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🔥 Glossary of ballet - Wikipedia

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A particularly large or complex coda may be called a grand coda. If a large group of dancers participate, the terms coda générale or grand coda générale may be used. Corps de ballet. The ensemble of a ballet company, especially the ensemble apart from the featured dancers.
In addition, guy dancers are called ballet dancers. Another slang word for a ballet dancer (often used among dancers towards each other) is a bunhead.. What is it called when earth spins each.
"This isn't about turns..." ballet ballet ballet. Dance Moms Maesi and Lilly Attempt to Break 10 Minute Photo Challenge Record (with a giveaway) - Duration: 14:06. Jordan Matter 9,725,556 views

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What besides a pirouette, are spins called in ballet? I LOVE, to watch dancers do spins and I'm amazed by how, they can keep from falling over, or getting dizzy. Could you please, give me the term for each and, it's definition, including a pirouette? Also, what is a burrey or berrey? Is it the one where the female dancer spins on one.
Italian: , at leisure or at ease. 1. Slowly and fluidly. 2. An exercise in ballet class, at the barre and/or center floor, that includes slow, fluid movements such as développés; clear, linear positions such as arabesques and attitudes; and smooth, controlled pirouettes, all intended to build strength, poise, grace, and aplomb.
SUNDAY, Sept. 29 (HealthDay News) -- Ballet spins are breathtaking to watch but hard to do, and a new study suggests that years of training help dancers' brains adapt so they can avoid feeling dizzy when they perform pirouettes. The researchers concluded that dancers are able to suppress signals.
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Ballet Terms, Positions, and Poses | Atlanta Ballet What are the spins called in ballet

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In addition, guy dancers are called ballet dancers. Another slang word for a ballet dancer (often used among dancers towards each other) is a bunhead.. What is it called when earth spins each.
Additional Ballet Terms. Choreography - describes the steps, combinations, and patterns of a ballet or dance. Pointe Shoes - The satin ballet shoes used by dancers when dancing on their pointes (toes). Pointe shoes are reinforced with a box constructed of numerous layers of strong glue in between layers of material.
In ballet, a turn in the direction of the raised leg is said to be en dehors whereas a turn in the opposite direction is en dedans. In ballroom dancing , a natural turn is a clockwise revolution of dance partners around each other, and its mirrored counterpart is the counter-clockwise reverse turn .

starburst-pokieGlossary of ballet - Wikipedia What are the spins called in ballet

How to Do Pique Turns | Ballet Dance - YouTube What are the spins called in ballet

Ready to do more of the class? All the Ballet moves and steps you've seen in these video guides are from our Ballet for Adult Beginners dvd. On it, you not only get the instruction, but each step is practised to music, and there are many other Ballet moves included, such as . a grande battement; an arms and feet position exercise
Why Ballet Dancers Can Spin Without Getting Dizzy. Study found years of training suppressed signals of imbalance; findings could help those with chronic dizziness. Please note: This article was published more than one year ago. The facts and conclusions presented may have since changed and may no longer be accurate.
SUNDAY, Sept. 29 (HealthDay News) -- Ballet spins are breathtaking to watch but hard to do, and a new study suggests that years of training help dancers' brains adapt so they can avoid feeling dizzy when they perform pirouettes. The researchers concluded that dancers are able to suppress signals.

What are the spins called in balletcasinobonus

An attribute of many movements, including those in which a dancer is airborne e.
The arm positions can vary and are generally allongé.
Rounded, in contrast with allongé 'stretched out', as in arabesque.
A jump that takes off from one foot and lands on two feet.
When initiated with two feet on the ground e.
The dancer launches into a jump, with the second foot then meeting the first foot before landing.
A petit assemblé is when a dancer is standing on one foot with the other extended.
The dancer then does a small jump to meet the first foot.
The height of the knee versus the foot and the angle of the knee flexion will vary depending on the techniques.
The working leg can be held behind derrièrein front devantor to the side à la seconde of the body.
The alignment of the thigh compared to the midline in Attitude derrière will vary depending on the techniques.
The foot of the supporting leg may be flat on the floor, en ball of the footor tips of the toes.
The standing leg can be straight or bend "fondu".
For example, a step travelling en avant moves forwards towards the audience, as in en avant.
Before the first count, one foot extends in a dégagé to balancé de côté or to the front balancé en avant or rear balancé en arrière.
The second foot in the sequence in any direction assembles behind the first to relevé in fifth or fourth position.
The word is of Russian origin c.
A dancer exhibiting ballon will appear to spring effortlessly, float in mid-air, and land softly like a balloon.
The knee is then bent and the foot brought to a sur le cou-de-pied position.
This can also be done as a relevé or jump.
The step can be performed with the leg extensions at 45 or 90 degrees.
A fixed barre can be seen in the background.
A sturdy horizontal bar, approximately waist height, used during ballet warm-up exercises and training.
Fixed barres are typically mounted on mirror-covered walls; calls casino larry barres can be relocated as needed.
Typically performed in multiples, quickly and in rapid succession so that the working foot appears to be fluttering or vibrating.
To execute a brisé en avant, the dancer demi-pliés in fifth position and brushes the back leg through first position to the front, then springs into the air and brings the second foot to meet it in the back before switching to the front to land, creating a beating action with the legs.
In a brisé en arrière, the process is reversed, with the front leg brushing to the back and beating to land in front.
Usually during a key solo.
Quick, even steps, often en pointe, giving the appearance of gliding.
The word originates from an old French dance resembling the gavotte.
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, and so on.
Also known as "chaînés turns," a common abbreviation for tours chaînés déboulés, a series of quick, 360 degree turns that alternate the feet while traveling along a straight line or in a circular path.
Each foot performs a half turn, with feet held in a tight or.
A jump in which the feet change positions in the air.
For example, beginning in fifth position with the right foot front, plié, jump switching the right leg to the back, and land in fifth position with the left foot front.
In the Vaganova vocabulary, petit changement de pieds indicates a changement where the feet barely leave the floor.
It can be done either in a gallop or by pushing the leading foot along the floor in a plié to cause an upward spring.
It is typically performed in a series or as part of a combination of other movements.
Instead, the leading foot is pushed along the floor in plié as described https://dkrs-sochi.ru/call/call-of-duty-free-online-game-black-ops.html, as a transition into another movement or position.
Can be done continuously, as is often done with and.
Similar towhich additionally allows seesaw like upper-body shifting in counterpoint to the legs.
The Vaganova system may refer to en cloche as "passé la jambe" or "battement passé la jambe".
A particularly large or complex coda may be called a grand coda.
If a large group of dancers participate, the terms coda générale or grand coda générale may be used.
Being a part of the corps means one is neither a soloist nor a principal dancer.
It is commonly executed from cou-de-pied front to cou-de-pied back what are the spins called in ballet vice versa.
It may also be done from an extended leg position into fondu or directly through fifth position as in concluding a jeté.
Coupé can only be performed through a closed leg position.
The Vaganova School rarely uses the term coupé except as the preparation for specific allegros.
Rather, "tombé through fifth position" is more commonly used.
In the United States, "coupé" may be used to denote the position cou-de-pied, not unlike "passé" is used to denote the position retiré in addition to the action of passing through retiré.
Facing one of the corners of the stage, the body presents at an oblique angle to the audience, such that the audience can see still both shoulders and hips.
The working leg may be crossed to the front devant or to the back derrière.
Croisé is used in the third, fourth, and fifth positions of the legs.
A dancer is in croisé devant if at a 45 angle to the audience, the downstage leg closest to the audience is working to the front and the arms are open in third or fourth with the downstage arm being the one in second.
A dancer is in croisé derrière if at a 45 degree angle to the audience, the upstage leg farthest from the audience is working to the back and the arms are open in third, fourth, or in with the upstage arm being the one out towards second, e.
Croisé derrière in the Russian school alternatively has the upstage leg working to the back, but https://dkrs-sochi.ru/call/call-my-bluff-online-game.html downstage arm out to second.
A fast sequence of half turns performed by stepping onto one leg, and completing the turn by stepping onto the other, performed on the balls of the feet or high on the toes, with the legs held very close together.
For the right leg, this is a counter-clockwise circle.
For the left leg, this is a clockwise circle.
For example, in a rond de jambe en dedans, starting fromthe foot first extends to tendu back, then moves to tendu to the side, and then tendu front, and back in again to first position.
In a pirouette en dedans, the dancer would turn to their right if their left leg was lifted, or vice versa.
Dégagé is part of the initiating execution of jumps such as jeté, assemblé, brisé, and glissade.
For a right working leg, this is a clockwise circle.
For example, in a rond de jambe en dehors, starting fromthe foot either left or right would first extend tendu front, move to tendu to the side, and then tendu back, and back in again to first position.
In a pirouette en dehors, the body turns in the direction of the working leg the leg raised in retiré passé.
The feet will have now changed position with the left foot in front in 5th position.
For example, a battement tendu derrière is a battement tendu to the rear.
For example, assemblé, pas de bourrée, and glissade can be designated as under or dessous.
For example, assemblé, pas de bourrée, and glissade can be designated as over or dessus.
A movement in which the leg is network game theory to cou-de-pied or and then fully extended outward, passing through attitude.
It can be done to the front devantto the side à la secondeor to the back derrière.
The arm on the same side as the working leg i.
The gaze is directed to the raised arm along the same diagonal.
In schools that recognize an écarté derrière, such as the French school, écarté devant is described above, and écarté derrière differs in having the working leg in second being on the same side as the corner the body is facing, i.
There are two kinds of échappés: échappé sauté and échappé sur les pointes or demi-pointes.
In an échappé sauté, a dancer takes a deep plié followed by a jump in which the legs "escape" into either second usually when initiating from or fourth position usually when initiating from fifth position landing in demi-plié.
The dancer may or may not return to the initial position, depending on the choreography.
This term is used in some schools in contrast with in effect, 'relifted'which is taken to indicate a rise from bent knees.
In other schools French, Russian, textbook Cecchettirelevé covers both these concepts.
Both legs shoot straight downward in the air, and land on one foot in cou-de-pied.
This can be done several times in succession.
In an entrechat six 'six'three changes of the feet are made in the air, ultimately changing which foot is in front.
Even-numbered entrechats indicate the number of times the legs cross in and out in the air: a regular changement is two one out, one inentrechat quatre is two outs, two ins; six is three and three; huit is four and four.
Odd-numbered entrechats refer to the previous number, but done landing on network game theory foot with the other in cou-de-pied: for example, an entrechat cinq five is the same as an entrechat-quatre, but done landing on one leg.
This term relates only to the movement of the body from the waist up.
The head generally looks over shoulder that is forward downstage.
A slide or brush-through transition step following a preceding jump or position.
Failli is often used as shorthand for a sissonne ouverte +pas failli, indicating a jump from two feet landing on one sissonne with the back foot then sliding through to the front chassé passéand this is often done in conjunction with an assemblé: sissonne failli assemblé.
From croisé, the upstage leg opens behind on the sissonne as the body changes direction in the air to land ouverte effacé; the back leg which is now downstage slides through in a chassé passé to fourth in front, ending the dancer croisé the corner opposite the original.
This chassé passé is the pas failli.
Failli phrased with indicates the brushed follow-through of an arabesqued leg from elevated behind to fourth in front as lead-in to a following step.
Fermé may refer to positions the first, fifth, and third positions of the feet are positions ferméeslimbs, directions, or certain exercises or steps.
Example: a sissonne fermée ends with closed legs, as opposed to a sissonne ouverte, which lands on one leg with the other generally extended.
A step where the foot of the working leg sweeps flexed across the floor from pointed à la seconde en l'air, as in dégagé to pointed at cou-de-pied devant or derrière.
Saint-Léon wrote, "Fondu is on one leg what a plié is on two.
This brand of action can be seen in both and walt turns pas de valse en tournant.
Fouetté is also common shorthand for fouetté rond de jambe en tournant pictured here en dehors.
A fouetté turn is a that begins with the supporting leg in.
As the supporting foot transitions to demi-pointe or pointe, in an en dehors turn, the working leg extends forward and then whips around to the side as the working foot is retracted to the supporting knee in retiré, creating the impetus to rotate one turn.
The working leg returns out of retiré nearing the end of a single rotation to restart the entire leg motion for successive rotations.
Action of extending the working foot out from cou-de-pied.
In Cecchetti, RAD, and American ballet, on flat, this action involves brushing a flexed or non-pointed relaxed foot from cou-de-pied through the floor, the ball of the foot lightly striking as extending out pointed through dégagé.
read article the Russian school, a pointed foot at cou-de-pied extends directly out to dégagé height without brushing through the floor.
On demi-pointe, Cecchetti employs the Russian style of non-brushed pointed foot directly out.
Other schools may use a flexed foot without the strike or a non-brushed pointed foot on demi-pointe.
Frappés are commonly done in singles, doubles, or triples.
Double and triple frappés involve tapping the foot flexed or pointed at both cou-de-pied devant or wrapped and derrière before extending out.
Double frappé front would be cou-de-pied back, cou-de-pied front, dégagé front.
The leading foot brushes out to as weight bears on the trailing leg, weight is shifted to the leading leg via a jump and the trailing foot extends out of plié into degagé.
The leading foot lands and the trailing foot slides in to meet the leading foot in fifth position demi-plié.
A glissade can be done en avant, en arrière, dessous leading front foot ends backdessus leading back foot ends frontor without a of feet.
A quick glissade generally done leading into a following step, such as with glissade jeté or glissade assemblé.
Opening the legs to 180°, front or sideways.
Known as 'spagat' in German or 'the splits' or 'jump splits' in English.
Throughout the movement, the pelvis should be kept neutral, the back straight and aligned with the heels, the legs turned out, and the what are the spins called in ballet over the feet.
From standing to bent this should be fluid.
A purpose of the grand plié is to warm up the ankles and stretch the calves.
Known as a split in the air.
It is most often done forward and usually involves doing full leg splits in mid-air.
It consists basically of a grand écart with a moving jump.
The front leg brushes straight into the air in a grand battement, as opposed to from développé or an unfolding motion.
The back leg follows making the splits in the air.
It can be performed en avant forwardà la seconde to the sideen arrière backwardand en tournant turning en dedans.
The dancer must remember to hit the fullest split at the height of the jump, with weight pushed slightly forward, giving the dancer a gliding appearance.
Often regarded as the of a ballet.
It usually consists of anaand awhich brings the suite to a conclusion.
After the adage, it may include a dance for the corps de ballet often referred to as the ballabilevariations for demi-soloists, variations for lead ballerina and danseur, or some combinations of these.
Some schools including ABT at one point may still refer to this as a petit jeté.
Resembles the splits en l'air.
Usually, manèges will be a repetition of one or two steps, but can also be a combination of several.
For example, a coupé jeté manèges is typically done by a male dancer in a coda of a classical pas de deux.
Ballerinas will often do piqué manèges in a variation or also in a coda.
Ouvert may refer to positions the second and fourth positions of the feet are positions ouverteslimbs, directions, or certain exercises or steps.
In the French School, this term is used to indicate a position or direction of the body similar to effacé.
A dance that is focused on a single pair of partnering dancers is a.
For a male dancer, partnering may involve lifting, catching, and carrying a partner, and providing assistance and support for leaps, promenades and.
This step can also be found in.
Starting in fifth position croisé, a dancer executes a plié while brushing the downstage leg out to tendu front.
The downstage leg does a demi rond de jambe to the opposite corner while the body turns to face that corner.
Weight is quickly transferred to that brushed leg, now upstage, allowing the dancer to pass the newly downstage leg through via a chassé passé to fourth devant, ending croisé the new corner, and finishing by bringing the upstage leg in to close fifth.
The from involves sixteen pas de chat performed by four dancers holding hands, arms interlaced.
In the Cecchetti and French schools, this may be referred to as a 'jump of the cat'.
This variant of the pas de chat appears in several Petipa ballets e.
From fifth position, a dancer executes a deep demi-plié and then jumps arching the back with straight legs behind, so that the body is curved like a fish jumping out of water.
Also called temps de poisson.
The feet do not assemble or "cross each other" on any step as occurs in a ; each step instead passes the last.
Generally used to refer to retiré passé, indicating passing the foot of the working leg past the knee of the supporting leg on, below, or above from back to front network game theory front to back.
Retiré passé may initiate or complete by sliding the working foot up or down the supporting leg from or to the floor, may be executed directly from an open position such as in pirouette from fourth, or may transition from knee to another position such as arabesque or attitude as in développé.
A can also pass through from back to front as in sissonne : chassé passé.
Tilting the body forward about the hip of the supporting leg so that the head is lower than the working leg, as in.
In the latter case, it may be used to transfer a stance from one leg to the other by stepping out directly onto an en pointe or demi-pointe foot and often immediately precedes a movement that entails elevating the new working leg, such as a piqué.
In fast piqué turns, petit retiré may be executed instead i.
Most commonly done en dedans, piqué turns en dehors are also referred to as lame ducks.
The non-supporting leg is generally held in devant 'front' —when initiated from fourth, this would be a retiré —but could also be held in other https://dkrs-sochi.ru/call/bingo-game-call-out-numbers.html such as seconde.
Pirouettes are most often executedturning outwards in the direction of the working leg, but can also be doneturning inwards in the direction of the supporting leg.
A pirouette may return to its starting position or finish in arabesque or attitude.
In other genres of dance, such as jazz or modern, it is common to see pirouettes performed with legs parallel i.
In demi-plié, in a first, second, fourth, and fifth position a dancer bends the knees while maintaining turnout.
While in a demi-plie position one must remember to have proper alignment.
Head over shoulders, shoulders over hips over knees and knees over feet.
When initiating a demi-plie one must pull up and resist against going down.
Lengthening from the center and back of the head and pressing down through the floor through the balls of the feet.
As you are bending your knees you have to maintain the proper alignment and make sure that the knees are going over the big toe.
Creating proper turn out by rotating the inner thighs forward and you go down.
Making sure to keep the pelvis in line as you go down and up so that you do not release your seat and stick your chest forward.
The knees bending directly above the line of the toes without releasing the heels from the floor.
As soon as the bottom of the bend is reached, the bend is reversed and the legs are straightened.
In grand plié, in first, second, fourth, and fifth position While doing a grand-plie position one must remember to have proper alignment.
Head over shoulders, shoulders over hips over knees and knees over feet.
When initiating a grand-plie one must pull up and resist against going down.
Lengthening from the center and back of the head and pressing down through the floor through the balls of the feet.
As you are bending your knees you have to maintain the proper alignment and make sure that the knees are going over the big toe.
Heels come off the ground past demi-plié with the feet ending in a demi-pointe at the bottom of the bend.
Making sure to create proper turn out by rotating the inner thighs forward and you go down.
Making sure to keep the pelvis in line as you go down and up so that you do not release your seat and stick your chest forward, and at the same time engaging your core, stomach by pressing your navel towards your spine.
As soon as the bottom of the bend is reached, the bend is reversed and the legs are straightened.
Most often performed by women.
This position may be assumed while jumping or in partnering lifts, as in a.
For example, a basic port de bras exercise could move from fifth en bas 'low' i.
A full port de bras could move from en bas to en haut 'high', i.
Port de bras movements vary by school and by action.
From a fondu, a dancer steps with a straight leg onto an en pointe or demi-pointe foot, then brings the working leg to cou-de-pied, so that if the step is repeated, the working leg will execute a petit développé.
This can be done in any direction or turning the later also known as.
In the other, the arms are extended to the sides with the elbows slightly bent.
These positions may be combined to give other positions.
Different schools, such as Vaganova, French, and Cecchetti, Russian often use different names for similar arm positions.
The Russian school names three arm positions while the other schools name five.
In Cecchetti, the hands stay a little lower at tutu height.
The roundness and shoulder height of the arms varies by school.
The Russian equivalent of this may be petit bras.
This is equivalent to fifth position en haut in other schools.
This is called fourth en haut in Cecchetti.
The Russian school does not designate a fourth position; the Russian equivalent may be grand bras.
This is called third position in the Russian school, which does not designate a fifth or fourth position.
The general positions are,and.
Cecchetti and RAD's eight include croisé devant, à la quatrième devant, effacé devantà la seconde, croisé derrière, écarté, épaulé, and à la quatrième derrière.
In addition, the French school further divides écarté into écarté devant and écarté derrière.
Modern-day classical ballet employs five positions, known as the, and.
The feeling of being simultaneously grounded and "pulled up" is necessary for many steps in ballet.
To pull up, a dancer must lift the ribcage and sternum but keep the shoulders down, relaxed and centered over the hips, which requires use of the abdominal muscles.
In addition, the dancer must stabilize the pelvis, maintaining a neutral position, and keep the back straight to avoid arching and going off balance.
Term from the Russian school what are the spins called in ballet raising the leg slowly from pointe to 45 degrees or higher off the ground.
Contrasts with battement tendu jeté, akain which the leg brushes out propulsively from a position through tendu to elevated off the ground, and tempsin which the leg passes through retiré or petit retiré to à la hauteur or demi-hauteur, i.
This is commonly used in pirouettes and as an intermediate position in other movements such as network game theory front.
If the thigh is held at 90 degrees from the body, the toe draws a circle approximately between the knee of the supporting leg and in the air.
If the thigh is held lower e.
A with a beating of the legs preceding the foot change.
Example: with the right foot in front in fifth position, plié, jump, beat the right thigh against the left back thigh and continue with a changement moving the right leg to behind the left, landing fifth position left foot front.
This is called a grande jété développé in other schools.
If a dancer sickles an en pointe or demi-pointe foot, the ankle could collapse to the outside, resulting in a sprain.
A working foot should be straight to the side and mildly winged to the front or back.
Named after the originator of the step.
In a sissonne over dessus the back foot closes in front, and in a sissonne under dessous the front foot closes behind.
Sissonnes finishing on two feet include the sissonne fermée, sissonne tombée, and sissonne fondue.
A term from the Cecchetti school, sus-sous 'over-under' is the equivalent term in the French and Russian click here />At the end of the rotation, the originally crossed-over foot in front should now be in 5th position behind.
Common abbreviation of assemblé soutenu en tournant Cecc.
This is known as a glissade en tourant in the Russian school.
When done at the barre en demi-pointe to switch sides, only half a turn is done instead of a full turn, and the foot does call em all extend out into tendu.
Differs from a détourné in that there is a repositioning of the feet on finishing and a crossing action, if not initiated in 5th vs.
This is employed in various movements, including and.
On the accent devant frontthe heel of the working foot is placed in front of the leg, while the toes point to the back, allowing the instep cou-de-pied in French of the working foot to hug the lower leg.
On the accent derrière backthe heel of the working leg is placed behind the leg with the toes pointing to the back.
The action of alternating between devant and derrière is seen in a.
A common abbreviation for.
The instep is fully arched when leaving the ground and the spring must come from the pointing of the toe and the extension of the leg after the demi-plié.
In the Cecchetti method, the specifically indicates a spring from fifth position while raising one foot to sur le cou-de-pied.
In the Russian and French schools, this is known as sissonne simple.
This can be executed with both feet from first, second, third, fourth, or fifth position starting with a demi-plié, leading to a jump in the air that lands with the feet in the same position as they started.
Otherwise known as simply a saut or sauté.
This can also be performed from one foot, while the other maintains the same position it had before starting the jump i.
The landing can be on both feet, on one leg with the other extended in attitude or arabesque, or down on one knee as at the end of a.
A single tour is a 360° rotation, a double is 720°.
A tombé en avant begins with a coupé to the front moving to a to fourth position devant, the extended foot coming down to the floor with the leg en plié, shifting the weight of the body onto the front leg and lifting the back leg off the floor in dégagé to fourth derrière.
A tombé through second starts with a dégagé of the leading leg to second position, the leading foot coming to the floor with the leg in plié, and the trailing leg lifting off the floor in dégagé to the opposite-side second position.
A tombé en avant can also be initiated with a small sliding hop instead of a coupé.
In the Vaganova school, the full term is sissonne ouverte tombée.
Retrieved December 23, 2011.
Basic Principles of Classical Ballet: Russian Ballet Technique.
New York: Dover Publications.
Classical Ballet Technique, University of South Florida Press, 1989, p.
Technical Manual and Dictionary of Classical Ballet 3rd revised ed.
New York: Dover Publications.
Technical Manual and Dictionary of Classical Ballet, Third Edition, Dover Publications, 1982, p.
Retrieved 12 June 2012.
Technical Manual and Dictionary of Check this out Ballet, Third Revised Edition, Dover Publications, Inc.
Technical Manual and Dictionary of Classical Ballet, Third Revised Edition, Dover Publications, Inc.
A Manual of the Theory and Practice of Classical Theatrical Dancing Méthode Cecchetti.
New York: Dover Publications.
A Dictionary of Ballet Terms 3rd revised ed.
New York: Da Capo Press.
The Ballet Companion: A Dancer's Guide to the Technique, Traditions, and Joys of Ballet.
New York: Simon and Schuster.
Dictionary of Classical Ballet Terminology 2nd ed.
London Hightstown, NJ : Royal Academy of Dancing distributed in the U.
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What is the spin that ballet dancers do called What are the spins called in ballet

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How the heck do you keep from getting dizzy when practicing spins? The worst ones for me are the progressive pivot turns in latins. I only seem to be able to get in about 30 seconds of practice before my head starts to spin (pun intended) I like spins a lot, and can do ok with at a medium speed, but have real trouble whenever I try to go faster.

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