A word of 6 letters, the first letter is “B”, the second letter is “A”, the third letter is “T”, the fourth letter is “M”, the fifth letter is “A”, the sixth letter is “N”, a word with a letter "B", the last "N". If you don’t know a word from a crossword or scanword, then our site will help you find the most difficult and unfamiliar words.

Guess the riddle:

Solona, ​​not salt, Runs, not a river, Shines, not silver. You won’t guess - you know less than me. Show answer>>

It dries as if after washing, and there are all holes on it. Show answer>>

A conjunction, a number, then a preposition - That's the whole charade. And in order for you to find the answer, you need to remember the rivers. Show answer>>

Other meanings of this word:

Random joke:

A man is singing on the road. The weather is getting worse, it's going to rain, and, as luck would have it, no one wants to stop. But then suddenly a car slowly approaches him. Since the downpour has already begun, the man, without hesitation for a second, sits in it and, satisfied, closes his eyes, saying, finally.
After some time, he opens his eyes and sees that there is no one in the driver’s seat, and the car is already approaching the turn, beyond which there is a cliff! But here a hand sticks into the cabin from the outside and turns the steering wheel, thanks to which the car fits safely into the turn. This was repeated several times. Then the car stops at some bar, a man gets out of it and goes to this bar. After some time, two men come in there, completely wet, and one says to the other:

- Look, here he is the guy who climbed into our car when we were pushing it.

Positions in dancing are the basic position of the body, arms and legs, from which most movements begin. There aren't many of them. But learning any dance begins with mastering these positions - both classical and modern. In this article we will analyze the main positions in detail.

Pose in classical dance: background

And it all originated in the 17th century at the French ballet school at the Royal Academy of Music. Here a terminological base began to be created, as well as the first dance positions, which later became classical. The founder of all this is considered to be Pierre Beauchamp, the choreographer of Louis XIV. All developments were recorded by P. Rameau in the book “Master of Dance”.

The position of the legs and arms in choreography has remained virtually unchanged since then. And Rameau's edition became a classic and was translated into almost all European languages.

Why is it necessary to master positions?

Correct execution directly depends on how well the classical positions are learned, since all movements begin from them.

Pose in classical dance is the most important thing. There is one rule for performing all positions - the dancer or dancer must stand straight, the stomach is pulled in, the muscles are collected, the posture is straight, and the buttocks are tucked.

Mastering the initial poses has been considered the beginning of choreography for the last two hundred years in all ballet and dance schools. No matter how easy it may seem to describe these positions, they are not as simple as they appear at first glance. The technique is complex and requires physical fitness.

Leg positions

Basic dance positions are limited. There are not many of them - only six for the legs and three for the arms. We will talk about them in more detail later. However, information about this may differ slightly in different textbooks. For example, in some editions there are five rather than six leg positions, but we will stick to the classic version. Let us explain why there are discrepancies. There are six basic positions, but there are only five reversible positions.

Initially, positions are studied in the middle of the hall and attention is not paid to the eversion of the legs. Especially if the students are small children or unprepared people. It is necessary for students to stand firmly on their feet and not sway, otherwise they will not be able to repeat a single action.

First

It is also called “heels together, toes apart.” The legs are positioned on the same line, the center of gravity is distributed evenly throughout the foot. A very stable position in which the toes should be turned outward as much as possible, ideally being in line with the heel. No matter how simple the position may seem, repeat it the first time without preliminary preparation will not work.

Second

Positions in dances should be brought to automaticity. They can be compared to the alphabet of those who decided to devote their lives to choreography or chose it as their hobby. But let's return to the description.

In order to get into the second position, you need to place your feet at the width of your feet, and then turn them out as in the first position. That is, toes apart and in line with the heels. The main thing here is to ensure that the body weight is evenly distributed between the two legs, otherwise the position will be unstable.

Third

Positions in dancing are a universal thing. This is the main advantage. Having mastered them once, you can study various dance types and styles, ranging from classical to modern. They will all be based on these simple poses.

Technique for performing the third position: legs, as always, straight. The heel of the right foot is placed in the middle of the left, while the toes point to the sides. This is a rather difficult position in which it is easy to lose balance, so it is better to lead students to the machine and allow them to hold on to it.

Fourth

Our choreography lessons continue. Let's move on to the most difficult to master and correct execution positions. You need to start by placing your right foot in front of your left at the distance of your foot. Then both legs turn toes outward so that they become parallel to the heels. The most difficult pose to perform, so it is mastered after the others.

There are two options for this position. In the first, the heel of the right foot is located opposite the middle of the left foot. Essentially, we perform the third position by spreading our legs. In the second case, the heel of the right foot should be parallel to the toe of the left, and the toe of the right foot should be parallel to the heel of the left foot. The last method is somewhat more difficult. You should start it only after mastering the first option.

Fifth

Your choreography lessons will definitely start with learning these positions. Therefore, you can first familiarize yourself with the theory in order to facilitate practice later.

So, in order to correctly get into the fifth position, you need to press your right and left feet tightly, the toes of which are directed in different directions. That is, the heel of one foot touches the toe of the other. It is easiest to move into this pose from the third. And don't forget about weight distribution and maintaining a stable position. You need to stand freely in the position, as it is only the beginning of the dance movement.

Sixth

The easiest pose to perform, which even beginners can easily repeat. To perform it you just need to close your feet. In this case, the socks will point forward and press tightly against each other. The pose is also called “legs together.”

When performing all the above actions, monitor the position of the body - the shoulders should be open, the legs should be extremely tense, the weight should be distributed over the entire foot. You can't just focus on your thumb. Otherwise, you won’t be able to maintain your balance and perform the position correctly.

Let's pay attention to the hands

The school of modern dance, like the ballet school, includes the study of basic hand positions. This is necessary because everything modern trends choreographies are built on the foundations that were laid back in the 17th century.

So, it is believed that there are only three hand positions, and all the others are variations of them. This is the most common, although not the only version.

Let's start with a description of the basic position. The shoulders are straightened, the arms are down, both hands are looking inward, close to each other, but not touching. The elbows should be slightly rounded and at a short distance from the body, that is, they should not be pressed against it. The arm should not be close to the body, even under the armpits. The fingers should be closed, but loose in the joints and soft. The thumb must touch the middle finger. The hand should continue the rounded line that began at the shoulder, and in no case should it look broken (bent at an acute angle).

If at the beginning of the movement the thumb and middle finger are open, then during the beginning of the movement, when attention switches to the work of the legs, they will diverge even more, and the appearance of the hand will become splayed and ugly. Hand placement is very important. Make sure the ends index fingers and little fingers were rounded. In this case, the hand should not be contracted from tension. It must be ready to change at any moment, so do not tense your muscles.

First ballet position for arms

First you need to take the basic position described above. You need to raise your arms forward so that they are just above your waist. The elbows remain slightly bent and the round shape is maintained. No sharp corners. You need to stay as collected and free as possible. You must be prepared for the fact that in the next minute you will need to start moving. In this case, the arm muscles should be tense.

Second hand position

The school of modern dance is also based on the basic positions. Therefore, any serious choreography will begin with learning the basics.

So, as with all poses, the muscles must be tightened and the body straight. It is important to watch your shoulders: they should not rise, fall or move back. The hands are in front of you, as in the “two” position, but slightly spread to the sides. The elbows are bent but not dropped; the muscles should hold them well in one position. The forearm is at the same level with the elbow. In this position, the brush usually falls and takes on a drooping appearance, so it must be supported.

This pose is one of the best for developing correct dance posture. At first the position will have artificial appearance, but gradually you will bring your actions to automaticity, and the figure will look very natural. You will no longer need to think about whether you support your hands and elbows; your arms themselves will respond to the slightest movements of the body, gaining maximum expressiveness.

Third hand position

And finally the last ballet hand position. It begins, as usual, with setting up a basic pose. Then the arms are raised up, the elbows remain rounded, the hands are at eye level, close to each other, but not touching. You should be able to see your hands without raising your head.

Typically hand poses are performed in motion. First you need to get into the basic position, then move to the first, then to the second, third and return to the basic position. It is better to train changing poses dynamically, since students learn to work in motion from the very beginning, which is what is required in choreography.

It is possible to break them down into separate movements only at the beginning, when the first steps are taken on the path to mastery.

So, we have learned that basic positions of the arms and legs are very important for choreography. In addition, it is necessary to monitor the position of the limbs, especially the hands and fingers. Dance is not only an art, but also a sport that requires persistent and long practice of the most seemingly simple movements. Without this, it is impossible to achieve success, not to mention professional improvement.

Choreographic terminology is a system of special names designed to designate exercises or concepts that are difficult to briefly explain or describe.

In the 17th century (1701), the Frenchman Raoul Feuillet created a system for recording elements of classical dance. These terms are recognized by experts in the field of world choreography even today.

Turning to specialized literature, students experienced difficulties when faced with unfamiliar terms, such as: “Eversion of the legs,” and this is a necessary and obligatory condition for the technique of performing elements of classical dance; “Body” is an unacceptable term in gymnastics; it is replaced by “Posture” , "Balloon" - the ability to fix a pose in a jump, "Force" - the necessary preparatory movement of the arms to perform pirouettes, "Aplomb" - a stable position of the student, "Elevation" - the ability of an athlete to show the maximum phase of flight in a jump, "Priporasion" - preparatory exercises hand or foot before starting to perform an element, “Cross” - performing elements in the following directions: forward, sideways, backwards, to the side or in the opposite direction.

Knowledge of special terms speeds up the learning process. Choreographic terminology characterizes movement in more detail than gymnastics. This is the international language of dance, the opportunity to communicate with choreographers, understanding of specialized literature, the ability to briefly record training combinations, lessons, etudes, floor exercises, compositions.

Terminology is always constructed in accordance with the rules of word formation. The main advantage of the term is its brevity. This makes it possible to reduce the time for explaining tasks and maintain the density of the lesson.

But students are not always able to remember choreographic terminology, so the idea arose of writing choreographic elements using gymnastic terminology, for a more accessible perception by students of the material being studied.

Experience shows that it is precisely students who do not have choreographic training who have difficulty remembering the names of movements. As a rule, these are trampolineists and jumpers on the acrobatic track. But athletes who have fulfilled the standards of CCM and MS do not always have knowledge of the terms and correct technique performing even the simplest elements. The creation of this kind of table and a large number of illustrations for the elements make it possible to organize students’ knowledge in the field of choreographic training, to be fluent in choreographic terms and, if necessary, to use special literature on choreography.

preparatory

Hands down, rounded at the elbow and wrist joints with the palm up. Thumb inside the palm

I – first

Arms forward, rounded at the elbow and wrist joints

II – second

Arms forward to the sides, rounded at the elbow and wrist joints with palms facing inward

III – third

Hands forward upward, rounded at the elbow and wrist joints, palms inward

HAND POSITION OPTIONS

Right hand in third position left hand in second position

Right hand forward, palm down, left hand back, palm down

Right hand in second position, left hand in preparatory position

Right hand in first position, left hand in preparatory position

Right hand in third, left hand in preparatory position

LEGS POSITIONS

I – first

Closed toe post outward. Heels closed, toes out. The legs are located on the same line with an even distribution of the center of gravity throughout the foot

II – second

Wide stance with your feet apart and your toes out. The legs are located from each other on the same line at a distance of one foot with an even distribution of the center of gravity between the feet

III – third

The right one is placed in the middle of the left foot (toes out)

IV – fourth

Stand with your feet apart, right in front of the left (at a distance of one foot), toes outward (performed on both feet)

V – fifth

Closed stance right in front of the left, toes out (the right heel is closed with the toe of the left, performed on both legs)

VI – sixth

Closed stance (heels and toes closed)

Exercise – choreographic exercises in a set sequence at the support or in the middle.

ROTATIONS 90°, 180°, 360°, 540°, 720°, 1080°.

DEMI PLIE, GRANA PLIE (HALF SQUIET, SQUT)

The purpose of the exercise is to develop the elasticity of the articular-ligamentous apparatus and “eversion” in the hip, knee and ankle joints. This exercise helps develop jumping ability by stretching the Achilles tendon.

Half squat(demi plie)

The half squat is performed in all positions. In this exercise, the heels do not come off the floor, the weight of the body is distributed evenly on both legs. Bending and extension of the legs is performed smoothly, without stopping, “inverted”, the knees are directed to the sides, along the line of the shoulders. Posture is straight.

Squat(grand plie)

The squat is performed in all positions. First, a half-squat is performed smoothly, then the heels are gradually raised, and the knees are bent as much as possible. When extending, the heels are first lowered to the floor, then the knees are straightened. When raising your heels, do not rise high on your toes. The exception is the grand plié in the second position, where the heels do not come off the floor due to the wide position of the legs.

Flexion and extension should be performed smoothly, at the same pace. The pace is average. Before starting the exercise, the hand (if the movement is performed at the machine) or both hands (if the movement is performed in the middle) are transferred from the preparatory position through the first position to the second. Then, with the beginning of leg bending, the arm (or both arms) is lowered from the second position to the preparatory position, and with the beginning of leg extension, the arm is again transferred through the first position to the second.

BANTMAN TANDYU (STRETCHED)

(position of the foot on the toe forward, to the side, back)

Flexion and extension of the foot by sliding along the floor until the foot is on the toe. Performed from the first or fifth position in three directions: forward, sideways, backward.

The purpose of the exercise is to teach how to correctly stretch the leg in the right direction, to develop strength and elasticity of the instep (ankle joint) and a beautiful line of the legs.

Batman tandu(right to the side on the toe)

Batman tandy forward(right forward on toe)

Banman tandyu back(right back to toe)

Batman tandu forward and backward is performed along a line strictly perpendicular to the body, and to the side - exactly along the line of the shoulder. When performing batman tandu, first the entire foot slides along the floor, then the toes and instep are gradually extended. The center of gravity of the body is on the supporting leg, the toe does not come off the floor.

Make sure that your knees remain as extended as possible and that both legs remain turned out. When stretching your leg, there should be no emphasis on the toe. As the leg returns to its original position, the foot gradually lowers to the floor. The heel is lowered to the floor only in the starting position.

When performing forward, sliding begins with the heel, and back the foot returns with the toe to the IP. When performing backwards, the toe begins to slide, and the foot returns back with the heel to the IP.

4/4 , the pace is slow. Later, the movement is performed from the beat. Musical time signature -2/4, the pace is average.

BATMAN TANDUE JETE (WASH)

Develops muscle strength, beauty of the leg line and clarity of execution.

Small clear swings of the leg to the downward position and return to the starting position through the batman tandu.

Performed in the first or fifth position in three directions: forward - downwards, to the side - downwards, back - downwards.

Batman tandu jete to the side

(swipe the right one to the side - downwards)

Batman tandu jet forward

(swipe right forward downwards)

Batman tandu jete back

(swipe right back down)

Batman tandu jete is performed in the same way as batman tandu, but when reaching the position on the toes, the leg does not linger, but continues to move with a swing, where it is fixed at the height of the middle shin of the supporting leg (45°). Both legs should be “turned out”, the leg muscles should be tightened, and during the swing the instep and toes of the working leg should be extremely stretched.

Returns to IP with a sliding movement through the position on the toe.

Musical size at the beginning of learning - 4/4 or 2/4, the pace is slow. As you master the exercise, the leg swing is performed from a beat, the tempo is average.

GRAND BATMAN (RIGHT SWING FORWARD, SIDEWAY, BACKWARD)

The leg is in this position both when performing large batman jetés (swings), fixed at 90°, and when slowly raising the leg - relevé lan.

Foot forward position

Leg position to the side

Leg position back

Large swings into the air and return to the starting position are performed in the first or fifth positions in three directions: forward, sideways, backward. From the starting position, the leg rises into the air with a swing, passing along the floor with a sliding movement, as in the batman tandu jet, with the leg fixed at 90° (hereinafter higher), and returns by sliding through the batman tandu jet to the IP. Make sure to maintain the “turnout” and tension of the knees, instep and toes of the working leg. Transfer the center of gravity of the body to the supporting leg. When performing a large swing forward and to the side, the torso must remain strictly vertical. When swinging backwards, a slight forward tilt of the torso is allowed.

Musical size – 4/4. At the beginning of learning the pace is slow. As the leg swing is mastered, it is performed out of beat, the tempo is average, and the height of the swing increases in three directions: up and then up.

When performing a relevé, the leg slowly rises forward, to the side or back and just as slowly lowers to the starting position (through the batman tandu). As it is mastered, the height also increases, as in Grand Batman up and up.

RONDDE DE JAMBE PARTERRE (CIRCULATORY MOVEMENT OF THE TOE ON THE FLOOR)

The main objective of the exercise is to develop and strengthen the hip joint and the necessary “turnout” of the legs.

The movement is performed forward – an deor and backward – an de dan.

An deor(outside)

From the first position, a sliding movement forward onto the toe (batman tandu), maintaining maximum “turnout” and tension of the legs, is transferred by sliding to the second position to the right position to the side on the toe, then, maintaining “turnout” and tension, it is carried back to the toe (batman tandu) and returns by sliding to the starting position

An dedan(inside)

When performing the exercise backwards (an dedan), the leg from the first position is sliding back onto the toe, then sliding to the side onto the toe (to the second position), from the second position sliding to the right position forward on the toe (batman tandyu) and sliding back to the starting position. position

The center of gravity of the body is maintained on the supporting leg. The working leg should move “inverted” through all the main positions of the legs on the toes at the same pace. Through the first position, the leg is carried out in a sliding motion with the obligatory lowering of the entire foot to the floor.

Musical size 3/4, 4/4, medium tempo.

PORT DE BRAS (EXERCISES FOR THE TORSO AND ARMS)

A group of exercises that develop body flexibility, smoothness and softness of the hands and coordination of movements.

Here is one of the forms of por de bras, which consists of bending the torso forward and straightening it, tilting the torso back and returning to its original position.

The exercise is performed at the support and in the middle of the hall from the fifth position in a facing position (en face) or in a half turn (croise, hilt). Before starting the exercise, the hands are transferred from the preparatory position through the first to the second.

Fifth position of legs, second position of arms

Closed stance, right in front of the left, toes out, right heel closed with the toe of the left. Arms to the sides, rounded at the elbow and wrist joints, palm forward, thumb inward.

Fifth position of legs, third position of arms

Port de bras forward, arms in third position (torso tilted forward, arms up, rounded at the elbow and wrist joints).

Fifth position of legs, first position of arms

Closed stance, right in front of the left, toes out, right heel closed with the toe of the left. Hands forward, rounded at the elbow and metacarpal joints with palms facing inward.

Port de bras back, third hand position

Tilt the torso back, arms up, rounded at the elbow and wrist joints, turn the head to the right (tilt the torso back only with your shoulders back, without relaxing the muscles of the lumbar region).

Perform the exercise smoothly, observing the exact positions of your hands, accompanying their movement with your gaze and turning your head. The musical size is 3/4, 4/4, the tempo is slow.

SUR LE COU AE PIE (FIXED POSITIONS OF THE BENT LEG ON THE ANKLE)

Position the foot on the ankle (sur le cou de pied) to perform batman frappe, batman fondue, petit batman, botu. The right one, bent with a slightly straightened foot, is located above the ankle of the other leg, touching it with the outer part of the foot. Fingers are pulled back.

The position sur le cou de pie is performed in front and behind. In both cases, the knee of the bent leg should be “turned out” and directed exactly to the side along the line of the shoulder.

Sur le cou de pied

(basic position of the foot is on the ankle in front)

Sur le cou de pied

(basic position of the foot is on the ankle behind)

Batman frappe consists of bending the working leg into the sur le cou de pied position and extending it to the toe initial stage learning, and as they master it in a downward position in groups UTG-2,3, and in groups UTG-4, SS, VSM - on the half-toes with lowering in various poses to the toe or downward position.

First, the exercise is learned by extending the leg to the side, then forward and later back, facing the support at a slow pace. It is necessary to monitor the maximum “eversion” of the leg in the hip, knee and ankle joints.

When flexion and extension of the leg in all three directions is mastered, the leg flexion will be performed from the beat with an emphasis on leg extension.

Musical size – 2/4, the pace is average.

First, only the position sur le cou de pied in front and behind is learned. The leg from fifth position is fixed above the ankle of the other leg and lowered again to fifth position. It is recommended to practice this exercise facing the support. It is necessary to monitor the maximum “turnout” of the leg in the hip, knee and ankle joints, maintaining correct posture and the center of gravity of the body on the supporting leg.

As you master the position of the foot on the ankle in front and behind, you learn to change the position in front and behind at a slow pace, and as you master it, at a fast pace. To learn double frappe in groups UTG-3, UTG-4 on half-toes and in combination with demi-plie poses.

The position of the foot on the ankle (sur le cou de pied) to perform batman fondue. This exercise consists of bending the leg into a sur le cou de pied position with an extended “lift”, simultaneous half-squatting on the supporting leg and extension of the working leg to the toe or downwards in one of three directions.

Sur le cou de pied

in front (conditional position of the foot on the ankle in front)

Sur le cou de pied

from behind (conditional position of the foot on the ankle behind)

First, only the position sur le cou de pied is learned in front, then behind. After this, a half-squat on the supporting leg and extension of the working leg, first to the side, then forward and backward, facing the support, are learned.

Musical size – 2/4, the pace is slow. The movement is very smooth.

It is necessary to monitor the “turnout” of the legs and the distribution of the center of gravity of the body on the supporting leg. Once the movement is well understood, various hand positions can be introduced, especially when performing exercises in the middle of the gym. In the UTG-3 group, the batman fondue double is learned, and in the UTG-4, SS, VSM groups, the exercise is performed on half fingers.

PASSE (TRANSLATIONS – “EVERYTHING” POSITION OF THE BENT LEG IN FRONT, TO THE SIDE AND BACK, TOE AT THE KNEE).

DEVELOPMENT (FLEXION AND EXTENSION OF THE LEG 90° AND HIGHER)

The exercise develops “turnout” in the hip, knee and ankle joints and is a lead-in exercise for performing development.

Passe to perform development forward

Stand on the left, the right is bent at the knee with the toe in front.

Passe to perform development back

Stand on the left, the right is bent to the side, the toe is at the back of the knee.

Passe to perform development aside

Stand on the left, the right is bent to the side, the toe at the knee to the side.

If the leg extends forward, then from the starting position it is transferred from the position sur le cou de pied in front. If the leg is extended back, from the position sur le cou de pied from behind.

Then the working leg slides upward along the supporting leg (but without touching it) and opens in the required direction. If the leg is extended to the side, then, without bringing the toe slightly to the knee of the supporting leg, it must be moved to the inside of the supporting leg and then straightened.

When performing, it is necessary to monitor the “turnout” of the hip, the tension of the instep and fingers.

When the passé is well mastered, the second part of the movement is introduced - extension of the leg in one of three directions forward, sideways, backward. First, the developer learns to the side, then forward and later backward. Sideways and backward leg extension is learned facing the machine. The movement is performed smoothly. It is necessary to monitor the “turnout” of the leg during its extension and return to its original position. The musical size is 3/4, 4/4, the tempo is slow. When performed in the middle, various rotations of the torso and positions of the arms can be given. The passé position can also be used when moving the leg from one pose to another.

Development is performed from the fifth position in groups UTG-3, UTG-4, SS, VSM in the upward position, and as mastered, upward in three directions and on the half-toes, into poses in combination with elements of the chosen sport.