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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.
The term and themes are borrowed from the art term arabesque, rather than stemming from Arabic music. [ 2 ] [ 3 ] [ 4 ] It is a highly ornamented style. The name has origins in the middle of the seventeenth century, it is derived from the Italian word "arabesco," which is translated to "in Arabic style," from the noun "arabo."
Manèges is a classical ballet term meaning “circular.” It describes when a dancer does steps in a circular pattern around the stage. Usually, manèges will be a repetition of one or two steps, but can also be a combination of several. For example, a coupé jeté manèges is typically done by a male dancer in a coda of a classical pas de deux.
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A variety of musical terms are encountered in printed scores, music reviews, and program notes. Most of the terms are Italian, in accordance with the Italian origins of many European musical conventions. Sometimes, the special musical meanings of these phrases differ from the original or current Italian meanings.
There are two basic positions of the arms in ballet. In one, the dancer keeps the fingers of both arms fully touching to form an oval shape, either almost touching the hips, or at navel level, or raised above the dancer's head. In the other, the arms are extended to the sides with the elbows slightly bent.
Ballet music was an accompaniment for the solo and ensemble dances. Tchaikovsky's Swan Lake was the first ballet score to be created by a symphonic composer. Following the initiative of Tchaikovsky, ballet composers were no longer writing simple, easily danceable pieces.