Basic Principles of Classical Ballet (10 page)

When both arms reach 2nd position, and the body is completely turned as required, the arms relax at the elbow and even drop slightly; they are soft and effortless, like fins. This is caused by the tension of the arched back and gives this exercise the finished, non-classroom effect it should have.

29. Port de bras (fourth)

5. This port de bras is usually done at the end of the lesson, when the body is well warmed up. It develops greater flexibility.

Stand in 5th position croisé, left arm lifted in 3rd position, right arm extended in 2nd; bend the body and head forward, without losing the straightness of the spine; left arm is lowered to 1st position, right arm, having passed through preparatory position, meets it (also in 1st position), the body bends back with a turn to the left; i.e. the left shoulder moves back. The arms move from 1st position thus: right arm rises to 3rd position, left extends into 2nd. Then the body returns to its starting position, right arm opens to 2nd position, left arm rises to 3rd.

6. Grand port de bras. Stand in croisé position, left foot extended behind (left arm already in 3rd position, right arm in 2nd). Plié on right foot sliding the left foot further behind; you may leave it either entirely on the floor, or raising the heel rest on the toes (the first way makes the body bend further and work harder). At the same time the body bends low forwards, with it goes the left arm without losing its position in 3rd position. Bending the body as far forward as possible, you should hold the spine straight, not allowing it to bunch over. In order not to lose this erectness, you have to hold the spine perfectly firm and straight, thus avoiding any hint of round shoulders. In the meantime the right arm is lowered and meets the left in 1st position without losing its position directly in front of the diaphragm. While you take as wide a 1st position as is possible within your particular structure, straighten the body, shift the weight on to left foot, raise the right arm into 3rd position and the left arm into 2nd (right arm always remains in front of the headl). Bend back, tensing well the muscles of the back. The head is thrown back over the left shoulder and the pose is analogous to the pose in the 3rd port de bras; i.e. the left shoulder is brought well back. Then the right arm opens into 2nd position, head turns right, body straightens to upright position, left arm moves to 3rd position, and with a plié you return to the starting croisé position.

30. Port de bras (fifth)

31. Grand port de bras (sixth)

This port de bras is often done in adagio as a preparation for a grande pirouette. In that case you do not bring the movement to its conclusion, but remain on the bent right leg in a widened 4th position, with right arm in 3rd and left arm in 2nd.

Then, for a pirouette en dehors the left arm is brought forward from 2nd position through 3rd into the pose préparation à la pirouette, while the right arm opens to 2nd position.

For a pirouette en dedans, having reached the same position of the arms, bring the rounded right arm into 1st position with a wide circling movement, leaving the left arm extended in 2nd position. That is the start of the pirouette.

The two last kinds of port de bras are very important in our training. A dancer who has mastered them can consider that she has found co-ordination of body, head and arms, and is well on the way to acquiring the play of the body.

I shall not cite any further examples of port de bras. They can be varied to infinity by combining their basic elements.

Just a few words about the work of the arms.

If, having done a développé, for example, you are standing with the leg extended in 2nd position at 90° and the arms are also in the 2nd position, you should lower the arms first, not moving the extended leg until the arms have begun to move. The lowering of the leg ends, however, simultaneously with the arms. This gives a firm control to the leg, and the entire movement acquires a calm, unhurried aspect.

When executing small movements allegro or adagio, i.e. in small poses, the arms should not be raised high. Only in large poses do the arms rise to full height. This has to be considered during small adagio and allegro, so that the play of the arms does not overshadow the movement of the feet.

EXAMPLES OF PARTICIPATION OF ARMS IN EXERCISES

When a complicated exercise combining various figures and steps is given, the arms are brought into the general movement, and play a significant part. For instance, there are many figures for développé and in all of them the arms take part in the movement.

EXAMPLE OF EXERCISE AT THE BARRE

Three ronds de jambe en l’air en dehors for
beats with a rest on the fourth half-beat in plié on left foot and right foot in effacé forward on the floor; bending entire body, bring it and the arm to the extended foot. Open palm as if pointing to the toe. Then do three battements frappés for
beats and rest on the fourth half-beat in 2nd position. Three ronds de jambe en l’air en dedans, rest in effacé back on the floor, plié on left foot. Bend body back, head over shoulder, glance at the toe. The arm is extended in front of the chest, palm down, hand outstretched and lifted. Finish with three battements frappés in the same tempo as in the first case, i.e. rest on the fourth half-beat in 2nd position.

Six petits battements for 3 beats of the bar, on the fourth beat fall in plié on right foot (changing the foot on which you were standing) and assume a small pose croisé with the right arm bent, left foot sur le cou-de-pied back; then change back to left foot and do four petits battements for 2 beats of the bar, and for 2 beats do a turn en dehors sur le cou-de-pied from préparation temps relevé.

All movements are repeated in the same tempo, but after the first six petits battements, fall on right foot in plié back, substituting left foot, which will come out sur le cou-de-pied front in a small pose croisé, right arm is half-open in 2nd position at 45°, then, after the subsequent four petits battements—temps relevé is done back and the turn—en dedans.

TEMPS LIÉ (IN THE CENTRE)

This is a widely used combination which starts in beginners’ classes and gradually increases in difficulty.

The simplest temps lié is done as follows:

Stand in 5th position croisé, right foot front. Do a demi-plié, both arms in 1st position. Right foot glides forward into croisé, left remains in demi-plié. Shift weight on to right foot, point left foot behind. Bring left arm up, right arm out to side. Bring left foot from behind into 5th position en face in demi-plié, shifting left arm into 1st position, right arm remains in 2nd position. Slide the toe of right foot to side, leaving left in demi-plié, shift weight on to outstretched right leg (opening left arm into 2nd position), with pointed toe slide left leg into 5th position front in demi-plié. Drop arms into preparatory position. Repeat whole movement on left foot. The same movements are also done to the back.

I recommend beginners to study temps lié in
time, doing the entire movement in two bars. First bar:
one
—demi-plié in 5th position;
two
—extend the toes forward in croisé, the passing plié falling between the second and third count;
three
—pose croisé behind;
four
—close in 5th position. Second bar:
one
—demi-plié in 5th position;
two
—leg carried out with extended toes into 2nd position;
three
—extend the toes of the left foot, changing weight to right leg;
four
—close in 5th position.

In advanced classes, temps lié can be done lifting the legs to 90° when moving forward and back, and into 2nd position. From 5th position demi-plie on the left foot, do a développé forward into croisé; change weight to right leg into attitude croisée behind, fall onto left leg into demi-plié, bringing it close to the right leg, which bends at the knee at 90°; développé with right leg into 2nd and step onto it on half-toe, lifting left leg into 2nd position at 90°, demi-plié on right leg, bending left into the right knee; bring it out forward and continue the movement to the other side. Arms are the same as in the movement on the floor.

Temps lié sauté consists of successive small sissonnes tombées, but it belongs to allegro.