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INTERMEDIATEBALLETTECHNIQUE(MAJORS)2CREDITSSPRING2018Tuesday/Thursday8:45–10:15McGuirePavilionINSTRUCTOROFRECORD: DAA3208/6394 INTERMEDIATE: IsaGarcia-Rose isa@ufl.edu*
*EmailPolicy:UseONLYyourUFL.EDUemailaccountfore-mailcorrespondencerelatedtoclass.Pleaseincludeyourname&classinthesubjectlineorwithinthebodyofallcorrespondence.SyllabiarepostedatCFAwebsiteunder:Student&Parents:http://arts.ufl.edu/syllabi/LabFeescanbelocatedat:http://registrar.ufl.edu/soc/201608/all/theadanc.htmOffices: NadineMcGuireTheatre&DancePavilionOfficeHours: HoursforIsabyappointmentonly OfficePhone: 352-273-0500MainOfficeRECOMMENDEDREADING: BasicBalletClassicalBalletTechnique TechnicalManualandDictionaryofClassicalBalletByGretchenWardWarren ByGailGrantIntermediateBalletInsideBalletTechnique:SeparatingAnatomicalFactfromFictionintheBalletClassByValerieGriegAdvancedBalletDancingLives:FiveFemaleDancersfromtheBalletd'ActiontoMerceCunninghamByKarenEliot COURSEDESCRIPTION:DAA2204Credits:2;canberepeatedwithchangeincontentupto6credits.Prereq:DAA1000withminimumgradeofC,oraudition.Basicballettechniquewithdiscussionofterminologyandhistory.DAA3208Credits:2;canberepeatedwithchangeincontentupto6credits.Prereq:audition.Intermediateballettechniquewithdiscussionofterminologyandtheory.DAA4210Credits:2;canberepeatedwithchangeincontentupto8credits.Prereq:audition.Advancedballettechniquewithdiscussionofterminologyandstyle.
STUDENTPROGRESSIONINBALLETDANCETECHNIQUE:Thisinformationaddressesthestandardsutilizedbythedanceareaforassessingstudentprogressionthroughthreelevelsofballet:Basic,Intermediate,Advanced.Theprogram’sapproachtoballetisincontexttotheUFBFAdegreeprogram,relyingontraditionaltrainingstandardsalongwiththeawarenessofthestylisticandtechnicaldiversityoftheUFdanceprogram.Usingtheobjectivesstatedinthissyllabus,thedanceprogramassessesstudentprogressthroughthreelevelsofballetdancetechnique:basic,intermediate,andadvanced.Youaregradedandconsideredforthenextlevelaccordingtoyourachievementofthecriteriaasdeterminedbyyourinstructor.DuetothenatureofbothtraditionalballetictrainingandballeticlevelsintheUFprogram,receivingthefinalgradeof“A”doesnotinsureprogressiontothenextlevel.CourseObjectivesforBalletTechniqueSoTD’sballettechniquecurriculumisdesignedtofocustheintellectualandphysicalabilitiesofstudents—majors,minors,andnon-majors—toembracethedemandsofthe21stcenturyartist.Eachofthethreelevelsbuildstherequiredhistorical,aesthetic,andbiomechanicalfoundationsforgraduatingasamajorinourdancedegreeprograms.Likewise,theminorornon-majormustrecognizetheclassesasapre-professionaltraininggroundbymeetingtheobjectivesattheappropriatelevel.Wheneverystudentbringsintoeveryclasstheirdisciplineandmotivation,theywillbereadytomeetandgreetthefollowinggoalscommontoeachrespectiveleveloftechnique:BASICBALLETCOURSEOBJECTIVES*:
• Toinstructyouinclassicalballetvocabulary,technique,andrelatedhistoryappropriatetothelevelofthecourse.
• Toestablishaconsistencyof‘daily’studiopracticeandtowardsusingballetclassprogressiontobuilda‘permanent’foundationforbuildingyourtechnique.
• Toapproachalltraining,practiceandperformancefromananatomicallycorrectand‘coreconnected’standpoint,especiallyintheapplicationofrotation(bothparallelandoutward)usingthefollowingevaluativeguides:
o PLACEMENTANDALIGNMENTo CORESUPPORTANDCONDITIONINGo APPLICATIONOFROTATION-STATIONARYANDLOCOMOTORo SPATIALAWARENESSANDFULLBODYINTEGRATIONo RHYTHMICCLARITY/MUSICALITYo PROFESSIONALISM
• Initiatetheprocessofconnectingtheoryandtechniquetoabasiclevelperformanceaptitude.
• Enhanceaestheticandpracticalappreciationoftheworkbehindthisexactingandexcitingartform.
• Developanappreciationofthetheory,criticismandaestheticbehindthisexactingyetexcitingartform.
INTERMEDIATEBALLETCOURSEOBJECTIVES:
•Toinstructyouinclassicalballetvocabulary,technique,andrelatedhistoryappropriatetothelevelofthecourseanddevelopinggreaterfluencyinclassicaldancetechniqueandperformanceskillsattheintermediatelevel.•Theadvancementofterminologywithitsapplicationtobarre,centreandtoperformancewillbeemphasizedandtestedduringtheprogressionofthesemester.• Toapproachalltraining,practiceandperformancefromananatomically
correctand‘coreconnected’standpointusingthefollowingevaluativeguides:
o PLACEMENTANDALIGNMENTo CORESUPPORTANDCONDITIONINGo APPLICATIONOFROTATION-STATIONARYANDLOCOMOTORo SPATIALAWARENESSANDFULLBODYINTEGRATIONo RHYTHMICCLARITY/MUSICALITYo PROFESSIONALISM
•Createanenvironmenttotestandimprovethestudent’sphysicalaptitudeinballettechnique.•Enhancetheappreciationofthetheory,criticismandaestheticbehindthisexactingyetexcitingartform.
ADVANCED BALLET COURSE OBJECTIVES:
• To test the understanding of ballet theory and technique through a more rigorous standard of execution. • To develop greater fluency in classical dance technique as related to performance skills and as accessed through the following criteria:
o PLACEMENTANDALIGNMENTo CORESUPPORTANDCONDITIONINGo APPLICATIONOFROTATION-STATIONARYANDLOCOMOTORo SPATIALAWARENESSANDFULLBODYINTEGRATIONo RHYTHMICCLARITY/MUSICALITYo PROFESSIONALISM
• Demonstrate musical and spatial skills suitable to the technique and style of ballet as taught by instructor • Demonstration that the student is capable of performing at a higher and more professional level • To expand the dancer’s expressive and qualitative range of movement and performance. • To empower the person/dancer/thinker/artist in each student.
*DuetothenatureoftheUFballettrainingprogram,thestudententeringBasiclevelshouldhavealreadyestablishedcertainalevelofproficiencyasdeterminedby
auditionforentryintotheBFAprogram.Levelfornon-majorscanbedeterminedbyplacementclasses.
COURSEPOLICIES:SOTDDANCEATTENDANCE:DanceTechniqueClassAttendanceGuide:
•Mindfulparticipationineachclassmeetingistheonlywaytomeettheobjectivesofthiscourse.•Attendance,whichismandatory,meansthatwhenyouentertheclassroom,youarepresent,alert,andcontributingto
theprogressoftheclasseverysecond.•Ifyouarenotpresentwhenattendanceistakenorclassbeginsyouaremarkedabsent.•Inthecaseofextendedhealthissues,refertotheInjuryandIllnessPolicyintheSoTD2016-17Handbook(SoTD
website)andincludedinthissyllabus.DanceTechniqueClassAbsencePolicy
•Five(5)ormoreabsences(excusedorunexcused)resultinautomaticfailure.•Allundocumentedabsencesareunexcused:eachunexcusedabsence=5pointdeduction.Excusedabsencesmayincludethoserelatedtoillness/injurywhicharedocumentedbyamedicalprofessional.Eventsrelatedtofamilyemergenciesorprofessionalobligationsshouldbediscussedwithyourinstructor.(SeeMake-upPolicyformoreinformationonexcusedabsences.)•Foryoursafetyandthefocusoftheclass,youmaynotjoinclassifithasalreadystarted.Youarelateandcountedabsent;withinstructorpermission,youmayobserve.•Ifyoushouldleaveclassearly,3pointsaredeductedfromyourgrade.•Ifunabletodancebutstillattend,withinstructorpermission,youmay‘actively’observeforfullclasscredit,onetime.Youwillcompleteanassignmentasassignedbytheinstructordueattheendofclass.•UFapprovedreligiousdaysareexcusedanddonotneedtobemade-up.(Traveltimenotincluded.)Youareresponsibleformaterialcoveredduringyourabsence.•AMEDICALWITHDRAWALwillnotbesupportedwithoutapproveddocumentation.AnIncompleteisonlyconsideredbyUFDanceinextremecasesandisnotavailableintechniqueclasses.
UFAbsencePolicyRequirementsforclassattendanceandmake-upexams,assignments,andotherworkinthiscourseareconsistentwithuniversitypolicies,asfollows:
Source:https://catalog.ufl.edu/ugrad/current/regulations/info/attendance.aspx• Studentsareresponsibleforsatisfyingallacademicobjectivesasdefinedbytheinstructor.
Absencescountfromthefirstclassmeeting.• Ingeneral,acceptablereasonsforabsencefromorfailuretoparticipateinclassinclude
illness,seriousfamilyemergencies,specialcurricularrequirements(e.g.,judgingtrips,fieldtrips,professionalconferences),militaryobligation,severeweatherconditions,religiousholidaysandparticipationinofficialuniversityactivitiessuchasmusicperformances,
athleticcompetitionordebate.Absencesfromclassforcourt-imposedlegalobligations(e.g.,jurydutyorsubpoena)mustbeexcused.Otherreasonsalsomaybeapproved.
• Youcannotparticipateinclassesunlessyouareregisteredofficiallyorapprovedtoauditwithevidenceofhavingpaidauditfees.TheOfficeoftheUniversityRegistrarprovidesofficialclassrollstoinstructors.
• Ifyoudonotparticipateinatleastoneofthefirsttwoclassmeetingsofacourseorlaboratoryinwhichyouareregistered,andyouhavenotcontactedthedepartmenttoindicateyourintent,youcanbedroppedfromthecourse.Youmustnotassumethatyouwillbedropped,however.
• Theuniversityrecognizestherightoftheindividualprofessortomakeattendancemandatory.Afterduewarning,professorscanprohibitfurtherattendanceandsubsequentlyassignafailinggradeforexcessiveabsences.
MAKE-UPPOLICY:DanceTechniqueClass–MakeupPolicy
• Youareresponsibleforallmaterialcoveredduringanyabsence• Therearenomakeupoptionsforunexcusedabsences• AbsencesfromWrittenExams,Quizzes,Mid-Terms,and/orFinalsmayonlybemadeupwith
approveddocumentation• Toearncredit(amountofcreditdeterminedbytheinstructor)foranexcusedabsenceyou
mustdotwothings:1)Immediatelyafteryourreturntoclass,turninapproved/legaldocumentationtoinstructor.Ifyouneedtheoriginaldocumentation,theinstructorwillacceptcopies.2)Make-uptheclasswithanapprovedassignmentsubmittedontherequireddate.Iftheassignmentistoattendanotherclassasamake-up,itmustbethesametechnicallevel,orlower;studentmustrequestpermissionofthatinstructor.
IntheUFDanceProgram,threeunexcusedabsenceswillreduceyourgradeone-lettergrade(i.e.,fromBtoC).Eachsubsequentunexcusedabsencelowersyourgradebyhalflettergrade(i.e.,fromCtoC-).Afterfiveunexcusedabsencesthestudentmaynotreturntoclassandresultinautomaticfailureofthecourse.AstudentwithmedicaldocumentationmayapplytoUFforMedicalWithdrawal.PleaseconsultthefollowingsitesforUF’sphysicalandmentalhealthresources:
http://shcc.ufl.edu/(StudentHealthCareCenter)http://shcc.ufl.edu/forms-records/excuse-notes/(excusenotepolicy)http://dso.ufl.edu/(DeanofStudents)
STUDENTON-LINEEVALUATIONPROCESSStudentsareexpectedtoprovidefeedbackonthequalityofinstructioninthiscoursebycompletingonlineevaluationsathttps://evaluations.ufl.edu.Evaluationsaretypicallyopenduringthelasttwoorthreeweeksofthesemester,butstudentswillbegivenspecifictimeswhentheyareopen.Theinstructoristheonlypersonthatviewsyourwrittencomments.Summaryresultsoftheseassessmentsareavailabletostudentsathttps://evaluations.ufl.edu/results/UFPOLICIES:UNIVERSITYPOLICYONACCOMMODATINGSTUDENTSWITHDISABILITIES:StudentswithdisabilitiesrequestingaccommodationsshouldfirstregisterwiththeDisabilityResourceCenter(352-392-8565,www.dso.ufl.edu/drc/)byproviding
appropriatedocumentation.Onceregistered,studentswillreceiveanaccommodationletterthatmustbepresentedtotheinstructorwhenrequestingaccommodation.StudentswithdisabilitiesshouldfollowthisprocedureasearlyaspossibleinthesemesterUNIVERSITYPOLICYONACADEMICMISCONDUCT:AcademichonestyandintegrityarefundamentalvaluesoftheUniversitycommunity.StudentsshouldbesurethattheyunderstandtheUFStudentHonorCode:http://www.dso.ufl.edu/sccr/process/student-conduct-honor-code/-UFstudentsareboundbyTheHonorPledgewhichstates,“We,themembersoftheUniversityofFloridacommunity,pledgetoholdourselvesandourpeerstothehigheststandardsofhonorandintegritybyabidingbytheHonorCode.OnallworksubmittedforcreditbystudentsattheUniversityofFlorida,thefollowingpledgeiseitherrequiredorimplied:“Onmyhonor,Ihaveneithergivennorreceivedunauthorizedaidindoingthisassignment.”TheHonorCode(source:http://www.dso.ufl.edu/sccr/process/student-conduct-honor-code/)specifiesanumberofbehaviorsthatareinviolationofthiscodeandthepossiblesanctions.Furthermore,youareobligatedtoreportanyconditionthatfacilitatesacademicmisconducttoappropriatepersonnel.Ifyouhaveanyquestionsorconcerns,pleaseconsultwiththeinstructorinthisclass.COUNSELINGANDWELLNESSCENTERCONTACTINFORMATION:http://www.counseling.ufl.edu/cwc/Default.aspx,392-1575;andtheUniversityPoliceDepartment:392-1111or9-1-1foremergencies.
NETIQUETTE:COMMUNICATIONCOURTESY:Allmembersoftheclassareexpectedtofollowrulesofcommoncourtesyinallemailmessages,threadeddiscussionsandchats.GETTINGHELP:Ifapplicable:ForissueswithtechnicaldifficultiesforE-learninginCanvas,pleasecontacttheUFHelpDeskat:
● (352)392-HELP-selectoption2● https://lss.at.ufl.edu/help.shtml
Anyrequestsformake-upsduetotechnicalissuesMUSTbeaccompaniedbytheticketnumberreceivedfromLSSwhentheproblemwasreportedtothem.Theticketnumberwilldocumentthetimeanddateoftheproblem.YouMUSTe-mailyourinstructorwithin24hoursofthetechnicaldifficultyifyouwishtorequestamake-up.Otherresourcesareavailableathttp://www.distance.ufl.edu/getting-helpfor:
• CounselingandWellnessresources• Disabilityresources• Resourcesforhandlingstudentconcernsandcomplaints
• LibraryHelpDesksupportEVALUATION 1.Eventattendance 15points Seeinformation 2.MidtermEvaluations 30points InClass
ThursdayMarch2ndBothMidtermandFinalEvaluationswillbebasedonthesetechnicalproficiencies
• PLACEMENTANDALIGNMENT• CORESUPPORTANDCONDITIONING• APPLICATIONOFROTATION-STATIONARY
ANDLOCOMOTOR• SPATIALAWARENESSANDFULLBODY
INTEGRATION• RHYTHMICCLARITY/MUSICALITY• PROFESSIONALISM
3.FinalEvaluations 30points InClassThursdayApril20th
4.Vocabulary/HistoryExamand/orPerformanceProject
25points Instructorwillannouncedates,ifrequired(Seeballetglossaryattachedandusethefollowinglinkforstudy:http://www.abt.org/education/dictionary/index.html)Showing/Performance,ifrequired:April25th
Youroverallscoremaybeaffectedbyyourattendancerecord.
A93-100pointsA-90-92B+86-89B83-85pointsB-80-82C+77-79C73-76pointsC-70-72D+67-69D63-66pointsD-60-62E59andbelow
EACHSTUDENTISRESPONSIBLEFORMONITORINGHER/HISOWNPROGRESSTECHNIQUEMID-TERM: ThursdayMarch2nd,2018*TECHNIQUEFINAL: ThursdayApril20th,2018**Disclaimer:Thissyllabusrepresentscurrentplansandobjectives.Aswegothroughthesemester,thoseplansmayneedtochangetoenhancetheclasslearningopportunity.Suchchanges,communicatedclearly,arenotunusualandshouldbeexpected.Anychangesintechniqueexamdatesduetounseencircumstanceswillbeannouncedinclassandpostedonthedanceboardinatimelyfashion.RequiredPerformanceandEventDates
Tohelpyouto“thinkoutsidethebox,”youmustventureoutsidethestudio!
BFA/BAMajors:Inadditiontoattendingallclasses,attendanceisrequiredatthefollowinglistedeventsplus1outsideprofessionalshow.Youwillprovideproofofattendancetotheinstructorwhoistheteacherofrecordofyourcoursewithinoneweekafterviewingproduction.Dependingonyourtechniqueschedule,youmayusethesesameevents/performancesforothertechniqueclasses,aswell.Non-Majors:Required=BFAFallDanceShowcaseaudition,twooftheUnShowings,Dance2018oneBFASpringDanceShowcasePerformance,oneoutsideprofessionalshow.Youwillprovideproofofattendancetotheinstructorwhoistheteacherofrecordofyourcoursewithinoneweekafterviewingproduction.Dependingonyourtechniqueschedule,youmayusethesesameevents/performancesforothertechniqueclasses,aswell.The(McGuire)UniversityBoxOfficewillopen45minutespriortotheopeningofeachConstansTheatreorMcGuireBlackBoxproduction.StudentsmustredeemtheircouponsatBenHillGriffinStadiumGate3.Thisiswhereyoucanpurchaseyourticketsduringregularbusinesshours.
PerformanceBehavior/Decorum:
• Yes,pleasedressnice!• Nocellphones/textingatall,ever,neverduringaperformance(unlesstheshowrequestsit!)• RepresenttheSoTDattheshow!
RequiredPerformanceandEventDatesDates/timessubjecttochange–pleasecheckdancebulletinboardand/orcontactappropriateboxoffice.Youwillreceiveavoucher(coupon)atthebeginningofthesemesterfordesignatedSoTDproductionswithinstructionsofhowtouseittogetyourticket.ViewingofSoTDplays(suchasaplayormusical)ishighlyrecommended,butnotrequired.Majors:pleaseattendBFASpringDanceShowcase,Dance2018,andoneoutside
professionalperformance.
UnShowingDates/UFDancePerformancesWelcomeBackDanceMeetingforallDanceMajors-Monday,January8,2018at6:30pm-8:00pmAudition-Thursday,January11,2018-Spring2018BFAShowcaseFirstUnShowing-Friday,February2,2018at10:40am-12:35pmSecondUnShowing-Monday,February26,2018at6:30pmAdjudication#1Showing:Monday,March12,2018at6:30pm-9:00pmAdjudication#2Showing:Monday,March19,2018at6:30pm-untilDance2018:SteppingontheAudience:AnEveningofDanceinIntimateSpaces-February9-10at7:30PM,February11at2:00PM,February14-17at7:30PMandFebruary18at2:00PMTheHarnMuseumofDance(HMod2.0)-Saturday,March17,2018at1:00PM-4:00PMSpring2018BFAShowcase-Wednesday,April4(ProgramAat7:30pm)Thursday,April5(ProgramBat7:30pm)Friday,April6(ProgramAat7:30pm)Saturday,April7CommunityinMotionPerformance(2:00P)*Saturday,April7(ProgramBat7:30pm)Sunday,April8(ProgramAat2:00pm)Sunday,April9(ProgramBat4:00pm)*FreePerformance-Firstcomefirstservebasis*UFPADancePerformancesTangoFire-Friday,January19,2018at7:30PMhttps://performingarts.ufl.edu/events/tango-fire/BalletBoyz-Friday,January31,2018at7:30PMhttps://performingarts.ufl.edu/events/balletboyz/DanceAliveNationalBallet:L'Amour-February14,2018at7:30PMhttps://performingarts.ufl.edu/events/dance-alive-national-ballet-presents-lamour/Pilobolus:Shadowland-Friday,February23,2018at7:30PMhttps://performingarts.ufl.edu/events/pilobolus-shadowland/MarthaGrahamDanceCompany-Monday,March5,2018at7:30PMhttps://performingarts.ufl.edu/events/martha-graham-dance-company/
FalunDafaAssociationPresentsSHENYUN-Wednesday,March14-16at7:30PMhttps://performingarts.ufl.edu/events/shen-yun/LilBuckandJonBoogz:LoveHealsAllWounds-Tuesday,March20,2018at7:30PMhttps://performingarts.ufl.edu/events/lil-buck-and-jon-boogz-love-heals-all-wounds/RodgersandHammerstein'sCinderella-Thursday,April5,2018at7:30PMhttps://performingarts.ufl.edu/events/rodgers-and-hammersteins-cinderella/DanceAliveNationalBallet:TheRing-Saturday,April7,2018at7:30PMhttps://performingarts.ufl.edu/events/dance-alive-national-ballet-presents-the-ring/AChorusLine-Sunday,April22,2018at7:30PMhttps://performingarts.ufl.edu/events/a-chorus-line/BFADanceAuditionsFriday,January26,2018JuriesThursday,April26andFriday,April27(ForAllBFAMajorsandBASeniors)
UF Box Office #: (352) 392-1653 UF Performing Arts (Phillips Center) #: (352) 392-2787 SFC Fine Arts Hall Theatre (352) 395-4181
SpringSemesterJuriesALLBFAmajorsandgraduatingBAmajorsarerequiredtoattendanendoftheyearconference(Jury)April20/21withthedancefacultyduringReadingDays(thetwodaysfollowingendofclasses).Donotmaketravelplansatthistime—gradepointswillbededucted.Itisyourresponsibilitytoknowyourschedule.Checkyour(UF)email&thedancestudiobulletinboardsregularly.DressPolicy:
·Women:Leotards,tights,softballetshoes.Pointeshoesareencouragedbutnotrequired.Speaktotheteacheraboutindividualneedsandpointelevel.·Hairmustbeworninaneatballetbunortwist.Shorterhairiswornoffthefacecompletely.Ifthehairfallssodoesthegrade.·Men:LeotardortightfittingT-shirt/tanktop(whitepreferred).Tights,balletshoes(whiteorblack)anddancebelt(tightswornwithelasticbeltorarmybelt)arerequired.Whitesocksrecommended.·Colorsareatthestudent'sdiscretionbutshouldreflectarespectofballeticvalues.
·Nowarmersunlesstheyareformfitting.Allwarmersmustberemovedfollowingwarm-up.Youmaywearaballetskirtorbeltorcenter.·Nooversizedclothing.Youdon’tworkonwhatyoudon’tsee.·Youranklesmustbevisible.·Nolargejewelry,includingallnon-studearrings,necklaces&watches.·Nochewinggum.
Studentsnotincompliancewiththeaboverequirementswillbeconsideredabsentfromclassorpointsdeductedatinstructor’sdiscretion.ESSENTIALSOFACHIEVINGTECHNICALAPTITUDE
Theseaspectsoftechnicaldevelopmentaredividedintosix(6)categoriesandarethebasisbothforgradingandforanyconsiderationtowardpromotiontoahigherballettechniquelevels:
• PLACEMENTANDALIGNMENT• CORESUPPORTANDCONDITIONING• APPLICATIONOFROTATION-STATIONARYANDLOCOMOTOR• SPATIALAWARENESSANDFULLBODYINTEGRATION• RHYTHMICCLARITY/MUSICALITY• PROFESSIONALISM
PLACEMENTANDALIGNMENT
Apriorityisplacedonalignment,whichincludesanawarenessandintegrationofskeletalstructureinshapingthebodyinplaceandinmotion,toefficiencyofmovement,butreduce,ifnoteliminate,thepotentialforinjury.Thisintrinsicunderstandingshouldbeevidentinallexercises:barre,center,andphrasework.
• 5-Excellent
Hastheabilitytoselfassesswhileconsistentlymaintainingalignmentoftorso/spine,pelvis&limbswhilestationaryandmoving.Articulateslimbswithexcellentprecisionandclarity.
• 4-GoodConsistentlymaintainsalignmentoftorso/spine,pelvis,&limbswhilestationaryandmoving.Articulateslimbswithexcellentprecisionandclarity.
• 3-SufficientDemonstratesaconsistentapplicationofprinciplesofalignment.Demonstratesconsistentclarityduringarticulationoflimbs.
• 2-Limited/Deficient
Demonstrationofcorrectpersonalalignmentisnotobservable.Precisionandclaritynotdemonstratedduringexercisesormovementthroughspace.
• 1-Unsatisfactory
Failstodemonstrateanunderstandingofbasicsofalignmentandbodyfundamentals.
CORESUPPORTANDCONDITIONING
Coupledwithdevelopingapropersenseofalignmentandplacementasappliedtodance(andlife)isaseparateandequalareareferredtoasCoreSupport/Strength.Itisnecessarytolistitasitsowncategorytoemphasizeitsimportancetomovementandpromoteawarenessofitsconnectiontothesafelyoftheindividualastheymovethroughvariouspositionsandasappliedtoballettechnique.Developmentofstrengthtosafelyperformmovementsthatrequireweightbearingonarms,includinginvertedmovements.Conditioningisincludedinthissectionininsurethatstrengthisnotoveremphasizedandthatthestudentfindsapersonalpracticethatenforcesthisaspectoftheirtraining.
• 5-Outstanding/Advanced
Hasabilitytoselfassesswhileconnectingcoreandwholebodyconditioningtohowthewholebodymovesthroughspaceandconsistentlymoveswithpowerandcontrolthroughspaceandalllevels.
• 4-ExcellentConnectscoreandwholebodyconditioningtohowthewholebodymovesthroughspaceandconsistentlymoveswithpowerandcontrolthroughspaceandalllevels.
• 3-Good/Sufficient
Demonstratesmovementscompetentlywithanadequateapplicationofcoresupport.Overallbodystrengthandconditioningisadequate,withroomforimprovement.
• 2-Limited/Deficient
Workinclassindicatesweaknessincorestrengthandmovementcontrol.Demonstrateslimitedpowertosafelypropelselfthroughspace.
• 1-Unsatisfactory
Demonstrateslackofsufficientcoresupport,conditioningandtotalbodystrength.Lackspowerandcontroltosafelypropelselfthroughspace.
APPLICATIONOFROTATION-STATIONARYANDLOCOMOTOR
Essentialtothehealthydevelopmentofballet(andgeneraldance)techniqueisthefullawarenessofcorrectpersonalanatomicalignmentinrelationtoparallelandoutwardrotationwhichincludeshipsocket,kneeandankleforthelowerbodyandspine,ribs,shouldergirdle,headandneckforupperbody.• 5-Outstanding/Advanced
Highdegreeofprecisionandpersonalunderstandingofparallelandrotationinrelationtowholebodyalignment.Showseaseandeconomyofeffortwhenquicklyshiftingamongpositions.
• 4-ExcellentAbilitytoachievecorrectparallelandrotationandmoveeasilyamongpositionsinrelationtopersonalanatomicalconsiderations.
• 3-Good/Sufficient
Consistentcorrectapplicationofalignmentprinciplesinrelationtoparallelandrotatedpositions,particularlyinlowerbody.Canshowimprovementinrelationofthesealignmentprinciplesthroughoutthebody.Showsabilitytotransferfromonepositiontoanotherwithrelativeeaseandminimumeffort.
• 2-Limited/Deficient
Inconsistentdemonstrationofparallelandrotationinrelationtopersonalalignmentthroughoutbody.Difficultytransferringbetweenparallelandrotation.
• 1-Unsatisfactory
Incorrectuseofparallelandrotationinrelationtooverallpersonalalignment.Especiallydemonstratesunsafealignmentofknee,ankle,andhiprelationships.Unsuccessfultransferofweightandre-alignmentwhenshiftingbetweenparallelandrotation.
SPATIALAWARENESSANDFULLBODYINTEGRATION
Necessarytothetrainingofaballetdanceristheunderstandingofthemovementofthebodyasaunit,andinrelationtospecificbodyparts(upperandlowerbodyhalves,andrightandleftbodyhalvesinmotion),aswellasa
senseofspatialawarenessastheyrelatetothemovementofthebodythroughclassicallydefinedpositions.
• 5-Excellent
Demonstrateshighlyrefinedunderstandingofmovementofbodypartsinrelationtopersonalcenterofgravity.Integrationofbodyinmotionthroughspaceisclearandprecise.
• 4-GoodStudentconsistentlymovesthroughspacewithfullcommitmentandknowledgeoflevelanddirectionchanges.
• 3-Sufficient
Demonstratesadevelopmenttowardsthesensitivitytomovingthebodyasawholeunitandanabilitytoexperimentwiththebodyinmotionthroughtimeandspace.Continuestodemonstrateadevelopingunderstandingoftherelationshipbetweenbodypartsandcenterofgravity.
• 2-Limited/Deficient
Demonstrateslimitedawarenessoftheconnectionbetweenstrengthofcenterandtotalbodymovement;minimalabilitytointegratethebodyinmovement.
• 1-Unsatisfactory
Demonstrateslackofunderstandingoftheconceptoffullbodyintegration,aswellasanadequateunderstandingofspatialawareness.Demonstratesalackofunderstandingoftheconnectionbetweenupperbodyandlowerbody,andbetweenbodyhalves.
RHYTHMICCLARITY/MUSICALITY
Astudent’sprogressthroughthetechniquesequenceshouldalsoyieldbothapracticalandintrinsicunderstandingofhowrhythmandmusicalityareappliedtoanexercise,aphrase,anddanceperformance.Musicalityistheabilitytoperformmovementphrasesinformedbymusicandasregulatedbythechoreography/classicalrepertoire.Rhythmicclarityistheabilitytounderstandtherelationshipofthemovingbodytotime.
• 5-Excellent
Studentdemonstratesanintrinsicunderstandingofhowthemusicandmovementareunited.Consistentawarenessofsounddemonstratedthroughaccurateresponsetoinstructionsandtomusicalcueing.
• 4-GoodStudentconsistentlymoveswithknowledgeofbeat/meter,accents,tempo,andrhythmicpatterning.
• 3-Sufficient
Studentisconsciouslyworkingtowardstheapplicationofbeat/meter,accents,tempo,andrhythmicpatterningandappliesthesemusicalbasicstoexercises,phrases,andrepertoire.Generallyappearstosensemusicdeeplyandtoallowthenatureofthemusictoaffecttheinterpretationofmovementphrases.
• 2-Limited/Deficient
Inconsistentlydemonstratesbeat/meter,accents,tempo,andrhythmicpatterning.Insufficientlydevelopedsenseofinternaltimingorapassiveapproachtodancephrasing.Studentmayshowdependonotherdancers,instructorcounting,orobviousmusicalcues,ratherthanintrinsicmusicalresponses.
• 1-Unsatisfactory
Studentrarelymoveswithusingbeat/meter,accents,tempo,andrhythmicpatterning;orfailstoinvestindevelopingskillsinthisarea.
PROFESSIONALISM
Studentdemonstratesamatureartisticsensibilitywhilecultivatingtheirartisticaptitudes.Theimportanceofattendanceisemphasizedandpartofthefinalgradingprocess,asnotedinthesyllabus.
• 5-ExcellentThestudentconsistentlydemonstratesanattitudethatisteachable,mature,attentive,supportive,open,andwelcomesandintegratescorrections.
• 4-GoodStudentshowsahighlevelofamatureandprofessionalapproachtoallaspectsofcoursework.
• 3-Sufficient
Studentshowsaconsistentandgrowingawarenessoftheprofessionthroughclassroombehaviorandpeerinteraction.
• 2-Limited/Deficient
Studentdemonstrateslimitedinterestorabilityinunderstandingandexpressingaprofessionalattitude.Mayresistcorrectionsand/orwhat
isbeingtaught.Failstoheedinstructionand/ordemonstratesotherbehaviorsunbecomingaprofessionaldancer.
• 1-Unsatisfactory
Studentrarelydemonstratesanattitudethatisteachable,mature,attentive,supportive,open,anddoesnotintegratecorrections.
EvaluationsandGrading:MidtermandFinalevaluationsoccurduringtheclass.Youwillbeobservedbytheinstructorandperhapsothermembersofthedancefaculty.Gradeswillbeassignedbasedonthetechnicalproficiencieslistedabove.FortheBFAmajor,applicationofyourtechniqueworktoconcert/performanceworkwillbefactoredintoyourtechniquegrade.
GUIDINGCONCEPTSThesefollowinggeneralconceptsareappliedtoallareasoftechnicaldevelopmentandusedbyfacultytoassessstudentprogress:
“Self’AwarenessandEnsembleSkillsThestudentdemonstratesanabilitytoretainanawarenessofselfwhileintegratingtheirmovementintospatialrelationshipswithotherpersonsandgroups.Thestudentshouldalsodemonstrateclarityinthree-dimensionalmovementsandanabilitytosustaindirectionalityinexercisesandinphrasesofsubstantiallength.
TransitionalSkills(ContinuityofFlow)Exercisesshouldbeperformedwithanunderstandinganddynamicuseofdifferenttypesofphrasing.Studentsshoulddemonstrateanabilitytosequenceavarietyofmovementsintoanextendedphrase:recognizingandmovingthroughtransitionsanddemonstratingfollow-throughofmovementimpulsesasappropriate.
PERFORMANCEQUALITY(DYNAMICAWARENESS)Eachinstructorwillprovidetheclasswithspecificmovementandperformancegoalsthatdelineateforthestudent:suitableuseofenergy,rangeofdynamicsandmovementqualities,theimagesormind-settoevokeexpressiveand/orstylisticqualitiesandfunctionaldetails
GeneralInformationStudentInjuryandIllnessPolicy:TheDanceAreaofSoTDbelievesthatdancestudent'sphysicalandmentalwell-beingisparamounttosuccessinallarenasoftheirdancetraining,fromclasstothestage.Inthecaseofinjury,fosteringaproductiveandholisticresponseinsuresaspeedyandeffectiverecovery.Ifthedancestudentbecomesillorinjuredtothedegreethattheycannotattendandparticipateindanceclasses,SoTDsponsoredrehearsals,orperformances,the5stepsofthedancestudentinjuryandillnesspolicyaretobefollowed:1.Thestudentisrequiredtoseeahealthcareprofessionalimmediately.2.Iftheillnessorinjurypreventsthestudentfromparticipationindanceclass,rehearsal,orperformance,thestudentistorequestdocumentationfromthehealthcareprofessionalthatexplicitlyprojectsthedurationoftheinjury,and/ortheamountandtypeofactivityrecommendedforthewelfareofthestudent.3.Followingtheappointmentwiththehealthcareprofessional,thestudentisrequiredtobringmedicalrecommendationsandrelateddocumentationtotheattentionofhisorherinstructor(s),choreographer(s),ordirector(s)asthebasisfordiscussion.4.Unlessotherwisemedicallyadvised,thestudentisprohibitedfromactiveparticipationinallrelatedUFdanceactivities,classes,events,performances,etc.Thestudentmaynotpersonallyselectoneactivityashavingahigherpriorityoveranother.Thestudentisnottodanceinanyevents,activities,performancesorrehearsalsifthestudentisnotindanceclass.Iftheinfirmityculminatesinamedicalwithdrawal,thisisalsoawithdrawalfromallperformancerelatedactivities.5.Thestudentisneverallowedtosacrificeclassroomparticipationforthedemandsofaperformance.Thestudentwillnotbeallowedtoparticipateinaperformanceiftheymissdanceclassduetoaninjury.ThestudentisexpectedtofollowthestudentinjuryandillnesspolicyevenifperformancestakeplacebeyondthescopeofSoTD,aswithanotherUF,professional,orcommunityperforminggroup,etc.IfinvolvedinaSoTDproducedproduction(withorwithoutcredit),thereisrequiredattendanceattheproduction’sStrike(asstatedinthecurrentSoTDProductionHandbook):
Strike
• Strikeistherestoringofthestagetoitsoriginalcondition.Thismainlyconsistsofthebreakdownoftechnicalcomponentsoftheproduction.
• Striketypicallytakesplaceimmediatelyfollowingthefinalperformanceoftheproduction.
• StrikeisrunbytheTechnicalDirectororScenicStudioSupervisor.• Safetyisoftheutmostimportance!Properfootwearandclothingmustbe
worn.AdditionalSafetyEquipmentmayberequireddependingonthetask.• TheStrikerequiresthepresenceofallundergraduateperformersinvolvedin
theshowandcrew,PropsMaster,MasterElectrician,andTechnicalDirectororScenicStudioSupervisor.
• OnlytheTechnicalDirector,MasterElectricianandCostumeSupervisorcanreleaseanyonefromStrike.
• Additionally,allcastmembersandcrewmustsignoutwiththeStageManager.• AllundergraduatestudentsinvolvedintheproductionareREQUIREDtoattend.• GraduateActorsarereleasedafter1hourofparticipationatStrikeduetotheir
GTAresponsibilities.GradActorsmustsignoutwiththeStageManagerbeforeleaving.
• OnlytheTechnicalDirectormayapproveanabsencefromStrike.Underextenuatingcircumstancesmayastudentbe“excused”fromorpermittedtoleaveearlyfromStrike.Ifthestudentis“excused”fromaREQUIREDstrikeorleavesearlyfromStrike,theStrikemustbe“madeup”byoneofthe3followingoptions:
• ThestudentmustparticipateintwoStrikeswithinthecurrentacademic
semester.--or—
• Thestudentmustparticipateinonestrikeandserve6hoursintheshopwithinthecurrentacademicsemester.
--or—• Thestudentmustserve12hoursintheshopwithinthecurrentacademic
semester.
• IfastudentdoesnotadheretotheabovepenaltiesformissingStrikeorleavingearlyfromStrike,orifthestudentsmissesorleavesStrikeearlywithoutapprovaloftheTechnicalDirectorthestudentwillbe:
• IneligibleforTheatreandDanceScholarships.• IneligibletobecastinSchoolofTheatreandDanceproductionsforthe
upcomingsemester.• Ineligibletoregisterforclasses.• IfenrolledinanysectionofP&Pthestudent’sgradewillbelowered.• IfenrolledinSeniorProjectthestudent’sgradewillbelowered.• IfenrolledinDancersforChoreographersorDanceEnsemblethe
student’sgradewillbelowered.
• IfenrolledinWestAfricanDanceorWorldDance(Agbedidi)thestudent’sgradewillbelowered.
PleaseNote:Ourworkinthestudiosisdesignedtobechallenging;physically,intellectually,andemotionally.Danceclassesofteninvolvetouching.Physicalcontactmayrangefromsimpletouch,tocorrectingalignmentand/orrelaxationmassage.Studentsmayalsobeaskedtoexperimentwithexercisesthatinvolveweightexchange,andinthecaseofaballetclass,partneringexercises.Ifyouhavearelatedmedicalconsiderationortouchmakesyouuncomfortable,itisyourresponsibilitytonotifytheinstructoratthestartofthesemester.
Instructor’sBiographies
BorninCuba,Ms.IsaGarcia-RosespentmanyyearsinSpainbeforesettlinginMiami,Florida.ShestudiedwithandbecameamemberofBalletConcertoperforminginGiselle,SwanLake,LaBayadere,Serenade,Nutcracker,andLesSylphides.Ms.Garcia-RosejoinedDanceAliveNationalBalletin1989,andhasperformedvariousBalanchinepieces,'Titania'inAMidsummerNight'sDream,variousrolesinNutcracker,'Ophelia'inHamlet,'LadyBug'inLadyBug:ActionHero,andothercontemporaryroles.AgraduateoftheUniversityofFloridawithaBFAinDance,Ms.Garcia-RosereceivedherMFAfromFloridaStateUniversity.Ms.Garcia-RosehasbeenafacultymemberoftheUniversityofFloridaSchoolofTheatreandDanceteachingclassicalballetandmoderndancetechnique.ShehascreatedworksforthestudentsandhaspresentedpiecesattheFloridaDanceFestivalamongstothervenues.Ms.Garcia-Rosespentthe1994-1995seasonasamemberoftheDemetriusKleinDanceCompanybeforerejoiningDanceAliveNationalBallet.Ms.Garcia-RosetaughtclassicalballetfulltimeatFloridaStateUniversitySpring2007.Ms.Garcia-RoseiscertifiedinStottPilatesmatandreformer.ShehastaughtmasterclassesinAlabamaaswellasinotherfestivalsincludingtheFloridaDanceFestivalinMiami.
ElizabethJohnson'sprofessionalleveldancetrainingbeganatNorthCarolinaSchooloftheArtswhereshestudiedwithmanyhistoricallynotableteachers includingMelissaHayden,DuncanNoble, andRobertLindgren. SheholdsaBFA inDancewithhonors fromGeorgeMasonUniversity,anMFAinPerformanceandChoreographyfromtheUniversityofIllinoisUrbana-Champaign and a GLCMA (Graduate Laban Certificate of Movement Analysis) inLabanMovementAnalysisfromColumbiaCollegeChicago.
JohnsonisthefounderandartisticdirectorofYourMotherDances,herMilwaukeebasedcontemporaryrepertorycompany.HerchoreographyhasalsobeenproducedinNewYork City, Washington, D.C. Chicago, Minneapolis, Louisville, New Haven, CT, KrannertCenter for thePerformingArts inUrbana, ILandhasbeenselectedseveral times forGala
performanceattheAmericanCollegeDanceFestival.In addition to her own company work, Johnson has performed with Sara Hook
Dances (NYC & IL), Molly Rabinowitz Liquid Grip (NYC), and toured nationally andinternationallyasaguestartistwithNewYorkCity'sDavidParkerandTheBangGroup.Johnson has served as dance faculty at the University of Illinois Champaign-Urbana, theUniversity of Wisconsin in Madison, the University of Wisconsin-Milwaukee, and theUniversity of North Carolina-Greensboro teaching a wide range of undergraduate andgraduate technique, creative and theory courses. Her research and teaching interestsinclude the integration of anatomy/kinesiology and somatic inquiry (Laban MovementAnalysisandAlexanderTechnique)intodancetechniqueteaching,DanceCompositionandImprovisation pedagogy, and exploring embodiment, relationship, and popular culturetrendsinherchoreographicwork.
SherecentlycompletedhersecondofthreeyearsoftrainingtobecomeacertifiedAlexanderTechniqueteacher.ejohnson@arts.ufl.edu
RicRose,AssociateProfessor/DanceCoordinatorattheUniversityofFloridaSchoolofTheatreandDance,hasbeencreatingoriginalworksatUFsince1987.HischoreographyhasbeenpresentedinUtrecht,BuenosAires,London,andcompaniesinthesoutheastincludingTallahasseeBalletCompany,DanceAliveNationalBallet,SCAD,JamesMadisonUniversity,ColoradoMesaState,andseveralotherschools.RichasbeenanArtist-in-ResidenceandguestchoreographerwithDanceAliveNationalBallet,aprofessionalballetcompany,since1984,havingalsodancedwithDemetriusKleinDance,TheYard,inAtlanticCityBally’sCasinoandforseveralartistsinNYC.HehasscriptednarrationfortwoballetsforDanceAlive,DraculaandTheCrackedNut.Hehasdirected,choreographedandperformedinnumerousproductionsfortheHippodromeStateTheatre,includingRobinHood,The39StepsandAroundtheWorldin80Days,aswellas,AVeryOldManwithEnormousWingsandFrankenstein.TheHippalsoproducedhisoriginalplay,TheCantaDancaDancer,aworkdesignedtointroducedancetostudentsK-12andcompletedayear-longtourthroughouttheFloridaschoolsystem.Ricimplementedthespecialtychoreographyinthemovie,"DocHollywood,"wherehealsoappearedasasquash.HeisfounderoftwodanceensemblesatUF,ShadowDanceTheatreandTheatreJazzRepertoire.HehasservedastheemceefortheFlorida4-HCongressforseveralyearsandhasbeenanadjudicatorforbothACTFAproductionsandtheMid-AtlanticACDFAfestival.Since1990,RichastwicebeenawardedboththeTeacheroftheYear(CollegeofFineArts)andtheTIPUniversityAwardforexcellenceinteaching.HehasalsobeenrecognizedwithadepartmentalFacultyoftheYearandaUFSuperiorAccomplishmentAward.HeisapastpresidentoftheFloridaDanceAssociationandacurrentboardmember.HereceivedhisMFAfromConnecticutCollegeandhisBAfromBaldwin-WallaceCollege.
BALLETVOCABULARYPrimarywords
ListedincategoriesalphabeticallyPleasenotethatthedefinitionsaregeneraldescriptions/translationsofthetermsTermsrelatedtobarreand/orcentre:Adagio: SlowsustainedmovementAllonge´: Extended,outstretched,asopposedtobentorcurved.Arabesque: Abasicballeticpose,usuallyperformedinprofile:Thepositionofthebodywhen
supportedononelegwiththeotherextendedtothebackwiththekneestraight.Assemble´: Toassemble(orplacetogether)thelegsintheairAttitude: Thepositionofthebodywhensupportedononelegwiththeotherliftedtothefront
sideortheback,withthekneebent.Aposeinspiredbythestatueof‘Mercury’(byGiovannidaBologna)
Barre: Thelong,pipe-shapedbarthatdancersholdontoforsupportwhenwarmingup.Thewordisalsousedtorefertothesetofexercisedperformedatthebarreatthebeginningofeveryclass.
Battement: “rebound,”anymovementofthelegCambre´: Abendofthebodyfromthewaist,forward,sideward,orbackward.Change’: Literally,“changed”.Atermusedtoindicatethatthefeetchangepositionin
relationshiptoeachotherduringtheexecutionofastep(i.e.,thefootbeginsinthefromandfinishesintheback,orvisaversa).
Cloche,en: Literally,“likeabell”.Referstoswingingmovementsoftheworkinglegforwardandbackwardthrough1stpositioninstepssuchasbattementsdegagesencloche.
Combination:Anumberofstepsgroupedtogethertoformanexercise.Cou-de-pied: Onthe“neck”(cou)oftheankle.Thepositionoftheworkingfootwhenliftedand
pointedinfrontof,inthebackoforwrappedaroundtheankleofthesupportingleg.
Coupe´: Tocut–Thefootisraisedtotheankleoftheoppositeleg.Developpe': Theworkingfootisdrawnupthesupportingkneeandopenedintheairinany
givendirection,"unfolding".Degage: “Todisengage”Themovementofthefootoutwardfromaclosedpositiontowhere
thetoesleavethefloortoapositionof15degrees.Extension: Theheightofadancer'sworkinglegwhenliftedformthefloor.Alsoinreferenceto
thelengtheningofabodypart.Fondu: Literally,"melted",Thistermisusedsynonymouslywiththeword"plie".Itmeans
on,orwithabentsupportingleg.Frappe: Strongbrushofthesupportinglegwiththeworkingfootincoupe,"strike".Pas: Astep.Usedtorefertoanysinglemovementintheballetvocabulary.Pasdecheval:Horse’sstep.Penche': "Inclined".Usuallyreferstoarabesquepenche',apositioninwhichthedancertiltsforwardfrom
thehip,directingthetorsoandheadtowardthefloor,andliftingthefootoftheextendedbacklegtowardtheceiling.
Plie(plier): Tobend-Abendingmovementoftheknees,demiorgrand.Portdebras: Movementsorpositionsofthearms.Preparation: Themusicalphraseand/ormovement(s)thatactasalead-inforthedancer.Releve´:Arise.Describesapositionofthesupportingfootinwhichtheheelhasbeenraisedfromthefloor,
andthedancerisbalancedontheballofthefoot(oronthetoes,ifenpointe).Alsothecombinationofademi-pliefollowedbytheraisingoftheheel(s)fromthefloor.
Ronddejambe:Circleoftheleg(aterre)ontheground,or(enl'air)intheair. endehors:Outward,foottravelsinanarcfromfronttoback
endedans:Inward,foottravelsinanarcfrombacktofrontSous-sus:Under-over.Onefootbeingunder,orintheback,andonefootbeingover,orinthefront.Tendu:“stretched”Theactionofthefootleavingaclosedpositiontoafullyextendingpositionwithoutthe
toesleavingthefloor.Termsrelatedtocentre:Allegro,grand:Combinationsofexpansiveandwidelytraveledjumping,movementsthat
incorporatelarge,advanced-levelleapssuchasgrandjetes.Allegro,petite:Sprightlycombinationsofsmalljumpingmovementsperformedataquick
tempoBalance`: Arockingstepresemblingawaltz,consistinginthreepartsofalterationof
balance.Balon: Atermencompassingthedesirablequalitiesoflightness,ease,andreboundwhen
jumping.Batterie: Jumpingmovementsinwhichthelegsbeat,orexchangeplaceswitheachother,in
5thpositionintheaironeormoretimesbeforelanding.Theeffectisoneofinterlacingorcrisscrossingthelegsintheair.
Beat: Tohitthelegstogether,movingtheminandoutof5thpositionintheairsotheyappeartocrisscross.Allbatterieiscomposedof“beaten”movements.
Cabriole: Caper,likeagoat’sjump.Theworkinglegopensstraightout;thesupportingleg pushesoffandbeatsunderneaththeworkingleg,propellingithigher.
Chaine`: Linkedlikeachain–aseriesofturnswiththefeetinfirstposition.Chasse`: Chasingonefootwiththeother–acontinuousmovement.Entournant: Turning.Entrechat: Abeatenjumpinwhichthelegscrossin5thpositionintheairwithoutchange'.Fouette`: Whipping.Astrongwhippingmovementofonelegaccompaniedbyahalforfull
revolutionofthebody.Glissade: Toglideorslide–alinkingorpreparatorystep.Jete: Springfromonefoottotheother,"thrown".GrandJete:Largeleap.EnManege: Atermusedtodescribeaseriesofsteps(usuallyturnsorjumps)performedwhile
travelinginacirclearoundtheperipheryofthestage.Pasdebasque:AstepderivedfromthenationaldancesoftheBasques.Takinginthreedistinctcounts.Pasdebourree:Asteporiginatingincountrydances.Thismovementinvolvesthreeortwostepsinanydirectionthatusually
changeswhichfootisinfront.Pasdechat:Acat-likespringingmovementfromonefoottotheother,"Stepofthecat".Pasdebourre:Pique: literally,"pricked"-toprickwiththetoesaswithaneedle.1)Amovementin
whichthestronglypointedtoeoftheliftedandextendedlegsharplylowersmomentarilytohitthefloor,thenimmediatelyreboundsupward.2)Adjectivedescribingamovementinwhichthedancertransfersthebodyweightfromoneleg(inplie)totheotherbysteppingoutdirectlyontopointeordemi-pointewithastraightleg;forexample,piquearabesque.
Pirouette: Whirlorspin-Acontrolledturnononelegondemi-pointeorpointeinanypose.Promenade: Aslowrotationofthebodyinadagioexercises,inwhichthedancer,maintainingaposeonone
legwiththeotherraisedofftheground,executesmanylittlepivotsofthesupportingheelinordertoturnthebodyaroundonthewholefoot.
Saute(sauter):Jump.Sissonne: Namedforthecreatorofthestep.Springingupfrombothfeet,landingononeleg.Soutenu: "Sustainedturning."Tombe`: Tofall.Tour: Aturnofthebody.
Tournant,en:TurningTERMSRELATEDTODIRECTIONS:EnAvant: Travelingforward.Croise’: Crossed.Referstoadirectionofthebodyinwhichthelegsofthedancerappear,
fromtheaudience’sviewpoint,tobecrossedoneinfrontoftheother.Examples:Croise’devant(crossedwiththeworkinglegextendedtothefront)orarabesquecroise(crossedwiththeliftedbacklegbeingtheupstageleg.)
EnCroix: Intheshapeofthecross.Referstoaballetconventioninwhichthesamemovementisperformedinsequencetothefront,theside,theback,andagaintothesameside.
EnDedans: Inward.Characterizesanycircularorturningmovementinwhichtheworkinglegmoves.Derriere: Totheback(behind).Devant: Tothefront.Ecarte: Spreadwide.Oneofthedirectionsofthebody.(Seesheetonbodypositions.)Efface: Erased,shaded.Oneofthedirectionsofthebody.(Seesheetonbodypositions.)Endehors: Outward.Enface: referstothepositionofthedancer'sbodywhendirectlyfacingtheaudience.(See
sheetonbodypositions.)a`laSeconde:Inthe2ndposition.Amovementinwhichthearmorlegisextendedtothesideofthebodyis
saidtobeperformeda`laseconde.
TERMSRELATEDTOTHEPERSONNELINABALLETCOMPANY:Ballerina: Aprincipalfemaledancerinaballetcompany.Balletmaster/mistress:Thepersoninaballetcompanywhorehearsestherepertoireand
teachescompanyclass.Balletomane: Anenthusiasticballetfan.Corpdeballet:Thedancersinaballetcompanywhodonotperformsoloroles.Typicalofcorpdeballet
workistheperformanceofchoreographyinwhichthedancersmoveinlargegroupsinunisonwhile
changingformationandcreatingbeautifulspatialpatternsacrossthestage.Danseur: Theleadingmaledancerinaballetcompany.Danseurnoble:Amaledancerwhoistall,elegant,andaristocraticinappearanceanddancesleadingroles
suchasthePrinceinSwanLakeorthepoetfigureinLesSylphides.Hemustbeanexcellentsoloistandpartnerandpossesspureclassicalline.
PrimaBallerina(Absoluta): Thetop-rankedfemalesoloistinaballetcompany.Thistitleisusuallyreserved
foronlyafewworld-classballerinas.
TERMSRELATINGTOCLASSCentrebarre:Theexercisesthatareperformedinthemiddleoftheroomwithoutthesupportofthebarreand
thataredirectlyrelatedinformtothetenstandardbarreexercises.Examples:plies,tendus,ronddejambe,fondus.
Centerwork: Allexercisesinaballetclassthatareperformedinthemiddleoftheroomwithoutthesupportofthebarre.
Line: Thesculpturalshapeformedinspacebyadancer'slimbsandbody.Goodlineisoneadancer'smostvaluedattributes.Itisproducedbyacombinationofflexibility,disciplinedtraininginthepositionsofthebody,andthenaturallybeautifulshapeandproportionofbodypartsaccordingtotheidealofclassicalballet.
TERMSRELATINGTOPHYSICALPLACEMENT
Alignment: Thearrangementofpartsofthebodyinrelationtoeachotheraccordingtotherulesofclassical
ballet.Placement: Tobeplaced.Awell-placedbodyisonethatiscorrectlyaligned,withoutuselesstension,to
allowfreemotion.Thealignmentofthepartsofthebodyandthedistributionofbody.
Demi-pointe: Thepositionofthefootwhentheheelisraisedfromthefloorandthedancerispoisedontheball
ofthefoot.Thetermisoftenusedsynonymouslywiththetermreleve’isalsoendemi-pointe.
Dessous: Under:Describesamovementinwhichonefootstepsbehindorcutsacrossinbackoftheother,sometimesreplacingit,asincoupedessous,whenthebacklegreplacesthefront.Over:Describesamovementinwhichonefootstepscutsacrossinfrontoftheother,sometimesreplacingit,asincoupedessous,whenthefrontlegreplacestheback.
Epaulement: Shouldering.Referstothemannerinwhichadancerslightlytwiststhetorsowhenfacingstraightahead,bringingoneshoulderforwardoftheother.
Ferme: Closed,asinsissonneferme'(ajumpinwhichthelegsfinishclosedin5thposition).Ouvert: Open,asincabrioleouvert,ajumpfinishedononelegwiththeotherheldaloft.Haut,en: High.Describestheheightofthearmswhentheyarebeingheldabovethelevelofthehead,as
in5thpositionenhaut.L’air,en: Intheair.Usedtoindicatethatoneorbothfeetareoffthefloor,asinronddejambeenl’air
(onefoot)ortourenl’air(bothfeet).Parallelposition:Notturned-out;usuallyusedtoreferto6thposition,inwhichbothfeetare
placetogetherfacingstraightfront,paralleltoeachother.Parterre: Onoralongthefloor.Pointe,en: Thepositionofthefootinapointe(ortoe)shoe,inwhichtheheelisraisedwiththefootpointed
vertically,andthedancerstandsbalancedontopofhertoe(s).Surlespointe:Enpointe.Standingonthetoes.Pronated: Sameas‘beveled’.Quatrieme,ala:Inthe4thposition.Sickled: Anincorrectpositionofthefootinrelationshiptotheankle,inwhichthedanceroverextendsthe
outsideofthefootbyturningthefootinwardfromtheankletowardtheinsideoftheleg.Rolledin,rolledover:Anincorrectpositionofthesupportingfootorleginwhichtheweightisallowedto
dropforwardontotheinsideofthefootorleg.Terre,a: Onthefloor.Tuckedunder:Anincorrectpositionofthepelvisinwhichthebuttocksarepressedforward,forcingthepelvis
totiltandthrowingthehipsoutofproperalignment.Workingleg:Thelegthatisperforming(asopposedtothesupportingleg,uponwhichthedancerisstanding).TERMSRELATEDTOPERFORMINGCharacterdance/style:Astylizedtypeofdancingderivedfromfolk-danceformsbutbased
uponclassicalballettechnique.MostofthelargeclassicballetssuchasSwanLakeorCoppeliaincludecharacterdances,andallseriousballetstudentsarerequiredtostudycharacteraspartoftheirtraining.TypicalcharacterdancesarethosebasedupontheHungarianczardas,thePolishmazurka,theItaliantarantella,andthe
Spanishflamencostyles.Inaddition,thetermcanrefertoanydancebasedonmovementsassociatedwithaparticularprofession,personality,orlife-style,suchasasailor’sdance.AspecificexampleistheclogdanceforMotherSimoneinFredrickAshton’sLaFilleMalGardee’.
Choreography:Thearrangementofthestepsandpatternsinadancecomposition.Demi-caractere:Atermdescribingatypeofclassicalballetchoreographythatisheavily
flavoredwithcharacter-styleorfolk-dancereferences.Anexampleofademi-caracteredivertissementistheDonQuixotepasdedeux,withitsmanyposesdrawnfromSpanishdancing.Ademi-caracteredancerisonewhoisbettersuitedtoperformingtheserolesthanstrictlyclassicalonesforreasonstodowithhisorherphysique,line,ornatural qualityofmovement.
Deux: Two.Pasdedeux: Literally,"stepsfortwo."Adancefortwopeople,usuallyamanandawoman.Structureis1)
anentradaforbothdancersinwhichthemanpartnersthewoman,followedby2)amalesolovariation,3)afemalesolovariation,and4)acodainwhichbothperformindividualfeatsofvirtuosity,thendancetogetherattheconclusion.
Divertissement:Asuiteofshortdancesdesignedtodisplaytechnicalprowessandcharmofthedancers.
Repertoire: Theworkschoreography,orballet,thatareperformedbyadancecompany.Variation: Asolodancechoreographedprimarilyforthepurposeofdisplayingadancer'stechnical
prowess.Virtuoso: Highlyskilled.Avirtuosodancerisonewhodisplaysdazzlingtechnicalprowess,onewhose
abilityisfarabovethatoftheaveragedancer.
OTHERTERMINOLOGYAccent : Thatwhichisemphasized,usuallyaparticularmusicalbeatDemi: Half.Grand: Large.Describesmovementsonwhichthelegsareliftedtoaheightof90degreesor
above,asingrandbattement.Lunge: Awide-open(i.e.,legsapartstanceontwofeetin4thposition,inwhichoneleg(usuallythe
front)isbentandtheotherstraight.Itisoftenusedaspreparatorypositionforpirouettes.
Mark: Tosuggestmovements,todancewithoutdoingallthemovements“fullout”.Petite: Small.Atermdescribingsmallmovementsthatarenotperformedhighintheair,
suchaspetiteassembles.Rose',ric: Whatateacher!Spotting: Thetechniqueofturningtheheadduringpirouettessoastoavoidbecomingdizzy.
Whenspotting,adancerquicklywhipstheheadaroundandrefocusestheeyeswitheachturnofthebody.
Turn-out: Rotationofthelegsoutwardfromthehipjointssothatthekneecapsandtoesfaceoutwardaway
fromthecenterofthebody.Alltraditionalmovementsinclassicalballetareperformedturned-
out.
Majorcontributingsources: GretchenWarren,"ClassicalBalletTechnique" AnnaPaskevska,“BothSidesoftheMirror”Famous(orPopular)BalletMovies:
TheRedShoes(1948)FirstPosition(2011)Mao'sLastDancer(2009)BlackSwan(2010)BillyElliot(2000)SavetheLastDance(2001)BalletShoes(1975)TheCompany(2003)TheTurningPoint(1977)WhiteNights(1985)TheTalesofHoffmann(1951)Dancers(2008)BalletRusse(2005)CenterStage(2000)ChildrenofTheatreStreet(1977)InvitationtotheDance(1956)BlackSwan(2010)FirstPosition(2011)Ballet422(2014)http://en.wikipedia.org/wiki/Category:Ballet_films