Vera Kostrovitskaya 100 Lessons in Classical Ballet

8/20/2019 Vera Kostrovitskaya 100 Lessons in Classical Ballet

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VER S KOSTROVITSK Y

Lessons in

lassical allet

TRANSLATED BY OLEG BRIANSKY

Limelight

Editions

99 :

New York


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Preface

Introduction

About Using This Book

2

FIRST YEAR

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FIRST,SEMESTER

SECOND SEMESTER

First Lesson

24

ixth Lesson

8

Second Lesson

28

eventh Lesson4

Third Lesson

32

Eighth Lesson

Fourth Lesson

37inth Lesson

4

Fifth Lesson

43

SECOND YEAR

FIRST SEMESTER

SECOND SEMESTER

First Lesson

72

Fifth Lesson

6

Second Lesson

77

ixth Lesson

3

Third Lesson

83

eventh Lesson

Fourth Lesson

89

Eighth Lesson

7

THIRD YEAR

FIRST SEMESTER

First Lesson

26

hird Lesson4

Second Lesson

33ourth Lesson47

SECOND SEMESTER

Fifth Lesson

54

eventh Lesson

69

Sixth Lesson

6

Eighth Lesson

75

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arralli ement with Doubleday &- Company, [IIC,

I: i 11,1 II : , , ' -[',:;

i :AIl i'g~tsir~s;rved;III/(ler illter~atiollal alld P,m-American

: CopYrIght CoillVett lions. Published in the United States by

:Proscel~iu'm Publishers ,/nc., New York and simultaneously in

I 'I' ca:,~a,d,a;bY (itzh,enry t WhitesIde, LimJ,ted, Toro,nto,

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; I t~W;'hrtograPh by Alex Go~;yd ,

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PhQt1si~ p~gfs 13-/9 bylJeverley Gallegos

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ubrJd of,Cong,re's,sCata/ogini in-Publ,icalioll Data

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I ' I': kostrovitskaia, V. S., (v era Serge~vna)

i, I I : :1',100errolls in c1assi,ca/ballet~

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.j JJ.al{e~dancillg-e-Study and teaching. I. Title.

If· ITltle:;Olle hundred lessons in c1assif'al ballet,

G/YI7;\'Ji.5.K668 19S7 792.8'2'07

I 86-27743

III I i ISIJNO-S791O-068-0 I

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Fifth Lessoh

12

ixth Lesso~

19

eventh Lesson

26

Eighth Les~on

232

• TRANSLATOR'S NOTE: All the classes in this book will be referred to as lessons and the

eight c lasses according to the U.S.S.R. Ministry of Culture's e igh t-year ful l p roglram of

study will be indicated as ,years.

ref ce

THE PURPOSE of this book is to present a working textbook for teachers

in choreographic institutes, ballet schools , colleges, and universities.

It is dedicated to the systematic development of a teaching technique

for the ballet lesson.

The lessons offered as examples are composed in accordance with

the eight-year study program approved by the U.S.S.R. Ministry of Cul

ture for ballet students. The book does not analyze the execution of

each step inasmuch as this has already been covered in A. Vaganova's

Basic Principles of the Classical Ballet and in The School of Classical Ballet

by the teachers of the Leningrad Choreographic Insti tute, V. Kostrovits

kaya and A.Pisarev and other contributing faculty members of the school.

It is in the elementary' and intermediate classes that the teacher lays

the foundation of ballet principles through the assimilation of a large

number of steps. Accordingly, the largest number of lessons in this

book is directed toward these levels.

The book contains nine sample lessons· for the first year, eight lessons

for the second through the fifth years and four lessons for the sixth

through the eighth years. In addition, the book contains forty-seven

exercises on pointes. Naturally, these examples are not intended to do

away with all the other possibilities of conducting a ballet lesson, but

they can serve as models for teachers in their independent composition

of lessons. All basic steps are covered in the two semesters of the first

year and in the first semester,of the second year. These steps are broken

down according to the musical beats. Any change in the musical tempo

indicates the degree of the technical accomplishment of the movement.

271

279

286

294

322

332

359

365

388

394

111ird Lesson

Fourth Lesson

Third Lesson

Fourih Lesson

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Third LessoJ

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Fourth Lesson

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SECOND SEMESTER

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Fifth Lesso~

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Sixth Lessoiz

Seventh Lesson

Eighth LessOn

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6

SIXTH YEAR

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242

249

256

263

304

313

344

352

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SEVENTH YEA~

EIGHTH YEAR

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374

382

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5 SEMESTER I ;

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First Lesson I

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Second Lesson

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Third Lesson I

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F~:lrth Les:l on

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iT SEMESTER I

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Second ILess n

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Third Lesson i ,

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Second Lessonl

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Dunng th~ second semester of the second year, separate steps are

JUt tog~~he~J fi~s~:in simple combinati?ns, then in \complicated ones.

:nt~~ ~~st f~+fst:er of the following years, the c~mbinations of the

1~~VI~USyearis:s~~dybeco~e mor~ com~lex. and newiste~s a~emaste~ed

:eparately. l'hes;e: new steps are Included In the combinatIOns durmg

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he second semester. : ii,

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.,In ,thei:~te~~eri~~~ years, fourt,h a~d fifth, an? in t~~ advance~ years,

lx(h; 'seventll, and eighth, the analysIs of steps In musical terms ISrare;

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Is.a~,:,l~:e ~ea,ch~rsli~it o.urselv;e~onlYlto the ,indication of the number

:f

l(l~sl~~l bah: ~espeClally In a?aglO anq allegro).. I .'

Ih these le ~sor;ts,the success1VC~tudy10f steps IS taken mto account.

t i~ indicat~~ ia1so in class that' a cert~in number of practiced steps

nd combina't:iorts lthust be repeated. THe reader should keep in mind

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Ila~a~lt ,he exercls,~s are: done on 'the n~ht and the l~ft leg alternately,

~artirig hind ~ndjn g:in fifth position. If the preparatory position is not

I fifth, this ,ill be ;specially indicated .•Ihe starting position for batte

\(~nts,fdpp~~, ~attements doubles frapp~s ronds de jaritbe en l 'air,

::ld'pe'tiGsbai~e~eh'ts sur Ie clm-de-pied is indicated i~ the first lessons,

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~?,t I? th,~ l~t~~,o~e~. .Each ~lass e~ds with the

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port de bras and

endmg of the body, indICated In the (ootnote of the first lesson of

ilch yea~~'AliisltJ1Kexcept those: ~n po/ntes can be iexe,cuted by men

lId wbmen ~likel When certain steps o~combinati06s are carried out

{'~ome~o~\'yl h li~ pa,rt,icularly ~'tated ~n the :footnote, indicating the,I II I I I I' II 1 I .

'quired 'sltep:~r,c0l'Ilbination recoI llmended, by us. In the book, exercises

11 poirit~s' ar,~ ~ivb-i a~ the end of each~esson. Ho~ever, the lessons

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b~ conJttJ,d~d i,n,such a w~y that t e exercises ~n p,ointes should,

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)t ibe:gl~en ?n, th~1~ame day as th~ JUmps.

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One ,of:the :tun~amental requirements lof classical ballet method is a

larp,

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d~~n~i~.H,us.~cal:,e?,c~tio.n':,.Atthe)~e~ingrad ~ho~eogra~hic. In-tute; 'the:mu~lcal accompamment of a class ISbased on ImprOViSatiOn.

he,ex~rc~ses i1t:th~ barieand indl~ center are almost bntirely accompa-

db' , : . Ill' I ,I .,. I Id . III d' .. ' y ~~,SIC~ ~rr~~ovl~~t~on. ~ ~ agIO, ~ egro, an isteps on pomtes,

lP~O~~S~~IO~alf.9r~~tesl ~It~ wr.1U~nmusIC. : . : ,

Anlmprovlsktlon can be InsplH;d by alpersonal musIcal thought, or

e pia~i~~ :m~~kJ~j~ctively interpre~ a~ylwritten musical. composition.

lie:musi{: m4st strictly adhere to the' dancing patt~rn proposed by

e,t~achJf:and ~o~t~in a definite/hythm 110rrespondin~ to the character

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[f,' fot examffle,i l:Iatte\fients fondus are executed in lone combination

th Ibatt~inenlS Ifbppes, then the: rhythJt of the mu~ical phrase must

leFtl 'iff~reri~Haracter~ emphasizing a lfloWingmel6diousness in the

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execution of battements fondus, and then changing to sharp sta<

during the battements frappes. By providing a definite tempo, m

and rhythm, the music exposes and accentuates the characteristi,

the steps and thereby helps in'their execution. Simultaneously it t

the students to discern the correspondence between the elemen

the music and the steps by bringing them into relief. The observ

of the rhythm together with the creative fantasy of the pianist (~

varied improvisation) enric~es the quality of the class. A definite m

tempo, and rhythmical pattern expose and accentuate the precisi(

the steps; the melody, presented in varied harmonies, creates an ,

tional coloring of the movement, subordinating the step to the l'

and providing a musical ambience for the lesson. We disappro'

the notated music conventionally used in the exercises at the. barr<

in the center, because the creative coordination of steps with a ri

followed accompaniment either inhibits the teacher in the constru

of the combination or may conflict with the musical composition. No

music is only helpful in providing tempo and meter. In allegro

pointes exercises notated music-fragments of musical composition

ballet music-must be selected by the pianist according to the chal

of the steps and combination.

If in ballet performance the ballet master submits completely t,

music, translating its form and content into choreographic imagery .

just the reverse takes place in the classroom-here the music must Sl

in its form to the movement. All the combinations of a lesson

be constructed with due regard to the musical phrases (regular b

starting and ending in conjunction with them. The musical phrase

be short or long: eight, sixteen, thirty-two measures, ete. It is also I

ble to construct combinations and adagio exercises on one and ;

musical phrases such as: twelve, twenty-four measures, ete. The p

participates creatively in the course of the daily lesson and in the m'

education of the students. He skillfully selects ballet music in

instances when the teacher's exercise requires notated music.

A diagram of a ballet studio is shown, with lines that determin

placement of the poses and the direction of the steps, whethel

straight line or a diagonal, or in a circle during the exercises i

center. The aim of the book is to assist the inquiring teacher i

independent composition of classes and in the planning of each '

course of study. I

We hope also that the experience of the teachers of the Lenil

Choreographic Insti tute, which provides the basis for this textbool

help in the preparation of the task at hand.


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West was with such Russian teachers as Loubov Egorova, Victor Gso

Olga Preobrajenskaya, and Igor Schwezoff and with Soviet teaj

Vladimir Bourmeister, Leonide Gontcharov, Valentina Pereyslavec

Olga Lepeshinskaya. After establishing my career as a principal d,

with several companies in the West, I was again offered an opport

to dance in the Soviet Union, this time, in the form of an invitati(

partner Olga Lepeshinskaya of the Bolshoi Ballet . Unfortunately,

prevented by an injury which in fact forced my early retirememl

the stage.

As a Russian, I never lo~t the desire to see for myself the

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my parents left so long ago and which they never saw again. As a da

and even more as a teacher of dance, my curiosity grew to set

Soviet ballet at home, and especially to see more of how the \V

famous Soviet ballet technique is taught. ,

Finally, as one so often must, I made my own opportunity. Iorga

a group of ballet students and balletomanes as eager as I to se

Soviet Union, and arranged a tour through Intourist. The trip was d

satisfying to me and, apparently to my companions. It became the

of many visits on which I have escorted groups to Leningrad, M(

and other cities, and arranged for them to meet directors, chorvietl,Unio~.

w1uld h~ve had to

vejBelgi~m for:the Imtenslve course of study that ISthe RUSSIansystem

ba~lft; e~~ca:~i~~,'a,~dI ~lti~~t~l~ decidFdi that the ~ffer carried with

'00 mat;lXut;lae


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In a way, the publication of One Hundred Lessons in Classical BallI

like the return of a gift. In past centuries, the emerging dance tradil

of Russia accepted avidly all it could learn from the great ballet masl

of the West, helping it to create a magnificent classical ballet of

own. As a result, the influence of its world-renowned emigres has

riched our ballet heritage immeasurably. Today the West, especi

the United States, has again emerged as the standard bearer for inm

tion and explosive popularity in dance, while Russia returns to

V

challenge in upholding the highest classical standards in ballet educali

The process of influences h~'Scome full circle.

,Vith ,high artticipation, J arranged to visit Kostrovitskaya at her

~~nt.i~ ~he ~U?~~~Sof Lenin~ra? I approa~hed he~ with resp~ct,

:ter a,lively discussIOn of techmque and tbrmmology 10 the teachmg

It '~nter~:atio:~a:,lll~~guage, we develop~da mutual ;~egard an~ I

lth her ,agre~m~nt: that ,I should translate her: book,mto English.

e 'my' e~rlie}1t~an'slation of Classes in CLassicalBallet by the Bolshoi

rriaSlh iAsa:rMe~~erer,: had ~et with lmpreteden~ed success, I,nfldeht\ thadny ~ublisher wo~ld ~ccept ~hisnew project. Myenthu

ftfrit w~s twb~old'i First; there is'to myknowl


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Attitude efJaeee.

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Pose etartee back.

Arabesque allongee.

Pose ecartee back, pointe tendue.

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(btgpose).

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tgpose.

Po~e effaceefrlnt, poiJte:

t~ndue (big pose). 'I

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; ,ten ue tgpose.

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small pose).

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Using ~hisBook

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NYi·l~~~foOK,~o~~ver ivaluable; can ~e~om~ confi~mg If used I? a

?gfO~tl~in'a~; lIt,If.FY hope t~at te~che~si1 ll.llea,rn fror;n the progre.s~l?n

• e;x:eretse,sIn tHIs ,book; without :Iosm~ ,Sight iof the real capabili ties

' i~d,i~i~?~l ~hidb~~s. T~e boo~ s~ould pe ~sed creatively. to he p the

:l.c~erlde:Vlseifh'elmQstonstructive combmatlOns for the students tech

,:a~d~v~loPnieh~.IIt sho, Jld not 1?ea substi tute for the teacher's own

,~aiivity,l

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asdurce of ~nspiratlion in, plantiing lessons. If its~diri ithis'l~a

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both 'experienced anti inexperien~ed teachers will

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d the oook 'an m'v~luable source of matenal, and yet their teachmg

II rerilaiH fle~iJ:)le,and alive. :

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Certain :terrri~ ~ked by the author of th:is book will be unfamiliar to

Isd n~t v~rs~d,In:Soviet ballet terminology., I have no desire to become

Ibioiledi in a idisdussion M correCt tenvinology; th9 important thing

'e ~s't/>~ridet~t~b~ :t,heauthor'~ ,ioltenti01s. For a bett~r understanding

R~ssl~nl ~sa~el t ur?e ;the senous reader. to study Fundamen.tals of.the

Sle DancebYiA g,t;lppma Vaganova., I hav~-mcluded below a dISCUSSIOn

: Orne inipor:~antl ~~rms ~hat maYIseem1.mbiguous to the reader of

: text. ::

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',ONGE applies 'to the position of the hand or hands, extended from

t~e wri~t tJth~OUghhe fingers as in the :iel position of an arabesque.

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'EON P.01 , ES used as pique on poirit s, traveling in any direction.

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M~LL ~OS~ 'rcrfers to the position ot arms. held, ione in' second

(arm) positi[, n, th,

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ot,her in first (arm) bosition.

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:rG ~OSE re e~si t?the position of arm~ held one it: second (arm)

p'ds,ltionl th~1oth~r in third (arm) positi'on.: I'

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EV~: LJ =NT[I'P 90° ,breaks down in the following imanner: from

fifthIpositioA, b~tish tfie' working foot or the floor as in battement

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tendu and without interruption in the slow motion, raise

to 90°, in any direction. Thereafter lower the leg down in the

position.

TOUR designates a turn of the body on one leg. It has been I

in the translation, instead of the more common use of the

term PIROUETTE.

TOUR LENT denotes a slow turn on the supporting leg and corrl

with the western term TOURDEPROMENADE

TOUR TIRE-BOUCHOr4 used here for the pirouette, where th.

ment of the working foot is under the knee of the supportl

also identified as retire.

SISSONNE SOUBRESAUT is a combined jump composed of a :

saut and a grande sissonne ouverte, which is execut~d in

to the front, to the back, in big poses, in attitude croisee, ;

effacee and in pose croisee and pose effacee front.

GRANDE SISSONNE A LA SECONDE DE VOLliE EN TOUR

EN DEDANS is a combined step executed facing the mirr

in diagonal starting with step-coupe, or a small sissonne to

fourth position croisee, as well as from pas chasse. It enc

pas. de bourree dessus en tournant or with soutenu en to

en dedans. The breakdown of the step is the following: af

small sissonne tombee croisee to the front, execute a pas '

the right arm in first, the left arm in second position, then s

the weight of the body onto the right leg in demi-plie (fourth p

croisee) execute a bigjump taking offfrom the heel of the sUPI

foot (right foot) and by the way of a grand battement of

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leg a la seconde at 90°, execute a full turn in the air en d

to the right side, the left leg at

90°,

raising the arms in third p


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l irst te r

Introducing the elementary exercisesfor mastering the

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ment of the body, the legs, the arms, and the head, deveh

elementary skills in the coordination of steps.

First, the students execute the exerciseswhile standing,}

the barre, and holding it with both hands. Later, the)

hold it with one hand facing one direction, then the

while executing the exerciseson the left leg, then on the

leg. The opening of the arms from the preparatory

PO

to the first and second arm positions~preparation

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barre and n the center-is executed to the beat offour

ductory chords. The closing of the arms back into thepre

tory position is done to two concluding chords..

At the end of the first year of study, the preparati01

the arm positions is executed on two introductory choY(


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le, ,~~pl~~sI~I~+,'second, third; and, I1fth pO~I.tlon~.Each derm-

don~ I,n'2 lPeasu~es and the change 6~fpositions Ion 4 chords.

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ITEMENT TENDUS IN FIRST PO ITION. 32] measures in

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)attements ten us: to 'the front, ,to the side, to the ~back, and to

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lei,E,a,c~1b,at,temert iSd,one in, 2 pleasu ,es..

II

I1'I11 ii' 11:1

I 1

I,

1

i' 'I 'I'

, I, I I

I', I '

I

,

II '

I I ,

rclses 'are',don~

fL,ng i

the barre., I ': I

I

,I I I :

I

,

,

I

I

)

)

3. BAlTEMENTS TENDUS IN FIRST POSITION WITH DEMI-I

16 measures in 4/4.

In the first measure: battement tendu front. In the second me,1

, demi-plie back to first position. Repeat, then execute the same move

twice to the side, twice to the back, and again twice to the side.

4. PASSE A TERRE IN FIRST POSITION. 16 measures in 4/4.

In the first measure, battement tendu to the front, without sto/

in first position, battement tendu to the back. In the second me.'

again passe through first position and battement tendu front, ete.

exercise is repeated 8 timeL

5. DEMI-ROND DE JAMBE

A

TERRE (a quarter circle). Me

4/4.

Starting in first position. En dehors: a) On 2 beats slide the fo

the extended working leg to the front, on 2 beats, slide the foot

I

side, on 2 beats bring the foot to first position, on 2 beats hol(

in this position. Repeat the exercise 4 times.

b) On 2 beats slide the foot to the side, on 2 beats slide it to the

on 2 beats bring the foot in first position and on 2 beats hold

Sl

this position. Repeat the exercise 4 times.

En dedans: Repeat the same movements to the reverse side; slid

foot to the back, then to the side; thereafter, to the side, then t

front.

6.

EXERCISE FOR THE ARMS. Measure

3/4

(Slow Waltz).

Stand sideways to the barre either in first or in fifth position, ho

the barre with one hand and with the other arm in the prepar

position.

a) In 2 measures: from the preparatory position, the arm rises

i

front to first arm position. In 2 measures: Hold this position. In 2

I

ures: The arm comes down to the preparatory position. In 2 mea~

The arm remains in the preparatory position.

b) In 2 measures: from the preparatory position, the arm rises in

to first arm position, then lifts to third arm position. In 2 mea~

the arm comes down to first position. In 2 measures: the arm (

in the preparatory position.

c) In 2 measures: the arm rises from the preparatory position

l(

position. In 2 measures: open the arm to second position. In 2 me

hold the position. In 2 measures: the arm comes down to the prepat

position.

d) In 2 measures: the arm rises to first arm position. In 2 mea~

lift the arm to third arm position. In 2 measures: the arm ope


13/26

)

Ie prep~~a~o~yip:o si~ion.Each ot ~he m~~emenls cnUllllelalt:u ,WOve

peated

'l

times.

i :

, ,

,I ' I i

:i I II i

ill .

i:

I

'I' i '

,'

I' I ,' :

ATIEM,ENTS 1rENDUS IN FIFTH POSITION. 32 measures in

: i

I'

II, I I

I' '

j

I I:

I. ::

i

, i Ii I I I ,' '.

battements';teridus to thefront'(each battement tendu m 2 meas-

), t,o

,thelsid~,

t6

f~e

ba~k a~,dt~ the side.:

II

: i: jll II III i : i, i ii, I

~tpA4TORYj E~ERCISE TO THE BATfEMENTS TENDUS

'~SiI~ ~~RS1 r?~IITIOiN. ~e~s~,re 4/41, :

.1 '

ihe first and 1~cond beats of the measu~e: the workmg foot brushes

;:1 .. I:·

I

'

I'

'ardon t he :floor: On the third beat: the leg is raised to 45°. On

fo~rth bbat:i:the: leg comes down~ poin~e tendue, on the floor. On

fir$t, tw~' bdt~ lofthe following measlhe: the foot closes in first

lidn. On; the[t~st ~~o beats: the leg is h~ldin first position (prepara

position). The lexercise is repeated

4

times, then it is executed to

:;ide ~nd to tpe hack. ,

I , ' I,

I: 'I 'I: I ': :, :

'R~P~RATOR:~ .tXER~ISE FOR BArtEMENTS FRAPPES. Meas-

2/4 ' : :1

i

Ii. ' II , i

i

j : ' ,,'I, :

'2~ntroduct~fY chords: the foot. brushes, pointe tendue, to the side

.I the first or fifth'position (preparation). tn the first measure: bending

kdee, the fdotis placed sur Ie, c ou-d~.pied front. In the second

~ure: the po~ltionis maintained. In the tll ird measure: the leg extends

I pointe ten~Je: to the ,side on the u or In the fourth measure:

positiori ism~intained. The exercise is repeated 4 times, consequently

, 'I'

exec,ute~ sur Ie' C,O,ll, -de-pied back. I' ,

i

I,

:[1

i :

i,:

i •

R~~~~f IN1 ~I~ST POSITION: 32 m,asures in 4/4.

irs,t~ea~ure;:1 r~s eslowly on half-toe. Se~ond measur~: stand on ~a~f

ThIrd measure: come down slowly. Fourth measure: stand sttll m

phsit,ion. II' II, ,:' • : I 'I:' ,

I', I ;, ,

irs~an~sec9rd ,beats: rise on half-toe.lhird and fo~~th beat~: stand

FIrst and secQnd beats: come :down ~n first posmon. Thu'd and

·th beat's: st


14/26

)

)

,)

3. ONE HAND HOLDING THE BARRE, repeat the previous exercise

only with 2 battements tendus in each direction.

4. BATTEMENTS TENDUS JETES IN FIFTH POSITION. Measure

4/4.

On the first beat: brush the working foot front, pointe tendue, on the

. floor. On the second beat: throw the leg to

45°.

On the third beat:

bring the leg down, pointe tendue, on the floor. On the fourth beat:

close the foot in fifth position. Repeat 4 times in each direction, to

the front, to the side, to the bad< and to the side. This is executed

facing the barre.


only with 2 battements jetes in each direction.

6. RONDS DE JAMBE

A

TERRE. 16 measures in 4/4.

Starting in first position. En dehors: On the first and second beats:

slide the working foot to the front, pointe tendue on the floor. On

the third and fourth beats: slide the foot to the side, pointe tendue on

the floor. On 2 beats of the following measure: slide the foot to the

back, pointe tendue on the floor. On the third and fourth beats: bring

the foot back in first position. Repeat the exercise 4 times en dehors

and 4 times en dedans, facing the barre.


4 times en dehors and 4 times en dedans. Concluding the exercise,

execute a simple port de bras: from the preparatory position, the arm

rises to the first arm position, then to the third arm position, opens in

the second position, and comes down in the preparatory position.

8. BATTEMENTS FRAPPES. 8 measures in 4/4.

Preparatory position: the working leg extended to the side, pointe ten

due, on the floor. On the first beat: bend the knee of the working leg,

striking the supporting leg sur Ie cou-de-pied front. On the second beat:

extend the leg to the side, pointe tendue, on the floor. On the third

and fourth beats: maintain this position. -Subsequently, the stroke is

done sur Ie cou-de-pied back, etc. The exercise is done facing the barre

and repeated 8 times.

9. PETITS BATTEMENTS SUR LE COU-DE-PIED. 32 measures In

2 4 I

Preparatory position: the working foot sur Ie cou-de-pied front. In the

first measure: the foot slightly opens to the side in second position.

In the second measure: bring the working foot sur Ie cou-de-pied back.

In the third measure: the foot slightly opens to the side in second posi-

I':

II I ill,

ion facing the ba e :

I 'I I l' II'

, I '

, i I 'I

' I

I'i: I

I

I i'l: I :

i '

. I

I,

II' ' i

i[ i i: : , : :i

i

l cbnd ess n

~I Ii , I

: II; I I '

I

,I ' ' I

I

I

E ERCISES AT THE B~RRE :

II' '

I

'

I,

I

t:

I

I

. i : i : 'I i i

I

I

I I I Iii; ' ,

[-~L~E.

Mea

ur 't,l4.: I

i

ni~pliesin fiik sebrind, third, fifth;and fourth positions-2 meas

ea,'ch' pI,,e. ' [Ihisl~'executed facing the barre. ,

I I

ii, :

I '

T~M.EN,;rS IT~ND.U~ IN FIFTI1 POSITION.

16

measures In

i

I I

II II

j ,

i .

ttements te~dus 'to the front, to the slde, to the back, and to

, again. Eac~10riv~,bent:is e,,:ecu~edto full measur~ of 4 beats,

e

barre.

i I

I

ii, , I

; I '


15/26

llon. in tHe; ~OU,~lllmeasure: Dnllg' me 1001 sur .ie .coU-W.:-PH:U 11Uillo

h' , 'i ,.' . d c. •

I

h tl 'd I d 8 .

T e exercise liSexecute Iacmg t e uarre an repeate times.

I ,'II Ii i I ii; I '

+,:'

,10. Bf'-T~rMEJ;JT~ ~ELEV~S LEN S TO, 45°. Measure 4/4.

In th~ fir~~I,n~a~ure: fa~s~the :workidg leg slowly lforw~~d t~ 45°, fro~

~~e,fi,r;sto~thf ,fi~th,pOSitIOn.I~ the shond measure: ~amtam the POSI

llon. ;In th~ tHuA me~sure: the, leg cotnes down slowly mto the prepara

~ory positli~:+:1~ri the 'fourth.nie~sure:: maintain. t~e position in first or

_II~ 'fi~tp P?S~tllon:.Th~ exerose IS executed tWICe;to the front, to the

'side, :(0 t lib brCk; facmg the barre.

I '

II

E

JkL~~t

ld~

H~LF-':OE ~NFIRST, s~cONb AND FIFTH POSI-

TIONS. Nie~sure 2/4. i I I' I I

' i' I Lli I i I' : ' •

; a) :In: t he ~rst measure: rise on half-toe. In the second measure: come

(Jo~~

litot els~a:rtl,'g.,POsitio,n,'.Executb, th e exercis~ 4 times in each posi-

I I., I I'

I ~

I I ,I , I I

I

tlon. I I

. I: 'i,

I

I . I I '

, ~.~b~•h~1~r~t:~e~t: dem'i~~I¥ On fhe se~ond ~eat: rise on half-toe.

P,~

tr,e

2.1

P1r~

i?f th.e,followl~g. I~e~sur~: come ?own slowly. Execute

jtl~ee~erclse tires Iineach p~sltlonj facmg the ~arre.

:12.

BENdI~ 'THE' BODY IN FIRST POSITION, FACING THE

BARRE. ~~aJ;uie 3/4 (Waltz) ' I '

In 4 il i.ea~\.Iret: lean the body forward, straighten 'back into the start ing

positi6n.

I~ 4

~easi .Jres: bend; the bddy backward, straighten back into

, the stkrtinglpo'sition.i In 4 measures: bend the body to the right side.

, : I

I ' ' I , I ' I

,In 4 mea~li~e : bend the body to th~ left side. Execute the exercise 4

I, I 'I 'I '

imeS.; I: I, I

; :

i'

I 1

I I I I I I

i, :' i

; i , 1

i i; i I I

i

I

'I' ,

I

i ' ,i

E?'iERCIS~S IN

T1

HE CEN~ER

I I I I I I I :

[II II ,: '

: : I

j

il ': I I I 1:

I:

' I; DEMI-fLIE. ,Measure 4/4.

I, ,: ,:

,Two:derri~-pl\e~:infi~st,secorid, third, and; fifth positions, 1 2 measures

c

I IJ , II I' '

iIOr

eich

fIT : i ii, '

I '

I'

12~~,,B1TT~rytEI':'I:rS.TENDUS IN FIRST POSITION. 16 measures m

i4~1'

i, IT I1II : I i I I IFour: ibat~~9tw te'ndus to the fron~, to the side, to the back and to

ithe ~iQe, :1 mea~ure for each battement.

',Iii III

i I :

III' ~'

Ii' , '

i:

I' I

I i ,:

I'i ,'II : :

',- ';

I, . i ,I ,

i

,I

Demi'plie : in tHird: and firth positions are d6ne en face with the right foot or the left

:f~ot f~ont.I'111 I I :: : i 'II I

I; I Ii , i

,I

I

I

~

I

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)

J.

Uil..l .I.LJ.\'.lJ..:...L'i.l ':> J.&.:.. 'lUU'::>,U .1'.1.1'111 rV')111V1'1. 0 H,

4/4.

Two battements tend us to the front, to the side, to the b

the side, 1 measure for each battement.

4. BATTEMENTS TENDUS IN FIFTH POSITION WITH D

16 measures in 4/4.

In I measure: battement tendu. In I measure: demi-plie. Ex.

to the front, to the side, to the back, and to the side. \

5. EXERCISE FOR THE ARMS. Measure 2/4 or 3/4.

Raising and lowering ~hearms slowly in all (arm) posit ions: fil

first, third, second, then the following combination of arm

right arm in first position, left arm in second position; left ;

position, right arm in second position; right arm in first pr

arm in third position; left arm in first position, right arm in thir

etc.2

2

Fi rs t pos it ion of the feet .


16/26

)

. II:

II I

III

,I :

I

i

'I'

P1' '[, ( '~'

n\'rr~~~': '

: .

,I I Ii

ii' :

I'

I i ; ,t: : I I,

: I' I

',II'

I I I,

ii' I ,

Third ref

son

'I' I I ' ,

I I

I' ,

I

[I j: : :

I:

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I,

'I ' ,

I ': I '

Iii

I EXERCISES AT TH;E BARREl

,: , ii' I,' , 'I i ,

i:

I I : I •

i

, I: :, I , : I ' I

. D~~fI-~, ~E1.Measure 4/4. I I ' , '

rw,Odemi~plil~~in~first, second, third, four~h, and fifth positions-2 meas-

i c' l..' l' I' j' ii' '

Ires lor eacd phe.1 i I ii' 'I: 1 ' i

, I'll' II: i

Iii, I ' i', I

I

~~BATTEr' E TS T,~NDUS IN: FIFT

,POSITION.

I'

16 measures in

/4 II i I I I \i ,

i , , ,

. ' I

I' ,

I' 'I I I , ,, , Ii,

· 9~'.I~at'' rJ.1

en~u, 'n ,h Ifm •• , '0 the ,;de. to ,he h,iI


17/26

)

: II ~ i II' I: 'I I

I I I I I I

I', II ~ I FIRST YEARI : I

II' I I I I' , I, I

, I I I, I ' ' I I I

BATrE ENT~ DOUBLES

FRAPPtS.118

measures in 4/4. :

. II

i

II.. I

I h I

I

k' I' Id d h' 'd I. d

(artutg, pOSItiOn: t e wor mg eg exten e to t e Sl e, pomte ten ue

l1'thei flooHori 'the1first beat', b'end th~ kneeJ the foot striking the

Ippor~ingijeg ~ut le~ou-de-piedlfront. ~n the second beat, open the

oti sli~htl~ tb i thb side and bring it surl.le, cou~de-pied back. On the

lir~ ~~at, ;~xhnd:t~e:l~g to th~ s~~e, p9inte tendue on th~ floor. On

Ie ,fo~rth .It;>.er~:~amta n the ~oslt1on. ~xecut.e, t?e f~lIowmg. double

app~s stnlhng: sUr Ie cou-de-pled, back and bnngmg the workmg foot

I' 11 1 l I

I, •

I'

I

I

Ir Ie'cetJ-~'e~Pled front; Re,pea,t 8,times:

I

'I

I

It I I 'I' ~'

II', I,

I

t I .

I, I • I . I

; 'I, 'I I I,

I,

i ,.

' ';;

I' I I . I: I, ,I .' I ,

'Ir,E1i[ITS; BAIT' ; EM,ENTS SU,R:LE COU-DE,-PIED. 16 measures in

4 I

I

I I

'I ,I I i ': i 'Ii I , '

; I I ' Ii' Ii ~

1 I ~ i: i

I

i

xten~ 'theil' b~king leg to the side, pointe tendue, onl2 introductory

10rd~, :sim~ltabeously raise the ~nn frorh the preparatory position to

rst;a ttn p~siti6n. fOn dIe following 2 chdrds, bend the knee and place

Ie foOtsu~Ie:d)\.l-~e-pi~d front; the arm;opeits simultaneously to second

rm'pbisitio:r).First'measiJre: the fo'ot open~ slightly to the side in second

, i I, I' i I I II i I ' I: , I

ositiop an? returJIssur Ie cou-de-pied ~ack. In the second measure:

Ie folcitopens Islightly to the side in second position lmd returns sur

. cou-~e-piled front. Repeat 8 times. i I I

,

I [I

I

i '

',I; ;: ' ' I

'GRANt) PLIE IN FIRST, SECOND, ,THIRD, AND FIFTH POSI-

'10,

NS. Me~sur~ 4/4,

I ' I

'i': :

I I

i i 11 I ii' i Ii, I

ecute 2 grands plies in all the enumera~ed posit ions; :each grand plie

done in

2

measures: : I ' II

I , '

i I I i I : I I. i

LP~tP~l+xJN F6R 'RONtiS D~ JAMBE EN ('AIR. Measure

/4.

II

il

i Ii: I r i i

ii

Ii'; I

acingi the barre: starting position: raise the working leg to the side to

5°. First ~eaJur~.: bend the knee, brin~ng the foot '(pointe tendue)

) the' inidd~e of the calf of the supportin~ leg. Second measure: extend

le le~ ,to trJ ~idei to 45°. Repeat the movement 4 to 8 times. After a

flort tIme rhi~Jx~~cise iscarried out to th~ accompanim~nt of I measure

,f 4/41 ~. I' I ,I .i ,i I' , I' it'; I

'1

I

i

II II I, ' ,

, I ,I Ii , I, :'

i:

I I

I :

;1,

,: : : ;

i

2:: BATT' MENTS RELEVES LENTS T 90° TO THE SIDE IN SEC-

)ND 'liP?SitIq~. 8 measures in 4/4. I'; I I' i

. • I I I ;,' I '. • .

acmg; the: barre. Flr~t :measure: iralse t~e workmg leg to the Side to

'0°, from t e f ir 's t'or t ile fif th posit ion. Second ,measure: maintain the

,ositi~n. T~i~d Inbsurb: bring the leg ~own to the ~tarting position

first t)r f ifrh)l Fourth measure: hold this 'posit ion. Repeat twice.

'I

Iii:

)

THIRD LESSON

13. RELEVE ON HALF-TOE IN FIRST, SECOND, FIFTH POSI

TIONS. Measure 4/4.

Facing the barre. First measure: on the first beat, demi-plie; on thl

second beat: rise on half-toe; on the third and fourth beats: maintair

the position. Second measure: on the first and second beats, come dowr

in demi-plie; on the third and fourth beats, stretch the knees. Repeal

the exercise 4 times in each position.

EXERCISES IN THE CENTER

• >

1. DEMI-PLIE. Measure 4/4.

Two demi-plies in first, second, third, fourth, and fifth positions, 2 meas,

ures for each demi-plie.

2. BATTEMENTS TENDUS IN FIFTH POSITION. 16 measures in

4/4.

Four battements tendus to the front, to the side, to the back, and to

the side again. Each battement to I measure of 4 beats.

3. BATTEMENTS TENDUS JETES IN FIRST POSITION TO THE

SIDE. Measure 2/4.

Eight battements tendus jetes, each battement on 2 beats.

4. DEMI-ROND DEJAMBE

A

TERRE. 16 measures in 4/4.

En dehors. First measure: on the first beat, slide the working foot to

the front. On the second beat, slide the foot to the side. On the third

beat, close the foot in first position. On the fourth beat, maintain the

posit ion. Second measure: execute the second half of the rond dejambe

:\ terre en dehors. Repeat the exercise 4 times, following with en dedans.

5. STUDYING tPAULEMENT CROISE AND EFFACt IN FIFTH PO

SITION.

6. CROISE AND EFFACE POSITIONS FRONT AND BACK. Measure

3/4 (Waltz) .

Position croisee front, fifth position, epauIement croise, right foot front.

First and second measures: lift the arms to first arm position. Third

and fourth measures: raise the left arm to third arm position, open

the right ann to second position, turning the head to the right. Fifth


18/26

)

: I I'I; I' : I

I 1 i I

I :,': II. FIRST YEJR

II 1

i ,: ' '

and sixth ~~a~Jr~s: slide the righ't foottoj the front, eroise, pointe tendue.

Seventh and eighth measures: maintain ~he position. Hold this posit ion

duriKg th4 4's~~{~que~t measur~~. Thir.t~enth and fO~fteenth measures:

openithe left

~~m

o ;second poslllon. Fifteenth and sixteenth measures:

bring thel~rlns dpwn to the preparatory bosition, closing simultaneously

the right ifoo( in: fifth position. Carry out, likewise, the study of croise

position

~9

t~e :ba, ck, dface position to,

l

he front, andl'to the back.

I; il I I

i I:

'i :

7. FIRS IiiPORJ; DE BRAS. Measure 4{4. ,

Starti~ position': fifth position, epaulem~nt croise, right foot front, arms

in prepadtorYposition. First measure:: on the first and second beats,

raise the~rmk to the first arm position. : On the .third and fourth beats,

raise thearm s to the third arm position. Second measure: on the first

and secohd, tjeats. open the arms in setond position., On the third and

fourth be~ts, , lower the arms in the preparatory posit ion.

i : i II i I I ' : I , I '

. ; SE,COr,-JDPORr; pE ~RAS. Measure, 4/4. I : II

S

I

I [, II: I. I. I I,

fic

hi' '.., •.

II '

I, I :

I.... •

h

l':

t::

I

fi

tartmg posl~ldn: ll, position, cpau ement crOlSc, n~ t lOOt l ront, e t

arm' In thlr4 arlr iposit ion, r ight ~rm in ~econdpositidn.2 First measure:

on the fits( ~rid isecohd beats, 'open the left ann td second position.

I:, 'I. I I I

I' , ' ,I ,I I

On Ithe t1'u~d;and fourth beats, lower: the left arm to the preparatory

POS tion.i,Jaisin~ithe right arm to',ithethi;','~a,rmposition. secon, d measure:n tfIe fi~$tiabd second beills', the armr meet in first ann position. On

the third :~nd:fdJhh beats, open ' the ar~s to the startin'g posit ion. Repeat

the exerJis~

rl

times.' ; : Ii

: I II I I' I [I I , , , ; I

I I I , I '

Y~u mus~ nb eltpatin;the further examJles of ~ombinations the subdivi

sion ofblk ~ridlsmall poses doe~ not ind'icate at great length the position

of i~e atiri~, [ though ~ariants of arm alnd head positions in the poses

exiN Th~~ ~r~i 'put i:nto practice aet:drding to the task given by the

inst~~ClJtl dniyj after, the study of fundam,,ental positiods. In all big poses,

he ~rmJ c~1 b~: one in third positio~, the other In second, one in

first 'posi'tidnt th~other in third, or bo~h arms: in thi~d position.

I~~the r' ma:IIposes , the P,osition of atms var,ies betWeen t,he first and

, ,I d I I ll' I : I

secon .

j

Iii

i :

i

I

Inl aral>e~q eposes' at 900 ~r:45°, sotcalled half arabesques, different

a~l~ i po~iH~s i~an be chosen, but in ~II the poses the version of the

.ann .pOsI;t110nm~st depen.d «;>nthe chang~ of the,body placement, whether

leamng


19/26

)

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I:

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I, I RS7EAR

2.IBA~1 .EMENTS I'TENDUS.,IN FItl H .POSITION. 16, measures m

21 4.

I III: 'I', I I,',

I l' I

'I I', I II I :', I '

I 'Fp,ur b~ttiet;n~n,tste'1d~s to the fr.ont,~ach on, 2 beat, . Two, double batte~

i I ~e~1lS

I ~e?~u~to t.h~ Sid.e, each m 2 ~easures. Fou,r battements ten~us

:. I I t91th~ b~±C.1~~Ch ,9n ~ ~~..ats.a.nd, •.. dOU.les batteme.nts to the Side,

eic~ l(il2[ t~ ur~st • I 'i :: : ; I Ii'

ii.

3,IBATII '.E. 'E~.TS. TENDUS:JETES .. :.PIQUE.S IN ',FIFTH POSITION.

Me4sute: ~14·1: I

I I

II I I

': d~ 'thb ~rJt :a~d :setond half beats~•a:contr~lled throw of the working

le$to ,tht fr?rn td 45°.;Onthe third ~alfbeat, a shbrt ba~tement pique.

On thel foJr~11halr:beat, hold the leg off the floor I at 45~. On the fifth

hi~lfbht:, ,~

I

~~or~ patte~e,nti pique.

I

pn th~ si~th[ half beat, hold ~he

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20/26

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i II

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,1' i liil:i hRSTiEAR I '

,I, , 'I ' I, 'I' ,

, cort 't inues' to : the front. s On the first beat: the working leg ,extends from

: 'tJiJ firs( 6rl fifth po~ition' in the give~ direction, pointe tendue on the

Obbr. On ~he:second beat: throw, tlie leg to

900•

i On the third beat:

•,Io'~h t~e[ I~g ;on the floor,' pointe Uhdue. On the fourth beat: bring

,the leg lin first, or, fifth position. Repleat 4 times to the side and then

II: ,I, .: ' ,

I ' I 'sel~aratiel1 t fl~es

i

tf the Ib~c\ ':' ii',

,,13:

iRE,J~~E'ON HALF.-TOE:IN FIRST, SECOND,iAND FIFTH POSI-

,TI~N. 'Itieasu,re 4/4. , , I;

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I

'I , I ' , , ',' I,

1

Facing the barre. On the first beat: deri-plie. On the second beat: come

up

i

on :~alfitoe. On: the third beat: ~ome down in demi-plie. On the

: fourth tjeat stretch the knees.' Repeat the exercise 4 times in each posi-

tioh. I ' II, I I , I I

II' I

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i~~ERC~~~~

IN

t~E

NT tt

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il.l DEMI-PuE. 16 measures in 4/4., ' ,

'0 I, d II J II' I,. '2 I 2 d I' h' I ' . fi

ne eml-p Ie 10 measures; em -p les eac 10 measure 10 Irst,

~ec6ndj IfbJrth, and; fifth positions. I:n the fourth ~nd fifth positions,

the,:~xercisJ i'sidone;with ep,aulementicroise.

I ,

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III

2. nAj, ,f¥, E~TS TEND US,:I,N.FIiH, POSITION.·

1,6

measures in

2~4 I

:11

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I I I I . I '. I I,: i :' J I . 1 I

F~ur b~, t~~en~s tendus' to' the, front, Ito the side, t~ the, back and side.

~~~h, ba~temen,t on ~ beats. i I I I

' II I

1

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, 3.•BAiJEM:ENTS TENDUS JETES IN,FIFTH POSIjI'ION, 24 measures

,inI2/4'11

lJII , 'II

:1'

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1

FJJr b~~t~ en. :ts ten?us jetes t? the:filo~t, :to the side, t~ the back, and

'~o I~~e ~1df'1~~ch bat.te~ent o,~ ~ be~ts Subsequ~~tly, 10,4 measures,

executei the pose crOIsee front ' WIth the left leg. FIrst measure: extend

thelwor~ing:leg to the front (pointe tertdue on the Odor); simultaneously

raise th~ arin~ .to first (arm) posit ion. 'Second measure: open the arms,

~~li~i~ig~~

.a~ni

;to ~he third (arm) pos~tion. and the

I

left to the second

(ar:m) pOSition.:;nurd measure: lower ~henght arm to the second (arm)

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Arl,ersevfral (.ess,ns, the sludent must execute grands ballemenlSjel~s ',inall directions,

olding th'ebarre with pne hand.

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ii,

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~St~ndingiirififth 'position, ~paul~.heit'lcrois~,lis;ec~mmended :at Ihe beginning of the

exercises;in ' th~center; when starting this lesspn. When opening the anns in firsl and

$ec'~nd(arm) positions, turn Ihe bod~ en face; Concluding the eltercise in fiflh position,

theI placeO)eot,is 'in ~paulemenl crois~. ' : I : :

II

I

f

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FOURTH LESSON

position. Fourth measure: the leg closes in fif th posit ion; simultaneous I

the arms come down to the preparatory posit ion. Follow with the simila

execution in the pose croisee back with the right leg.

4. RONDS DEJAMBE A TERRE. Measure 4/4.

En dehors. On the first beat: the working leg extends to the front, an,

holds the fixed point. On the second beat: slide to the side; hold th

fixed point. On the third beat: slide to the back; again hold the fixe,

point. On the fourth beat: bring the leg in first position. Exec~te th,

movement 4 times, subsequently follow with en dedans.

5. POSES IN CROISE ,(ND EFFACE. Flowing execution. Measur,

3/4 (Waltz).

Pose croisee front. Fifth position epaulement croise, right foot froOl

First and second measures: raise the arms to first (arm) posit ion; simulta

neously extend the right leg to croise front (pointe tendue) on the 0001

Third and fourth measures: raise the left arm to third (arm) position

while the right arm opens to second (arm) position. The head turn

to the right. Fifth and sixth measures: the left arm operis to seconl

(arm) position. Seventh and eighth measures: the arms lower to the

preparatory position; simultaneously. the right leg closes in fifth position

Repeat the poses from 2 to 4 times, front and back, thereafter follo\'

with the execution of poses in efface.

6. THE STUDY OF THE POSES IN ECARTE BACK AND FRONT

Measure 3/4 (Waltz).

Pose ecartee back. Fifth position, epaulement efface, right foot front

First and second measures: raise the arms to first (arm) position; simulta·

neously extend the right leg to the side, pointe tendue on the Ooor

toward the directional corner 4. Third and fourth measures: raise tht

right arm to third (arm) position, while the left arm opens to second

(arm) position. The head turns to the left. Fifth and sixth measures:

the left arm open tosecond (arm) position. Seventh and eighth measures:

the arms lower to the preparatory position; simultaneously, the right

leg closes in fifth position. Repeat the poses from 2 to 4 times, and

approach the study of poses. in ecartee front in a similar manner.

7. FIRST AND SECOND ARABESQUES (elementary study). Measure

3/4 (Waltz).

Stand facing direction 3, in a not fully turned out first or fifth position.

First and second measures: raise the arms to first (arm) position. Third

and fourth measures: move the arms, the right to the front, the left to

the side, while getting into the proper arabesque position. (In the ele

mentary study of poses in arabesque. the working foot remains pointe


21/26

ifth esson

EXERCISES AT THE BARRE

Leg raised infront at the ban

1. DEMI-PLIE AND GRAND-PLIE IN FIRST, SECOND, FOURTJ

AND FIFTH POSITIONS. Musical measure 4/4.

Two demi-plies, each on .4 beats, in first position, 1 grand plie In

measures. Same execution in second, fourth and fifth positions.

2. BATTEMENTS TENDUS IN FIFTH POSITION. 16 measures

2/4.

Four battemenls tend us front, each on 2 beats, 2 bauements, tend

in demi-plie to the side, each in 2 measures. Distribute the moveme

in the following manner: on the first beat, extend the working leg

the side, on the second beat, close in fifth position in demi-plie. (

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FIRST YE R

tendue, on the floor.) Fifth and sixth measures: extend the left foot to

the bac( p6inte tendue on the floor. $eventh, eighth, ninth, tenth, elev

enth, aild twelfth measures: hold thJ position. Thirteenth, fourteenth,

, 1

fifteenth, ,and I sixteenth measures: lower the arms to the preparatory

positiorl; sim~ltaneously, close the Ibft foot to first or fifth position.

'Repeat idle) pose 2 to 4 times. subsbquendy follow with the study of

s~~on1 ha~isique:

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8, :S,E,COND, PORT DE BRAS. I ;

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ExetUlibn similar to that described in the third lesson.

9~ TE~~S lEVE UUMPS) IN~IRST ANDSECONJ POSITIONS. Meas--

ure 4/4. , ,I'

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Facing the barre.

a) On. ~he i first and second beats: clemi-plie, then jump between the

second land third beats, ending in demi-plie on the third beat. On the

,fo~rth ib«;a~,stretch, the knees. Repe~t the exercise, 4 times in first and

dl'

,. '. ' I I

I

:' s~fbn i ~r~lt,l?ns. : : Ii, I i I i I

) ,On ,t e, i,'s,'~bea,t:,' ,'emi-plie, jump between, the first and second beats,

en 'ding on the second beat in demi-j>lie. On the third and fourth beats,

s~retch the; k~ees;.5

i ' , I :

I ' : I :

i

1~. pqR~:dE' BRAS LE~r.hNG THE'BODY TO THE FRONT, BEND

, ING BACK J\ND TO THE SIDE, IN A NOT FULLY TURNED OUT

~IRSl;1ipb'StTIO~.8, .J :

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• ,With in l a I fe~ ;Iesso~~, :t emp~ leve i s execu t d in f inh pos it iO~. Aft er .t he execution in

first and second POSItIons facmg the barre . repeat the same movement

In

LhecenLer.

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•II is r


22/26

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[he fi~st bl a f the; subsequent measure, ,the demi-plie is deeper; on

; 11 I I 1

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h~,s~~on1Tbr t, ftre,tch, the knee~,,',FOU,~~tteme~ts ~endus t~, ~he back,

a .Ch

J?

21ha san, d 12batt,em, ,eutis,,',end,ul'I~ de~l-phe Ito th,e Side, each

n'2 ~easUn:s

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I:.:,,B~4.Erlt,~ -I'~T~~D~~,~,~t,~NF[~ ,?SITlON:'l~

me ,,,

l,2/4·. : I >

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4~h~att~ ~11i~~~~ndu~Jet,e~ f~o,?~,sld~; I 'a~k;a~d sl~e, each on 2 beats.

~~It~~~,f??FlPSlq1r,ta~~,'a P,os9, ~c,arte~ ,tfo,the t>,ackm 14 measures and

ollow ~Ith a ~~se e~artee front ,n 4 me sures.1 I

I

II , II:

II

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'

L,P~EPARATION FOR RONDS DEJJMBE A TERRE. 16 measures

'4' 4 I I I

'II I

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'II

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,i

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~n.deH,orS~I'1iJ L, eas,ure: ',on t he;first b, a,; dem i-plie i,infirst position;

; Ih,f; 'bil h 'k

I' I·L.

'h'

fi '1('

d)

>nIt tj ,sec nu I eat, t e wor mg eg s lu S to t e ront I pomte ten ue;

.i 1u(it~neJ s'IYIa'ise th~ arm to first (ar~) position. qn the third and

O«rth[ bd~s, Jririg the leg to :the side, ~he am' . opens simultaneously

: th~ Isedmi:l (~rm) p6sition wHile thej knee of the shpporting leg is

. , I~' II, , , ,r ' , ..

tralghtene .1 econd measure: on the fiI;st and second beats, mamtam

he positio' ; o~ Hie third and fourth beat~, bring the leg in first position,

vhile the

In-

Ibw~rs ~irpultaneously to the preparatory ~osition. Repeat

he, ~?~e~erl:4]' ~i,mes~,nd suh,se~uently IfoIlow i,Withe~ dedans.

, I : II I

II I

I, ,

I, ' i

. RONDSID AMBE A TERRE. I,

:im, il~~,.eX~ =liti6~,as descri,bed, in,' he rOfrth, lesson. At,the conclusion,

race

'I

a

ha\~ l:i~c1e in plie(rond, de jam e, a terre) in 2 measures of

/4. ,I:

I ll'

I: i i' I: I .,. I

:r\ d~I1orsl Flr~t mea~u~e: on thsfi~st b~at, demi-plie in ~rst position;

·n

the:secc)

d

~eat, ext


23/26

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FIRST YE IR

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EXE;RCISES ,IN THE CENTER

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L:D,~MI·,19t lND, yRAND put IN FIRST, SECOND, FOURTH,

AND IFII'11HPOSITIQNS. Musical measure 4/4. I

In 'fi~~tpo~,tiloh:12deri.i~plies, e~ch on 4 b~ats;:1 grand plie in 2 measures.

Exec'Jte 11~~wiselthe rhov'ement 'in sec¢'nd position, land continue in

IO';lrth~bn~l ifth'~?sitio,ns ~ith 2~emi.plies, each on ••beats:2

: 111 II ' II I, : I '

,

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2.' BATIEMENiI;S TEN,DUS I,N FIFT,If,,POSI~, ION.\32 measures in

2/4111 'iJ 1111' ,I : I '

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Eight :batt ~ents, tendus front~ side and back, each 0':1 2 beats. At the

condusioJ~ inov~ into la pose 'ecartee back with the left leg, and in 4

m~asJres'i take

t

,~o~~ rcartee fr9nt, wit~ the, rig,ht leg: :

I

II,

II, II

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L

BATIEMENTS TENDUSJE~tS IN FIFTH POSITION. 24 measures

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In2/4. 'I I I ill' Ii: i , I' I I' .' . : ' '. ' ,

Four,bauements tendu~ jetes front, to tile SIde, to thei back and to the

iide, ~ach ~n:2 be~ts. At the conclusion ~6v~into first arabesque position

.viththe left le'g in 4 m~asures; and ther~after in 4 additional measures

'0

~econd~rabekque p


24/26

)

SIXTH LESSON

5. BATIEMENTS SOUTENUS RISING ON HALF·TOE IN Fl

POSITION. B measures in 4/4.

Two battements soutenus to the front, to the side, to the back, al

the side twice in each direction. On the first and second beats, I

the working leg; pointe tendue on the floor and come down simul

ously in demi.plie on the supporting leg; on the third and fourth I

bring the working leg to the supporting leg, while stretching it, in

position half-toe. .

6. BATIEMENTS FRAPPES TO THE SIDE AT 45°.8 measur

2 4

Starting position: extend the working leg to the side at 45°.

01

upbeat, the working foot strikes the supporting leg sur Ie cou-de

front; on the first beat, extend quickly to the side at 45°; on the sc

beat, maintain the position. Repeat the movement 8 times.2

7. BATIEMENTS DOUBLES FRAPPES TO THE SIDE. 8 mea

in

2/4.

Starting position: extend the working leg to the side, pointe te

on the floor. On the first beat, the working foot strikes the suppa

leg sur Ie cou-de-pied front; on the second half beat, pass the foe

1In the execution of the rond de jambe;\ terre in 2/4, the passe through the first p

i sdone on the second bea t. Subsequentl y, when the executi on i s i n 1 /4 . t he passe d

the first position (ending each rond de jambe) is done on one beat. •

It is helpful to combine the batlements frappes on the

Roor

pointe tendue, w

bat lemenls frappes off the Roor at 45°. with the execution of the first half of the e

with pointe ten due on the Roor and the second half off the Roor at 45°.

each on 2 beats. Repeat in the reverse direction and in 2 meas

move with a slow half turn (on the flat foot) toward the barre.

3. BATIEMENTS TENDUSJETES IN FIFTH POSITION. 16mea~

in

2/4.

Four battements tendus jetes front, to the side, to the back and t.

side, each on 2 beats. At the conclusion, move with a half turn

from the barre (on the flat foot) to the count of 4 measures.

4. RONDS DE JAMBE A TERRE. Musical measure 2/4. I

En dehors. On 4 introductory chords, preparation en dehors; 51

quently 8 ronds de jarqbe a terre, each on 2 beats.1 Execute prepar

en dedans, on 4 chords, thereafter 8 ronds de jambe a terre en de,

each on 2 beats. In 4 measures, make a circular movement in pi

dehors and in 4 measures again, another circular movement in pI

dedans. At the end, conclude with the third port de bras with the ber

of the body, twice, each time in 4 measures .

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Second Semester;

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i Sixth Lesson

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EXERCISES A1j THE BARRE

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:

1.: DE~n. ,UE, GRAND PUE, AN,D RELEVE ON HALF-TOE IN

FIRST; SECOND, FOURTH, AND F JFTHPOSITIONS. Musical meas-

ure 4/

I I i I: I . , . I '

h firsl1~6LiO~: 2 demi-plie~, each n 4 beats; 2 grands: plies, each in

2,measure~; i2 releves on half·toe, e ch on 4 beats,. Same execution in

sd:~nd ' for'~th, an,d fifth positions. W. I: II

II, I I II : i ':..

2~:BATfEMENTS TENDUS IN FI H POSITION. 8 measures in

4/4. III

11'1,' I', ·I·' i ,

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1iwo b.attements tendus front,' to the side, to the back and to the side,

I II Ii:

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. i Batte

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25/26

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F IR STY E~R

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~Ji~~-der~iedi ~~c~l bn ~,h~ ~.ec~nd.be1~,'e~te.h? the\leg q~ickly to t.he

side, on th~ fourth half beat, mamtamthe' pOSitIOn.Repeat the exerCise

'4: t i~es Uithl p~int~ tendue on; the flO~1ran,d 4 time's with; battementst

45° \

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RONI?,SiDE JAMB~ EN L~AIR. 8 measures m 4/4. ,I

ia~tlihg ~0~ili6it ': theiwo~llding IHe barre wilh one hand.

I i I

,The ~6u-de'~i,;d position is conventionally applied

10

the front and t~the back depending

'10 Ihe position i,O( the foot in the exe rci se. i

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SIXTH LESSON

..•.

EXERCISES THE CENTER

1. DEMI-PLIE, GRAND PLIE, AND RELEVE ON HALF-TOE IN

FIRST, SECOND, FOURTH, AND FIFTH POSITIONS.

Similar execution as in the exercise at the barre.5

2. BATTEMENTS TEND US IN FIFTH POSITION. 32 measures In

2/4.

Eight bauements tendus to the front, to the side and to the back, each

on 2 beats. At the conclusion, execute a pose croisee to the front, with

the left leg, to the count of 4 measures; then with the right leg ~ pose

in third arabesque, pointe tendue on the floor.

• Execute the demi-pl i~ and grand pli~ in fourth posit ion with ~paulement effac~or crois~.


26/26

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3. B,A I'IEMENTS T,ENDU,S1,ETE,S INI1F,FT,H,POSITION.16measures

in 2Y4 II

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Four batte~ nts tend us jetes tb the fr9nt, to the side, to the back and

to (}~,

,

si~e( each on,'

2

b,e,at,s,'

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4. RONDS I)E JAMBE A TERRE. Measure, 2/4. , ,

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En dehors. ExC::~utehe preparafion on 'II'introductory; chords and follow

with' 8 roodsl de jaDlbe a terre, each onl2 beats. In 4 measures, execute

ahalf cir~)e~in plie,enl deh~rs, ettding inlfifth position; ~hen in 4 measures

the t~rd

I

p:o~iti~n port de: bras. Repe~t the combin~tion on the other

leg:and th~nl th~ sa~e dercise' en dedlms.

I I

'5. ~irtJE~~Nts H>NDUS~ ~9INT~ TEN~UE O~ THE FLOOR. 8

~e~s~re~1 if rl ~ Ii I I

II , I I I

wd batternents f011dus to the front, t6 the side, to the back, and to

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t,helslde,l,e~,cllo~ 4,b~a,ts,' :.

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6. BArry:r;.tE*S,F¥~PES TO THSIDE'i

1

Exe~utio~ sibtilar

to

that in the exerci~e 'at the barre, but with pointe

, 'I i :' 'i ,,', I, I '

endue on the Ifloor.6

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7. ~ks~E Jd~R~Ek

'EN1

D~~ORS ~N~

kN

DEDANS (CHANGING

FEET) II I 1111' I

i I

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Follow the lexecutionas in the fifth les on of the exercise at the barre.

8:

~~S dEIJd0R~Ek SlJlvi

TORNANT.

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TU~,n,onllla,r~-tbe in ,fi~h posit ion (on th,e spot).

II

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I I ALLEGRO

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I. TEMP JVE IN FIRST,SECOND,D FIFTHrosmoNs, Mm-

ure 14/4. i I I I Ii; i I Ii' ; I

E~e(:~te 4lijme~sin ~lllpositions~ ,each oh 4 beats.

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SIXTH LESSON

2. CHANGEMENTS DE PIEDS. 8 measures in 4/4.

,Execute 8 times, each on 4 beats.

3. PAS ECHAPPE. Measure 4/4.

Execute facing the barre; according to the degree of mastery, follow

with the execution in the center.

a) First measure: on the first beat, demi-plie in fifth position, jump be

tween the first and second beats ending in second position demi-plie

on the second beat; stretch the knees on the third and fourth eats.

Second measure: demi-plie in second position on the first beat, jump

between the first and secoqd beats ending in fifth position demi-plie

on the second beat; stretch the knees on the third and fourth beats.

b) On the first beat, demi-plie and jump between the first and second

beats, ending in second position demi-plie on the second beat; jur;;p

between the second and third beats, ending in fifth position demi-plie

on the third beat; stretch the knees on the fourth beat. Repeat'the exer

cise 4 to 8 times.

4. PAS ASSEMBLE. Measure 4/4.

Facing the barre; according to the degree of mastery. follow with the

execution in the center. On the first beat, demi-plie, jump between the

first and second beats, ending in demi-plie on the second beat; stretch

the knees on the third and fourth beats. Repeat the exercise 4 to 8

times.

EXERCISE ON POINTES

I. RELEVE IN FIRST, SECOND, AND FIFTH POSITIONS. Measure

4/4.

Execute facing the barre; thereafter, according to the degree of mastery

(6 to 8 lessons), follow with execution in the center. On the first beat,

demi-plie; come up on pointes on the second beat; come down in qemi-

, plie on the third beat, and stretch the knees on the fourth beat. Repeat

the exercise in each position 8 times.

Vera Kostrovitskaya 100 Lessons in Classical Ballet

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