Summary of sme of my Ballet vocab. =D

here are the stuff I have found...

slack ahh..... now it's warming up again... not in English !!! my goodness... it's a mouthful... duh =p
hope i rem. =) {American Ballet Theatre} Jia you gal... =)


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

Couru
[koo-REW]
Running. As, for example, in pas de bourrée couru.

Demi-pointes, sur les
[sewr lay duh-mee-PWENT]
On the half-points. Indicates that the dancer is to stand high on the balls of the feet and under part of the toes. Also used in the singular, "sur la demi-pointe."

Face, en
[ahn fahss]
Opposite (the audience); facing the audience.

Pointes, sur les
[sewr lay pwent]
On the points. The raising of the body on the tips of the toes. Also used in the singular, "sur la pointe." First introduced in the late 1820s or early 1830s at the time of Taglioni. There are three ways of reaching the points, by piqué, relevé or sauté.

Porté, portée
[pawr-TAY]
Carried. Refers either to a step which is traveled in the air from one spot to another (such as assemblé dessus porté) or to the carrying of a danseuse by a danseur.

Terre, à
[a tehr]
On the ground. This term indicates: (1) that the entire base of the supporting foot or feet touches the ground; (2) that the foot usually raised in a pose is to remain on the ground with the toes extended.

Tournant, en
[ahn toor-NAHN]
Turning. Indicates that the body is to turn while executing a given step. As, for example, in assemblé en tournant.

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

Seconde, à la
[ah la suh-GAWND]
To the second. A term to imply that the foot is to be placed in the second position, or that a movement is to be made to the second position en l'air. As, for example, in grand battement à la seconde.



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



Arabesque
[a-ra-BESK]
One of the basic poses in ballet, arabesque takes its name from a form of Moorish ornament. In ballet it is a position of the body, in profile, supported on one leg, which can be straight or demi-plié, with the other leg extended behind and at right angles to it, and the arms held in various harmonious positions creating the longest possible line from the fingertips to the toes. The shoulders must be held square to the line of direction. The forms of arabesque are varied to infinity. The Cecchetti method uses five principal arabesques; the Russian School (Vaganova), four; and the French School, two. Arabesques are generally used to conclude a phrase of steps, both in the slow movements of adagio and the brisk, gay movements of allégro.





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