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tour jete meaning in french

7 Commonly Used Ballet Terms, and What They Actually Mean in France

tour jete meaning in french

Do you call the pirouette position passé or retiré, or do you use both? What about the term élevé? Do you use it? Have you ever considered what these French words actually mean?

“Ballet terminology is somewhat subjective,” says Raymond Lukens of ABT’s JKO School. “Often there is no definitive way to say something. What’s really important is to create a picture in the minds of your students so that they will do the step you’re asking the best way possible. You can split hairs forever over this stuff!”

Another thing to keep in mind is this, says Lukens: “For the French, ballet terms are seen as verbs or action words, and to non-French speakers they’re seen as labels for the movements.”

Tendu Everyone in the world who knows ballet understands what you mean when you say, “Four tendus front,” but the French say dégagez four times front. Dégager means “to disengage.” You dégagé the leg to the front, side or back from a closed fifth or first position to an open position. You can dégagé to the floor, at half height (what Americans commonly know as dégagé) or at full height. Tendu means “stretched,” so the French may command in class, “Dégagez à terre avec la pointe tendue.

Penché Pencher means “to lean.” I was watching a class at the Paris Opéra Ballet School and the teacher told the students, “Penchez en avant et relevez-vous.” What do we envision immediately? A penché in arabesque and a relevé onto demi-pointe in arabesque. But the teacher was simply saying, “Bend the body forward (with both feet in first position) and recover.”

Passé Passer means to pass the foot from front to back and vice versa. If the foot remains in front, where are you passing to? With pirouettes: If you’re in fourth position and you bring the back foot to the front for an en dehors turn, that can be seen as a passé, but if you are in fifth with the right foot front and you lift it to the front of the knee to turn, that would properly be called retiré, which means “withdrawn.” In ABT’s curriculum, for consistency and to avoid confusion, we use the term retiré for all pirouettes, because you withdraw the foot no matter what position you begin from.

Tour jeté The French call this movement grand jeté en tournant and post-Vaganova teachers call it grand jeté entrelacé. Claude Bessy, former director of the Paris Opéra Ballet School, says that “tour jeté” makes no sense and that entrelacé does not pertain to the movement unless you do the movement with beats.

Élevé My biggest pet peeve is the use of the term élevé to describe a relevé without the use of the demi-plié. When I asked a former dancer from the Paris Opéra Ballet about this term, she looked at me with the most curious tilt of the head and asked, “How does élever pertain to ballet? I élève my glass for a toast, I can élève chickens,” which translates as “I raise my glass,” or I can “breed chickens,” “but there is no élevé movement in ballet.” The translation for élever is “to raise, bring up, breed or rear.” The reflexive verb se relever means “to raise oneself, to get up,” so when you do a relevé with straight knees, that’s just what you say.

Did you know?

Entrechat literally means “between cat.” All we can suppose is that the term came from French masters distorting the Italian word intrecciare (sounds like intrecharay), which means “to interweave, interlace.” But who knows!

Sauté is the past participle of the verb sauter, “to jump.” So when we ask a student to do 16 sautés we are asking the student to do 16 “jumped.”

tour jete meaning in french

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tour jete meaning in french

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a movement in which the dancer leaps from one foot, makes a half turn in the air, and lands on the other foot.

Origin of tour jeté

Words nearby tour jeté.

  • tourist home
  • tourist trap

Dictionary.com Unabridged Based on the Random House Unabridged Dictionary, © Random House, Inc. 2024

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tour jeté noun

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What does the noun tour jeté mean?

There is one meaning in OED's entry for the noun tour jeté . See ‘Meaning & use’ for definition, usage, and quotation evidence.

Entry status

OED is undergoing a continuous programme of revision to modernize and improve definitions. This entry has not yet been fully revised.

How is the noun tour jeté pronounced?

British english, where does the noun tour jeté come from.

Earliest known use

The earliest known use of the noun tour jeté is in the 1930s.

OED's earliest evidence for tour jeté is from 1935, in the writing of D. N. Cropper.

tour jeté is a borrowing from French.

Etymons: French tour , jeté .

Nearby entries

  • touristically, adv. 1928–
  • touristing, n. 1883–
  • tourist park, n. 1927–
  • touristry, n. 1878–
  • touristship, n. 1849–
  • tourist track, n. 1912–
  • tourist trap, n. 1939–
  • Tourist Trophy, n. 1907–
  • touristy, adj. 1906–
  • tourize, v. 1837–
  • tour jeté, n. 1935–
  • tourmaline, n. 1760–
  • tourmalinic, adj. 1880–
  • tourmalinite, n. 1896–
  • tourmalinization, n. 1899–
  • tourmalinize, v. 1899–
  • tourmente, n. 1847–
  • tourn, n. 1432–
  • Tournai, n. 1858–
  • Tournaisian, adj. 1910–
  • tournament, n. ?c1225–

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Meaning & use

Pronunciation, entry history for tour jeté, n..

tour jeté, n. was first published in 1993; not yet revised

tour jeté, n. was last modified in July 2023

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  • new senses, phrases, and quotations.

Revisions and additions of this kind were last incorporated into tour jeté, n. in July 2023.

Earlier versions of tour jeté, n. were published in:

OED Additions Series, Volume 2 (1993)

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Citation details

Factsheet for tour jeté, n., browse entry.

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In the air. Indicates: (1) that a movement is to be made in the air; for example, rond de jambe en l’air; (2) that the working leg, after being opened to the second or fourth position à terre, is to be raised to a horizontal position with the toe on the level of the hip.

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.

arriére, en

Backward. Used to indicate that a step is executed moving away from the audience. As, for example, in glissade en arriére.

Assembled or joined together. A step in which the working foot slides well along the ground before being swept into the air. As the foot goes into the air the dancer pushes off the floor with the supporting leg, extending the toes. Both legs come to the ground simultaneously in the fifth position. If an assemblé is porté it requires a preparatory step such as a glissade to precede it. If an assemblé is en tournant it must be preceded by a preparatory step. Assemblés are done petit or grand according to the height of the battement and are executed dessus, dessous, devant, derrire, en avant, en arrire and en tournant. They may be done en face, croisé, effacé or écarté. Assemblé may also be done with a beat for greater brilliance. In the Cecchetti assemblé both knees are bent and drawn up after the battement so that the flat of the toes of both feet meet while the body is in the air.

assemblé en tournant, grand

Big assemblé, turning. This assemblé is done in the same manner as grand assemblé. It is taken only dessus or derrire. It is traveled directly to the side, on a diagonal traveling upstage, in a circle, etc. It is usually preceded by a pas couru or a chassé. The battement at 90 degrees to the second position is taken facing upstage, then the dancer completes the turn en dedans and finishes the assemblé facing the audience.

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:for example, attitude croisée, attitude effacée, attitude de face.

Forward. A direction for the execution of a step. Used to indicate that a given step is executed moving forward, toward the audience. As, for example, in sissonne fermée en vant.

Bounce. Ballon is the light, elastic quality in jumping in which the dancer bounds up from the floor, pauses a moment in the air and descends lightly and softly, only to rebound in the air like the smooth bouncing of a ball.

ballonné, pas

Ball-like or bouncing step. A step in which the dancer springs into the air extending one leg to the front, side or back and lands with the extended leg either sur le cou-de-pied or retiré. There are two kinds of ballonné: ballonné simple, which may be performed petit or grand; and ballonné compose, which is a compound step consisting of three movements. Ballonné may be executed in all the directions of the body.

Tossed. This step consists of coupé dessous and coupé dessus performed in a series with a rocking, swinging movement. The step may be performed with straight knees at 45 degrees or with développés at 90 degrees. The direction of the body is effacé with the body inclining backward or forward with each change of weight. In the Russian School, ballotté is performed traveling forward on ballotté en avant and backward on ballotté en arrire to the place from which the first jump began. In the French School and the Cecchetti method, ballotté is performed on one spot.

Beating. A beating action of the extended or bent leg. There are two types of battements, grands battements and petits battements. The petits battements are: Battements tendus, dégagés, frappés and tendus relevés: stretched, disengaged, struck and stretched-and-lifted .

battement dégagé

Disengaged battement. A term 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 first or fifth position. Battements dégagés strengthen the toes, develop the instep and improve the flexibility of the ankle joint. Same as battement tendu jeté (Russian School), battement glissé (French School).

battement en cloche, grand

Large battement like a bell. A term of the French School and the Cecchetti method. Grands battements en cloche are continuous grands battements executed from the fourth position front or back en l’air to the fourth position back or front en l’air, passing through the first position. Same as grand battement jeté balancé, but the body remains upright as the leg swings.

battement fondu développé

Battement fondu developed. This is performed in the same manner as battemen fondu simple(q.v). As the supporting leg straightens, the working leg does développé at either 45 or 90 degrees. If the développé is at 45 degrees, the working leg opens from sur le cou-de-pied. If the développé is at 90 degrees, the working leg is brought from sur le cou-de-pied to retiré, that opens in the desired direction as the supporing knee straightens. the leg moves evenly until reaching the angle of 45 or 90 degree and is sustained momentarily in the extended position before slowly returning to sur cou-de-pied as the suppoting leg executes a demi-plié.

battement frappé

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.

battement sur le cou-de-pied, petit

Small battement on the ankle. This is an exercise at the bar in which the working foot is held sur le cou-de-pied and the lower part of the leg moves out and in, changing the foot from sur le cou-de-pied devant to sur le cou-de-pied derrière and vice versa. Petits battements are executed with the supporting foot à terre, sur la demi-pointe or sur la pointe.

battement tendu

Battement stretched. A battement tendu is the commencing portion and ending portion of a grand battement and is an exercise to force the insteps well outward. The working foot slides from the first or fifth position to the second or fourth position without lifting the toe from the ground. Both knees must be kept straight. When the foot reaches the position pointe tendue, it then returns to the first or fifth position. Battements tendus may also be done with a demi-plié in the first or fifth position. They should be practiced en croix.

battement, grand

Large battement. An exercise in which the working leg is raised from the hip into the air and brought down again, the accent being on the downward movement, both knees straight. This must be done with apparent ease, the rest of the body remaining quiet. The function of grands battements is to loosen the hip joints and turn out the legs from the hips. Grands battements can be taken devant, derrière and à la seconde.

Arms low or down. This is the dancer’s “attention.” 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. This position corresponds to the fifth position en bas, Cecchetti method.

Rocking step. This step is very much like a pas de valse and is an alternation of balance, shifting the weight from one foot to the other. Balancé may be done crossing the foot either front or back. Fifth position R foot front. Demi-plié, dégagé the R foot to the second position and jump on it lightly in demi-plié, crossing the L foot behind the R ankle and inclining the head and body to the right. Step on the L demi-pointe behind the R foot, slightly lifting the R foot off the ground; then fall on the R foot again in demi-plié with the L foot raised sur le cou-de-pied derrire. The next balancé will be to the left side. Balancé may also be done en avant or en arrire facing croisé or effacé and en tournant.

bras, positions des

Positions of the arms. Although the positions of the feet are standard in all methods, the positions of the arms are not, each method having its own set of arm positions. The Cecchetti method has five standard positions with a derivative of the fourth position and two derivatives of the fifth position. The French School has a preparatory position and five standard positions. These positions are used in some Russian schools. The Russian School (Vaganova) has a preparatory position and three standard positions of the arms.

Broken, breaking. A small beating step in which the movement is broken. Brisés are commenced on one or two feet and end on one or two feet. They are done dessus, dessous, en avant and en arrire. Fundamentally a brisé is an assemblé beaten and traveled. The working leg brushes from the fifth position to the second position so that the point of the foot is a few inches off the ground, and beats in front of or behind the other leg, which has come to meet it; then both feet return to the ground simultaneously in demi-plié in the fifth position.

Flying brisé. In this brisé the dancer finishes on one foot after the beat, the other leg crossed either front or back. The foundation of this step is a fouetté movement with a jeté battu. In the Russian and French Schools the raised leg finishes sur le cou-de-pied devant or derrière and the brisé volé is done like a jeté battu. In the Cecchetti method, the working foot passes through the first position to the fourth position, the calves are beaten together and on alighting the free leg is extended forward or back with a straight knee.

Sideways. Used to indicate that a step is to be made to the side, either to the right or to the left.

cou-de-pied, sur le

On the cou-de-pied. The working foot is placed on the part of the leg between the base of the calf and the beginning of the ankle.

coupé jeté en tournant

A compound step consisting of a coupé dessous making a three-quarter turn and a grand jeté en avant to complete the turn. The step is usually done in a series either en manège or en diagonale. See Tour de reins.

Running. As, for example, in pas de bourrée couru.

croisé, croisée

Crossed. One of the directions of épaulement. The crossing of the legs with the body placed at an oblique angle to the audience. The disengaged leg may be crossed in the front or in the back.

In the shape of a cross. Indicates that an exercise is to be executed to the fourth position front, to the second position and to the fourth position back, or vice versa. As, for example, in battements tendus en croix. (See Battement tendu)

Caper. An allegro step in which the extended legs are beaten in the air. Cabrioles are divided into two categories: petite, which are executed at 45 degrees, and grande, which are executed at 90 degrees. The working leg is thrust into the air, the underneath leg follows and beats against the first leg, sending it higher. The landing is then made on the underneath leg. Cabriole may be done devant, derrière and à la seconde in any given position of the body such as croisé, effacé, écarté, etc.

cabriole, double

Double cabriole. This is a cabriole in which one leg strikes the other in the air two or more times before landing.

Chains, links. This is an abbreviation of the term “tours chaînés déboulés”: a series of rapid turns on the points or demi-pointes done in a straight line or in a circle. See Déboulés; Tour, petit.

changement de pieds

Change of feet. The term is usually abbreviated to changement. 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.

Chased. A step in which one foot literally chases the other foot out of its position; done in a series.

Like a bell. Refers to grands battements executed continuously devant and derrire through the first position. See Battement en cloche, grand.

Inward. In steps and exercises the term en dedans indicates that the leg, in a position à terre or en l’air, moves in a circular direction, counterclockwise from back to front. As, for example, in rond de jambe à terre en dedans. In pirouettes the term indicates that a pirouette is made inward toward the supporting leg.

Outward. In steps and exercises the term en dehors indicates that the leg, in a position à terre or en l’air, moves in a circular direction, clockwise. As, for example, in rond de jambe à terre en dehors. In pirouettes the term indicates that a pirouette is made outward toward the working leg.

Half-bend of the knees. All steps of elevation begin and end with a demi-plié. See Plié.

demi-pointes, sur les

On the half-points. Indicates that the dancer is to stand high on the balls of the feet and under part of the toes. Also used in the singular, “sur la demi-pointe.”

Behind, back. This term may refer to a movement, step or placing of a limb in back of the body. In reference to a particular step (for example, glissade derriére), the addition of derrière implies that the working foot is closed at the back.

diagonale, en

In a diagonal. Indicates that a step is to be done traveling in a diagonal direction.

Under. Indicates that the working foot passes behind the supporting foot. As, for example, in assemblé dessous.

Over. Indicates that the working foot passes in front of the supporting foot. As, for example, in assemblé dessus.

In front. This term may refer to a step, movement or the placing of a limb in front of the body. In reference to a particular step (for example, jeté devant), the addition of the word “devant” implies that the working foot is closed in the front.

développé, temps

Time developed, developing movement. Through common usage the term 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. Développés are performed à la quatrième devant, à la seconde and à la quatrième derrière and may be executed in all directions of the body. They are done with the supporting foot flat on the ground , on the body. They are done with the supporting foot flat on the ground, on the demi-pointe, full point or en fondu. In the Cecchetti method, the working foot is brought up to the retiré position with the toe pointed at the side of the knee (retiré de côté) before extending the leg in the required direction. In the Russian and French Schools, the pointed toe is brought to retiré devant before extending the leg forward or to retiré derrière before extending the leg backward. When performing a développé to second position, the front foot is brought to retiré devant and then extended, or the back foot is brought to retiré derrière and then extended.

Separated, thrown wide apart. Écarté 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. The head is raised slightly and turned toward the raised arm so that the eyes look into the palm of the hand.

Escaping or slipping movement. An échappé is a level opening of both feet from a closed to an open position. There are two kinds of échappés: échappé sauté, which is done with a spring from the fifth position and finishes in a demi-plié in the open position, and échappé sur les pointes, or demi-pointes, which is done with a relevé and has straight knees when in the open position. In each case échappés are done to the second or fourth position, both feet traveling an equal distance from the original center of gravity.

échappé sur les pointes

Échappé on the points or toes. Fifth position R foot front. Demi-plié and, with a little spring, open the feet to the second or fourth position sur les pointes. The feet should glide rapidly to the open position and both feet must move evenly. On reaching the open position both knees must be held taut. With a little spring return to the fifth position in demi-plié. If the échappé is done in the second position the R foot may be closed either front or back. In échappé to the fourth position facing en face, croisé or effacé, the movement is done from the fifth position to the fourth position without change. Échappés may also be done en croix.

effacé, effacée

Shaded. 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.

Interweaving or braiding. A step of beating in which the dancer jumps into the air and rapidly crosses the legs before and behind each other. Entrechats are counted from two to ten according to the number of crossings required and counting each crossing as two movements, one by each leg; that is, in an entrechat quatre each leg makes two distinct movements. Entrechats are divided into two general classes: the even-numbered entrechats, or those which land on two feet– deux, quatre, six, huit and dix– and the odd-numbered entrechats, or those which land on one foot– trois, cinq, sept and neuf. In all entrechats both legs beat equally. Even-numbered entrechats are done en face or en tournant, while odd-numbered entrechats are done devant, derrière, en tournant, the côté or de volée. In the Cecchetti method, entrechats are done with the knees bent and the feet drawn up so that one foot beats against the other from the base of the calf downward.

entrechat six

Six crossings. Demi-plié in the fifth position R foot front. With a strong jump open the legs, beat the R leg behind the L, open the legs, beat the R leg in front of the L, open the legs and finish in demi-plié in the fifth position, R foot back.

Shouldering. The placing of the shoulders. A term used to indicate a movement of the torso from the waist upward, bringing one shoulder forward and the other back with the head turned or inclined over the forward shoulder. The two fundamental positions of épaulement are croisé and effacé. When épaulement is used the position of the head depends upon the position of the shoulders and the shoulder position depends upon the position of the legs. Épaulement gives the finishing artistic touch to every movement and is a characteristic feature of the modern classical style compared to the old French style. which has little épaulement.

Opposite (the audience); facing the audience.

fondu, fondue

Sinking down. A term used to describe a lowering of the body made by bending the knee of the supporting leg. Saint-Léon wrote, “Fondu is on one leg what a plié is on two.” In some instances the term fondu is also used to describe the ending of a step when the working leg is placed on the ground with a soft and gradual movement. An example of this is jeté fondu.

Whipped. A term applied to a whipping movement. The movement may be a short whipped movement of the raised foot as it passes rapidly in front of or behind the supporting foot or the sharp whipping around of the body from one direction to another. There is a great variety of fouettés: petit fouetté, which may be devant, à la seconde or derrire and executed à terre, sur la demi-pointe or sauté; and grand fouetté, which may be sauté, relevé and en tournant.

fouetté en tournant (Russian School)

Large fouetté, turning. This fouetté may be done on demi-pointe, on point or with a jump. It is usually done en dedans and may be finished in attitude croisée, attitude effacée or any of the arabesques.

fouetté rond de jambe en tournant

Whipped circle of the leg turning. This is the popular turn in which the dancer executes a series of turns on the supporting leg while being propelled by a whipping movement of the working leg. The whipping leg should be at hip level, with the foot closing in to the knee of the supporting leg. Fouettés are usually done in a series. They may be executed en dehors or en dedans.

En dehors (Russian School): Fourth position R foot back. Execute a pirouette en dehors on the L leg. Fondu on the L leg, at the same time opening the R leg to the second position en l’air. Relevé on the L point or demi-pointe, executing a tour en dehors and whipping the R foot in back of, then quickly in front of, the L knee. Fondu on the L leg, opening the R leg to the second position en l’air.

En dehors (Cecchetti method): Fourth position R foot back. Execute a pirouette en dehors on the L leg. Fondu on the L leg, at the same time extending the R leg to quatrième position devant en l’air (croisé devant). Relevé on the L point or demi-pointe, sweeping the R leg to the second position en l’air, and execute a tour en dehors, bringing the R foot to side and front of L knee. Fondu on the L foot, extending the R leg forward again. Three-quarters of the turn should be made with the R foot in position on the supporting knee. This fouetté may also be executed from a preparation starting with a pas de bourrée en dedans and finishing with a coupé dessous, opening the working leg to quatrième devant.

En dedans (Russian School): Fouetté en dedans is done in the same manner as en dehors. After a pirouette en dedans the extension is made to the second position en l’air; next the foot is brought in front of, then in back of, the supporting.

En dedans (Cecchetti method): After a pirouette en dedans the working leg is extended to the fourth position derrière en l’air; then with a demi-rond de jambe en l’air en dedans the foot is brought to the front of the supporting knee.

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.

Throwing step. A jump from one foot to the other in which the working leg is brushed into the air and appears to have been thrown. There is a wide variety of pas jetés (usually called merely jetés) and they may be performed in all directions.

Jeté beaten. Both jeté dessus and jeté dessous may be beaten.

jeté en avant, grand (Jeté, grand in attitude)

Large jeté forward. A big leap forward preceded by a preliminary movement such as a pas couru or a glissade, which gives the necessary push-off. The jump is done on the foot which is thrown forward as in grand battement at 90 degrees, the height of the jump depending on the strength of the thrust and the length of the jump depending on the strong push-off of the other leg which is thrust up and back. The dancer tries to remain in the air in a definitely expressed attitude or arabesque and descends to the ground in the same pose. It is important to start the jump with a springy plié and finish it with a soft and controlled plié.

jeté entrelacé

Jeté interlaced. A term of the Russian School. This jeté is done in all directions and in a circle. It is usually preceded by a chassé or a pas couru to give impetus to the jump. Stand on the R leg facing corner 2 in the second arabesque à terre. On the upbeat, demi-plié and raise the L leg to 45 degrees, inclining the body slightly forward; step on the L foot in the demi-plié toward corner 6, opening the arms to the second position; throw the R leg forward to 90 degrees (passing through the first position) toward corner 6 and push off the floor with the L leg. At the same time, lower the arms, then quickly raise them through the first position to the third position to help provide force for the jump. During the jump the body turns in the air to the left and the L leg is thrown out (the legs almost come together and appear to interlace), passes the R in the air and finishes in the back at 90 degrees. The landing is made on the R leg in demi-plié in the first arabesque facing corner 2, on the spot from which the jump began. In the French School this is called “grand jeté dessus en tournant”; in the Cecchetti method, “grand jeté en tournant en arrière”.

jeté, grand

Large jeté. In this step the legs are thrown to 90 degrees with a corresponding high jump. It is done forward to attitude croisée or effacée, and to all the arabesques. It may also be done backward with the leg raised either croisé or effacé devant. Grand jeté is always preceded by a preliminary movement such as a glissade, pas couru or coupe.

jeté, petit

Small jeté. From a demi-plié in the fifth position the working foot glides along the floor until it reaches a position à la demi-hauteur. The supporting foot springs from the floor and the landing is made in fondu on the working leg with the other foot extended in the air or sur le cou-de-pied. Petit jeté is done dessus, dessous, en avant, en arrière and en tournant.

Circular. A term applied to steps or enchaînements executed in a circle.

Mazurka (mazurek)

A Polish folk dance in 3/4 time which has been introduced into a number of ballets as a character dance.

The art of using the face and body to express emotion and dramatic action.

ouvert, ouverte

Open, opened. This may refer to positions (the second and fourth positions of the feet are positions ouvertes), limbs, directions, or certain exercises or steps. In the French School the term is used to indicate a position or direction of the body similar to effacé, that is, à la quatriéme devant ouvert or effacé devant en l’air

pas de bourrée couru

Pas de bourrée, running. A term of the French School. This is a progression on the points or demi-pointes by a series of small, even steps with the feet close together. It may be done in all directions or in a circle. Same as pas de bourrée suivi.

pas de chat

Cat’s-step. The step owes its name to the likeness of the movement to a cat’s leap.

pas de deux

Dance for two.

Marching step. This is the dignified, classical walk of the ballerina and the premier danseur.

penché, penchée

Leaning, inclining. As, for example, in arabesque penchée.

pieds, cinq positions des (Five postions of the feet)

Five positions of the feet. There are five basic positions of the feet in classical ballet, and every step or movement is begun and ended in one or another of these positions, which were established by Pierre Beauchamp, maître de ballet of the Académie Royale de Musique et de Danse from 1671 to 1687. First position (Première position): In this position the feet form one line, heels touching one another. Second position (Seconde position): The feet are on the same line but with a distance of about one foot between the heels. Third position (Troisième position): In the third position one foot is in front of the other, heels touching the middle of the other foot. Fourth position (Quatrième position): In the fourth position the placement of the feet is similar to that in the third position, the feet being parallel and separated by the length of one foot. This is the classical fourth position but it may also be done with the feet in the first position, only separated by the space of one foot. The former is known as quatrième position croisée (crossed fourth position), while the latter is called quatrième position ouverte (open fourth position). Today quatrième position croisée is done with the feet placed as in the fifth position, parallel and separated by the length of one foot, instead of the third position. Fifth position (Cinquième position): In the fifth position, Cecchetti method, the feet are crossed so that the first joint of the big toe shows beyond either heel. In the French and Russian Schools the feet are completely crossed so that the heel of the front foot touches the toe of the back foot and vice versa.

Pricked, pricking. Executed by stepping directly on the point or demi-pointe of the working foot in any desired direction or position with the other foot raised in the air. As, for example, in piqué en arabesque, piqué développé and so on.

Whirl or spin. A complete turn of the body on one foot, on point or demi-pointe. Pirouettes are performed en dedans, turning inward toward the supporting leg, or en dehors, turning outward in the direction of the raised leg. Correct body placement is essential in all kinds of pirouettes. The body must be well centered over the supporting leg with the back held strongly and the hips and shoulders aligned. The force of momentum is furnished by the arms, which remain immobile during the turn. The head is the last to move as the body turns away from the spectator and the first to arrive as the body comes around to the spectator, with the eyes focused at a definite point which must be at eye level. This use of the eyes while turning is called “spotting.” Pirouettes may be performed in any given position, such as sur le cou-de-pied, en attitude, en arabesque, à la seconde, etc.

pirouette à la second, grande

Large pirouette in the second position. This pirouette is usually performed by male dancers. It is a series of turns on one foot with the free leg raised to the second position en l’air at 90 degrees. Demi-plié in the second position (R arm curved in front of the body, L arm in second); spring onto the L demi-pointe, throwing the R leg to the second position and touring en dehors. At the completion of the first turn, the supporting heel is lowered in demi-plié, then immediately pushes from the floor to demi-pointe, and the turn is repeated. After a series of 8 or 16 turns, grande pirouette is usually concluded with multiple pirouettes sur le cou-de-pied. The force for the first turn is taken by the R arm, which opens to the second position. The arms remain in the second position during the series of turns, then close in the first position for the concluding pirouettes. The head turns and the eyes “spot”, providing additional force for the turns.

pirouette piquée

Pricked pirouette. A term of the French School. Same as piqué tour en dedans. (This is a pirouette in which the dancer steps directly onto the point or demi-pointe with the raised leg sur le cou-de-pied devant or derrire, in attitude, arabesque or any given position. This turn is executed either en dedans or en dehors)

Bent, bending. A bending of the knee or knees. This is an exercise to render the joints and muscles soft and pliable and the tendons flexible and elastic, and to develop a sense of balance. There are two principal pliés: grand plié or full bending of the knees (the knees should be bent until the thighs are horizontal) and demi-plié or half-bending of the knees. Pliés are done at the bar and in the centre in all five positions of the feet. The third position is usually omitted. When a grand plié is executed in either the first, third or fourth position croisé (feet in the fifth position but separated by the space of one foot) or the fifth position, the heels always rise off the ground and are lowered again as the knees straighten. The bending movement should be gradual and free from jerks, and the knees should be at least half-bent before the heels are allowed to rise. The body should rise at the same speed at which it descended, pressing the heels into the floor. In the grand plié in the second position or the fourth position ouverte (feet in the first position but separated by the space of one foot) the heels do not rise off the ground. All demi-pliés are done without lifting the heels from the ground. In all pliés the legs must be well turned out from the hips, the knees open and well over the toes, and the weight of the body evenly distributed on both feet, with the whole foot grasping the floor.

pointes, sur les

On the points. The raising of the body on the tips of the toes. Also used in the singular, “sur la pointe.” First introduced in the late 1820s or early 1830s at the time of Taglioni. There are three ways of reaching the points, by piqué, relevé or sauté.

A processional dance in 3/4 time with which the court ballets of the seventeenth century were opened. It may be seen today in such ballets as The Sleeping Beauty and Swan Lake. The polonaise is a march in which two steps are taken forward on the demi-pointes and then the third step is taken flat with the supporting knee bent in fondu and the other leg raised in front.

port de bras

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.

porté, portée

Carried. Refers either to a step which is traveled in the air from one spot to another (such as assemblé dessus porté) or to the carrying of a danseuse by a danseur.

promenade, tour de

Turn in a walk. A term of the French School used to indicate that the dancer turns slowly in place on one foot by a series of slight movements of the heel to the required side while maintaining a definite pose such as an arabesque or attitude. The turn may be performed either en dedans or en dehors. In a pas de deux, the ballerina on point holds her pose and is slowly turned by her partner who walks around her holding her hand. See Tour lent.

Raised. A raising of the body on the points or demi-pointes, point or demi-pointe. There are two ways to relevé. In the French School, relevé is done with a smooth, continuous rise while the Cecchetti method and the Russian School use a little spring. Relevé may be done in the first, second, fourth or fifth position, en attitude, en arabesque, devant, derrière, en tournant, passé en avant, passé en arrière and so on. Occasionally the term may refer to a lowering of the working foot from a position pointe tendue to the ground and reraising it to the position pointe tendue, as in battement tendu relevé. In the Russian school the term relevé is also used to mean the slow raising of the stretched leg to 90 degree in any direction. See Battement relevé lent.

Withdrawn. A position in which the thigh is raised to the second position en l’air with the knee bent so that the pointed toe rests in front of, behind or to the side of the supporting knee.

rond de jambe à terre

Rond de jambe on the ground. An exercise at the barre or in the centre in which one leg is made to describe a series of circular movements on the ground. Both legs must be kept perfectly straight and all movement must come from the hip, along with the arching and relaxing of the instep. The toe of the working foot does not rise off the ground and does not pass beyond the fourth position front (fourth position ouvert) or the fourth position back. This is an exercise to turn the legs out from the hips, to loosen the hips and to keep the toe well back and heel forward. There are two kinds of ronds de jambe à terre: those done en dedans (inward) and those done en dehors (outward). The exercise at the barre is usually preceded by a preparation from the first or fifth position which is done on two introductory chords. Fifth position R foot front (L hand on bar, R arm in second position). Chord 1: demi-plié (lowering the R arm to the first position) and slide the R foot forward to the fourth position, pointe tendue (raising the R arm to the first position and inclining the head toward the bar). Chord 2: slide the R toe along the floor, describing an arc and finishing in the second position as the L knee straightens (the R arm opens to the second position and the head turns to the right). On the “upbeat” the R foot is drawn in an arc to the fourth position back (the head turns forward) and the dancer begins a series of ronds de jambe à terre en dehors. For ronds de jambe à terre en dedans, reverse the movements.

rond de jambe en l'air

Ronds de jambe en l’air are done at the bar and in centre practice and may be single, or double, en dehors or en dedans. The toe of the working foot describes an oval, the extreme ends of which are the second position en l’air and the supporting leg. The thigh must be kept motionless and the hips well turned out, the whole movement being made by the leg below the knee. The thigh should also be held horizontal so that the pointed toe of the working foot passes at (approximately) the height of the supporting knee. Ronds de jambe en l’air may also be done with the leg extended to the second position en l’air (demi-position) and closed to the calf of the supporting leg. The accent of the movement comes when the foot is in the second position en l’air. The movement is done en dehors and en dedans.

Royal. A changement in which the calves are beaten together before the feet change position. Also termed “changement battu.” Fifth position R foot front. Demi-plié in preparation for a small spring into the air, opening both legs slightly. Quickly close the legs and beat the calves of the legs together, open slightly to the side, and come to the ground in demi-plié in the fifth position R foot back.

saut de basque (French and Russian Schools)

Basque jump. A traveling step in which the dancer turns in the air with one foot drawn up to the knee of the other leg. Fifth position R foot front. Demi-plié with R foot retiré devant; step on the R foot in demi-plié to the second position, turning en dedans one half-turn and thrusting the L leg to the second position en l’air; push off the floor with the R foot and complete the turn, traveling to the side of the extended leg and landing on the L foot in fondu with the R leg bent in retiré devant. Both legs should be fully turned out during the jump. Saut de basque may also be performed with a double turn in the air. See Jeté en tournant en avant, grand (Cecchetti method).

sauté, sautée

Jumped, jumping. When this term is added to the name of a step, the movement is performed while jumping. As, for example, échappé sauté. Note: In all jumping movements the tips of the toes should be the first to reach the ground after the jump, then the sole of the foot followed by the heel. In rising from the ground the foot moves in the reverse order.

Sissonne is named for the originator of the step. It is a jump from both feet onto one foot with the exception of sissonne fermée, sissonne tombée and sissonne fondue, which finish on two feet. Sissonne may be performed petite or grande. The petites sissonnes are sissonne simple, sissonne fermée, sissonne ouverte at 45 degrees and sissonne tombée at 45 degrees. The grandes sissonnes are sissonne ouverte at 90 degrees, sissonne renversée and sissonne soubresaut.

sissonne fermée

Closed sissonne. A step of low elevation performed to a quick tempo. This sissonne finishes on two feet with the working foot gliding along the floor into the demi-plié in the fitth position. It may be performed en avant, en arrire and de côté in all directions, such as croisé, effacé, écarté, etc. The French School terms this step “faux entrechat cinq ramassé”.

sissonne ouverte, grand

Big open sissonne. This sissonne is usually performed with high elevation and is done from a demi-plié on both feet and finished on one foot with the other leg raised in the desired pose, such as attitude, arabesque, à la seconde, etc. It is performed en avant, en arrière, de côté, en tournant and is done with a développé or a grand battement at 90 degrees.

tour en l'air

Turn in the air. This is essentially a male dancer’s step although contemporary choreographers use this tour for girls. lt is a turn in the air in which the dancer rises straight into the air from a demi-plié, makes a complete turn and lands in the fifth position with the feet reversed. The turn may be single, double or triple according to the ability of the dancer. Fifth position R foot front. Demi-plié and push off the floor into the air, turning en dehors (to the right). Land in demi-plié in the fifth position, R foot back. The arms assist and the head must spot as in pirouettes. Tour en l’air may also be finished in various poses such as attitude, arabesque, grande seconde or on one knee. It may also be done in a series.

tournant, en

Turning. Indicates that the body is to turn while executing a given step. As, for example, in assemblé en tournant.

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Ballet Terms Dictionary

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In ballet, there are several terms that are used. It can be easy for a beginner to feel lost with all of the terminology! Below you’ll find a complete guide / dictionary for the terms in ballet you need to know.

Allégro refers to all fast or brisk steps and movements. Every step where a ballet dancer jumps are considered allégro. This includes sautés, jetés, cabrioles, assemblés, etc. These movements are typically done after warmup and closer toward the last part of class to avoid injury, and to maximize a dancers range while warmed up.

Abstract Ballet

Abstract ballet are ballets without a plot unlike the Nutcracker, Swan Lake, etc. Most often, contemporary ballets are considered abstract ballets.

Allongé is a term used to describe a position that is stretched or made longer. Usually, allongé is used in arabesque to extend your arm and leg further before closing into another position.

Arabesque is a position in ballet where the body is supported on a single leg, while the other leg is extended directly behind the body with a straight knee. There are several different versions of arabesque such as first, second, and third arabesque. They can also be done at different heights or with a straight leg or in plie.

An assemblé has several different variations. The basics being that the two legs join together in the air. Since assemblé is a jump, you’ll mostly see them in petit allegro and grandé allegro combinations during a classical ballet class.

An attitude is a position where the dancers stands on one leg with the other lifted, either in the front, or back. The leg that is in the air is usually slightly bent at the knee, creating an approximate 145 degree angle.

En avant refers to moving towards the front. En avant is not an actual step or position in ballet, but is used in conjunction with other terms, such as tendu en avant.

Adagio refers to slow movements in ballet. This means movements in adagio are performed with the greatest amount of fluidity, control, and grace. Movements in adagio during ballet class are used to help dancers increase strength, control, and flexibility.

Balançoire is a term used to describe exercises such as grande battements or dégagés. When a ballet dancer does a combination with balançoire, they’ll repeatedly swing their leg from front to back.

Ballet Blanc

Ballet blanc is a term used to describe ballet where dancers wear white tutus (also known as romantic). Some popular ballet blanc include La Sylphide, Giselle, and Les Sylphides.

Battement Développé

A Battement Développé is a classical ballet term that refers to a dancer moving their working foot up to a retiré position and opening to the front, side or back with a deliberate motion from a fifth position.

Battement Fondu

A Battement Fondu is a term for a movement done in fondu. During this movement, a dancers supporting leg is slowly bent in fondu with the working foot pointing on the ankle. As the ballet dancer’s supporting leg straightens, the working leg also extends to a straight position.

Battement Jeté

Grand Battement Jeté is a classical ballet term that desribes how a grand battement is “thrown.” This ballet term is all about the idea that the working leg quickly gets to the top positions rather than slowly. Keep in mind, a quicker grand battement jeté leads to a better grand allegro.

Battement is a ballet term which literally translates to “beating.” This term in ballet describes the closing and opening of a dancers legs.

Grand Battement

A grand battement is common term which translates to “large battement.” A large battement is when a ballet dancer throws their working leg into the air from the hip and brings it back down to a position, usually fifth position. In grand battement, it’s important that a dancer keep both legs straight while the body remains still.

Petit Battement

A petit battement is a ballet term used to describe a small beating action of the leg or foot.

Battement Arrondi

A battement arrondi is defined as a “rounded battement.” The battement arrondissement is a step when the dancer’s toes of a working foot move in a semi-circle in the air, at about 45 degrees from the front to back, or back to front. This is commonly used in ronde hame exercises at the barre.

Battement Battu

A battement battu is a classical ballet term for a movement where your working foot is placed a sur cou-de-pied position and taping the opposite legs ankle deviant or derriere. These are typically done at barre or during a frappe exercise.

Battement Dégagé

A Battement Dégagé is commonly used in Cecchetti technique. It is very similar to a battement tendu but done at twice the speed with the working foot rising about 4 inches from the floor.

Batterie is used to describe all beaten steps or steps with beats as a group. It is a classical ballet term, and some examples of batterie are a jeté battu and a cabriolé. Both are examples of batterie because there is a beating of the dancer’s legs when performing those steps.

Battu is a term used to describe any ballet step that is made more difficult by adding a beating of the legs in the middle of the jump. For example, a jeté battu would mean that the dancer would beat their legs once before landing in a coupé

Beats are basically the same as the ballet term “battu” where a ballet dancer can make a jump more difficult by adding beats.

Bras is a classical term that translates to “arms.” You’ll typically hear this term used in conjunction with other ballet terms.

Balletomane

A balletomane is a term used to describe avid ballet fans and enthusiast. This term was invented in Russia around 1930.

Ballon is term in ballet used to define a dancer showing lightness and ease in jumps. This is used to describe the quality of the jump and not the height. A dancer with great ballon appears to pause at the height of the jump before making their descent into a landing.

Balloné is a common term in ballet used to describe a technique where the leg is extended to the second or fourth position at 45 degrees. Then, the knee is bent and the foot brought to a sur le-cou-de-pied position. There are two different versions of the balloné, at 45 degrees, it is called a petit balloné and at 90 degrees it is a grande balloné.

Ballotté is a term in ballet for a set that consists of a coupé dessous performed in sequence with a rocking, swinging movement. The Ballotté can be performed either with straight knees at 45 degrees or with développés at 90 degrees.

Barre is one of the most common terms in ballet. A barre is a horizontal bar that is either fastened to walls or free standing that dancers use for additional support to perform exercises. Barre has become a popular term as barre classes have become a common class that is conducted for fitness class and to warmup for ballet class.

En Bas is a term in ballet that means “low.” Typically, teachers will use en bas to describe a low position of the arms.

Brisé is a classical ballet term defined as “breaking.” A Brisé is when a ballet dancer jumps from one or both feet, beat their legs, and ends up on one or two feet. A brisé is done from either fourth or fifth position.

A Brisé Volé is a term in ballet that means “flying Brisé.” A Brisé Volé is easily described as when a ballet dancer alternates between a Brisé front and back in succession.

A balancé is common ballet term used to describe a step where a dancer moves while alternating the balance between their feet.

Cabriole is a term in ballet that means “caper.” In a cabriole, a ballet dancer jumps into the air from one leg as the other is thrown upwards.

A cabriole can also be done as a double cabriole where the beating happens twice in the air before landing. A double cabriole is usually done by men in classical ballet.

Cambré is a classical ballet term that is defined as “arched.” When ballet dancers are doing Cambré, they are bending their bodies from the waist and stretching backward or sideways. While bending, the dancers head follows the movement of the upper body and arms.

A cavalier is the male partner of a ballerina.

Cechetti is a term in ballet used to describe the teachings of the classical ballet method of Enrico Cecchetti.

Chaînés is a classical ballet term that refers to the chains or links of turns performed by a dancer. These series of turns are performed on both feet with the ballet dancer picking up each foot back and forth in order to keep the movements going.

Changé is a classical ballet term that describes a dancer’s feet changing places.

Changement is a classical ballet term similar to a Changé. However, with a changement, a dancer performs a jump from fifth position with the feet, jumping and changing the foot position in the air so they land with the opposite foot in front.

Chassé is a common term used in ballet to describe the basic step where the back foot “chases” to meet up with an extended front foot.

Chassé en tournant

Chassé en tournant is a ballet term similar to a chassé but when the dancer performs a single turn in the air as the feet and legs come together, and then lands on the back leg with the front leg extended front.

Cinq is common term in ballet meaning “five.” Cinq is simply a direct translation meaning “five.” It is used in conjunction with other terms such as pas de cinq, meaning a dance for five ballet dancers.

En Cloche is a common ballet term that describes when a dancers goes back and forth between battement, passing through first position. En Cloch has a literal translation of “like a bell,” which is why this movement is referred to as en cloch.

A Coda is a ballet term that refers to the finale. A coda is most commonly the finale of a pas de deux, and usually follows the female’s variation as the finale.

Compound Step

In ballet, a compound step is a term that describes a step made up of two or more steps.

Contretemps

A contretemps is usually a predatory step that occurs before the beat of the music, and when performed by a dancer it looks like they are in brisé, but opening their body to the other side at the last moment.

Corps is a common classical term in ballet most commonly used with “corps de ballet.”

Corps de Ballet

Corps de ballet is a classical ballet term that refers to a group of dancers that perform together. Corps de Ballet is also a term used to describe a dancer’s rank within the ballet company.

Coryphée is a ballet term that means “leader.” Coryphée is only used to describe the leader of the corps de ballet, and does not include soloists or principal dancers. Coryphée can also be used to define a rank within a very large ballet company, such as Paris Opera Ballet. This is not a commonly used term.

de côté is a term used in ballet to describe a step performed to the side, either the left or right.

Cou-de-pied

Sur le cou-de-pied is a ballet term that refers to the position of the foot. This is not a step. The position of sur le cou-de-pied is when the working foot is placed on the other leg between the base of the calf and the top of the ankle.

https://getballetbox.com/what-is-a-coupe-in-ballet/ is a term used in classical ballet with a translation of “cut” or “cutting.” It’s used to describe a step where one foot cuts the other foot away, while taking its place. Its typically used as an intermediary step between larger steps such as coupé jeté or a coupé-chassé en tournant.

Want to learn more? Read : What is a coupé?

Coupé-jeté en tournant

Coupé-jeté en tournant is also commonly called “coupé jeté.” A Coupé-jeté en tournant is a split jeté with a turn done in between. This step can be done as a series en menège, in a circle, or simply as a single step.

coupé-chassé en tournant

A coupé-chassé en tournant is a classical ballet term for a step performed in ballet. It is done when a dancer turns in the air in a coupe position. It’s most commonly used as a predatory step, usually by men for a grand allegro.

Croisé is term in ballet used to describe when a dancer’s legs appear to be crossed from the audience.

En Croix is a term commonly used in ballet to let dancers know a step should be done to the front, side, and then back.

Cuisse is a term in ballet that means “thighs.”

en Dedans is a term in ballet that is always attached to another term. en Dedans means “inward” and describes the direction of movement. For example, a pirouette en dedans would mean the dancer is pushing their back leg to the front and turning “inward” to their supporting leg.

Dégagé is a common ballet term meaning to “disengage.” A Dégagé is a movement and not a step, and is when a dancer moves their leg off the floor from a pointed food and straight leg to the front, side, or back.

Read more: What is a Dégagé?

En Dehors is a common term meaning “outward.” En Dehors is added to other steps to signify which way a step should be moving. For example, a Rond de Jambe en Dehors would mean that the dancer would turn “outward” away from the supporting leg.

Demi is a term used in ballet to describe a “half” movement. For example, demi-plie or demi arabesque.

Derrière is a common ballet term used to describe the direction or position towards the back.

Dessous is a ballet term that describes when a leg or arm passed behind or under another.

Dessus is the opposite of Dessous. It’s a common term used in ballet meaning “over.” Dessous is used to define movements or steps where the working leg r foot passes over or infant of the supporting leg.

Détourné is a term that describes when a dancer turns once completely on both feet, on pointe or demi-pointe.

Demi Détourné

Demi Détourné is similar to the Détourné but is for a half turn rather than a full turn.

Devant is a classic ballet term that is used to define steps or movements that are in the from of the body.

Développé is a movement where the ballet dancer’s working leg is brought up to the knee of the supporting leg and extended to an open position.

Emboîté is a ballet term for a type of jeté where the dancer alternates their legs in a bent position and springing into front attitudes.

Écarté is when ballet dancer is facing their entire body into one of the two front corners and their face in the other. This is most commonly used to define how a dancer stands when on stage.

Échappé is a term used for a movement done in ballet with the legs and feet. Beginning in the closed position (usually fifth position with the feet), a ballet dancer will slide both feet out into second or fourth position.

Effacé is the opposite of croisé. Effacé is a step or pose in ballet where the legs look open when seen from the front.

Extension is a common term in ballet that describes a ballet dancer’s ability to raise and hold their leg extended in the air. A good extension is critical for women in ballet, and is the result of lots of hard work and training.

Entrechat is a term in ballet that describes when a dancer jumps into the air and beats their legs by changing the position of their legs and feet.

Entrelacé is when a ballet dancer battements one leg to the from while piling with the other, then jumping and landing on the first leg while completing a half turn in the air.

Enveloppé is a step or movement in ballet where the dancer begins with the working leg stretched to the front, side or back. The dancer’s leg is then brought into either you-de-pied or passé and closed in fifth position.

Épaulment is a term in ballet that describes where a ballet dancer’s shoulders are in relation to the lower half of the body.

Étoile is a term commonly used in the Paris Opera ballet to describe the “star” of the show, or leading dancer. In other ballet companies, Étoile is considered the same as a principal dancer.

A Frappé is a movement that is typically done at the bar to improve speed and precision of a dancer’s legs and feet. To do a Frappé, you will start with your outside leg flexed in a turned out position, lifted from the floor. Your heel will be placed slightly above the ankle bone of the standing leg. Then, you’ll extend your leg and point your foot towards the floor, causing a “strike” on the floor.

Fouetté is a term in ballet used to describe a quick whipping action of a ballet dancer’s leg or body.

Fouetté Turns

Fouetté turns are when a ballet dancer does a full turn in passe. Then, a pile on a single standing leg while the retire leg extends to cruise and rond de jambes.

Fondu is a ballet term that describes the movement of a dancer doing a plie on a single leg, and slowly sinking down (or melting down like fondu cheese!).

A fish dive is a term in ballet used to describe where the ballerina is in a retiré position and held low to the ground by a male dancer.

Finger Turns

A finger turn is a step in ballet where a ballerina turns while partnered with a male dancer, while being connected during their turn by their hands or fingers.

Fermé is a ballet term used to describe how the legs and feet end in a step. For example, when a dancer jumps into the air and closes both feet in the fifth position, it is referred to as sissone fermé.

A Failli is a preparatory step used by ballet dancers before a jump. In a failli, a dancer will seem to dégagé each leg to the front immediately after the other with a small jump.

en Face is a term in ballet used to describe the direction a dancer is facing. En Face means the ballet dancer is facing the audience.

Grande is a term in ballet that means large and is usually used to describe a step, and not used alone. For example, grande allegro or grande jete.

A glissade is a small jump in ballet that is used to link other steps together. A glissade is performed by plieing in fifth position, and then sliding one foot out into a dégagé.

Gargouillade

A Gargouillade is performed by ballet dancers by degagering on a single leg to the side, then performing a rond de jambe with that same leg, while pushing from the floor with the other leg, and doing a rond de jambe with that leg.

En Haut is a term in ballet that refers to a position being done in a high position. You’ll typically here En Haut used with fifth position. For example, “Fifth en Haut.”

A Jeté is ballet term for a jump where the dancer extends one leg and then jumps off the floor with the other. There are many forms of Jeté’s including petit, grande, battu, and more.

A petit jeté is similar to the term jeté, but refers to a smaller jump and is typically used in petit allegro combinations.

A grand jeté is a big jump typically done by intermediate to advanced ballet students.

Jeté battu is a petit jeté that is also beaten with straight legs before landing in court-de-pied.

Jeté entrelacé

Jeté entrelacé is an interlaced jump, where a dancer will throw a single leg in the air, jump and bring the other leg to meet the leg that is in the air, and switching their body position half way around, before landing in arabesque.

Line is a common term used in ballet to describe the outline of a dancer’s complete body as they perform steps.

Manèges is a term in ballet that describes when dancer’s do movements or steps in circular patterns.

Ouvert is a term used in classical ballet that is synonymous to effacé.

A plié is a basic movement in ballet that is defined as a ballet dancer bending at the knees. A plié can be done in 1st, 2nd, 4th, and 5th positions.

Pas is a term used in ballet to describe a step. You’ll commonly hear pas being used for almost any step that involves the transfer of weight.

Pas de Couru

A pas de couru is a moving step used to prepare for a grandé allegro or grandé jeté. When a dancer is performing a pas d couru,they will look like they’re kicking their legs in front in rhythm.

Pas de Action

Pas de action is a term used to describe a story that is being told though movements. This describes almost every ballet.

Pas de Basque

A pas de basque originated from the national dances of the basque. It involves a dancer starting from a plie on the left leg, and then extending their right leg into a tendu front croise, and then sliding their right foot in a half ron de jambe to carte back while staying in plie. Finally, the ballet dancer will transfer weight from their left leg to the right so the left is in tendu carte before finishing in the fifth position.

Pas de bourrée

Pas de bourrée is a beginner step in ballet and used in preparation for pirouettes and jumps.

Pas de Chat

A pas de chat is a step in ballet that starts in fifth position. The dancer’s right foot will be in back, then the dancer will plie, jump with the right leg to go into retiré, and quickly move the left leg into passé. Following this, the ballet dancer will then place their right foot on the floor first, followed by the left in front to fifth position.

Pas de Cheval

A Pas de Cheval is a step in ballet where a dancer starts in fifth position. From fifth, the ballet dancer will lift the front leg into you-de-pied, and then extend into a tendu. A pas de cheval can also be performed ending in a dégagé in all three positions.

Pas de Deux

Pas de deux refers to a dance when two dancers are paired together. Usually, every classical ballet will feature at least one pas de deux.

Pas de Quatre

Similar to a pas de deux, a pas de quatre is comprised of four ballet dancers.

Pas de Trois

Pas de trois is a partnering in ballet of at least one male and either two female ballet dancers, or another male and female.

Pas de Valse

A pas de valse is done individually by female dancers, or sometimes with a partner. During a pas de valse, a dancer will extend and step one leg as the other brushes front while decorating the step with a classical port de bras.

Passé is classical term in ballet that refers to when a dancer goes through the retiré position.

A Penché in ballet is when a dancer bends forward over a single leg while the other is in arabesque well above 90 degrees.

Pied is a classical ballet term that means “foot.”

Piqué Piqué is a term used in ballet to describe the transfer of weight from ballet dancer on full pointe or demi-pointe.

a Piqué tour or Piqué turn, is a common step done by female ballet dancers. A ballerina doing a Piqué turn will step directly on to full point or a high demi-pointe right as they begin to turn onto that same leg.

Piqué Manege

Piqué manege is a term in ballet that describes Piqués done in circles.

A pirouette is popular term in ballet that describes the turning around of a ballerina on a single leg with the other leg off the ground and in a position.

Pirouette a la seconde

Pirouette a la seconde defines a a spin with a leg in second position.

A promenade is a term in ballet that is when a dancer turns on a single leg while the standing leg’s heel is on the floor. The other leg will be in a position such as arabesque, etc.

Préparation

Préparation is a classical ballet term that defines a preparation step/movement/position.

Pirouette en Dedans

A pirouette en dedans is a pirouette that turns inwards on the standing leg.

Pirouette en Dehors

A pirouette en dehors is a pirouette that turns towards the direction of the lifted leg.

A polonaise is defined as a dance in classical ballet that is done in 3/4 time.

Port de Bras

Port de Bras is defined in ballet as the movement of the arms from one position to another.

Quatrième is a term in ballet that refers to the fourth (4th) position.

Raccourci is commonly used in the French school of ballet and has the same meaning as the term retiré.

Régisseur is a term used in ballet for the title of someone who restates or rehearses a ballet company.

Relevé is a term used in ballet to describe when a dancer rises on their toes en pointe.

Relevé lent

Relevé lent is a term common in Russian ballet schools for a position where the dancer starts with straight legs, then lifts a single leg off the floor while raising up to Relevé on the supporting leg. Then, the ballet dancer will move in a slow adagio tempo without a plié.

Renverse is when a ballet dancer bends their body from the waist, both sideways as well as backwards, with their head following the movement of the body.

Retire is also known as passe, and is the position where a ballet dancer raised their thigh with the knee bent, while the pointed foot is placed either in the front, back or to the side of the supporting knee.

Retombe means when a ballet dancer falls back to the original position from where they started.

Grande Reverence

A grande reverence is curtsy from a female dancer after a performance.

Rivoltade is performed by male dancers. It is when they do a battement on a single in the air and jump over it with the other leg.

Rond is a rounding movement associated with other terms such as rond de jambes.

Rond de Bras

Ronde de bras is used to define a ballet dancers roundness of their arms in first, or fifth positions. This is not a commonly used term.

Rond de Jambe

Rond de Jambe is a common step in ballet and is a circular movement of the leg. There are several variations of rond de jambe including:

  • Rond de jambe a terre
  • Double rond de jambe
  • Rond de jambe en l’air
  • Rond de jambe en l’air releve
  • Rond de jambe en l’air saute
  • Fouette rond de jambe en tournan
  • Rond de jambe ferme
  • Grand rond de jambe jete

A Royale is a classical term in ballet for a dancers jump when they beat their legs once before changing position of their feet and landing.

Sauté is a step performed while jumping in ballet. It is commonly used while closing in fifth position.

À la seconde

À la seconde is a term used in ballet that indicates a movement should be done with the feet in second position.

Sur Les Pointes

Sur le Pointes means on the tips of your toes while wearing pointe shoes.

Spotting in ballet refers to when a ballet dancer turns their head while doing turns to keep from getting dizzy and to maintain balance while doing several turns.

Soutenu is a term in ballet that refers to a dancer turning in a sub-sous or fifth position en pointe, and ultimately ending up with the opposite foot in front.

Sus-sous is a term in ballet that refers to when a dancer springs one releve en pointe, and quickly placing the back foot closest behind the front in fifth position with fully stretched legs.

Soubresaut is a term in ballet that describes a quick jump from two feet and with the dancer landing on two feet in fifth position.

Sissonne is a ballet term that describes a dancer jumping from two feet and splitting there legs like scissors in mid-air prior to landing.

Sickling is a term used in ballet to describe a ballerina’s foot being incorrectly pointed, giving it a curved look. This is commonly caused by either poor form, or pointe shoes that are not the right fit.

Saut de basque

Saut de basque refers to a traveling jump by a ballet dancer where they turn in the air with a single leg in a retire position.

Saut de chat

Saut de chat refers to a particular jump in ballet which varies based on the school of ballet such as French or Italian, etc.

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jeté en tour nant

Definition of jeté en tournant, word history.

French, literally, jeté while turning

1930, in the meaning defined above

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jeté en tournant

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“Jeté en tournant.” Merriam-Webster.com Dictionary , Merriam-Webster, https://www.merriam-webster.com/dictionary/jet%C3%A9%20en%20tournant. Accessed 1 Mar. 2024.

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English translation of 'jeter'

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COMMENTS

  1. Tour jeté Definition & Meaning

    The meaning of TOUR JETÉ is a high turning leap in ballet starting with battement and finishing in arabesque —called also jeté en tournant. ... French, literally, thrown turn . Love words? You must — there are over 200,000 words in our free online dictionary, ...

  2. 7 Commonly Used Ballet Terms, and What They Actually Mean in France

    Tendu. Everyone in the world who knows ballet understands what you mean when you say, "Four tendus front," but the French say dégagez four times front. Dégager means "to disengage.". You dégagé the leg to the front, side or back from a closed fifth or first position to an open position. You can dégagé to the floor, at half height ...

  3. Glossary of ballet

    A À la seconde. French pronunciation: [a la səɡɔ̃d]) (Literally "to second") If a step is done "à la seconde", it is done to the side.'Second position'. It can also be a balance extending one foot off the ground in 'Second Position'. À la quatrième. French pronunciation: [a la katʁijɛm]) One of the directions of body, facing the audience (en face), arms in second position, with ...

  4. TOUR JETÉ Definition & Usage Examples

    Tour jeté definition: . See examples of TOUR JETÉ used in a sentence.

  5. tour jeté

    A son tour, il se jette dans un cours d'eau plus important, le Glain. In turn, it flows into a large stream, the Glain. À mon tour, je me jette sur ses jambes et je l'attire dans l'eau sans ménagement. When my turn comes, I throw myself onto his legs and attract him in the water bluntly. Display more examples.

  6. Jeté

    jeté, (French jeté: "thrown"), ballet leap in which the weight of the dancer is transferred from one foot to the other. The dancer "throws" one leg to the front, side, or back and holds the other leg in any desired position upon landing. Among the commonly seen forms of this step are the jeté battu, in which the legs are crossed in the air before the descent; the grand jeté, a ...

  7. TOUR JETÉ definition in American English

    TOUR JETÉ definition: a jeté made while turning | Meaning, pronunciation, translations and examples in American English. TRANSLATOR. LANGUAGE. GAMES. SCHOOLS. BLOG. RESOURCES. ... noun Word forms: plural tours jetés (French tuːʀ ʒəˈtei) Ballet. a movement in which the dancer leaps from one foot, makes a half turn in the air, ...

  8. tour jeté, n. meanings, etymology and more

    There is one meaning in OED's entry for the noun tour jeté. See 'Meaning & use' for definition, usage, and quotation evidence. Entry status. OED is undergoing a continuous programme of revision to modernize and improve definitions. ... tour jeté is a borrowing from French. Etymons: French tour, jet ...

  9. ABT

    Pricked pirouette. A term of the French School. Same as piqué tour en dedans. (This is a pirouette in which the dancer steps directly onto the point or demi-pointe with the raised leg sur le cou-de-pied devant or derrire, in attitude, arabesque or any given position. This turn is executed either en dedans or en dehors) plié [plee-AY]

  10. Tour Jeté

    Today we are breaking down tour jeté also known as jeté entrelacé or grand jeté en tournant or simply "entrelacé".Although it has many names today I will be ...

  11. TOUR JETÉ definition and meaning

    TOUR JETÉ definition: a jeté made while turning | Meaning, pronunciation, translations and examples

  12. Ballet Terms Dictionary

    Raccourci is commonly used in the French school of ballet and has the same meaning as the term retiré. Régisseur. Régisseur is a term used in ballet for the title of someone who restates or rehearses a ballet company. Relevé. Relevé is a term used in ballet to describe when a dancer rises on their toes en pointe. Relevé lent

  13. English Translation of "JETTE"

    English Translation of "JETTE" | The official Collins French-English Dictionary online. Over 100,000 English translations of French words and phrases. TRANSLATOR. LANGUAGE. GAMES. SCHOOLS. BLOG. RESOURCES. ... This week's French word is 'bout'. Find out its meaning and how it is used! February 26, 2024 Read more

  14. jeté translation in English

    v. past part. Vous avez détruit mes certificats et jeté au mitard. You shredded my certificates, and threw me in solitary. On lui a jeté quelque chose pour créer cette éclaboussure. Someone threw something at her to create that splatter. Un habitant a été momentanément aveuglé et jeté à terre.

  15. Jete en tournants Definition & Meaning

    The meaning of JETÉ EN TOURNANT is tour jeté. Show more; Show more. Citation ; Share ; Save Word

  16. Translate "JETÉ" from French into English

    French-English translation of "JETÉ" | The official Collins French-English Dictionary with over 100,000 English translations. TRANSLATOR. LANGUAGE. GAMES. SCHOOLS. BLOG. RESOURCES. More . English - French. ... This week's French word is 'bout'. Find out its meaning and how it is used! February 26, 2024 Read more

  17. How to pronounce tour jete in French

    How to say tour jete in French? Pronunciation of tour jete with 1 audio pronunciation, 7 translations and more for tour jete.

  18. jeste translation in English

    jeste translation in French - English Reverso dictionary, see also 'jésuite, jet, jetée, jeter', examples, definition, conjugation

  19. English Translation of "JETÉE"

    English Translation of "JETÉE" | The official Collins French-English Dictionary online. Over 100,000 English translations of French words and phrases. TRANSLATOR. LANGUAGE. GAMES. SCHOOLS. BLOG. RESOURCES. ... This week's French word is 'bout'. Find out its meaning and how it is used! February 26, 2024 Read more

  20. jetés translation in English

    se jeter sur [+adversaire] to jump on, to set upon. [+nourriture] to throw o.s. onto. se jeter par la fenêtre to throw o.s. out of the window. se jeter à l'eau (fig) to take the plunge. se jeter dans la gueule du loup to put one's head in the lion's mouth. se jeter dans les bras de qn to throw o.s. into sb's arms.

  21. English Translation of "JETER"

    English Translation of "JETER" | The official Collins French-English Dictionary online. Over 100,000 English translations of French words and phrases.