHR]
Backward. This ballet terminology is used to indicate that a step is executed moving away from the audience.

* Avant, en [ah na-VAHN]
Forward. This ballet terminology is a direction for the execution of a step. Used to indicate that a given step is executed moving forward, toward the audience.

* Battement dégagé [bat-MAHN day-ga-ZHAY]
Disengaged battement. This ballet terminology is of the Cecchetti method. The battement dégagé is similar to the battement tendu but is done at twice the speed and the working foot rises about four inches from the floor with a well-pointed toe, then slides back into the the first or fifth position. Battements dégagés strengthen the toes, develop the instep and improve the flexibility of the ankle joint.

* Bras bas [brah bah]
Arms low or down. The arms form a circle with the palms facing each other and the back edge of the hands resting on the thighs. The arms should hang quite loosely but not allowing the elbows to touch the sides.

* Changement de pieds [shahnzh-MAHN duh pyay]
Change of feet. This ballet terminology is usually abbreviated to changements. Changements are springing steps in the fifth position, the dancer changing feet in the air and alighting in the fifth position with the opposite foot in the front. They are done petit and grand.

* Cou-de-pied, sur le [sewr luh koo-duh-PYAY]
On the "Neck" of the foot. This ballet terminology means that the working foot is placed on the part of the leg between the base of the calf and the beginning of the ankle.

* Demi-pointes, sur les [sewr lay duh-mee-PWENT]
On the half-points. This ballet terminology indicates that the dancer is to stand high on the balls of the feet and under part of the toes.

* Développé, temps [tahn dayv-law-PAY]
Time developed, developing movement. This ballet terminology through common usage has become abridged to développé. A développé is a movement in which the working leg is drawn up to the knee of the supporting leg and slowly extended to an open position en l'air and held there with perfect control. The hips are kept level and square to the direction in which the dancer is facing.

* Écarté [ay-har-TAY]
Separated, thrown wide apart. This ballet terminology is one of the eight directions of the body, Cecchetti method. In this position the dancer faces either one of the two front corners of the room. The leg nearer the audience is pointed in the second position à terre or raised to the second position en l'air. The torso is held perpendicular. The arms are held en attitude with the raised arm being on the same side as the extended leg.

* Effacé, effacée [eh-fa-SAY]
Shaded. This ballet terminology is one of the directions of épaulement in which the dancer stands at an oblique angle to the audience so that a part of the body is taken back and almost hidden from view. This direction is termed "ouvert" in the French method. Effacé is also used to qualify a pose in which the legs are open (not crossed). This pose may be taken devant or derrière, either à terre or en l'air.

There are, of course, dozens more ballet terms. The above ballet terms are just a glimpse of the ballet terminology used in training and practice.

So, are you ready to talk ballet terms?

Ballet Costumes

Ballet Pointe Shoes, Ballet Flat Shoes, White Ballet Tights, Ballet Tutus, Ballet Leotard, and General Ballet Clothing and Ballet Dancewear!

A Collection of Ballet Costumes

The French monarch, Louis XIV, was the first to wear lavish ballet costumes. In 1653, as a teenager, he achieved his most memorable feat as a dancer who was garbed in a fancy golden Roman- cut corset and a kilt of golden rays, thus being dubbed as the Sun King.

In the 20th century, choreographic invention has led many to limit the ballet costumes and even the sets to a bare minimum. Simplicity was considered very essential to allow the audience to focus on the dancers' body movements and intricate patterns.

Below is a collection of modern ballet costumes that have been normally used in performances and recitals.

* Knitwear as Ballet Costumes

Danskin Cobweb Flare Legwarmers

This collection offers a unique cobweb design. Nice lightweight knits keep you warm without being bulky. Try the soft tie-front sweater, dainty pull-on skirt or full-length flared legwarmers for a chic twist on your classical knitwear.

Gaynor Minden Silk Knit Shorts

The boy cut short has become a staple in every dancer's wardrobe. These are a welcome addition. You will reach for them in your dance bag at every opportunity. The fabric is soft and comfortable and the styling is unsurpassed.

* Leotards as Ballet Costumes

Premiere Contrast Tank Leotards

This two-toned tank features flattering textured rib contrasts. Enjoy the moderate low back, bust gather detail and supportive power mesh bra lining. Light blue top contrasts with your choice of black or chocolate bodice.

Gilda Marx Halter Leotards

This jazz leg halter is a new design that offers a seamless garment for the ultimate in mobility and performance. The unique yarn combination molds to the body and has moisture management capabilities. The body conscious rib detail is visually slimming and provides invisible support.

* Tights as Ballet Costumes

Prima Soft Seamed Convertible Tights

This seamed tight is a matte supplex nylon lycra. The seams are intentionally sewn on the outside of the tight due to the "one size" fit. The seams will stretch and become three times more narrow when worn.

Capezio Sparkle Tights

Highly reflective silver lurex yarn lends a sparkle to this semi-opaque tight.

* Tutus as Ballet Costumes

Bando Tutu

Ruffled on elastic waistband with four layers of nylon net. For a show or play, you'll feel and look like a real ballerina. Satin bodysuit sold separately.

Leo's Juliet Tutu

Two full layers of Nylon netting fall just below the knee. Pair with the satin basic bodysuit for a polished finish. A nicely priced item that is easy to trim for extra sparkle.

* Dresses as Ballet Costumes

Mirella Strapless-Look Dress

The strapless-look performance dress features nude nylon or spandex mesh in place of straps. The attached skirt has a side front slit on the right leg.

Capezio Camisole Dress

A classic camisole dress with scoop front neckline and deep V-back. Matching georgette skirt is gently flared and mid-thigh length in front with a gentle dip in back with a shelf bra lining.

* Skirts as Ballet Costumes

Danskin Handkerchief Mesh Skirt

An innovative skirt by Danskin with a handkerchief hem and shirred fold-over waist. Mesh fabric moves nicely and provides plenty of airflow.

Body Wrappers Chiffon Wrap Skirt

The chiffon wrap skirt from Body Wrappers is made of free-flowing chiffon. This skirt is dyed to perfectly match the Premier Collection leotards. The dyed to match fold-over elastic waistband and ties ensure a secure fit.