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In dance (particularly ballet), arabesque (French: [aʁabɛsk]; literally, "in Arabic fashion") is a body position in which a dancer stands on one leg (the supporting leg) with the other leg (the working leg) extended, straight, behind the body.
The ballet looks so handsome and its movements are so extraordinarily well‐aligned and well‐attuned to the music that the entire work from beginning to end absolutely sings. It is one of those ballets that you watch with ever developing wonderment and pleasure, and it should, in the future, stand as a kind of signature for the City Ballet ...
As later formalised in classical ballet the skipping step of the bourrée became a quick, gliding step, often en pointe or demi-pointe, one of the most-used step sequences of ballet. A pas de bourrée , more commonly known as the "behind side front" or "back side front", is a quick sequence of movements often taken in preparation for a larger step.
Pages in category "Ballet terminology" The following 36 pages are in this category, out of 36 total. This list may not reflect recent changes. ...
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Arabesque position with working leg à la hauteur, forming a 90° angle with supporting leg Arabesque penchée. Arabesque (French:; literally, "in Arabic fashion") in dance, particularly ballet, is a body position in which a dancer stands on one leg–the supporting leg–with the other leg–the working leg–turned out and extended behind the body, with both legs held straight.
I have some experience in ballet (mostly Vaganova method), but I decided to validate my ideas before typing and so I went through an extensive research on the following books: 'Basic principles of classical ballet' (A. Vaganova), 'Theory and practice of classical theathrical dancing - methode Cecchetti' (C. Beaumont), 'Technical manual and ...
The Imaginary Invalid, The Hypochondriac, or The Would-Be Invalid (French title Le Malade imaginaire, [lə malad imaʒinɛːʁ]) is a three-act comédie-ballet by the French playwright Molière with dance sequences and musical interludes (H.495, H.495 a, H.495 b) by Marc-Antoine Charpentier.