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En pointe dancers employ pointe technique to determine foot placement and body alignment. When exhibiting proper technique, a dancer's en pointe foot is placed so that the instep is fully stretched with toes perpendicular to the floor, and the pointe shoe's platform (the flattened tip of the toe box) is square to the floor, so that a substantial part of its surface is contacting the floor.
Epic (or epos): an extended narrative poem, typically expressing heroic themes. Mock-epic: a poem that plays with the conventions of the epic to comment on a topic satirically. Epyllion: a brief narrative work written in dactylic hexameter, commonly dealing with mythological themes and characterized by vivid description and allusion. Romance
Italian, or French adage, meaning 'slowly, at ease.' Slow movements performed with fluidity and grace. One of the typical exercises of a traditional ballet class, done both at barre and in center, featuring slow, controlled movements. The section of a grand pas (e.g., grand pas de deux), often referred to as grand adage, that features dance ...
An extended metaphor, also known as a conceit or sustained metaphor, is the use of a single metaphor or analogy at length in a work of literature. It differs from a mere metaphor in its length, and in having more than one single point of contact between the object described (the so-called tenor) and the comparison used to describe it (the vehicle).
In an extended accompanied cadenza filled with extremely detailed performance instructions by Strauss, after the fashion of an operatic recitative, the violin presents new motivic material, alternating with brief interjections in low strings, winds, and brass. During this section, the violin briefly foreshadows a theme that will appear fully later.
The Three Graces: embodiment of the Romantic ballet, ca. 1840.This lithograph by A. E. Chalon depicts three of the greatest ballerinas in three of the era's defining roles: (left to right) Marie Taglioni as the Sylph in Filippo Taglioni's 1832 ballet La Sylphide; Fanny Elssler as Florinda in the dance La Cachucha from Jean Coralli's 1836 ballet Le Diable boiteux; and Carlotta Grisi as Béatrix ...
These flat-bottomed predecessors of the modern pointe shoe were secured to the feet by ribbons and incorporated pleats under the toes to enable dancers to leap, execute turns, and fully extend their feet. The first dancers to rise up on their toes did so with the help of an invention by Charles Didelot in 1796. [9]
Melopoeia or melopeia is when words are "charged" beyond their normal meaning with some musical property which further directs its meaning, [1] inducing emotional correlations by sound and rhythm of the speech. Melopoeia can be "appreciated by a foreigner with a sensitive ear" but does not translate well, according to Pound. [1]