CINDERELLA

QBLEARNTEACHER’S RESOURCE KITCINDERELLAPRINCIPAL PARTNERThis production is generously supported by Valerie RyanAArtistic Director Li CunxinTEACHER’S RESOURCE KITCINDERELLA

CONTENTsQBLEARN 2Attending a Queensland Ballet performance 3–4Queensland Ballet Artistic Director – Li Cunxin 5CinderellaHistorical Context 6Choreographer’s Notes 7The Story of Cinderella 8Q&A with Li Cunxin 9Q&A with Costume Designer, Tracy Grant Lord 10Costume Design: Class Activity 11–12IN THE CLASSROOMChoreographic Tasks 13–15Appreciation Tasks 16–17Ballet Vocabulary 18–19Cover: Dancers: Rachael Walsh and Yu Hui Photographer: Alexia Sinclair Art Direction: Alexia Sinclair and Designfront1TEACHER’S RESOURCE KITCINDERELLA

W ELCO M Eto QBLEARNQueensland Ballet isdedicated to sharing ourlove of dance with as manypeople as possible.QBLEARN, our Education Program,aims to engage, enhance andinspire young and old alike, bybringing the world of dance to you,wherever you are.We do this through an excitingprogram of performances, danceworkshops, training programs,public talks, industry experiences,online resources, and more.Events and activities for schoolgroups and teachers aim to teachdance within and beyond theclassroom. Our Schools Programis designed with teachers andstudents in mind. The programsare curriculum-relevant, highlyenjoyable and connect to pathwaysfor further learning in dance.Dancer training has been part ofQueensland Ballet since the verybeginning. Our aim is to providea clear career pathway throughintensive training and to produceyoung dancers whose talent andabilities are internationally soughtafter. In addition to our three ongoingtraining programs, Pre-ProfessionalProgram, Junior Program, andthe Queensland Dance School ofExcellence, we host workshops andmasterclasses.QBLEARN is made possible throughthe generous support of ourProgram Partner, Tim Fairfax FamilyFoundation.Above: QB Principals and Soloists Photographer: David Kelly2TEACHER’S RESOURCE KITCINDERELLA

Attendinga Queensland Ballet performanceIt is important to prepareyour students for theirexcursion to the ballet, asthey might not be awareof the particular protocolexpected when going tothe theatre. The theatreexperience is very differentto the movies, watching TVand other entertainmentevents, therefore we havecreated a checklist to helpyour students know whatto expect before, duringand after the performance.Before the performance• Discuss the difference between a live performance and a movie/TV show.People on stage can see and hear the audience, so noise and movementmight distract them. The dancers need to focus on dancing for yourenjoyment, therefore you need to prepare yourself for sitting quietly in yourseat for a long period of time.• Outline your school’s expectations regarding appropriate attire for thisexcursion.School uniforms are appropriate for matinee performances but you may allowyour students to dress up for an evening performance. Smart casual attire isappropriate for an evening performance. Tell your students to make sure theywear something comfortable so they can enjoy the performance.• Please explain to your students that you plan to arrive at the theatre at least30 minutes prior to the performance. Latecomers may not be able to enterthe theatre once the performance has begun.• Depending on the purpose for attending the ballet, you may want to giveyour students some guidelines of what to look and listen for during theperformance.This might be to purely enjoy the movement, music, setting, etc. or it could bemore task-specific, such as trying to identify the dance components, etc. It isa skill to be able to watch something and remember different aspects of theperformance and students need to practise this skill. Some schools do allowtheir students to bring notebooks into the theatre, however we encourageyour students to be mindful of the other audience members and thereforewatch and enjoy the show – then discuss their assessment task and makenotes after the show.• Outline to your students what they should not bring to the performance.Bringing school bags is not encouraged, but if you need to, please arriveearly enough to check these into the cloakroom. Students should not bringtheir iPhones, cameras, iPods, headphones, etc. into the theatre itself. Allelectronic devices should be turned off before entering the theatre. Food(including chewing gum) and drink are also prohibited inside the theatre.• Please ensure your students visit the restrooms before the performancebegins.• Queensland Ballet shows are often sold out, therefore the foyer will be verybusy. Please encourage your students to stay with your group and be aware ofthe people around them.3TEACHER’S RESOURCE KITCINDERELLA

Attendinga Queensland Ballet performanceDuring the performance• Explain to your students that they will know when the performance is aboutto begin as the lights dim, the music starts and everyone in the audiencebecomes quiet.• Let your students know that they can clap when they enjoy something– in a ballet performance it is customary to applaud when the dancertakes a bow and this often happens throughout the performance.• Explain to your students that they should try and let themselves to be takenon a journey to another time and place and to enjoy the movements, music,sets and costumes.After the performance• Ask your students to remain seated until you ask them to leave.When leaving, be mindful of other patrons trying to exit the theatre.• If you are attending a performance with a Post-Performance Q&A(Tuesday 9 and 16 April) please encourage your students to use the timebetween the conclusion of the show and when the Q&A begins to think ofsome great questions to ask the creative team. These may relate to theassessment task they are doing or something about the life of a dancer.When they ask the questions, try to be clear and concise.4TEACHER’S RESOURCE KITCINDERELLA

Queensland Ballet Artistic DirectorLi CunxinLi Cunxin (pronounced shwin-sing) is Queensland Ballet’snew Artistic Director, commencing with Season 2013.Having led a long and diverse career as a dancer, Li bringshis passion for ballet, devotion to artistic excellence andinternational reputation and networks to QueenslandBallet’s rich 53-year history. He is the Company’s fifthArtistic Director and the first curatorial Artistic Director.“I think Dance Education is aboutplanting the seed in children’shearts, as early as possible,ensuring their understandingand appreciation of dance. Inhindsight, I missed out on thatas a child. Before I went to theBeijing Dance Academy, therewas no such thing as an artisticeducation. I really think it’sessential to involve youngstudents in this art form.”Li CunxinAt the age of eleven, Li was selectedby Madame Mao’s cultural advisors toattend the Beijing Dance Academy.In 1979 he joined Ben Stevenson’sHouston Ballet company as anexchange student and later went onto achieve the top rank of Principalin 1982. He moved to Melbournein 1995 with his wife, dancer MaryMcKendry, to join The AustralianBallet as a Principal Artist. Li retiredfrom dancing in 1999, at the age of38, but maintained his strong tiesto the ballet community. Beforetaking on the role of Artistic Directorat Queensland Ballet, Li workedin Melbourne as a senior managerat Bell Potter, one of the largeststockbroking firms in Australia. Hehas been on the board of the BionicsInstitute, and sat on the board of TheAustralian Ballet from 2005 until hisappointment as the Artistic Directorof Queensland Ballet.In 2003 Li published his internationalbest-selling autobiography Mao’s LastDancer, which has received numerousawards. The book was adapted as afeature film in 2009.Above: Li Cunxin Photographer: Chistian Aas5TEACHER’S RESOURCE KITCINDERELLA

CINDERELLAHistorical ContextInterestingfacts about…Cinderella, the book• There are many different versions of this story that date backcenturies. The earliest version comes from China around 850 ADand describes the Chinese tradition of binding feet.• The most well-known is by Charles Perrault, who introduced boththe stepmother and ugly stepsisters and the royal ball into thestoryline.• The famous Brothers Grimm introduced the fairy godmother to thestory.Cinderella, the ballet• Cinderella is considered to be a story ballet or narrative ballet, as itis an adaptation of a well-known story.• Just like the book, there are many different ballet versions ofCinderella with choreography by Marius Petipa, Lev Ivanov, EnricoCecchetti, Rostislav Zakharov, Konstantin Serfeyey, and Sir FrederickAshton.• Cinderella is a three-act ballet.• The ugly stepsisters are often played by men.• The music is composed by Sergei Prokofiev, a very famous 20thcentury Russian composer.Queensland Ballet’s version of Cinderella• This version was choreographed by Ben Stevenson (originallycommissioned in 1970 for the National Ballet in Washington DC)• The music is composed by Sergei Prokofiev and performed by theQueensland Symphony Orchestra, conducted by Andrew Mogrelia.• Set design: Thomas Boyd• Costume design: Tracy Grant Lord“What I wished to expressabove all in the music ofCinderella was the poeticlove of Cinderella andthe Prince, the birth andflowering of that love, theobstacles in its path andfinally the dream fulfilled.”Sergei Prokofiev• Lighting design: David Walters• Duration: approx. 2 hours and 15 minutes with two intervals.Some interesting things for your students to research• What other stories did Charles Perrault write?• Many people have choreographed Cinderella – research thesechoreographers and identify the similarities and differencesin each version.• Who originally scored Cinderella?• Are all ballets story or narrative ballets?• What other ballets has Ben Stevenson choreographed?6TEACHER’S RESOURCE KITCINDERELLA

Choreographer’s NotesCinderella has been an exceedingly important work for me.It was the first full-length ballet that I choreographed.I had done The Sleeping Beauty before, but because I kepta lot of Petipa’s version, I never felt it was mine. Cinderellahad only 28 dancers in the cast when it was first donein Washington DC and I am glad to report that it was asuccess! It was a door that opened for me, enabling me tochoreograph other full-length works.In putting Cinderella on the stage, I have tried to appeal to adults and childrenalike, from the romance of Cinderella and the Prince to the humour of the UglyStepsisters. It is always wonderful for me to hear the laughter of the children inthe audience.Each company and its dancers bring this ballet new life whenever it is performed.It is not just the same steps for every company, but sometimes new things arethought of to inspire the dancers who have to tell the story.This will be my first ballet in Australia. I have known so many wonderful dancers,like the incredible Lucette Aldous, with whom I danced Swan Lake in London.Working with her and watching her dance made me realise that Australia wasproducing some incredible dancers and artists.I am very excited that Queensland Ballet will be performing my Cinderella,especially as this is Li Cunxin’s inaugural season with the Company.Ben Stevenson OBE7TEACHER’S RESOURCE KITCINDERELLA

The story ofCINDERELLAACT 1Cinderella stops her stepsisters fromroughly teasing her poor father, butthey turn on her furiously and she isordered to clean the room. Left alone,she takes out a portrait of her dearmother. Her father returns and isovercome with remorse; his daughterlovingly tries to reassure him, buttheir tender exchange is interruptedby the stepsisters, who snatch awaythe portrait.Suddenly, an old woman enters,begging for food. The stepmotherscornfully gives her the portraitinstead, but the woman returns it toCinderella. She accepts some bread inreturn, and departs.A dressmaker, wigmaker anddancing master arrive to prepare thestepsisters for the royal ball. Whenthe family has departed, Cinderellatries to console herself by dancingwith a broom, but eventually shebursts into tears. At this moment,the beggar woman returns - andmagically changes into a FairyGodmother! The kitchen is replacedby an enchanted glade.Cinderella is given a pair of slippers,the fairies of Spring, Summer,Autumn and Winter dance for her,and her rags become a beautifulgown. But she is warned that atmidnight, the magic will end. TheFairy Godmother then transformsa pumpkin and four mice into amagnificent coach and horses, andCinderella is driven to the ball.ACT 2At the palace, a jester welcomes theball guests. The Prince gallantly inviteseach of the stepsisters to dance, muchto the amusement of all.Festivities are interrupted by the arrivalof Cinderella. She is so beautiful andgraceful, the Prince is immediatelysmitten. Oranges, the rarest fruit inthe land, are offered to the guests, andCinderella kindly gives hers to one ofher stepsisters, who had missed out onthe treat. The clock strikes midnight,Cinderella’s clothes turn to rags, andshe rushes from the ballroom, leavingone slipper behind in her haste.INTERVALACT 3Back in the kitchen, Cinderella findsthe remaining slipper in her pocket,but hides it quickly when the familyreturns. The Prince and his courtiersarrive in search of the owner of thelost slipper. The stepsisters try tofit the slipper in vain, and then thePrince notices Cinderella sittingshyly by the fire. The second slipperfalls from her pocket, and he isoverjoyed to find his love. Despite herragged appearance, he asks her tomarry him. Cinderella forgives herstepmother and stepsisters.In the magic glade, the Prince andCinderella dance a romantic pasde deux, and the new princess isacclaimed by all.INTERVALCostume designs for Summer, Spring, Winter and Autumn Fairies by Tracy Grant Lord8TEACHER’S RESOURCE KITCINDERELLA

Q & Awith Cinderella’s Costume DesignerTracy Grant LordTracy Grant Lord hasdesigned gorgeouslyelaborate costumes forCinderella, many withbraid, beading and crystals.There are 42 different designs for29 different characters and130 costume sets, each comprisingup to five pieces. Several thousandmetres of fabric and trim arerequired! Wardrobe ProductionManager Noelene Hill has marshaleda large group of 30 talentedcraftspeople to make patterns,costumes, jewellery, headpieces,hats, and shoes. They will spendnearly 7,000 hours in total workingon the entire suite of costumes.What inspired you when designingthe costumes for Cinderella?I had Prokofiev’s brilliant music as theperfect inspiration for the design ofthis Cinderella plus Ben Stevenson’swonderful original choreographyand Li’s clear vision for this newQueensland Ballet production.Are there thematic elements whichrecur across the designs?Fairytale, Magic and Elegance arethree of the main drivers for thisdesign. Refining the visual definitionsof these elements, alongsidethe history of the work and therequirements and expectations of acompany, naturally brings a designtogether.How do you collaborate with the setdesigner to ensure that costumesand sets will work together?Sometimes you work in isolation forthe first few weeks and then jointogether to share your ideas. It isalways a great thrill to discover thenatural harmony of designs whenderived from the same inspirationalsources.Did you undertake much researchinto historical costume in order tore-create a period look?Yes, I need a very clear understandingof period and construction for eachnew work.How is designing for dance differentto designing for theatre or opera?The differences in practical termsare the obvious ones of ease ofmovement and weight of costumealongside the universal questionsof appropriateness of design forcharacter, performer and production.All forms of performance demandthese considerations to greater orlesser degrees.You have previously designedCinderella for the Royal NewZealand Ballet. Even though youare working to a new design brieffor Queensland Ballet, has yourfamiliarity with the charactersinfluenced your new designs?Yes, of course. It is as if I now knowthis family of characters very verywell – they are close friends. I havecertainly heard their story manymany times. They have moved toanother place and are telling theirstory in another way but I know whothey are and can see them clearly inthis new light.Go to youtube.com/qldballetfor a glimpse behind-the-scenesin Wardrobe with Tracy, and seesome of the exquisite costumesin the making.10TEACHER’S RESOURCE KITCINDERELLA

Costume DesignClass Activity STEP 2Research from which period these designs aredrawing influences and match the descriptionsbelow with the appropriate costume design.DESCRIPTIONPeriod dresses with organzaoverlaid with pintucks asshown, red petticoats.Ruched sleeves andgathered sleeve heads.False jabot. Ruched taffetaapron. Period frock coat,2-piece crosscut sleeveswith gathered sleeve head,circa 1820. False waistcoat.Centre side front openings(faux) on fitted trouserswith braces. False jabots ondickie.FABRICSTaffeta, organza, tulle, twill,faille, velvet.NOTIONSRhinestone buttons, ribbon,lace, feathers, braid.SHOESBlack boots (or shoes withspats), ballet shoes. Blackboots. Black tights, creamtights and ribbed creamtights.DESCRIPTIONPeriod underwear, includingpantaloons with gatheredcrutch, corset, chemise,bum pad, petticoat androbe.FABRICSStriped satin/ brocade/faille, silk noile, cotton,taffeta, tulle.NOTIONSRibbon, braid, lace,feathers.SHOESPale pink shoes with featherdetail. Pink tights.MILLINERYMop cap with chin strap.WIGSPossibly a bald cap?ACCESSORIESBeauty spot.DESCRIPTIONEmbellished tunic withtwo-piece crosscut sleeve,fitted through torso, falsewaistcoat and peplum skirtwith flare. False jabot. Men’sballet tights. Embellishedcloak shawl.FABRICSFaille, taffeta, satin, velvet,lycra.NOTIONSEmbellished braids andmotif, rhinestones andbuttons, diamante, crystals.SHOESBallet shoes.MILLINERYNoneWIGSNoneACCESSORIESNoneDESCRIPTIONFitted, slightly paddedbuttoned and belted tunicwith flared peplum skirt,lycra sleeve and tights withcodpiece. Streamers fromseam points and neckchiefcollar.NB. some ‘royal blue’ maybe introduced in sparefashion.FABRICSFaille, taffeta, velvet, satin,lycra.NOTIONSBraids, ribbon, buttons, belt.SHOESBallet shoes.MILLINERYHeadscarf and eye maskand/ or harlequin make-up.WIGSNoneACCESSORIESNoneMILLINERYRiding hat with upturnedbrim and rosettes,chinstrap. Bonnet withchinstrap.WIGSYoung man assistant withhair brushed forward.ACCESSORIESMesh mittens, chatelaine,locket choker.12TEACHER’S RESOURCE KITCINDERELLA

IN THE CLASSROOMChoreographic Task 2The story of Cinderella may bea wonderful fairytale filledwith magic and romance, butit also explores deeper themessuch as unjust oppression andmistreatment.Using these opposing themes asyour stimulus, you need to createtwo contrasting movement motifs.Movement could be using ballet orcontemporary technique (or anytype of movement).Motif 1Magic and romanceMotif 2Unjust oppression and mistreatmentIdeas for your choreographic approach to this task:Brainstorm your ideas for each motif’s theme by creating two separatevision boards. (Use images from magazines, words, your own drawings,etc. to create the vision boards. NOTE: to incorporate ICT into theclassroom you could use Pinterest if your school has access to this site orset up something similar on a blackboard.)Use these vision boards to stimulate ideas about the movementcomponents of your motif – gestures, shape, levels, spatial relationships,size, actions, etc.Explore these ideas and experiment with devising movement.Apply the use of different dynamic qualities to your movement motif tofind the energy needed to communicate your ideas to the audience.Once you have devised two contrasting movement motifs,spend some time developing variations to each motif to expand yourchoreography and create two clear sections of movement. Ensure yourmotif can be identified throughout.Ideas to manipulate a motif or movement sequence:Mix up the order of the movementsAdd a set floor patternChange the size of the movementUse the choreographic device of Fragmentation (manipulate a fragmentor tiny section of the motif)Swap the dynamics of each movementPlay with the pace of small sections or each movementChange or add different levels or directionsUse Retrograde - perform a section backwardsOnce you have your two contrasting sections of movement,use Ternary form (ABA) to structure your dance. You will need to decidewhich section will be A and B. You may also want to make a slightvariation to A when you use it the second time.Present to the class and discuss the use of contrasting motifs andhow different students manipulated their movement motifs.14TEACHER’S RESOURCE KITCINDERELLA

IN THE CLASSROOMChoreographic Task 3The use of humour is a bigpart of Queensland Ballet’sCinderella. This is most oftenseen through the slapstickcharacters of the UglyStepsisters and the Jester.Within the Ball scene, theJester plays many jokes on theUgly Stepsisters.Ideas for your choreographic approach to this task:Start with well-known gestural/physical tricks (eg down low – too slow)Link some of these tricks together using interesting transitionsExpand on the foundations of these tricks and experiment with other waysto present the same idea (eg. down low – too slow, surprising someone bymoving away from them quickly – it is not what they expect)Come up with new ways to trick or tease your partnerExplore contact workIn pairs, create a slapstick danceroutine exploring interesting waysto trick your partner.Once you have experimented, make some decisions and forma cohesive sequence of humorous movement. Don’t forget to manipulatethe components of dance to help you communicate your intentto the audience.Present to the class and discuss how effective the trickswere in making you laugh.Note: You could add an extension to this task and explore howhumour can sometimes turn into cruelty.15TEACHER’S RESOURCE KITCINDERELLA

IN THE CLASSROOMAppreciation Task 1Fairytales often havearchetypal characters thatrepresent good or evil.Cinderella depicts the themeof good versus evil throughthe characters of the UglyStepsisters and Cinderella.Cinderella is portrayed asa beautiful young girl witha kind heart who is in anunfortunate circumstance.Although the Ugly Stepsistersare not necessarily evil, theyare certainly portrayed asselfish, nasty and silly.Look at these two contrastingimages below and identify theelements of each costume whichrepresent each character’spersonality traits.Ugly Stepsister 2 At the ballEvaluate how effective thedepictions of three archetypalcharacters were within QueenslandBallet’s Cinderella. Through youranalysis and interpretation of theinterrelationships between themovements, costumes, music andother relevant dance components,evaluate how effectively thesecharacters’ personalities, roles andmotivations are communicated tothe audience. Justify your responsewith relevant examples or evidencefrom the piece.Cinderella At the ball16TEACHER’S RESOURCE KITCINDERELLA

IN THE CLASSROOMAppreciation Tasks 2 & 3TASK 2“Cinderella is one of the most romanticand most beautiful ballets in the world.”Li CunxinCinderella is essentially a story aboutlove winning against all odds.Evaluate the success of Li Cunxin’s vision to conveybeauty and romance throughout Cinderella’sstoryline. Analyse and interpret the relationshipbetween the movement and three other dancecomponents. Support your evaluation using examplesand evidence from the work to justify your ideas.Note for teachers – students could explorethe following:Movement and musicMovement and costumeMovement and lightingMovement and props/setMovement and … (another dance component)TASK 3Cinderella’s character experiencesa physical and personal transformationby the end of the ballet.Through the analysis and interpretationof three significant moments within the ballet,evaluate how successfully Cinderella’s transformationwas portrayed to the audience. Throughout yourevaluation, deconstruct the dance componentsused and justify your ideas with clear examples andevidence from the work itself.Note for teachers – suggested structurefor the body of the essay:Moment 1(discussion of the movement in relationto other relevant dance components)Moment 2(discussion of the movement in relationto other relevant dance components)Moment 3(discussion of the movement in relationto other relevant dance components)17TEACHER’S RESOURCE KITCINDERELLA

Ballet VocabularyAllégro[a-lay-GROH; Italian: al-LAY-groh]Brisk, lively. A term applied to all brightand brisk movements. All steps ofelevation such as the entrechat, cabriole,assemblé, jeté and so on, come underthis classification.Arabesque[a-ra-BESK]One of the basic poses in ballet, it is aposition of the body, in profile, supportedon one leg, which can be straight ordemi-plié, with the other leg extendedbehind and at right angles to it, andthe arms held in various harmoniouspositions creating the longest possibleline from the fingertips to the toes. Theshoulders must be held square to the lineof direction.Assemblé[a-sahn-BLAY]Assembled or joined together. A stepin which the working foot slides wellalong the ground before being sweptinto the air. As the foot goes into the airthe dancer pushes off the floor with thesupporting leg, extending the toes. Bothlegs come to the ground simultaneouslyin the fifth position.Attitude[a-tee-TEWD]It is a position on one leg with the otherlifted in back, the knee bent at an angleof 90 degrees and well turned out so thatthe knee is higher than the foot. The armon the side of the raised leg is held overthe head in a curved position while theother arm is extended to the side.Balancé[ba-lahn-SAY]Rocking step.Ballon[ba-LAWN]Bounce. Ballon is the light, elastic qualityin jumping in which the dancer boundsup from the floor, pauses a moment inthe air and descends lightly and softly,only to rebound in the air like the smoothbouncing of a ball.Battement[bat-MAHN]Beating. A beating action of theextended or bent leg. There are twotypes of battements, grands battementsand petits battements. The petitsbattements are: Battements tendus,dégagés, frappés and tendus relevés:stretched, disengaged, struck andstretched-and-lifted.Battement tendu[bat-MAHN tahn-DEW]Battement stretched. The working footslides from the first or fifth position tothe second or fourth position withoutlifting the toe from the ground. Bothknees must be kept straight. Whenthe foot reaches the position pointetendue, it then returns to the first or fifthposition. Battements tendus may also bedone with a demi-plié in the first or fifthposition.Battement, grand[grahn bat-MAHN]Large battement. An exercise in whichthe working leg is raised from the hipinto the air and brought down again,the accent being on the downwardmovement, both knees straight. Thismust be done with apparent ease, therest of the body remaining quiet.Bras bas[brah bah]Arms low or down. This is the dancer’s“attention.” The arms form a circlewith the palms facing each other andthe back edge of the hands resting onthe thighs. The arms should hang quiteloosely but not allowing the elbows totouch the sides.Chaînés[sheh-NAY]Chains, links. This is an abbreviationof the term “tours chaînés déboulés”:a series of rapid turns on the points ordemi-pointes done in a straight line or ina circle.Chassé[sha-SAY]Chased. A step in which one foot literallychases the other foot out of its position;done in a series.Coda(1) The finale of a classical ballet inwhich all the principal dancers appearseparately or with their partners.(2) The final dance of the classic pas dedeux, pas de trois or pas de quatre.Couru[koo-REW]Running. As, for example, in pas debourrée couru.Demi-plié[duh-MEE-plee-AY]Half-bend of the knees. All steps ofelevation begin and end with a demi-plié.See Plié.Demi-pointes, sur les[sewr lay duh-mee-PWENT]On the half-points. Indicates that thedancer is to stand high on the balls ofthe feet and under part of the toes. Alsoused in the singular, “sur la demi-pointe.”Devant[duh-VAHN]In front. This term may refer to a step,movement or the placing of a limbin front of the body. In reference to aparticular step, the addition of the word“devant” implies that the working foot isclosed in the front.Diagonale, en[ahn dya-gaw-NAL]In a diagonal. Indicates that a step is tobe done traveling in a diagonal direction.18TEACHER’S RESOURCE KITCINDERELLA

Ballet VocabularycontinuedÉchappé[ay-sha-PAY]Escaping or slipping movement. Anéchappé is a level opening of both feetfrom a closed to an open position.Échappés are done to the second orfourth position, both feet traveling anequal distance from the original centreof gravity.Élévation[ay-lay-va-SYAWN]Élévation is the ability of a dancer toattain height in dancing. The elevationis reckoned by the distance between thepointed toes of the dancer in the air andthe ground.Entrechat[ahn-truh-SHAH]Interweaving or braiding. A step ofbeating in which the dancer jumps intothe air and rapidly crosses the legs beforeand behind each other.Épaulement[ay-pohl-MAHN]Shouldering. The placing of theshoulders. A term used to indicate amovement of the torso from the waistupward, bringing one shoulder forwardand the other back with the head turnedor inclined over the forward shoulder.Fondu, fondue[fawn-DEW]Sinking down. A term used to describe alowering of the body made by bendingthe knee of the supporting leg.Fouetté[fweh-TAY]Whipped. A term applied to a whippingmovement. The movement may be ashort whipped movement of the raisedfoot as it passes rapidly in front of orbehind the supporting foot or the sharpwhipping around of the body from onedirection to another.Fouetté rond de jambe en tournant[fweh-TAY rawn duh zhahnb ahn toor-NAHN]Whipped circle of the leg turning.This is the popular turn in which thedancer executes a series of turns on thesupporting leg while being propelled by awhipping movement of the working leg.Glissade[glee-SAD]Glide. A traveling step executed bygliding the working foot from the fifthposition in the required direction, theother foot closing to it.Jeté, grand[grahn zhuh-TAV]Large jeté. In this step the legsare thrown to 90 degrees with acorresponding high jump. It is doneforward to attitude croisée or effacée,and to all the arabesques. It may also bedone backward with the leg raised eithercroisé or effacé devant.Pas de bourrée[pah duh boo-RAY]Bourrée step.Pas de chat[pah duh shah]Cat’s step. The step owes its name to thelikeness of the movement to a cat’s leap.Penché, penchée[pahn-SHAY]Leaning, inclining.Pirouette[peer-WET]Whirl or spin. A complete turn of thebody on one foot, on point or demipointe.Pirouettes are performed endedans, turning inward toward thesupporting leg, or en dehors, turningoutward in the direction of the raised leg.Plié[plee-AY]Bent, bending. A bending of the knee orknees.Port de bras[pawr duh brah]Carriage of the arms.Relevé[ruhl-VAY]Raised. A raising of the body on thepoints or demi-pointes, point or demipointe.Retiré[ruh-tee-RAY]Withdrawn. A position in which the thighis raised to the second position en l’airwith the knee bent so that the pointedtoe rests in front of, behind or to the sideof the supporting knee.Ront de jambe[rawn duh zhahnb]Round of the leg, that is, a circularmovement of the leg.Sauté, sautée[soh-TAY]Jumped, jumping. When this termis added to the name of a step, themovement is performed while jumping.Tour en l’air[toor ahn lehr]Turn in the air. This is essentially a maledancer’s step. It’s a turn in the air inwhich the dancer rises straight into theair from a demi-plié, makes a completeturn and lands in the fifth position withthe feet reversed. The turn may be single,double or triple according to the abilityof the dancer.Tournant, en[ahn toor-NAHN]Turning. Indicates that the body is toturn while executing a given step. As, forexample, in assemblé en tournant.Variation{va-rya-SYAWN]Variation. A solo dance in a classic ballet.19TEACHER’S RESOURCE KITCINDERELLA