TO DEMONSTRATE: TO INTERPERATE: Term …...1st and 2nd ‘arabesque a terre’ 4th open (opposite...

BOROVANSKY EXAMINATION SYLLABUS - PRIMARY

Rights reserved A.I.C.D. (ARBN 056 462 036) January 2012 Page 8

THEORY

TO DEMONSTRATE:

Five positions of the feet

TO INTERPERATE:

Term Phonetic Meaning

Plié “plee-ay” a bend (of the knees)

Battement “bat-mong” a beat (of the leg)

Add battement:

Grand “gron” grand or big

Tendu “ton-doo” a stretch (of the leg)

BOROVANSKY EXAMINATION SYLLABUS FOR GRADE ONE


THEORY

Candidate to know all previous grades plus:

TO DEMONSTRATE:

Five positions of the arms

‘en croix’ concept (any movements in ‘en croix’ formation)

TO INTERPERATE:


Add to plié:

Demi ‘demEE’ half

Add to battement:

Glissé ‘glee-say’ glide

It would be appropriate now to ask, for example; how many ‘battements’ the candidate knows?

From the syllabus of movements, the answer would be 2: battement tendu and battement glissé.

En croix ‘ong QWAH’ in the shape of a cross

Glissade ‘glee-SARD’ glide or a gliding step

Sauté ‘soe-tay’ jump

Rhythmical to a regular beat or in time with the music

BOROVANSKY EXAMINATION SYLLABUS FOR GRADE TWO


THEORY


TO DEMONSTRATE:

‘bras bas’ position of arms

‘demi-pointe’ position (eg in 1st or 2nd position of feet)

Attitude devant (as used in Sauté in Attitude exercise)

TO INTERPERATE:


Add to battement:

Fondu ‘fon-doo’ melt or melting or melted

Add to demi:

Pointe (as in demi-pointe) ‘poynt’ or ‘pwarnt’ point (as in half point)

Cambré ‘kom-bray’ arch

Ports de bras ‘por d brah’ carriage (carrying) of the arms

Waltz dance or step done with/to 3

beats of music

Changement(s) ‘shonzgh-mon’ change(s)

Chassé ‘shass-AY’ chase

Coupé ‘koo-PAY’ cut

Echappé ‘ay-shap-AY’ escape

BOROVANSKY EXAMINATION SYLLABUS – GRADE THREE


THEORY


TO DEMONSTRATE:

‘croisé’ (candidate’s coise of a position in croisé alignment),

‘en croix’ pattern (consisting of ‘devant’, ‘a la seconde’ or ‘de cote’, and ‘derriere)

Explain and demonstrate the difference between ‘croisé’ and ‘en croix’

‘cou de pied’ position (as used in the Petit Battement exercise),

1st and 2nd ‘arabesque a terre’

4th open (opposite 1st) position (relative to ‘placement’ in an open position, and to

Rond de Jambe exercise

TO INTERPERATE:


add to battement:

degagé ‘deg-a-zhay’ disengaged

Students have now learnt battement tendu, grand battement, battement glisse, battement fondu,

battement retire and battement degage.

rond de jambe ‘ron-duh-zhom’ round of the leg

retiré ‘ruh-ti-RAY’ withdraw (the foot from the floor)

relevé ‘rel-uh-VAY’ rise

eg “How many ‘echappés do you know?” : echappé sauté and echappé relevé

sous-sus (a relevé) ‘sue-soo’ under-over

soubresaut (a sauté) ‘sue-bre-soh’ sudden jump

a terre ‘ah-tair’ on the ground/earth

assemblé ‘uss-om-blay’ assemble (the legs)

soutenu ‘sue-tin-oo’ sustain

BOROVANSKY EXAMINATION SYLLABUS – GRADE THREE


add to demi:

detourné ‘de-tour-nay’ turn

pas ‘pah’ step

know at least one of the following phrases:

pas marché = marching step

pas de bourrée – step of the Bourée (dance)

pas de basque – step of the Basque (country or people)

BOROVANSKY EXAMINATION SYLLABUS - GRADE FOUR


THEORY


TO DEMONSTRATE:

‘croisé’ alignement

‘effacé alignment = shaden (open) alignment

demi-seconde position of the arms

en dehors and en dedans (relative to Rond de Jambe Exercise and to Pirouette at

at the Barre Exercise)

1st arabesque en fondue en l’air

attitude devant

retire devant, decoté and derriere

concept of ‘spotting’ for turns

TO INTERPERATE:


add to battement:

frappé ‘frap-ay’ strike/struck (either)

jeté ‘zhet-ay’ thrown

The battements which the syllabus has now covered are: tendu, grand, glissé, retire, degage,

frappe and jeté

en dehors ‘on-d-hor’ outward

en dedas ‘on-did-ong inwards

en l’air ‘on-lair in the air

Both a terre (from Grade 3) and en lair need to be applied, by the student demonstrating

positions or movements, at both levels.

developpé ‘dev-lop-ay’ develop or unfold

adage/adagio ‘ad-arzh’/

’ad-arzh-ee-oe’ slow (movement or music)

BOROVANSKY EXAMINATION SYLLABUS - GRADE FOUR


allegro ‘al-ay-grow’ fast (movement or music)

temp lié ‘tong lee-ay’ movements linked (in time)

petit ‘pe-TEE’ small (as apposed to grand)

add in relation to ports de bras:

grand

pirouette ‘pir-wet’ turn

en tournant ‘on tour-nong’ turning

piqué ‘peek-AY’ picked

sissone ‘see-son’ **

** No direct translation – as this step is believed to be named after the Comte de Sissone,

Francoise-Cesar de Coucy (late 1600’s) – but it is useful for the student to relate the step to a

scissor action (scissor in French is ciseaux).

add to pas:

pas de chat ‘par de shar’ step of the cat

The pas which have now been covered in the syllabus are: marché, de Bourrée, de Basque, and

de chat

BOROVANSKY EXAMINATION SYLLABUS - GRADE FIVE


THEORY


TO DEMONSTRATE:

full plie (candidate’s choice of position) – describe technique/safety points

full pointe (choice of 1st or 2nd position) – describe technique/safety points

arabesque fondue on l’air a deux bras

ecarte alignment

TO INTERPERATE:


add to battement:

fouetté ‘fwet-ay’ whipped

sur le cou de pied ‘soor lu kood-pyay’ on the neck of the foot

add to plie

grand

soutenu ‘suit-noo’ sustained

passé ‘pus-AY’ passed/passing

enchainment ‘on-shayn-mong’ series of linked (chained) steps

posé ‘poe-zAY’ step

couru ‘koo-roo’ running

balloné ‘bal-nay’ ball-like

balloté ‘bal-tay’ tossed

demi-contretemps ‘de-mEE ken-tru-tom’ half against time

ouvert/ouverte ‘oo-vair’/’oo-vairt’ open

fermé/fermée ‘fair-may’ closed

emboité ‘om-bwut-ay’ boxed (in)

add to pas:

pas de valse ‘par d vols’

The pas now covered are: marché, de Bourrée, de Basque, de chat and de valse

BOROVANSKY EXAMINATION SYLLABUS - GRADE FIVE


Mazurka ‘mu-zirk-u’ Polish dance

Tarantella ‘tar-un-tell-u’ Italian dance

Gavotte ‘guv-ott’ historical dance

Promenade ‘prom-nard’ stroll/walk

BOROVANSKY EXAMINATION SYLLABUS – GRADE 6

Rights reserved AICD (ARBN 056 462 036) January 2012 Page 18

THEORY


TO DEMONSTRATE AND INTERPERATE:


raccourci ‘ru-coor-see’ shortened

renverse ‘ron-ver-say’ reversed, inverted

add to battement:

grand battement balance ‘bu’lun say’ swinging

petit battement

petit battement serre ‘se-ray’ closely or tightly packed

Numbers:

un (the ‘u’ sound as in her or fur) one (masculine)

une (the ‘u’ sound as in flute) one (feminine)

deux ‘deh’ (‘eu’ as in her or fleur) two

trios ‘trw-u’ three

quatre ’kutr’ four

relate ‘deux’ to arabesque a deux bras

entrechat ‘on-tr-shar’ weaving or braiding (with your feet)

Jota ‘hot-u’ a Spanish dance in 6/8 time

TO DISCUSS:

Warm Up:

What is it?

Why do we do it?

When do we do it?

BOROVANSKY EXAMINATION SYLLABUS – INTERMEDIATE


THEORY


TO DEMONSTRATE:

effacé alignment

TO INTERPRATE:


royale ‘roy-arl’ royal

rotation ‘roe-tus-yon’ rotation

composé ‘kom-po-zay’ composed

entrelacé ‘on-tru-lu-say’ interlaced

allongé ‘u-lon-zjay’ elongated

manège ‘mah-nay-zj’ roundabout or

merry-go-round

un / une ‘orn / oon’ one

deux ‘duh’ two

trois ‘twu’ three

quatre ‘kut-r’ four

cinq ‘sank’ five

six ‘sees’ six

Numbers 3 to 5 should be demonstrable as entrechats.

grand saut de Basque ‘gron soe d barsk’ big jump of the Basque

(country or people)

petit pas de Basque ‘pe-TEE pah d BASQUE small step of the Basque

en tournant (country or people) turning

(accented syllables are in CAPITALS)

‘syncopation’ is the placing of the accent on music beats that are normally un accented

(i.e. accent on the off beat)

‘Sevillana’ is a regional Spanish dance (or step) from Seville

In your own words, explain:

some of the safety considerations for ballet “stretching”

some technique and / or safety points for turns and travelling turns (such as

posture / weight transfer, spotting, coordination, timing, spacing, etc)

BOROVANSKY EXAMINATION SYLLABUS – ADVANCED 1


THEORY


TO DEMONSTRATE:

Renversé

Various pas de bourree

Difference between sssonne and assemblé

TO DEMONSTRATE:


flic-flac ‘flik-flak’ a slapping sound

coupé brisé ‘koop-ay bree-zay’ cut, broken

promenade ‘prom-nard’ walk, stroll

tombé ‘tom-bay’ fallen

cabriole ‘cab-ree-ole’ leap of a goat

penché ‘pon-shay’ pitched, tilted

failli ‘fie-EE’ missed, failed

elancé ‘ay-lon-say’ darted

fouetté ballotté ‘few-tay balu-tay’ whipped, tossed

pirouettes de suite ‘peer-wet d sweet’ consecutive turns

TO DISCUSS:

Talk briefly about “line” in ballet, with particular reference to

arabesques and attitudes, and the positions of the body (i.e. ecarté, effacé,

etc...).

Verbally list and explain some important aspects of “performance

quality for ballet”, including personal presentation, dynamics /

musicality and use of space.

TO DEMONSTRATE: TO INTERPERATE: Term …...1st and 2nd ‘arabesque a terre’ 4th open (opposite...

Documents

Transcript of TO DEMONSTRATE: TO INTERPERATE: Term …...1st and 2nd ‘arabesque a terre’ 4th open (opposite...