INTERMEDIATEBALLETTECHNIQUE(MAJORS)2CREDITSSPRING2018Tuesday/Thursday8:45–10:15McGuirePavilionINSTRUCTOROFRECORD: DAA3208/6394 INTERMEDIATE: IsaGarcia-Rose isa@ufl.edu*

*EmailPolicy:UseONLYyourUFL.EDUemailaccountfore-mailcorrespondencerelatedtoclass.Pleaseincludeyourname&classinthesubjectlineorwithinthebodyofallcorrespondence.SyllabiarepostedatCFAwebsiteunder:Student&Parents:http://arts.ufl.edu/syllabi/LabFeescanbelocatedat:http://registrar.ufl.edu/soc/201608/all/theadanc.htmOffices: NadineMcGuireTheatre&DancePavilionOfficeHours: HoursforIsabyappointmentonly OfficePhone: 352-273-0500MainOfficeRECOMMENDEDREADING: BasicBalletClassicalBalletTechnique TechnicalManualandDictionaryofClassicalBalletByGretchenWardWarren ByGailGrantIntermediateBalletInsideBalletTechnique:SeparatingAnatomicalFactfromFictionintheBalletClassByValerieGriegAdvancedBalletDancingLives:FiveFemaleDancersfromtheBalletd'ActiontoMerceCunninghamByKarenEliot COURSEDESCRIPTION:DAA2204Credits:2;canberepeatedwithchangeincontentupto6credits.Prereq:DAA1000withminimumgradeofC,oraudition.Basicballettechniquewithdiscussionofterminologyandhistory.DAA3208Credits:2;canberepeatedwithchangeincontentupto6credits.Prereq:audition.Intermediateballettechniquewithdiscussionofterminologyandtheory.DAA4210Credits:2;canberepeatedwithchangeincontentupto8credits.Prereq:audition.Advancedballettechniquewithdiscussionofterminologyandstyle.

STUDENTPROGRESSIONINBALLETDANCETECHNIQUE:Thisinformationaddressesthestandardsutilizedbythedanceareaforassessingstudentprogressionthroughthreelevelsofballet:Basic,Intermediate,Advanced.Theprogram’sapproachtoballetisincontexttotheUFBFAdegreeprogram,relyingontraditionaltrainingstandardsalongwiththeawarenessofthestylisticandtechnicaldiversityoftheUFdanceprogram.Usingtheobjectivesstatedinthissyllabus,thedanceprogramassessesstudentprogressthroughthreelevelsofballetdancetechnique:basic,intermediate,andadvanced.Youaregradedandconsideredforthenextlevelaccordingtoyourachievementofthecriteriaasdeterminedbyyourinstructor.DuetothenatureofbothtraditionalballetictrainingandballeticlevelsintheUFprogram,receivingthefinalgradeof“A”doesnotinsureprogressiontothenextlevel.CourseObjectivesforBalletTechniqueSoTD’sballettechniquecurriculumisdesignedtofocustheintellectualandphysicalabilitiesofstudents—majors,minors,andnon-majors—toembracethedemandsofthe21stcenturyartist.Eachofthethreelevelsbuildstherequiredhistorical,aesthetic,andbiomechanicalfoundationsforgraduatingasamajorinourdancedegreeprograms.Likewise,theminorornon-majormustrecognizetheclassesasapre-professionaltraininggroundbymeetingtheobjectivesattheappropriatelevel.Wheneverystudentbringsintoeveryclasstheirdisciplineandmotivation,theywillbereadytomeetandgreetthefollowinggoalscommontoeachrespectiveleveloftechnique:BASICBALLETCOURSEOBJECTIVES*:

• Toinstructyouinclassicalballetvocabulary,technique,andrelatedhistoryappropriatetothelevelofthecourse.

• Toestablishaconsistencyof‘daily’studiopracticeandtowardsusingballetclassprogressiontobuilda‘permanent’foundationforbuildingyourtechnique.

• Toapproachalltraining,practiceandperformancefromananatomicallycorrectand‘coreconnected’standpoint,especiallyintheapplicationofrotation(bothparallelandoutward)usingthefollowingevaluativeguides:

o PLACEMENTANDALIGNMENTo CORESUPPORTANDCONDITIONINGo APPLICATIONOFROTATION-STATIONARYANDLOCOMOTORo SPATIALAWARENESSANDFULLBODYINTEGRATIONo RHYTHMICCLARITY/MUSICALITYo PROFESSIONALISM

• Initiatetheprocessofconnectingtheoryandtechniquetoabasiclevelperformanceaptitude.

• Enhanceaestheticandpracticalappreciationoftheworkbehindthisexactingandexcitingartform.

• Developanappreciationofthetheory,criticismandaestheticbehindthisexactingyetexcitingartform.

INTERMEDIATEBALLETCOURSEOBJECTIVES:

•Toinstructyouinclassicalballetvocabulary,technique,andrelatedhistoryappropriatetothelevelofthecourseanddevelopinggreaterfluencyinclassicaldancetechniqueandperformanceskillsattheintermediatelevel.•Theadvancementofterminologywithitsapplicationtobarre,centreandtoperformancewillbeemphasizedandtestedduringtheprogressionofthesemester.• Toapproachalltraining,practiceandperformancefromananatomically

correctand‘coreconnected’standpointusingthefollowingevaluativeguides:

o PLACEMENTANDALIGNMENTo CORESUPPORTANDCONDITIONINGo APPLICATIONOFROTATION-STATIONARYANDLOCOMOTORo SPATIALAWARENESSANDFULLBODYINTEGRATIONo RHYTHMICCLARITY/MUSICALITYo PROFESSIONALISM

•Createanenvironmenttotestandimprovethestudent’sphysicalaptitudeinballettechnique.•Enhancetheappreciationofthetheory,criticismandaestheticbehindthisexactingyetexcitingartform.

ADVANCED BALLET COURSE OBJECTIVES:

• To test the understanding of ballet theory and technique through a more rigorous standard of execution. • To develop greater fluency in classical dance technique as related to performance skills and as accessed through the following criteria:

o PLACEMENTANDALIGNMENTo CORESUPPORTANDCONDITIONINGo APPLICATIONOFROTATION-STATIONARYANDLOCOMOTORo SPATIALAWARENESSANDFULLBODYINTEGRATIONo RHYTHMICCLARITY/MUSICALITYo PROFESSIONALISM

• Demonstrate musical and spatial skills suitable to the technique and style of ballet as taught by instructor • Demonstration that the student is capable of performing at a higher and more professional level • To expand the dancer’s expressive and qualitative range of movement and performance. • To empower the person/dancer/thinker/artist in each student.

*DuetothenatureoftheUFballettrainingprogram,thestudententeringBasiclevelshouldhavealreadyestablishedcertainalevelofproficiencyasdeterminedby

auditionforentryintotheBFAprogram.Levelfornon-majorscanbedeterminedbyplacementclasses.

COURSEPOLICIES:SOTDDANCEATTENDANCE:DanceTechniqueClassAttendanceGuide:

•Mindfulparticipationineachclassmeetingistheonlywaytomeettheobjectivesofthiscourse.•Attendance,whichismandatory,meansthatwhenyouentertheclassroom,youarepresent,alert,andcontributingto

theprogressoftheclasseverysecond.•Ifyouarenotpresentwhenattendanceistakenorclassbeginsyouaremarkedabsent.•Inthecaseofextendedhealthissues,refertotheInjuryandIllnessPolicyintheSoTD2016-17Handbook(SoTD

website)andincludedinthissyllabus.DanceTechniqueClassAbsencePolicy

•Five(5)ormoreabsences(excusedorunexcused)resultinautomaticfailure.•Allundocumentedabsencesareunexcused:eachunexcusedabsence=5pointdeduction.Excusedabsencesmayincludethoserelatedtoillness/injurywhicharedocumentedbyamedicalprofessional.Eventsrelatedtofamilyemergenciesorprofessionalobligationsshouldbediscussedwithyourinstructor.(SeeMake-upPolicyformoreinformationonexcusedabsences.)•Foryoursafetyandthefocusoftheclass,youmaynotjoinclassifithasalreadystarted.Youarelateandcountedabsent;withinstructorpermission,youmayobserve.•Ifyoushouldleaveclassearly,3pointsaredeductedfromyourgrade.•Ifunabletodancebutstillattend,withinstructorpermission,youmay‘actively’observeforfullclasscredit,onetime.Youwillcompleteanassignmentasassignedbytheinstructordueattheendofclass.•UFapprovedreligiousdaysareexcusedanddonotneedtobemade-up.(Traveltimenotincluded.)Youareresponsibleformaterialcoveredduringyourabsence.•AMEDICALWITHDRAWALwillnotbesupportedwithoutapproveddocumentation.AnIncompleteisonlyconsideredbyUFDanceinextremecasesandisnotavailableintechniqueclasses.

UFAbsencePolicyRequirementsforclassattendanceandmake-upexams,assignments,andotherworkinthiscourseareconsistentwithuniversitypolicies,asfollows:

Source:https://catalog.ufl.edu/ugrad/current/regulations/info/attendance.aspx• Studentsareresponsibleforsatisfyingallacademicobjectivesasdefinedbytheinstructor.

Absencescountfromthefirstclassmeeting.• Ingeneral,acceptablereasonsforabsencefromorfailuretoparticipateinclassinclude

illness,seriousfamilyemergencies,specialcurricularrequirements(e.g.,judgingtrips,fieldtrips,professionalconferences),militaryobligation,severeweatherconditions,religiousholidaysandparticipationinofficialuniversityactivitiessuchasmusicperformances,

athleticcompetitionordebate.Absencesfromclassforcourt-imposedlegalobligations(e.g.,jurydutyorsubpoena)mustbeexcused.Otherreasonsalsomaybeapproved.

• Youcannotparticipateinclassesunlessyouareregisteredofficiallyorapprovedtoauditwithevidenceofhavingpaidauditfees.TheOfficeoftheUniversityRegistrarprovidesofficialclassrollstoinstructors.

• Ifyoudonotparticipateinatleastoneofthefirsttwoclassmeetingsofacourseorlaboratoryinwhichyouareregistered,andyouhavenotcontactedthedepartmenttoindicateyourintent,youcanbedroppedfromthecourse.Youmustnotassumethatyouwillbedropped,however.

• Theuniversityrecognizestherightoftheindividualprofessortomakeattendancemandatory.Afterduewarning,professorscanprohibitfurtherattendanceandsubsequentlyassignafailinggradeforexcessiveabsences.

MAKE-UPPOLICY:DanceTechniqueClass–MakeupPolicy

• Youareresponsibleforallmaterialcoveredduringanyabsence• Therearenomakeupoptionsforunexcusedabsences• AbsencesfromWrittenExams,Quizzes,Mid-Terms,and/orFinalsmayonlybemadeupwith

approveddocumentation• Toearncredit(amountofcreditdeterminedbytheinstructor)foranexcusedabsenceyou

mustdotwothings:1)Immediatelyafteryourreturntoclass,turninapproved/legaldocumentationtoinstructor.Ifyouneedtheoriginaldocumentation,theinstructorwillacceptcopies.2)Make-uptheclasswithanapprovedassignmentsubmittedontherequireddate.Iftheassignmentistoattendanotherclassasamake-up,itmustbethesametechnicallevel,orlower;studentmustrequestpermissionofthatinstructor.

IntheUFDanceProgram,threeunexcusedabsenceswillreduceyourgradeone-lettergrade(i.e.,fromBtoC).Eachsubsequentunexcusedabsencelowersyourgradebyhalflettergrade(i.e.,fromCtoC-).Afterfiveunexcusedabsencesthestudentmaynotreturntoclassandresultinautomaticfailureofthecourse.AstudentwithmedicaldocumentationmayapplytoUFforMedicalWithdrawal.PleaseconsultthefollowingsitesforUF’sphysicalandmentalhealthresources:

http://shcc.ufl.edu/(StudentHealthCareCenter)http://shcc.ufl.edu/forms-records/excuse-notes/(excusenotepolicy)http://dso.ufl.edu/(DeanofStudents)

STUDENTON-LINEEVALUATIONPROCESSStudentsareexpectedtoprovidefeedbackonthequalityofinstructioninthiscoursebycompletingonlineevaluationsathttps://evaluations.ufl.edu.Evaluationsaretypicallyopenduringthelasttwoorthreeweeksofthesemester,butstudentswillbegivenspecifictimeswhentheyareopen.Theinstructoristheonlypersonthatviewsyourwrittencomments.Summaryresultsoftheseassessmentsareavailabletostudentsathttps://evaluations.ufl.edu/results/UFPOLICIES:UNIVERSITYPOLICYONACCOMMODATINGSTUDENTSWITHDISABILITIES:StudentswithdisabilitiesrequestingaccommodationsshouldfirstregisterwiththeDisabilityResourceCenter(352-392-8565,www.dso.ufl.edu/drc/)byproviding

appropriatedocumentation.Onceregistered,studentswillreceiveanaccommodationletterthatmustbepresentedtotheinstructorwhenrequestingaccommodation.StudentswithdisabilitiesshouldfollowthisprocedureasearlyaspossibleinthesemesterUNIVERSITYPOLICYONACADEMICMISCONDUCT:AcademichonestyandintegrityarefundamentalvaluesoftheUniversitycommunity.StudentsshouldbesurethattheyunderstandtheUFStudentHonorCode:http://www.dso.ufl.edu/sccr/process/student-conduct-honor-code/-UFstudentsareboundbyTheHonorPledgewhichstates,“We,themembersoftheUniversityofFloridacommunity,pledgetoholdourselvesandourpeerstothehigheststandardsofhonorandintegritybyabidingbytheHonorCode.OnallworksubmittedforcreditbystudentsattheUniversityofFlorida,thefollowingpledgeiseitherrequiredorimplied:“Onmyhonor,Ihaveneithergivennorreceivedunauthorizedaidindoingthisassignment.”TheHonorCode(source:http://www.dso.ufl.edu/sccr/process/student-conduct-honor-code/)specifiesanumberofbehaviorsthatareinviolationofthiscodeandthepossiblesanctions.Furthermore,youareobligatedtoreportanyconditionthatfacilitatesacademicmisconducttoappropriatepersonnel.Ifyouhaveanyquestionsorconcerns,pleaseconsultwiththeinstructorinthisclass.COUNSELINGANDWELLNESSCENTERCONTACTINFORMATION:http://www.counseling.ufl.edu/cwc/Default.aspx,392-1575;andtheUniversityPoliceDepartment:392-1111or9-1-1foremergencies.

NETIQUETTE:COMMUNICATIONCOURTESY:Allmembersoftheclassareexpectedtofollowrulesofcommoncourtesyinallemailmessages,threadeddiscussionsandchats.GETTINGHELP:Ifapplicable:ForissueswithtechnicaldifficultiesforE-learninginCanvas,pleasecontacttheUFHelpDeskat:

● (352)392-HELP-selectoption2● https://lss.at.ufl.edu/help.shtml

Anyrequestsformake-upsduetotechnicalissuesMUSTbeaccompaniedbytheticketnumberreceivedfromLSSwhentheproblemwasreportedtothem.Theticketnumberwilldocumentthetimeanddateoftheproblem.YouMUSTe-mailyourinstructorwithin24hoursofthetechnicaldifficultyifyouwishtorequestamake-up.Otherresourcesareavailableathttp://www.distance.ufl.edu/getting-helpfor:

• CounselingandWellnessresources• Disabilityresources• Resourcesforhandlingstudentconcernsandcomplaints

• LibraryHelpDesksupportEVALUATION 1.Eventattendance 15points Seeinformation 2.MidtermEvaluations 30points InClass

ThursdayMarch2ndBothMidtermandFinalEvaluationswillbebasedonthesetechnicalproficiencies

• PLACEMENTANDALIGNMENT• CORESUPPORTANDCONDITIONING• APPLICATIONOFROTATION-STATIONARY

ANDLOCOMOTOR• SPATIALAWARENESSANDFULLBODY

INTEGRATION• RHYTHMICCLARITY/MUSICALITY• PROFESSIONALISM

3.FinalEvaluations 30points InClassThursdayApril20th

4.Vocabulary/HistoryExamand/orPerformanceProject

25points Instructorwillannouncedates,ifrequired(Seeballetglossaryattachedandusethefollowinglinkforstudy:http://www.abt.org/education/dictionary/index.html)Showing/Performance,ifrequired:April25th

Youroverallscoremaybeaffectedbyyourattendancerecord.

A93-100pointsA-90-92B+86-89B83-85pointsB-80-82C+77-79C73-76pointsC-70-72D+67-69D63-66pointsD-60-62E59andbelow

EACHSTUDENTISRESPONSIBLEFORMONITORINGHER/HISOWNPROGRESSTECHNIQUEMID-TERM: ThursdayMarch2nd,2018*TECHNIQUEFINAL: ThursdayApril20th,2018**Disclaimer:Thissyllabusrepresentscurrentplansandobjectives.Aswegothroughthesemester,thoseplansmayneedtochangetoenhancetheclasslearningopportunity.Suchchanges,communicatedclearly,arenotunusualandshouldbeexpected.Anychangesintechniqueexamdatesduetounseencircumstanceswillbeannouncedinclassandpostedonthedanceboardinatimelyfashion.RequiredPerformanceandEventDates

Tohelpyouto“thinkoutsidethebox,”youmustventureoutsidethestudio!

BFA/BAMajors:Inadditiontoattendingallclasses,attendanceisrequiredatthefollowinglistedeventsplus1outsideprofessionalshow.Youwillprovideproofofattendancetotheinstructorwhoistheteacherofrecordofyourcoursewithinoneweekafterviewingproduction.Dependingonyourtechniqueschedule,youmayusethesesameevents/performancesforothertechniqueclasses,aswell.Non-Majors:Required=BFAFallDanceShowcaseaudition,twooftheUnShowings,Dance2018oneBFASpringDanceShowcasePerformance,oneoutsideprofessionalshow.Youwillprovideproofofattendancetotheinstructorwhoistheteacherofrecordofyourcoursewithinoneweekafterviewingproduction.Dependingonyourtechniqueschedule,youmayusethesesameevents/performancesforothertechniqueclasses,aswell.The(McGuire)UniversityBoxOfficewillopen45minutespriortotheopeningofeachConstansTheatreorMcGuireBlackBoxproduction.StudentsmustredeemtheircouponsatBenHillGriffinStadiumGate3.Thisiswhereyoucanpurchaseyourticketsduringregularbusinesshours.

PerformanceBehavior/Decorum:

• Yes,pleasedressnice!• Nocellphones/textingatall,ever,neverduringaperformance(unlesstheshowrequestsit!)• RepresenttheSoTDattheshow!

RequiredPerformanceandEventDatesDates/timessubjecttochange–pleasecheckdancebulletinboardand/orcontactappropriateboxoffice.Youwillreceiveavoucher(coupon)atthebeginningofthesemesterfordesignatedSoTDproductionswithinstructionsofhowtouseittogetyourticket.ViewingofSoTDplays(suchasaplayormusical)ishighlyrecommended,butnotrequired.Majors:pleaseattendBFASpringDanceShowcase,Dance2018,andoneoutside

professionalperformance.

UnShowingDates/UFDancePerformancesWelcomeBackDanceMeetingforallDanceMajors-Monday,January8,2018at6:30pm-8:00pmAudition-Thursday,January11,2018-Spring2018BFAShowcaseFirstUnShowing-Friday,February2,2018at10:40am-12:35pmSecondUnShowing-Monday,February26,2018at6:30pmAdjudication#1Showing:Monday,March12,2018at6:30pm-9:00pmAdjudication#2Showing:Monday,March19,2018at6:30pm-untilDance2018:SteppingontheAudience:AnEveningofDanceinIntimateSpaces-February9-10at7:30PM,February11at2:00PM,February14-17at7:30PMandFebruary18at2:00PMTheHarnMuseumofDance(HMod2.0)-Saturday,March17,2018at1:00PM-4:00PMSpring2018BFAShowcase-Wednesday,April4(ProgramAat7:30pm)Thursday,April5(ProgramBat7:30pm)Friday,April6(ProgramAat7:30pm)Saturday,April7CommunityinMotionPerformance(2:00P)*Saturday,April7(ProgramBat7:30pm)Sunday,April8(ProgramAat2:00pm)Sunday,April9(ProgramBat4:00pm)*FreePerformance-Firstcomefirstservebasis*UFPADancePerformancesTangoFire-Friday,January19,2018at7:30PMhttps://performingarts.ufl.edu/events/tango-fire/BalletBoyz-Friday,January31,2018at7:30PMhttps://performingarts.ufl.edu/events/balletboyz/DanceAliveNationalBallet:L'Amour-February14,2018at7:30PMhttps://performingarts.ufl.edu/events/dance-alive-national-ballet-presents-lamour/Pilobolus:Shadowland-Friday,February23,2018at7:30PMhttps://performingarts.ufl.edu/events/pilobolus-shadowland/MarthaGrahamDanceCompany-Monday,March5,2018at7:30PMhttps://performingarts.ufl.edu/events/martha-graham-dance-company/

FalunDafaAssociationPresentsSHENYUN-Wednesday,March14-16at7:30PMhttps://performingarts.ufl.edu/events/shen-yun/LilBuckandJonBoogz:LoveHealsAllWounds-Tuesday,March20,2018at7:30PMhttps://performingarts.ufl.edu/events/lil-buck-and-jon-boogz-love-heals-all-wounds/RodgersandHammerstein'sCinderella-Thursday,April5,2018at7:30PMhttps://performingarts.ufl.edu/events/rodgers-and-hammersteins-cinderella/DanceAliveNationalBallet:TheRing-Saturday,April7,2018at7:30PMhttps://performingarts.ufl.edu/events/dance-alive-national-ballet-presents-the-ring/AChorusLine-Sunday,April22,2018at7:30PMhttps://performingarts.ufl.edu/events/a-chorus-line/BFADanceAuditionsFriday,January26,2018JuriesThursday,April26andFriday,April27(ForAllBFAMajorsandBASeniors)

UF Box Office #: (352) 392-1653 UF Performing Arts (Phillips Center) #: (352) 392-2787 SFC Fine Arts Hall Theatre (352) 395-4181

SpringSemesterJuriesALLBFAmajorsandgraduatingBAmajorsarerequiredtoattendanendoftheyearconference(Jury)April20/21withthedancefacultyduringReadingDays(thetwodaysfollowingendofclasses).Donotmaketravelplansatthistime—gradepointswillbededucted.Itisyourresponsibilitytoknowyourschedule.Checkyour(UF)email&thedancestudiobulletinboardsregularly.DressPolicy:

·Women:Leotards,tights,softballetshoes.Pointeshoesareencouragedbutnotrequired.Speaktotheteacheraboutindividualneedsandpointelevel.·Hairmustbeworninaneatballetbunortwist.Shorterhairiswornoffthefacecompletely.Ifthehairfallssodoesthegrade.·Men:LeotardortightfittingT-shirt/tanktop(whitepreferred).Tights,balletshoes(whiteorblack)anddancebelt(tightswornwithelasticbeltorarmybelt)arerequired.Whitesocksrecommended.·Colorsareatthestudent'sdiscretionbutshouldreflectarespectofballeticvalues.

·Nowarmersunlesstheyareformfitting.Allwarmersmustberemovedfollowingwarm-up.Youmaywearaballetskirtorbeltorcenter.·Nooversizedclothing.Youdon’tworkonwhatyoudon’tsee.·Youranklesmustbevisible.·Nolargejewelry,includingallnon-studearrings,necklaces&watches.·Nochewinggum.

Studentsnotincompliancewiththeaboverequirementswillbeconsideredabsentfromclassorpointsdeductedatinstructor’sdiscretion.ESSENTIALSOFACHIEVINGTECHNICALAPTITUDE

Theseaspectsoftechnicaldevelopmentaredividedintosix(6)categoriesandarethebasisbothforgradingandforanyconsiderationtowardpromotiontoahigherballettechniquelevels:

• PLACEMENTANDALIGNMENT• CORESUPPORTANDCONDITIONING• APPLICATIONOFROTATION-STATIONARYANDLOCOMOTOR• SPATIALAWARENESSANDFULLBODYINTEGRATION• RHYTHMICCLARITY/MUSICALITY• PROFESSIONALISM

PLACEMENTANDALIGNMENT

Apriorityisplacedonalignment,whichincludesanawarenessandintegrationofskeletalstructureinshapingthebodyinplaceandinmotion,toefficiencyofmovement,butreduce,ifnoteliminate,thepotentialforinjury.Thisintrinsicunderstandingshouldbeevidentinallexercises:barre,center,andphrasework.

• 5-Excellent

Hastheabilitytoselfassesswhileconsistentlymaintainingalignmentoftorso/spine,pelvis&limbswhilestationaryandmoving.Articulateslimbswithexcellentprecisionandclarity.

• 4-GoodConsistentlymaintainsalignmentoftorso/spine,pelvis,&limbswhilestationaryandmoving.Articulateslimbswithexcellentprecisionandclarity.

• 3-SufficientDemonstratesaconsistentapplicationofprinciplesofalignment.Demonstratesconsistentclarityduringarticulationoflimbs.

• 2-Limited/Deficient

Demonstrationofcorrectpersonalalignmentisnotobservable.Precisionandclaritynotdemonstratedduringexercisesormovementthroughspace.

• 1-Unsatisfactory

Failstodemonstrateanunderstandingofbasicsofalignmentandbodyfundamentals.

CORESUPPORTANDCONDITIONING

Coupledwithdevelopingapropersenseofalignmentandplacementasappliedtodance(andlife)isaseparateandequalareareferredtoasCoreSupport/Strength.Itisnecessarytolistitasitsowncategorytoemphasizeitsimportancetomovementandpromoteawarenessofitsconnectiontothesafelyoftheindividualastheymovethroughvariouspositionsandasappliedtoballettechnique.Developmentofstrengthtosafelyperformmovementsthatrequireweightbearingonarms,includinginvertedmovements.Conditioningisincludedinthissectionininsurethatstrengthisnotoveremphasizedandthatthestudentfindsapersonalpracticethatenforcesthisaspectoftheirtraining.

• 5-Outstanding/Advanced

Hasabilitytoselfassesswhileconnectingcoreandwholebodyconditioningtohowthewholebodymovesthroughspaceandconsistentlymoveswithpowerandcontrolthroughspaceandalllevels.

• 4-ExcellentConnectscoreandwholebodyconditioningtohowthewholebodymovesthroughspaceandconsistentlymoveswithpowerandcontrolthroughspaceandalllevels.

• 3-Good/Sufficient

Demonstratesmovementscompetentlywithanadequateapplicationofcoresupport.Overallbodystrengthandconditioningisadequate,withroomforimprovement.

• 2-Limited/Deficient

Workinclassindicatesweaknessincorestrengthandmovementcontrol.Demonstrateslimitedpowertosafelypropelselfthroughspace.

• 1-Unsatisfactory

Demonstrateslackofsufficientcoresupport,conditioningandtotalbodystrength.Lackspowerandcontroltosafelypropelselfthroughspace.

APPLICATIONOFROTATION-STATIONARYANDLOCOMOTOR

Essentialtothehealthydevelopmentofballet(andgeneraldance)techniqueisthefullawarenessofcorrectpersonalanatomicalignmentinrelationtoparallelandoutwardrotationwhichincludeshipsocket,kneeandankleforthelowerbodyandspine,ribs,shouldergirdle,headandneckforupperbody.• 5-Outstanding/Advanced

Highdegreeofprecisionandpersonalunderstandingofparallelandrotationinrelationtowholebodyalignment.Showseaseandeconomyofeffortwhenquicklyshiftingamongpositions.

• 4-ExcellentAbilitytoachievecorrectparallelandrotationandmoveeasilyamongpositionsinrelationtopersonalanatomicalconsiderations.

• 3-Good/Sufficient

Consistentcorrectapplicationofalignmentprinciplesinrelationtoparallelandrotatedpositions,particularlyinlowerbody.Canshowimprovementinrelationofthesealignmentprinciplesthroughoutthebody.Showsabilitytotransferfromonepositiontoanotherwithrelativeeaseandminimumeffort.

• 2-Limited/Deficient

Inconsistentdemonstrationofparallelandrotationinrelationtopersonalalignmentthroughoutbody.Difficultytransferringbetweenparallelandrotation.

• 1-Unsatisfactory

Incorrectuseofparallelandrotationinrelationtooverallpersonalalignment.Especiallydemonstratesunsafealignmentofknee,ankle,andhiprelationships.Unsuccessfultransferofweightandre-alignmentwhenshiftingbetweenparallelandrotation.

SPATIALAWARENESSANDFULLBODYINTEGRATION

Necessarytothetrainingofaballetdanceristheunderstandingofthemovementofthebodyasaunit,andinrelationtospecificbodyparts(upperandlowerbodyhalves,andrightandleftbodyhalvesinmotion),aswellasa

senseofspatialawarenessastheyrelatetothemovementofthebodythroughclassicallydefinedpositions.

• 5-Excellent

Demonstrateshighlyrefinedunderstandingofmovementofbodypartsinrelationtopersonalcenterofgravity.Integrationofbodyinmotionthroughspaceisclearandprecise.

• 4-GoodStudentconsistentlymovesthroughspacewithfullcommitmentandknowledgeoflevelanddirectionchanges.

• 3-Sufficient

Demonstratesadevelopmenttowardsthesensitivitytomovingthebodyasawholeunitandanabilitytoexperimentwiththebodyinmotionthroughtimeandspace.Continuestodemonstrateadevelopingunderstandingoftherelationshipbetweenbodypartsandcenterofgravity.

• 2-Limited/Deficient

Demonstrateslimitedawarenessoftheconnectionbetweenstrengthofcenterandtotalbodymovement;minimalabilitytointegratethebodyinmovement.

• 1-Unsatisfactory

Demonstrateslackofunderstandingoftheconceptoffullbodyintegration,aswellasanadequateunderstandingofspatialawareness.Demonstratesalackofunderstandingoftheconnectionbetweenupperbodyandlowerbody,andbetweenbodyhalves.

RHYTHMICCLARITY/MUSICALITY

Astudent’sprogressthroughthetechniquesequenceshouldalsoyieldbothapracticalandintrinsicunderstandingofhowrhythmandmusicalityareappliedtoanexercise,aphrase,anddanceperformance.Musicalityistheabilitytoperformmovementphrasesinformedbymusicandasregulatedbythechoreography/classicalrepertoire.Rhythmicclarityistheabilitytounderstandtherelationshipofthemovingbodytotime.

• 5-Excellent

Studentdemonstratesanintrinsicunderstandingofhowthemusicandmovementareunited.Consistentawarenessofsounddemonstratedthroughaccurateresponsetoinstructionsandtomusicalcueing.

• 4-GoodStudentconsistentlymoveswithknowledgeofbeat/meter,accents,tempo,andrhythmicpatterning.

• 3-Sufficient

Studentisconsciouslyworkingtowardstheapplicationofbeat/meter,accents,tempo,andrhythmicpatterningandappliesthesemusicalbasicstoexercises,phrases,andrepertoire.Generallyappearstosensemusicdeeplyandtoallowthenatureofthemusictoaffecttheinterpretationofmovementphrases.

• 2-Limited/Deficient

Inconsistentlydemonstratesbeat/meter,accents,tempo,andrhythmicpatterning.Insufficientlydevelopedsenseofinternaltimingorapassiveapproachtodancephrasing.Studentmayshowdependonotherdancers,instructorcounting,orobviousmusicalcues,ratherthanintrinsicmusicalresponses.

• 1-Unsatisfactory

Studentrarelymoveswithusingbeat/meter,accents,tempo,andrhythmicpatterning;orfailstoinvestindevelopingskillsinthisarea.

PROFESSIONALISM

Studentdemonstratesamatureartisticsensibilitywhilecultivatingtheirartisticaptitudes.Theimportanceofattendanceisemphasizedandpartofthefinalgradingprocess,asnotedinthesyllabus.

• 5-ExcellentThestudentconsistentlydemonstratesanattitudethatisteachable,mature,attentive,supportive,open,andwelcomesandintegratescorrections.

• 4-GoodStudentshowsahighlevelofamatureandprofessionalapproachtoallaspectsofcoursework.

• 3-Sufficient

Studentshowsaconsistentandgrowingawarenessoftheprofessionthroughclassroombehaviorandpeerinteraction.

• 2-Limited/Deficient

Studentdemonstrateslimitedinterestorabilityinunderstandingandexpressingaprofessionalattitude.Mayresistcorrectionsand/orwhat

isbeingtaught.Failstoheedinstructionand/ordemonstratesotherbehaviorsunbecomingaprofessionaldancer.

• 1-Unsatisfactory

Studentrarelydemonstratesanattitudethatisteachable,mature,attentive,supportive,open,anddoesnotintegratecorrections.

EvaluationsandGrading:MidtermandFinalevaluationsoccurduringtheclass.Youwillbeobservedbytheinstructorandperhapsothermembersofthedancefaculty.Gradeswillbeassignedbasedonthetechnicalproficiencieslistedabove.FortheBFAmajor,applicationofyourtechniqueworktoconcert/performanceworkwillbefactoredintoyourtechniquegrade.

GUIDINGCONCEPTSThesefollowinggeneralconceptsareappliedtoallareasoftechnicaldevelopmentandusedbyfacultytoassessstudentprogress:

“Self’AwarenessandEnsembleSkillsThestudentdemonstratesanabilitytoretainanawarenessofselfwhileintegratingtheirmovementintospatialrelationshipswithotherpersonsandgroups.Thestudentshouldalsodemonstrateclarityinthree-dimensionalmovementsandanabilitytosustaindirectionalityinexercisesandinphrasesofsubstantiallength.

TransitionalSkills(ContinuityofFlow)Exercisesshouldbeperformedwithanunderstandinganddynamicuseofdifferenttypesofphrasing.Studentsshoulddemonstrateanabilitytosequenceavarietyofmovementsintoanextendedphrase:recognizingandmovingthroughtransitionsanddemonstratingfollow-throughofmovementimpulsesasappropriate.

PERFORMANCEQUALITY(DYNAMICAWARENESS)Eachinstructorwillprovidetheclasswithspecificmovementandperformancegoalsthatdelineateforthestudent:suitableuseofenergy,rangeofdynamicsandmovementqualities,theimagesormind-settoevokeexpressiveand/orstylisticqualitiesandfunctionaldetails

GeneralInformationStudentInjuryandIllnessPolicy:TheDanceAreaofSoTDbelievesthatdancestudent'sphysicalandmentalwell-beingisparamounttosuccessinallarenasoftheirdancetraining,fromclasstothestage.Inthecaseofinjury,fosteringaproductiveandholisticresponseinsuresaspeedyandeffectiverecovery.Ifthedancestudentbecomesillorinjuredtothedegreethattheycannotattendandparticipateindanceclasses,SoTDsponsoredrehearsals,orperformances,the5stepsofthedancestudentinjuryandillnesspolicyaretobefollowed:1.Thestudentisrequiredtoseeahealthcareprofessionalimmediately.2.Iftheillnessorinjurypreventsthestudentfromparticipationindanceclass,rehearsal,orperformance,thestudentistorequestdocumentationfromthehealthcareprofessionalthatexplicitlyprojectsthedurationoftheinjury,and/ortheamountandtypeofactivityrecommendedforthewelfareofthestudent.3.Followingtheappointmentwiththehealthcareprofessional,thestudentisrequiredtobringmedicalrecommendationsandrelateddocumentationtotheattentionofhisorherinstructor(s),choreographer(s),ordirector(s)asthebasisfordiscussion.4.Unlessotherwisemedicallyadvised,thestudentisprohibitedfromactiveparticipationinallrelatedUFdanceactivities,classes,events,performances,etc.Thestudentmaynotpersonallyselectoneactivityashavingahigherpriorityoveranother.Thestudentisnottodanceinanyevents,activities,performancesorrehearsalsifthestudentisnotindanceclass.Iftheinfirmityculminatesinamedicalwithdrawal,thisisalsoawithdrawalfromallperformancerelatedactivities.5.Thestudentisneverallowedtosacrificeclassroomparticipationforthedemandsofaperformance.Thestudentwillnotbeallowedtoparticipateinaperformanceiftheymissdanceclassduetoaninjury.ThestudentisexpectedtofollowthestudentinjuryandillnesspolicyevenifperformancestakeplacebeyondthescopeofSoTD,aswithanotherUF,professional,orcommunityperforminggroup,etc.IfinvolvedinaSoTDproducedproduction(withorwithoutcredit),thereisrequiredattendanceattheproduction’sStrike(asstatedinthecurrentSoTDProductionHandbook):

Strike

• Strikeistherestoringofthestagetoitsoriginalcondition.Thismainlyconsistsofthebreakdownoftechnicalcomponentsoftheproduction.

• Striketypicallytakesplaceimmediatelyfollowingthefinalperformanceoftheproduction.

• StrikeisrunbytheTechnicalDirectororScenicStudioSupervisor.• Safetyisoftheutmostimportance!Properfootwearandclothingmustbe

worn.AdditionalSafetyEquipmentmayberequireddependingonthetask.• TheStrikerequiresthepresenceofallundergraduateperformersinvolvedin

theshowandcrew,PropsMaster,MasterElectrician,andTechnicalDirectororScenicStudioSupervisor.

• OnlytheTechnicalDirector,MasterElectricianandCostumeSupervisorcanreleaseanyonefromStrike.

• Additionally,allcastmembersandcrewmustsignoutwiththeStageManager.• AllundergraduatestudentsinvolvedintheproductionareREQUIREDtoattend.• GraduateActorsarereleasedafter1hourofparticipationatStrikeduetotheir

GTAresponsibilities.GradActorsmustsignoutwiththeStageManagerbeforeleaving.

• OnlytheTechnicalDirectormayapproveanabsencefromStrike.Underextenuatingcircumstancesmayastudentbe“excused”fromorpermittedtoleaveearlyfromStrike.Ifthestudentis“excused”fromaREQUIREDstrikeorleavesearlyfromStrike,theStrikemustbe“madeup”byoneofthe3followingoptions:

• ThestudentmustparticipateintwoStrikeswithinthecurrentacademic

semester.--or—

• Thestudentmustparticipateinonestrikeandserve6hoursintheshopwithinthecurrentacademicsemester.

--or—• Thestudentmustserve12hoursintheshopwithinthecurrentacademic

semester.

• IfastudentdoesnotadheretotheabovepenaltiesformissingStrikeorleavingearlyfromStrike,orifthestudentsmissesorleavesStrikeearlywithoutapprovaloftheTechnicalDirectorthestudentwillbe:

• IneligibleforTheatreandDanceScholarships.• IneligibletobecastinSchoolofTheatreandDanceproductionsforthe

upcomingsemester.• Ineligibletoregisterforclasses.• IfenrolledinanysectionofP&Pthestudent’sgradewillbelowered.• IfenrolledinSeniorProjectthestudent’sgradewillbelowered.• IfenrolledinDancersforChoreographersorDanceEnsemblethe

student’sgradewillbelowered.

• IfenrolledinWestAfricanDanceorWorldDance(Agbedidi)thestudent’sgradewillbelowered.

PleaseNote:Ourworkinthestudiosisdesignedtobechallenging;physically,intellectually,andemotionally.Danceclassesofteninvolvetouching.Physicalcontactmayrangefromsimpletouch,tocorrectingalignmentand/orrelaxationmassage.Studentsmayalsobeaskedtoexperimentwithexercisesthatinvolveweightexchange,andinthecaseofaballetclass,partneringexercises.Ifyouhavearelatedmedicalconsiderationortouchmakesyouuncomfortable,itisyourresponsibilitytonotifytheinstructoratthestartofthesemester.

Instructor’sBiographies

BorninCuba,Ms.IsaGarcia-RosespentmanyyearsinSpainbeforesettlinginMiami,Florida.ShestudiedwithandbecameamemberofBalletConcertoperforminginGiselle,SwanLake,LaBayadere,Serenade,Nutcracker,andLesSylphides.Ms.Garcia-RosejoinedDanceAliveNationalBalletin1989,andhasperformedvariousBalanchinepieces,'Titania'inAMidsummerNight'sDream,variousrolesinNutcracker,'Ophelia'inHamlet,'LadyBug'inLadyBug:ActionHero,andothercontemporaryroles.AgraduateoftheUniversityofFloridawithaBFAinDance,Ms.Garcia-RosereceivedherMFAfromFloridaStateUniversity.Ms.Garcia-RosehasbeenafacultymemberoftheUniversityofFloridaSchoolofTheatreandDanceteachingclassicalballetandmoderndancetechnique.ShehascreatedworksforthestudentsandhaspresentedpiecesattheFloridaDanceFestivalamongstothervenues.Ms.Garcia-Rosespentthe1994-1995seasonasamemberoftheDemetriusKleinDanceCompanybeforerejoiningDanceAliveNationalBallet.Ms.Garcia-RosetaughtclassicalballetfulltimeatFloridaStateUniversitySpring2007.Ms.Garcia-RoseiscertifiedinStottPilatesmatandreformer.ShehastaughtmasterclassesinAlabamaaswellasinotherfestivalsincludingtheFloridaDanceFestivalinMiami.

ElizabethJohnson'sprofessionalleveldancetrainingbeganatNorthCarolinaSchooloftheArtswhereshestudiedwithmanyhistoricallynotableteachers includingMelissaHayden,DuncanNoble, andRobertLindgren. SheholdsaBFA inDancewithhonors fromGeorgeMasonUniversity,anMFAinPerformanceandChoreographyfromtheUniversityofIllinoisUrbana-Champaign and a GLCMA (Graduate Laban Certificate of Movement Analysis) inLabanMovementAnalysisfromColumbiaCollegeChicago.

JohnsonisthefounderandartisticdirectorofYourMotherDances,herMilwaukeebasedcontemporaryrepertorycompany.HerchoreographyhasalsobeenproducedinNewYork City, Washington, D.C. Chicago, Minneapolis, Louisville, New Haven, CT, KrannertCenter for thePerformingArts inUrbana, ILandhasbeenselectedseveral times forGala

performanceattheAmericanCollegeDanceFestival.In addition to her own company work, Johnson has performed with Sara Hook

Dances (NYC & IL), Molly Rabinowitz Liquid Grip (NYC), and toured nationally andinternationallyasaguestartistwithNewYorkCity'sDavidParkerandTheBangGroup.Johnson has served as dance faculty at the University of Illinois Champaign-Urbana, theUniversity of Wisconsin in Madison, the University of Wisconsin-Milwaukee, and theUniversity of North Carolina-Greensboro teaching a wide range of undergraduate andgraduate technique, creative and theory courses. Her research and teaching interestsinclude the integration of anatomy/kinesiology and somatic inquiry (Laban MovementAnalysisandAlexanderTechnique)intodancetechniqueteaching,DanceCompositionandImprovisation pedagogy, and exploring embodiment, relationship, and popular culturetrendsinherchoreographicwork.

SherecentlycompletedhersecondofthreeyearsoftrainingtobecomeacertifiedAlexanderTechniqueteacher.ejohnson@arts.ufl.edu

RicRose,AssociateProfessor/DanceCoordinatorattheUniversityofFloridaSchoolofTheatreandDance,hasbeencreatingoriginalworksatUFsince1987.HischoreographyhasbeenpresentedinUtrecht,BuenosAires,London,andcompaniesinthesoutheastincludingTallahasseeBalletCompany,DanceAliveNationalBallet,SCAD,JamesMadisonUniversity,ColoradoMesaState,andseveralotherschools.RichasbeenanArtist-in-ResidenceandguestchoreographerwithDanceAliveNationalBallet,aprofessionalballetcompany,since1984,havingalsodancedwithDemetriusKleinDance,TheYard,inAtlanticCityBally’sCasinoandforseveralartistsinNYC.HehasscriptednarrationfortwoballetsforDanceAlive,DraculaandTheCrackedNut.Hehasdirected,choreographedandperformedinnumerousproductionsfortheHippodromeStateTheatre,includingRobinHood,The39StepsandAroundtheWorldin80Days,aswellas,AVeryOldManwithEnormousWingsandFrankenstein.TheHippalsoproducedhisoriginalplay,TheCantaDancaDancer,aworkdesignedtointroducedancetostudentsK-12andcompletedayear-longtourthroughouttheFloridaschoolsystem.Ricimplementedthespecialtychoreographyinthemovie,"DocHollywood,"wherehealsoappearedasasquash.HeisfounderoftwodanceensemblesatUF,ShadowDanceTheatreandTheatreJazzRepertoire.HehasservedastheemceefortheFlorida4-HCongressforseveralyearsandhasbeenanadjudicatorforbothACTFAproductionsandtheMid-AtlanticACDFAfestival.Since1990,RichastwicebeenawardedboththeTeacheroftheYear(CollegeofFineArts)andtheTIPUniversityAwardforexcellenceinteaching.HehasalsobeenrecognizedwithadepartmentalFacultyoftheYearandaUFSuperiorAccomplishmentAward.HeisapastpresidentoftheFloridaDanceAssociationandacurrentboardmember.HereceivedhisMFAfromConnecticutCollegeandhisBAfromBaldwin-WallaceCollege.

BALLETVOCABULARYPrimarywords

ListedincategoriesalphabeticallyPleasenotethatthedefinitionsaregeneraldescriptions/translationsofthetermsTermsrelatedtobarreand/orcentre:Adagio: SlowsustainedmovementAllonge´: Extended,outstretched,asopposedtobentorcurved.Arabesque: Abasicballeticpose,usuallyperformedinprofile:Thepositionofthebodywhen

supportedononelegwiththeotherextendedtothebackwiththekneestraight.Assemble´: Toassemble(orplacetogether)thelegsintheairAttitude: Thepositionofthebodywhensupportedononelegwiththeotherliftedtothefront

sideortheback,withthekneebent.Aposeinspiredbythestatueof‘Mercury’(byGiovannidaBologna)

Barre: Thelong,pipe-shapedbarthatdancersholdontoforsupportwhenwarmingup.Thewordisalsousedtorefertothesetofexercisedperformedatthebarreatthebeginningofeveryclass.

Battement: “rebound,”anymovementofthelegCambre´: Abendofthebodyfromthewaist,forward,sideward,orbackward.Change’: Literally,“changed”.Atermusedtoindicatethatthefeetchangepositionin

relationshiptoeachotherduringtheexecutionofastep(i.e.,thefootbeginsinthefromandfinishesintheback,orvisaversa).

Cloche,en: Literally,“likeabell”.Referstoswingingmovementsoftheworkinglegforwardandbackwardthrough1stpositioninstepssuchasbattementsdegagesencloche.

Combination:Anumberofstepsgroupedtogethertoformanexercise.Cou-de-pied: Onthe“neck”(cou)oftheankle.Thepositionoftheworkingfootwhenliftedand

pointedinfrontof,inthebackoforwrappedaroundtheankleofthesupportingleg.

Coupe´: Tocut–Thefootisraisedtotheankleoftheoppositeleg.Developpe': Theworkingfootisdrawnupthesupportingkneeandopenedintheairinany

givendirection,"unfolding".Degage: “Todisengage”Themovementofthefootoutwardfromaclosedpositiontowhere

thetoesleavethefloortoapositionof15degrees.Extension: Theheightofadancer'sworkinglegwhenliftedformthefloor.Alsoinreferenceto

thelengtheningofabodypart.Fondu: Literally,"melted",Thistermisusedsynonymouslywiththeword"plie".Itmeans

on,orwithabentsupportingleg.Frappe: Strongbrushofthesupportinglegwiththeworkingfootincoupe,"strike".Pas: Astep.Usedtorefertoanysinglemovementintheballetvocabulary.Pasdecheval:Horse’sstep.Penche': "Inclined".Usuallyreferstoarabesquepenche',apositioninwhichthedancertiltsforwardfrom

thehip,directingthetorsoandheadtowardthefloor,andliftingthefootoftheextendedbacklegtowardtheceiling.

Plie(plier): Tobend-Abendingmovementoftheknees,demiorgrand.Portdebras: Movementsorpositionsofthearms.Preparation: Themusicalphraseand/ormovement(s)thatactasalead-inforthedancer.Releve´:Arise.Describesapositionofthesupportingfootinwhichtheheelhasbeenraisedfromthefloor,

andthedancerisbalancedontheballofthefoot(oronthetoes,ifenpointe).Alsothecombinationofademi-pliefollowedbytheraisingoftheheel(s)fromthefloor.

Ronddejambe:Circleoftheleg(aterre)ontheground,or(enl'air)intheair. endehors:Outward,foottravelsinanarcfromfronttoback

endedans:Inward,foottravelsinanarcfrombacktofrontSous-sus:Under-over.Onefootbeingunder,orintheback,andonefootbeingover,orinthefront.Tendu:“stretched”Theactionofthefootleavingaclosedpositiontoafullyextendingpositionwithoutthe

toesleavingthefloor.Termsrelatedtocentre:Allegro,grand:Combinationsofexpansiveandwidelytraveledjumping,movementsthat

incorporatelarge,advanced-levelleapssuchasgrandjetes.Allegro,petite:Sprightlycombinationsofsmalljumpingmovementsperformedataquick

tempoBalance`: Arockingstepresemblingawaltz,consistinginthreepartsofalterationof

balance.Balon: Atermencompassingthedesirablequalitiesoflightness,ease,andreboundwhen

jumping.Batterie: Jumpingmovementsinwhichthelegsbeat,orexchangeplaceswitheachother,in

5thpositionintheaironeormoretimesbeforelanding.Theeffectisoneofinterlacingorcrisscrossingthelegsintheair.

Beat: Tohitthelegstogether,movingtheminandoutof5thpositionintheairsotheyappeartocrisscross.Allbatterieiscomposedof“beaten”movements.

Cabriole: Caper,likeagoat’sjump.Theworkinglegopensstraightout;thesupportingleg pushesoffandbeatsunderneaththeworkingleg,propellingithigher.

Chaine`: Linkedlikeachain–aseriesofturnswiththefeetinfirstposition.Chasse`: Chasingonefootwiththeother–acontinuousmovement.Entournant: Turning.Entrechat: Abeatenjumpinwhichthelegscrossin5thpositionintheairwithoutchange'.Fouette`: Whipping.Astrongwhippingmovementofonelegaccompaniedbyahalforfull

revolutionofthebody.Glissade: Toglideorslide–alinkingorpreparatorystep.Jete: Springfromonefoottotheother,"thrown".GrandJete:Largeleap.EnManege: Atermusedtodescribeaseriesofsteps(usuallyturnsorjumps)performedwhile

travelinginacirclearoundtheperipheryofthestage.Pasdebasque:AstepderivedfromthenationaldancesoftheBasques.Takinginthreedistinctcounts.Pasdebourree:Asteporiginatingincountrydances.Thismovementinvolvesthreeortwostepsinanydirectionthatusually

changeswhichfootisinfront.Pasdechat:Acat-likespringingmovementfromonefoottotheother,"Stepofthecat".Pasdebourre:Pique: literally,"pricked"-toprickwiththetoesaswithaneedle.1)Amovementin

whichthestronglypointedtoeoftheliftedandextendedlegsharplylowersmomentarilytohitthefloor,thenimmediatelyreboundsupward.2)Adjectivedescribingamovementinwhichthedancertransfersthebodyweightfromoneleg(inplie)totheotherbysteppingoutdirectlyontopointeordemi-pointewithastraightleg;forexample,piquearabesque.

Pirouette: Whirlorspin-Acontrolledturnononelegondemi-pointeorpointeinanypose.Promenade: Aslowrotationofthebodyinadagioexercises,inwhichthedancer,maintainingaposeonone

legwiththeotherraisedofftheground,executesmanylittlepivotsofthesupportingheelinordertoturnthebodyaroundonthewholefoot.

Saute(sauter):Jump.Sissonne: Namedforthecreatorofthestep.Springingupfrombothfeet,landingononeleg.Soutenu: "Sustainedturning."Tombe`: Tofall.Tour: Aturnofthebody.

Tournant,en:TurningTERMSRELATEDTODIRECTIONS:EnAvant: Travelingforward.Croise’: Crossed.Referstoadirectionofthebodyinwhichthelegsofthedancerappear,

fromtheaudience’sviewpoint,tobecrossedoneinfrontoftheother.Examples:Croise’devant(crossedwiththeworkinglegextendedtothefront)orarabesquecroise(crossedwiththeliftedbacklegbeingtheupstageleg.)

EnCroix: Intheshapeofthecross.Referstoaballetconventioninwhichthesamemovementisperformedinsequencetothefront,theside,theback,andagaintothesameside.

EnDedans: Inward.Characterizesanycircularorturningmovementinwhichtheworkinglegmoves.Derriere: Totheback(behind).Devant: Tothefront.Ecarte: Spreadwide.Oneofthedirectionsofthebody.(Seesheetonbodypositions.)Efface: Erased,shaded.Oneofthedirectionsofthebody.(Seesheetonbodypositions.)Endehors: Outward.Enface: referstothepositionofthedancer'sbodywhendirectlyfacingtheaudience.(See

sheetonbodypositions.)a`laSeconde:Inthe2ndposition.Amovementinwhichthearmorlegisextendedtothesideofthebodyis

saidtobeperformeda`laseconde.

TERMSRELATEDTOTHEPERSONNELINABALLETCOMPANY:Ballerina: Aprincipalfemaledancerinaballetcompany.Balletmaster/mistress:Thepersoninaballetcompanywhorehearsestherepertoireand

teachescompanyclass.Balletomane: Anenthusiasticballetfan.Corpdeballet:Thedancersinaballetcompanywhodonotperformsoloroles.Typicalofcorpdeballet

workistheperformanceofchoreographyinwhichthedancersmoveinlargegroupsinunisonwhile

changingformationandcreatingbeautifulspatialpatternsacrossthestage.Danseur: Theleadingmaledancerinaballetcompany.Danseurnoble:Amaledancerwhoistall,elegant,andaristocraticinappearanceanddancesleadingroles

suchasthePrinceinSwanLakeorthepoetfigureinLesSylphides.Hemustbeanexcellentsoloistandpartnerandpossesspureclassicalline.

PrimaBallerina(Absoluta): Thetop-rankedfemalesoloistinaballetcompany.Thistitleisusuallyreserved

foronlyafewworld-classballerinas.

TERMSRELATINGTOCLASSCentrebarre:Theexercisesthatareperformedinthemiddleoftheroomwithoutthesupportofthebarreand

thataredirectlyrelatedinformtothetenstandardbarreexercises.Examples:plies,tendus,ronddejambe,fondus.

Centerwork: Allexercisesinaballetclassthatareperformedinthemiddleoftheroomwithoutthesupportofthebarre.

Line: Thesculpturalshapeformedinspacebyadancer'slimbsandbody.Goodlineisoneadancer'smostvaluedattributes.Itisproducedbyacombinationofflexibility,disciplinedtraininginthepositionsofthebody,andthenaturallybeautifulshapeandproportionofbodypartsaccordingtotheidealofclassicalballet.

TERMSRELATINGTOPHYSICALPLACEMENT

Alignment: Thearrangementofpartsofthebodyinrelationtoeachotheraccordingtotherulesofclassical

ballet.Placement: Tobeplaced.Awell-placedbodyisonethatiscorrectlyaligned,withoutuselesstension,to

allowfreemotion.Thealignmentofthepartsofthebodyandthedistributionofbody.

Demi-pointe: Thepositionofthefootwhentheheelisraisedfromthefloorandthedancerispoisedontheball

ofthefoot.Thetermisoftenusedsynonymouslywiththetermreleve’isalsoendemi-pointe.

Dessous: Under:Describesamovementinwhichonefootstepsbehindorcutsacrossinbackoftheother,sometimesreplacingit,asincoupedessous,whenthebacklegreplacesthefront.Over:Describesamovementinwhichonefootstepscutsacrossinfrontoftheother,sometimesreplacingit,asincoupedessous,whenthefrontlegreplacestheback.

Epaulement: Shouldering.Referstothemannerinwhichadancerslightlytwiststhetorsowhenfacingstraightahead,bringingoneshoulderforwardoftheother.

Ferme: Closed,asinsissonneferme'(ajumpinwhichthelegsfinishclosedin5thposition).Ouvert: Open,asincabrioleouvert,ajumpfinishedononelegwiththeotherheldaloft.Haut,en: High.Describestheheightofthearmswhentheyarebeingheldabovethelevelofthehead,as

in5thpositionenhaut.L’air,en: Intheair.Usedtoindicatethatoneorbothfeetareoffthefloor,asinronddejambeenl’air

(onefoot)ortourenl’air(bothfeet).Parallelposition:Notturned-out;usuallyusedtoreferto6thposition,inwhichbothfeetare

placetogetherfacingstraightfront,paralleltoeachother.Parterre: Onoralongthefloor.Pointe,en: Thepositionofthefootinapointe(ortoe)shoe,inwhichtheheelisraisedwiththefootpointed

vertically,andthedancerstandsbalancedontopofhertoe(s).Surlespointe:Enpointe.Standingonthetoes.Pronated: Sameas‘beveled’.Quatrieme,ala:Inthe4thposition.Sickled: Anincorrectpositionofthefootinrelationshiptotheankle,inwhichthedanceroverextendsthe

outsideofthefootbyturningthefootinwardfromtheankletowardtheinsideoftheleg.Rolledin,rolledover:Anincorrectpositionofthesupportingfootorleginwhichtheweightisallowedto

dropforwardontotheinsideofthefootorleg.Terre,a: Onthefloor.Tuckedunder:Anincorrectpositionofthepelvisinwhichthebuttocksarepressedforward,forcingthepelvis

totiltandthrowingthehipsoutofproperalignment.Workingleg:Thelegthatisperforming(asopposedtothesupportingleg,uponwhichthedancerisstanding).TERMSRELATEDTOPERFORMINGCharacterdance/style:Astylizedtypeofdancingderivedfromfolk-danceformsbutbased

uponclassicalballettechnique.MostofthelargeclassicballetssuchasSwanLakeorCoppeliaincludecharacterdances,andallseriousballetstudentsarerequiredtostudycharacteraspartoftheirtraining.TypicalcharacterdancesarethosebasedupontheHungarianczardas,thePolishmazurka,theItaliantarantella,andthe

Spanishflamencostyles.Inaddition,thetermcanrefertoanydancebasedonmovementsassociatedwithaparticularprofession,personality,orlife-style,suchasasailor’sdance.AspecificexampleistheclogdanceforMotherSimoneinFredrickAshton’sLaFilleMalGardee’.

Choreography:Thearrangementofthestepsandpatternsinadancecomposition.Demi-caractere:Atermdescribingatypeofclassicalballetchoreographythatisheavily

flavoredwithcharacter-styleorfolk-dancereferences.Anexampleofademi-caracteredivertissementistheDonQuixotepasdedeux,withitsmanyposesdrawnfromSpanishdancing.Ademi-caracteredancerisonewhoisbettersuitedtoperformingtheserolesthanstrictlyclassicalonesforreasonstodowithhisorherphysique,line,ornatural qualityofmovement.

Deux: Two.Pasdedeux: Literally,"stepsfortwo."Adancefortwopeople,usuallyamanandawoman.Structureis1)

anentradaforbothdancersinwhichthemanpartnersthewoman,followedby2)amalesolovariation,3)afemalesolovariation,and4)acodainwhichbothperformindividualfeatsofvirtuosity,thendancetogetherattheconclusion.

Divertissement:Asuiteofshortdancesdesignedtodisplaytechnicalprowessandcharmofthedancers.

Repertoire: Theworkschoreography,orballet,thatareperformedbyadancecompany.Variation: Asolodancechoreographedprimarilyforthepurposeofdisplayingadancer'stechnical

prowess.Virtuoso: Highlyskilled.Avirtuosodancerisonewhodisplaysdazzlingtechnicalprowess,onewhose

abilityisfarabovethatoftheaveragedancer.

OTHERTERMINOLOGYAccent : Thatwhichisemphasized,usuallyaparticularmusicalbeatDemi: Half.Grand: Large.Describesmovementsonwhichthelegsareliftedtoaheightof90degreesor

above,asingrandbattement.Lunge: Awide-open(i.e.,legsapartstanceontwofeetin4thposition,inwhichoneleg(usuallythe

front)isbentandtheotherstraight.Itisoftenusedaspreparatorypositionforpirouettes.

Mark: Tosuggestmovements,todancewithoutdoingallthemovements“fullout”.Petite: Small.Atermdescribingsmallmovementsthatarenotperformedhighintheair,

suchaspetiteassembles.Rose',ric: Whatateacher!Spotting: Thetechniqueofturningtheheadduringpirouettessoastoavoidbecomingdizzy.

Whenspotting,adancerquicklywhipstheheadaroundandrefocusestheeyeswitheachturnofthebody.

Turn-out: Rotationofthelegsoutwardfromthehipjointssothatthekneecapsandtoesfaceoutwardaway

fromthecenterofthebody.Alltraditionalmovementsinclassicalballetareperformedturned-

out.

Majorcontributingsources: GretchenWarren,"ClassicalBalletTechnique" AnnaPaskevska,“BothSidesoftheMirror”Famous(orPopular)BalletMovies:

TheRedShoes(1948)FirstPosition(2011)Mao'sLastDancer(2009)BlackSwan(2010)BillyElliot(2000)SavetheLastDance(2001)BalletShoes(1975)TheCompany(2003)TheTurningPoint(1977)WhiteNights(1985)TheTalesofHoffmann(1951)Dancers(2008)BalletRusse(2005)CenterStage(2000)ChildrenofTheatreStreet(1977)InvitationtotheDance(1956)BlackSwan(2010)FirstPosition(2011)Ballet422(2014)http://en.wikipedia.org/wiki/Category:Ballet_films