Vera Kostrovitskaya 100 Lessons In Classical Ballet

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VERA S. KOSTROVITSKAYA

100 Lessons in I

Classical Ballet TRANSLATED

Limelight

BY OLEG BRIANSKY

Editions

1993: New York

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Contents

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FIRST,SEMESTER Fourth ThirdLesson Sixth Lesson Second Lesson Second Lesson Introduction Fourth Third Lesson About !Using This :AIl i'g~tsir~s;rved;III/(ler illter~atiollal alld P,m-American Fifth First FIRST Lesson FIRST SEMESTER SEMESTER ! : CopYrIght CoillVettlions. Published in the United States by 5 FIRST YEAR SECOND SEMESTER :Proscel~iu'm!Publishers ,/nc., New York and simultaneously THIRD in YEAR i

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WhitesIde, by Alex LimJ,ted, Go~;yd Toro,nto, ,

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of,Cong,re's,s Cata/ogini" in-Publ, icalioll Data I ! 'i, " I kostrovitskaia, V. S., (v"era Serge~vna) I : :1',100 /errolls in c1assi,ca/ballet~ "I

JJ.al{e~dancillg-e-Study and teaching.! I. Title. If· ITltle:; Olle hundred lessons in c1assif'al ballet, !.j

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60 64 103 48 Ninth 43 37 Lesson 117 110 54 169 161 175 154 Fourth Third 140 147 133 Lesson Lesson Sixth Lesson 96 72 10 7 32 Seventh 83 89 28 Lesson Seventh Lesson 77 24 20 126 Lesson Fifth Lesson Eighth Eighth Lesson Preface

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Book

First Lesson Fifth Lesson

SECOND YEAR

SECOND SEMESTER ' •.'1,

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226 232 Sixth Seventh Lesso~ Lesson 212 Fifth Lessoh 219 Eighth Les~on

First Lesson I , i II I ! Second Lesson

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Preface

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Third Lesson I

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F~:lrth Les:l'on

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Eighth LessOn

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SIXTH YEAR

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111ird Lesson

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Fourth Lesson

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First Lesson~, [' Seco~d,[Less,n i

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Third Lesson

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Fourih Lesson

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SEVENTH YEA~

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First' ~~ssonii ;

Sixth Lessoiz Seventh Lesson

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, Second Lessonl

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Fir,st ?Jessoh1, Second'I' Less nI ; , I Lesson II! i Third, i

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Third LessoJ I Fourth Lesson

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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 Culture 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 Institute, V. Kostrovitskaya 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. • TRANSLATOR'S NOTE: All the classes in this book will be referred to as lessons and the eight classes according to the U.S.S.R. Ministry of Culture's eight-year full proglram of study will be indicated as ,years.

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Dunng th~ second semester of the second year, separate steps are JUt tog~~he~J fi~s~:in simple :nt~~ ~~st f~+fst:er of the 1~~VI~US ,yearis:s~~dy beco~e :eparately. l'hes;e: new steps I semester. Ii, I I he "II, second : I'ii, 'L 'I I I " '" !

combinati?ns, then in \complicated ones. following years, the c~mbinations of the mor~ com~lex. and newiste~s a~e maste~ed are Included In the combinatIOns durmg , I 'I' " , I

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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 IS rare; ,

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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).. Ih these le!~sor;ts,:the success1VC~study10f 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 i i. \ I! i Ila~a~l t,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

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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 i,'Ie clm-de-pied is indicated i~ the first lessons, I II ; )1,. ut i ~?,t I? th,~ l~t~~, o~e~ .. Each ~lass e~ds with the i port de bras and endmg !of the body, indICated In the (ootnote of the first lesson of ilch yea~~'Alii sltJ1Kexcept those: ~n po/ntes can be iexe,cuted by men lId wbmen ~likel When certain steps o~combinati06s are carried out . ,I I I' pa,rt,icularly ~'tated II . {'~ome~o~\'yl h!li~ ~n the I:footnote, indicating the 'quired 'sltep:~r,c0l'Ilbination recoI"llmended, by us. In the book, exercises _I

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a~ of that each~esson. Ho~ever, the lessons i,n,such " the end a w~y t e exercises ~n p,ointes should )t ibe:gl~en ?n, th~1~ame day as th~ JUmps. i! i One ,of:the :tun~amental requirements lof classical ballet method is a I

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larp, ,tute;~r,i'the d~~n~i~.H,us. :mu~lcal accompamment ~cal:,e?,uc~tio.n':,.Atthe) of a class ~e~ingrad ISbased ~ho~eogra~hic. on ImprOViSatiOn. Inhe,ex~rc~ses i1t:th~ barieand in dl~ center are almost bntirely accompaedb' .' y!~~,SIC~ ,I .,. I ~ ~I d agIO, . III ~ egro, an d' i steps on pomtes, . , : . Ill'~rr~~ovl~~t~on.. lP~O~~S~~IO~ lalf.9r~~tesl ~It~ wr.1U~nmusIC. : . : , Anlmprovlsktlon can be InsplH;d by alpersonal musIcal thought, or I

e pia~i~~ :m~~ kJ~j~ctively interpre~ a~yl written musical. composition. lie: musi{: m4st !strictly adhere to the' dancing patt~rn proposed by 'h'i1' L.l 11'\11'I t ."e,is, I ,teps.! : I ,! I I:j ,a e,t~achJf:and ~o~t~in

I, iI I:'I i' I!I 110rrespondin~ I, : character definite/hythm to the [f,' fot examffle,i l:Iatte\fients fondus are executed in lone combination "

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I III I fbppes, 'j' 'i I 'IIII I :: then the: Ii rhythJt of the mel6diousness mu~ical phrase inmust th ,I batt~inenlS fleFtl a !lfloWing the il. 'iff~reri~Haracter~ : I, I I . i : emphasizing I

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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 Institute, which provides the basis for this textbool help in the preparation of the task at hand.

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fifteen wneniIlchoreographed'my fir~t full evening of ballet. After p~rform~anc~ ~t Ith~:Pale.is des B~aux-Arl:s in BI"USSel~,a Russian dele-

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Ie pf' th~IBe!ki~n-'Soviet: mission me and offered w1uld h~ve me had the to ,~ipil,it, yl.pf a',lba(l~t:!care~~ in t~ei:appro~ched !S~>vietl,Unio~. vejBelgi~m for: the Imtenslve course of study that ISthe RUSSIansystem ba~lft; e~~ca:~i~~, 'a,~d I ~lti~~t~l~ decidFdi that the ~ffer carried with '00I' mat;lX ut;lae<;eptable:condltlons. AndI yet for theI boy that I was I! II l" '. , n,! son :M Rus'sran!:emigres who; had left their hom:eland as part of ·1

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s~rhe ~ave Ifh'af ?t?ught Diaghi~ev, ~ijli1~ky, Fokint!, and Anna P~va to:th~ West.~ussla loomed for, me, mhltably, as a 'sort offountamII II I ld o(:th~ d~hcer's' art. As it was, mostlof my ballet training in the

) 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 COI 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, chor<: phers, and teachers at the famous schools of ballet in the Soviet U and to observe classes and rehearsals there. In 1976, our tour bore unexpected fruit. One of our group men Earle Mack, decided to produce and finance a documentary filo would preserve for all time the inner workings of the Vaganova Ch graphic Institute in Leningrad, once the Imperial Ballet School on and certainly one of the greatest sources of genius in ballet in the" The time I spent at the school acting as artistic director of thi~ The Children of Theatre Street. gave me an even deeper understa and respect for the unique fabric of the school, specifically the rde cooperative striving of the students and teachers for achievemen artistry on the highest level. In fact the sensitive but total dedij of those who give the training and those who receive it, becam of the most important subjects of our film. Which brings us to the project at hand. One day, Galina Stupn a teacher at the Vaganova Institute gave me, as a present, a c( One Hundred Lessons in Classical Ballet by Vera Sergeevna Kostrovit a textbook held in very high esteem among Kostrovitskaya's colle in the Soviet Union, as well as among the dancers and teachers I West who were able to read it in Russian. I soon realized the U) significance of this text; here I had. in book form, the source of study developed by Agrippina Vaganova, a teacher so remarkabl the Choreographic Institute of Leningrad has been renamed to

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to visit Kostrovitskaya

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~~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 here~rlie}1t~an'slation ,agre~m~nt: that ,Iofshould! her:Ballet book,mto :e 'my' Classestranslate in CLassical by the English. Bolshoi rriaSlh thadny iAsa:rMe~~erer,: ~et~ccept with ~his !lmpreteden~ed success, ,nfldeht\ ~ublisher had wo~ld new project. My enthu- I ftfrit!w~s twb~old'i First; there is 'to myknowl<~dge si!mply nothing in th.e l~~eratrt~ ballet. It}s a ~ast c
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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.

10 the West thel entire eightSecond,! th~ bboklmakes available 'r'~ fi.un. ct:.ion~.'ls6. ~,.h.alt it is '.actual!. y i'1Va!ua~le,for teacher an~ stu~ent IlrriCulurP ta,ught at the ;Yaganovk Chorkographic Institute. Vagateachi~g h~s il>eep famous for decadek within the iballet world, the last fe~ y~ab interes'tin it has b'ecome worldwide, as the ,d th~t ptodiked 'the Russian luminariek Rudolf Nuteyev, Natalia ' I!:! I ova, ~n~ ,Mi~ha~lBaryshnikov.' i Lrovitskaya ~as ,al ~tudent and a protege ofVagaIiova and this letails t~e le~so~s ~heherself taught at ithe Vaganova school, fol: the 'pr~cept~ :of her famous mentor. She presents it progressive ,. .: I': ,I Ich to the combination, of lessons taught from the: first year to J

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student of xerClses at the barre, 10 thle center of the StudiO, of :~gto',~ndith~ ~n pointes. I know of"'o such complete training ~ ~~.stem that resUlt.s•.in cQmplete technical· m~stery, !;h.th; '~re~tin~:I~Jrk ere e~se I in ~op~ Iform for, s'tud~nts starting at the lage of eight Preparatory arm position.

,an,y,~ea~lher'pt all the! iNay'tq ~~?cer the ,advanced on anylessons level calJ o~ the dra~graduate great :benefit year. f~om 19 this bookqWhen! I have tested. the les,sons 10 my own teach 109, b~en' sttuck iby tthe clarity with which the planned combinations 's ~nrol~ ,.fo~ltht s~uderit. Interestingly,! I a~~o.ran across :certain of techmqu~ toat! were beyond the ca~abillties of :students not i iri ;thel SoviF~ bal~~t method" arid thde I delete in my classes. ,tah9ing; thik: iekttlook will provide neW insight into the scope

6c the I~e~dh'e'~in ballet, and I b~lieve withoJt any' doubt ,I II' I , is'I b~;ok:l· will!1hI' l.i~e:ihe stkmdard.s..'of teaching wherever it is used. method as the

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rr~c't::s~~te~i ~fl te~ching.ballet. If me~1 only' to a~rm' the very ,~'Ir~';1e~~e t~~ Ru~slan Soviet school o~ ba~let has had on he.wc;>rl~ovl~rim ~~Is~eh.tury. We have been msplred and moved artists; ,we can kmly &enefit from a st~dy of the methods that

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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 i of the real capabilities ' i~d,i~i~?~l ~hidb~~s. T~e boo~ s~ould pe ~sed creatively. to he!p the :l.c~erlde:Vlseifh'elmQstconstructive combmatlOns for the students tech,:a~ d~v~loPnieh~.IIt sho,"Jld not 1?ea substitute for the teacher's own b,

us~diri ithis'l~a ,I both 'experienced anti inexperien~ed teachers Ifwill of'I, ~nspiratlion in, plantiing lessons. it ,~aiivity,l ' Ii i I ut:hitt', Ii I J,i 'I. asdurce I.' '. d the oook 'an m'v~luable source of matenal, and yet their teachmg II rerilaiH fle~iJ:)le,and ,I; I,book will :be unfamiliar to Certain :terrri~ ~ked byalive. the author: i of th:is 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 ur?e ;the senous reader. to study Fundamen.tals of. the

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ISle DancebYiA, g,t;lppma I hav~-mcluded :!Orne inipor:~antl ~~rms Vaganova., ~hat maYIseem1.mbiguous

below to thea dISCUSSIOn reader of

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

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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 TOURDE PROMENADE . 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 off from the heel of the sUPI foot (right foot) and by the way of a grand battement of l 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<End the jump in demi-plie facing front (side I) and folio' pas de bourree dessus en tournant. BIG SCENIC SISSONNE as it is called in Russian, is executed big jump, while the arms move through first position and respectively one in second, the other in third position. The stretched out through the fingers, as if in an arabesque hand pc (a~longe). JETE ENTRELACE refers to the western term GRAND JETE ENTO~

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And now, dancers, take your places, let's begin the lesson.

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l!irst tear Introducing the elementary exercisesfor mastering the ment of the body, the legs, the arms, and the head, deveh elementary skills in the coordination of steps. fJ

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.I to the first and second arm positions~preparation (l barre and in the center-is executed to the beat offour

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ductory chords. The closing of the arms back into the pre! 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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) 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 JAM BE A TERRE (a quarter

circle). Me

4/4.

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don~ I,n'2 lPeasu~es" change 4 chords.in ITEMENT TENDUS and IN the FIRST PO 6~fpositions ITION. 32]Ion measures '1,,,:1 I

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

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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.

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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

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Ie prep~~a~o~yip:o!si~ion.Each ot ~he m~~emenls cnUllllelalt:u peated 'l times. i : !, , ,I 'I i II

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1rENDUS IN FIFTH POSITION. ::

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32 measures

EXF.RCISES IN THE CENTER

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I. EXERCISE FOR THE ARMS. Measure 3/4. (Slow Waltz) The exercise (as indicated in exercises at the barre no. 6) is exe, simultaneously with the two arms. The legs are in first position (hv turned out).

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TO THE!BATfEMENTS

TENDUS

'~SiI~ r?~IITIOiN. 4/41, .1 ' ihe first~~RS1 and I:·!1~cond beats of~e~s~,re the measu~e: the workmg foot brushes ;:1 .. I I'! 'ardon! the :floor: On the third beat: the leg is raised to 45°. On

2. Measure 2/4. March.

fo~rth bbat:i:the: leg comes down~ measlhe: poin~e tendue, on closes the floor. On fir$t, tw~' bdt~ lofthe following the foot in first lidn. On; the[t~st ~~o beats: the leg is h~ldin first position (preparaposition). The lexercise is repeated 4 times, then it is executed to

Hands on the hips. The exercise starts with the right foot; the tl of the movement changes; proceed with slow marching steps and gress first to fast ones, then to a fast run, etc. The exercise)s do a circle or on the diagonal from corner to corner: 6 to 2, from 2 from 4 to 8, from 8 to 4 (See diagram).

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FRAPPES. MeasTHE FIXED POINTS OF THE STUDIO

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'2the ~ntroduct~fY chords: the(preparation). foot. brushes,tn pointe the side first or fifth'position the firsttendue, measure:to bending kdee, the fdotis placed sur Ie, cou-d~.pied front. In the second ~ure: the po~ltionis maintained. In the tllird measure: the leg extends pointe! ten~Je: to the ,side on the udor. In the fourth measure: positiori ,is m~intained. The exercise is repeated 4 times, consequently 'I'! .I

CORNER

1 (MIRROR) SIDE

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2 CORt

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i I, sur Ie'i : i,: -de-pied exec,ute~ back.i I' • , R~~~~f IN1 ~I~ST POSITION: 32 m,asures in 4/4. irs,t~ea~ure;:1 r~s!e:slowly on half-toe. Se~ond measur~: stand on ~a~fThIrd measure: come down slowly. Fourth measure: stand sttll m !

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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. 5. ONE HAND HOLDING THE BARRE, repeat the previous exercise only with 2 battements jetes in each direction.

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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.

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

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8. BATTEMENTS FRAPPES. 8 measures in 4/4. Preparatory position: the working leg extended to the side, pointe tendue, 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.

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Ii! , I E~I ERCISES AT THE B~RRE :

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T~M. EN,;rS IT~ND.'U~ IN FIFTI1 POSITION. 16 measures In ! i II II 'to ! !! the front, to the slde, j i . ,ttements te~dus to , the back, and to I

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9. PETITS BATTEMENTS

SUR LE COU-DE-PIED.

32 measures In

2/4.

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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-

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) llon. in tHe; ~OU,~lllmeasure: Dnllg' me 1001 sur .ie .coU-W.:-PH:U , 'i ,.'! . d c. • I d 8 times. . T h'e exercise liSexecute Iacmg t h e tluarre an'd repeate

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

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In th~ fir~~I,n~a~ure: fa~s~the :workidg leg slowly lforw~~d t~ 45°, fro~ ~~e,fi,r;sto~ ,fi~th, pOSitIOn. thecotnes shond down measure: POSIllon. ;In th~ thf tHuA me~sure: the,I~leg slowly~amtam mto the 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 tlib brCk; facmg the barre. IIE JkL~~t H~LF-':OE ~N FIRST, s~cONb, AND FIFTH POSITIONS. Nie~sure 2/4. i I' I

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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 ~he arms slowly in all (arm) positions: 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

BARRE. ~~aJ;uie 3/4the(Waltz)!' In 4 ili.ea~\.Iret:lean body forward, straighten 'back into the starting I

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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 !' " ,In 4 mea~li~e : bend! the body to th~I left side. Execute the exercise 4 I, I " "timeS.; I, I I:! 'I ,

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third, and; fifth positions,

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IN FIRST POSITION. 16 measures m "Four: i4~1'ii,ibat~~9tw IT I1II te'ndus : to the i fron~, to the side, to the back and to ithe ~iQe, :1 mea~ure for each battement. i.

12~~, ',B1TT~rytEI':'I:rS.TENDUS

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Two battements tend us to the front, to the side, to the b the side, 1 measure for each battement.

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jtl~ee~erclse tires Iin each p~sltlonj facmg the ~arre. P,~" 2.1 P1r~ .i?f th.e,BODY followl~g. come ?own "slowly. :12. tr,e BENdI~ 'THE' IN I~e~sur~: FIRST POSITION, FACINGExecute THE

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First position of the feet.

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THIRD

LESSON

3. BAITEMENTS TENDUS DOUBLES IN FIFTH POSITION (lowering the heel in second position). 8 measures in 4/4. On the first beat: extend the working leg to the side, pointe tendue on the Roor. On the second beat: lower the heel to second position. On the third beat: raise the heel, pointe ten due on the Roor. On the fourth beat: bring the foot in fifth position. Repeat the movement 8 times. 4. BAITEMENTS in 2/4.

TENDUS JETES IN FIFTH POSITION.

16 mea~ures

Execute without stopping: 6n the first beat: throw the leg to 45°. On the second beat: bring the leg down to fifth position. Four bauements tend us jetes to the front, to the side, to the back, each battement on 2 beats, and thereafter in 4 measures: releve lent to the side in second position at 45°.

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5. RONDS DE JAMBE A TERRE. Measure 4/4. En dehors. On the first beat, starting in first position, slide the working foot front, and hold in fixed position. On the second beat: slide the foot to the side, hold in fixed position. On the third beat: slide the foot to the back, hold in fixed position. On the fourth beat: slide the foot to first position. Repeat the exercise 4 times. Subsequently on the identical musical measure of 4/4, execute the movement Rowingly, without any stop to the front, to the side and to the back. Repeat the same exercise en dedans. Concluding the exercise, execute a simple port de bras on 2 measures of 4/4.

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EXERCISES AT TH;E BARREl

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6. BAITEMENTS 4/4.

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SOUTENUS IN FIFTH POSITION.

8 measures in

Execute twice in each direction. On the first and second beats: extend the working leg to the requested direction (pointe tendue) according to the principle ofbattement tendu; simultaneously come down in demiplie on the supporting leg. On the third and fourth beats: bring the working leg back in fifth position, stretching the supporting leg. 7. BAITEMENTS

FRAPPES 'IN ALL DIRECTIONS.

Measure 4/4.

Starting position: the working leg extended to the side, pointe tendue. On the first beat: bend the knee, the foot striking the supporting leg sur Ie cou-de-pied front. On the second beat: extend the leg to. the front (pointe tendue). On the third and fourth beats: maintain this position. Subsequently execute the same movement to the side, to the back, and to the side. This combination is repeated 8 to 16 times.

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BATrE measures in 4/4. : II..ENT~ I I t hDOUBLES I I k'mg I'FRAPPtS.118 . II i pOSItiOn: (artutg, e wor eg exten Id e d to t h'e Sl'd e,I.pomte ten d ue l1'thei flooHori 'the1first beat', b'end th~ kneeJ the foot striking the Ippor~ingijeg ~n the second beat, .oti sli~htl~ tb ~ut i thb le~ou-de-piedlfront. side! and bring it surl.le, cou~de-pied back.open 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, • I Ir Ie I'cetJ-~'e~Pled front; Re,pea,tI 8, times: ;

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13. RELEVE ON HALF-TOE TIONS. Measure 4/4.

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FIFTH

POSI

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EXERCISES IN THE CENTER

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IN FIRST, SECOND,

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.

• !; II I 'I ~ R: LE COU-DE,-PIED. i: 'Ii i I I, i' 'Ir,E1i[ITS; 14 BAIT I Ii' 'IEM,ENTS ,IIi! SU, 16 measures in

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xten~ :sim~ltabeously 'theil' b~king leg raise to the tendue, onl2 introductory '10rd~, theside, ~nn pointe frorh the preparatory position to rst; attn p~siti6n. fOn dIe following 2 chdrds, bend the knee and place

1. DEMI-PLIE. Measure 4/4.

Ie foOt su~ Ie :d)\.l-~e-pi~d front; the arm; opeits simultaneously to second rm', pbisitio:r).First'measiJre: the fo'ot open~I: slightly, to theI side in second i I, I' i I I" II i I!'

Two demi-plies in first, second, third, fourth, and fifth positions, 2 meas, ures for each demi-plie.

ositiop an? returJIssur Ie cou-de-pied ~ack. In the second measure: Ie folcitopens I slightly to the side in second position lmd returns sur . cou-~e-piled front. Repeat 8 times. I! I i

!I [I O. ,'GRANt)

I ! i!' ;: ' ,THIRD,' ANDI FIFTH POSIPLIE IN ',I;FIRST, SECOND,

NS. Me~sur~ 4/4, I ' 'i': : I ! i i 2 grands 11 I ii' plies i in all the Ii, enumera~ed I xecute positions; :each grand plie

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done in 2 measures: : LP~tP~l+xJN F6R 'RONtiS

/4.

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D~ JAMBE EN ('AIR.

Measure

II il i Ii: ! I 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 is carried out to th~ accompanim~nt of I measure r

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16 measures in

3. BATTEMENTS TENDUS JETES IN FIRST POSITION SIDE. Measure 2/4.

TO THE

tendus jetes, each battement on 2 beats.

4. DEMI-ROND DE JAMBE A TERRE. 16 measures in 4/4. En dehors. First measure: on the first beat, the front. On the second beat, slide the foot beat, close the foot in first position. On the position. Second measure: execute the second :\ terre en dehors. Repeat the exercise 4 times, 5. STUDYING tPAULEMENT SITION.

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slide the working foot to to the side. On the third fourth beat, maintain the half of the rond de jambe following with en dedans.

CROISE AND EFFACt IN FIFTH PO-

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BATT' ~.MENTS Tit';"90° TO THEI SIDE IN SEC,f2::4/41 I .i! RELEVES LENTS I' ,i

TENDUS IN FIFTH POSITION.

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.

Eight battements

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2. BATTEMENTS

4/4.

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. • I I I ;,' I '. • . acmg; the: barre. Flr~t :measure: iralse t~e workmg leg to the Side to )ND from 'liP?SitIq~. 4/4. I'; I i '0°, t e fir'st'8ormeasures tile fifth in position. Second ,measure: maintain the ,ositi~n. T~i~d Inbsurb: bring the leg ~own to the ~tarting position first t)r fifrh)l Fourth measure: hold this 'position. Repeat twice. 'I Iii: I'

6. CROISE AND EFFACE POSITIONS FRONT AND BACK. Measure 3/4 (Waltz) . Position croisee front, fifth position, epauIement croise, First and second measures: lift the arms to first arm and fourth measures: raise the left arm to third arm the right ann to second position, turning the head to

right foot front. position. Third position, open the right. Fifth

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and sixth and ~~a~Jr~s: the righ't foottoj ~he the position. front, eroise, tendue. Seventh eighth slide measures: maintain Holdpointe this position duriKg th4 4' s~~{~que~t measur~~. Thir.t~enth and fO~fteenth measures: openithe left ~~m, to ;second poslllon. Fifteenth sixteenth measures: bring thel~rlns dpwn to the preparatory bosition,and closing simultaneously the right ifoo( in: fifth position. Carry out, likewise, the study of croise I;

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position ~9t~e :ba, ck, dface position to, he front, andl'to the back. 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 position. l,

: i COr,-JDPORr; II i I I! '! : I!,4/4. 8.;i SE, pE ~RAS. Measure,

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tartmg posl~ldn: ll, position, arm' In thlr4 arlriposition, right on I:, the fits( ~rid isecohd beats, 'I. I I I I' , ' ,I On Ithe t1'u~d;and fourth beats,

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• h l': t:: I fi cpau ement crOlSc, n~ t lOOt e t ~rm in ~econdpositidn.2 First lront, measure: 'open the left ann td second position. ,I I lower: the left arm to the preparatory

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Fifth /msili"

on POS!tion.i,Jaisin~ithe tfIe fi~$tiabd! second right beills', arm to',ithe the armr thi;','~a,rm meet position. in first ann secon, position. d measure: On the third :~nd :fdJhh beats, open 'the ar~s to the startin'g position. Repeat :

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, : I II I I' I , , , ; I times.'I [I "further ;! : Ii! the Y~uexerJis~ mus~!nb rleltpatin;the examJles of ~ombinations the subdivision !of blk ~ridlsmall poses doe~ not ind'icate at great length the position

of i~eTh~~ atiri~,~r~i [though ~ariants of arm alnd head in the by poses exiN 'put i:nto practice aet:drding to positions the task given the

Fourth Lesson

all big one poses, inst~~ClJtl dniyjb~: after,one the in study fundam,I ,ental the! ~rmJ c~1 thirdof positio~, the positiods. other In In second, in first 'posi'tidnt th~ other in third, or bo~h arms: in thi~d position.

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secon . Iii i!: I t,he first and "I the P,osition of atms var,ies betWeen I ,! I~~the! ,I d I ma:II I i poses", ! 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;t110n lm~st depen.d «;>n ,the chang~ of the, body placement, whether j

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,: 1he d,ifreT~ndation:of smallI and big to the execution leamng <)rshghtly bendmg. . Iposes ~ertain~ ' I 'II II ,I II' II !' I : I ' • T,his allbws for a diversity o.fCarry s,~,all: [a,t450 'or to,Ionbi.,4g inlroduct ;stepsI,' a] ry900 :. oJ fteps the sl~rting position chords. ,! I , in t~e arl'Jis'titline of the dancer.'I 'I ' ' .

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EXERCISES AT THE BARRE

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The student holds the barre with one hand . I. DEMI-PUE

AND GRAND-PUE

IN FIRST, SECOND, FOURTI

AND FIFTH POSITIONS. Measure 4/4. f In first position: one demi-plie in 2 measures; two demi-plies in I mea ure, each; two grand-plies in 2 measures. each. Execute the same second, fourth, and fifth positions.

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FOURTH

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I', I .EMENTS II I " FItl :', H I.POSITION. '16, measures m 2.IBA~1 I'TENDUS.,IN ','21'4. I III:" 'I', I,', I l' I 'Fp,ur b~ttiet;n~n,tste'1d~s to the fr.ont,~ach on, 2 beat, . Two, double batte~ I"

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~e~1lS I!~e?~u~Ito t.h~ Sid.e, each m 2 ~easures.

Fou,r battements

ten~us

eic~ t~!ur~st 'i ,.ats. !!~ :: : ; bles I Ii' t91th~l(il2[ "b~±C.1 ~~Ch!,9n ~• I~~. a.nd, •.2. dOU. batteme.nts to the Side, 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 i!:. I

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le$to ,tht fr?rn td 45°.;Onthe third ~alfbeat, a shbrt ba~tement pique. On thel foJr~11 halr:beat, hold the leg off the floor I at 45~. On the fifth hi~lf bht:, ,~I ~~or~ patte~e,nti pique. I pn th~ si~th[ half beat, hold ~he 'i

t~~,le~ d?*~,:clo'~i1g i? fi~th ~~ercise, I<;-g: Offm. tile floor. at: 45~'i On positionf~epeat Ithe seventh and the eighth half then beats,exec~te bnng the sa ,eit~lCe to tHe side, to ,the bac~!and to the su;1e.At the conclusIOn o:~this::e~e~~i~e,ta~e a' pos~ croisee, f~ont (~ointe t1endue; on the floor)

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I il I I DEJAMBE I I: o( 4/4. :!; Ai TERRE. 'i~'easure:4/4. I : I .'! Ii , 4:.1RONDS 0'n;4 meashres 'I II I I En de\J:ors: On the first beat:' starting in first position, the working foot :

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sli'des 1(01th1front !and, without pa~se', on the se:cond beat, slides to the sid~ in! setond positiorl. On the third b~at: without pause, the foot , slld~s :~o:the. back. On the fou~th b~at: p.lace the root in first position . . flowmgly, IWltho\lt pause; contmue the CIrcular movement. Execute 4 .;: dilies,!thb? tepea,t the sam'e <:n dedans. At the codclusion, execute the : i:

d~ t~~ b~dy o~ 2 meiasures of 4/4.

tfi~d fr°ttl~ei ;br~s fwith a, be~ding

. St,artl~~ ~·IB~IT1~~~NTS:FONDU.S.1 \n 4/4.! ,pOSItiOn: the workll~g 8legm~tsur~s I~;pomted to the ,II

.! On the first Side. and seton1d! beats: ! bend th¢ knee Of the working leg, and place the II I I I I d '. d fi ' '2 . 'I' I d' d . I'" c' lO:Otsur ~ cou- e-ple ront; slmu taneous y, come own m eml-p Ie o~th~ ~~pp~.rting.leg. On th~ third and four~h.beatf: extend the working l~g, pl~cmgllt. pomte tendue, on the floor;, slmultl1neously, stretch the supp
Musical measure

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,to the, bat

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~nd to ,the s~de.

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Itl fe~ te~1 slmll,ar: descnbeJ , ~1IIII'j I Ii m.I the II mann~.~.as : I: ;IS, II :, : [i ; ,

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m th~. third lesson.

~alle'."e'1t~ fondus are executed facing theJ barre d~ring the. third and fourth lessons. Sur I~ ic.luJde-pied front is practiced conditionally. ' I· i

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At th~ conclusion, end with a pose croisee to the back, pointe tendm and hold the position for 4 measures. 7. BATTEMENTS DOUBLES FRAPPES IN ALL DIRECTIONS. ure 4/4.

Meas

Starting position: the working leg extends to the side, pointe tendu on the floor. On the first beat: bend the knee, the foot striking th supporting leg sur Ie cou-de-pied back. On the second beat: slight! open the leg and bring it sur Ie cou-de-pied front. On the thir~ bea' extend the leg, pointe tendue, on the floor. On the fourth beat, maintai the position. Execute the ~ame movement to the side, to the front, t the side, and repeat once again. 8. RONDS DE JAMBE EN L'AIR EN DEHORS AND EN DEDAN~ Measure 4/4. Facing the barre. Starting position: raise the working leg to the sid to 45°. En dehors. On the first and second beats, bend the knee an while executing the first half of the conventional circle, bring the foo pointe tendue, to the middle of the calf of the supporting leg. On th third and fourth beats: concluding the second half of the circle, stretc the leg into the starting position. Repeat the movement 4 times, low« the leg into fifth position and subsequently raise again to the side I 45° to continue the exercise en dedans. 9. PETITS BATTEMENTS SUR LE COU-DE-PIED. Similar execution as described in the third lesson. At the conclusic of the exercise, rise on half-toe in fifth position, holding the barre wi, one hand for 2 measures of 4/4. 10. BATTEMENTS RELEVES LENTS TO 90° TO THE SIDE AN TO THE BACK. Measure 4/4. Facing the barre. First measure: starting in fifth position, raise the It to 90°. Second measure: on the first and second beats, maintain tI position. On the third and fourth beats, lower the leg to the startit position. The movement is executed 2 times to the side and 2 tim to the back. Ii. BATTEMENTS RELEVES LENTS TO 90°, FRONT. As described in the previous exercise (10), but the student holds tl barre with one hand. f 12. GRANDS BATTEMENTS JETES. Measure 4/4. Facing the barre, the student executes grands battements jetes to tl side and to the back; thereafter holding the barre with one hand, I

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HALF.-TOE:IN ,,TI~N. 'I" 'Itieasu,re , I ' , , 4/4. ',' , , I,I;

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,,13: iRE,J~~E'ON

FIRST, SECOND,iAND FIFTH POSI, I' I Facing the barre. On the first beat: deri-plie. On the second beat: come i

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position. Fourth measure: the leg closes in fifth position; simultaneous I the arms come down to the preparatory position. 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.

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

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) position; 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.

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

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

: fourth tjeat stretch the knees.' Repeat the exercise 4 times in each posiup i on :~alfitoe. On: the third beat: ~ome down in demi-plie. On the tioh. II' I

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, cort'tinues' 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: ,sel~aratiel1 ,I,

FOURTH

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i~~ERC~~~~ IN t~E

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il.l DEMI-PuE. 16 measures in 4/4., ' , '0 II II'IeI,.10 '2 measures; " I 2 d em!-p I'les eac h' 10 I measure ' . fiIrst, neI, d eml-p 10 J

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'2~4! I :11 .III I '.i I! 'I i! i ·li:' Iii I,: II' .I ;! 2.!II nAj,"I ,f¥,I E~TS TEND US, :I,N.FIiH, POSITION.·

I 1,6" measures in F~ur b~,t~~en~s tendus' to' the, front, Ito the side, t~ the, back and side. ~~~h, ba~temen,t i I ! I II I II, on, ~ beats.! i', I' ,I , 3.• BAiJEM:ENTS TENDUS JETES IN,FIFTH POSIjI'ION, 24 measures I

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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) position. '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 ~he nght arm to the second (arm) I

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holding th'e barre withthe pnesludent hand. must i ii,execute grands i 'I ballemenlSjel~s Ii: Arl,ersevfral (.ess, ons, ',inall directions, ~St~ndingiiri fifth '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

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 to second (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 elementary study of poses in arabesque. the working foot remains pointe

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FIRST

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tendue, on the floor.) Fifth and sixth! measures: extend the left foot to the bac( p6inte tendue on the floor. $eventh, eighth, ninth, tenth, eleventh, aild twelfth measures: hold thJ position. Thirteenth, fourteenth, ! fifteenth, ,and I sixteenth measures: lower the arms to the preparatory positiorl; !sim~ltaneously, close the Ibft foot to first or fifth position. ,

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'Repeat idle) pose 2 to 4 times. subsbquendy follow with the study of i ' i s~~on1 ha~isique: ! 8, :S,E, COND, PORT DE BRAS. I 1. 'I I I I; ExetUlibn similar to that described in the third lesson. j

9~!TE~~S lEVE UUMPS) IN ~IRST AND SECONJ POSITIONS. Meas-I

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Facing ure 4/4.the" barre. , ,I' 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 i b«;a~,stretch, the knees. Repe~t the exercise, 4 times in first and "

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

Leg raised in front, at the ban

s~retch On i,t~r~lt,l?ns.!: the; e,!fi,'rs,' k~ees;.5 ~bea,t:,',' i demi-plie, ' ,: IIi, : I! jump ' :i between, I: I i ! the first iI and ! second beats, :' b)!, s~fbn 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 I

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Fifth Lesson

~IRSl;1ipb'StTIO~.8, • ,Within la Ife~ ;Iesso~~, :temp~

:" finh positiO~. ! After i .the execution in leve is execut .J d in first and second POSItIons facmg the barre. repeat the same movement In Lhe cenLer. "

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Lhat all subsequent

bendin ' the "'ady.

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1. DEMI-PLIE AND GRAND-PLIE IN FIRST, SECOND, FOURTJ AND FIFTH POSITIONS. Musical measure 4/4.

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with the port de bras and

EXERCISES AT THE BARRE

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lessons be concluded

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

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2/4.

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Four battemenls tend us in demi-plie to the side, in the following manner: the side, on the second

front, each on 2 beats, 2 bauements, tend each in 2 measures. Distribute the moveme on the first beat, extend the working leg beat, close in fifth position in demi-plie. (

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LESSON

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7. BATTEMENTS FRAPPES.

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8. BATTEMENTS DOUBLES FRAPPES.

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'ollow ~Ith a ~~se e~artee front ,n 4 me,tfo,the sures.1t>,ackm 14 I! ~~It~~~,f??FlPSlq1r,ta~~,'a measures and ! I II", II: II Iii, i i Iii, P,os9,: ~c,arte~ Ii; '! Ii, ! ' i, /

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L,P~EPARATION FOR RONDS ; Ih,f; "'bil h" 'k" I' DEJJMBE I·L." 'h'A TERRE. fi '1(' 16 measures d) >nIt tj ,sec nu I eat, t e wor mg eg s lu S to t e ront pomte ten ue; .i"1u(it~neJ s'IYIta'ise th~ arm to first (ar~) the third and ~n. "! deH,orS~I' J1iJ L, eas,ure: ',on"t"he;first b, a,t; position. dem"i-plieqn i,in first position; I

0: th~ Isedmi:l (~rm) p6sition wHile thej knee of the shpporting leg is O«rth[ bd~s,! Jririg the leg to :the side, ~he am'. opens simultaneously tralghtene .1 econd measure: on the fiI;st and second beats, mamtam he!". positio' beat~, bring the leg in first, position, ", I~'; o~ Hie II, third and , fourth , ,r ' .. vhile the In-! Ibw~rs ~irpultaneously to the preparatory ~osition. Repeat

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he, ~?~e~erl:4]' ~i,mes~,nd suh,se~uently IfoIlow i,Withe~ dedans. '. RONDSID" AMBE!A I, , I : II I II I I, TERRE. ,! I, ' i

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9. RONDS DE JAM BE EN L'AIR.

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10. PETITS BATTEMENTS SUR LE COU-DE-PIED. Execution similar to that described in the fourth lesson.

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II. BATTEMENTS RELEVES LENTS TO 90° IN FIFTH POSITION. 16 measures in 4/4. I Two releves front to 90°, to the side, to the back, and to the side. each in 2 measures. Execute the exercise, holding the barre with one hand. .12. GRANDS BATTEMENTS JETES IN FIFTH POSITION. 16 measures in 4/4. Execute 2 grands battements jetes front, to the side, to the back, and to the side, each on 4 beats. The breakdown of the movement is the following: on the first beat, throw the working leg to 90°; on the second beat, lower the leg in fifth position; on the third and fourth beats, holcj still in fifth position. 13. RELEVE ON HALF-TOE IN FIRST, SECOND, AND FIFTH POSI· TIONS. Execution similar to that described in the fourth lesson.

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:r\ d~I1orsl mea~u~e: on thsfi~st b~at, position;of a ha\~Flr~t l:i~c1e in plie(rond, de jam e, ademi-plie terre) inin2 ~rst measures race ·n the:secc) d ~eat, ext<;nd the workmg l,eg to the front (pomte tendue); 'I

imul~~ne~?sIYiraise the arm in first (arfu) position; ~n the third and ()urtl;ibea~~, Ning th~ ~eg sim~ltfneousl* with the arm! to second posi"

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.ack; :~.nt~~ ~hlr? and fourth, beat,S: placel the leg m ~rs,t pOSItion, while tretch:mg ~re knee of the supportmg leg and lowermg the arm to the

I a similar rrlahner. " I' ,1 1 .rep~~"~I.tor~ll P,O$ilibn. S,U.bsequenti,Y' trace,la half t, ircle in, plie en dedans II Iii " FO~D~S. ' I ! I :~~1!E~If~TS .! ",[' ~ ii, .' ' 1

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f th~ exer i~e~ move i~tothe second at,abesque pose: (pointe tendue descnbed IIi the of fourth 000 for 2 measures 4/4.: lesson. Ati the conclUSion

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14. PAS DE BOURREE WITH CHANGING FEET EN DEHORS ANI EN DEDANS. Musical measure 4/4. Facing the barre in fifth position, right foot front.. En dehors. On th< upbeat, demi-plie on the right leg, lift the left foot sur Ie cou-de-piee back. On the first beat, step on the left foot, half toe, and bring th< right foot sur Ie Cou-de-pied front; on the second beat, step to th< side on the right foot, half. toe, the left foot sur Ie cou-de-pied fronl on the third beat, demi-plie on the left leg, the right foot sur Ie Coli de-pied back; on the fourth beat, maintain the position. Repeat the move ment subsequently to the right and to the left side from 4 to 8 times Execute likewise the pas de bourree en dedans.l I After several lessons, Ihis pas de bourree can be taught 10 the modified musical measur of !l/4 or 2/4.

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IN FIRST, SECOND, FOURTH,

I AND IFII'11H POSITIQNS. Musical measure 4/4. In 'fi~~tpo~,tiloh:12deri.i~plies, e~ch on 4 b~ats;:1 grand plie in 2 measures. Exec'Jte 11~~wisel'the rhov'ement'in sec¢'nd position, land continue in

IO';lrth~bn~l!fifth'~?sitio,ns 2~emi.plies, '! II I, : I ~ith '" ,! ,Ii ,

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2.'!' BATIEMENiI;S ! I II: 'iJ

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TEN,DUS I,N FIFT,If,,POSI~, 'I I ,i 'i, ',! i ION.\32 ,I

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Eight :batt ~ents, front~'ecartee side and! back, beats.andAtinthe4 condusioJ~ inov~ tendus into la pose back witheach the 0':1 left2 leg, rcartee::!, fr9nt, wit~I· the, rig,ht leg:I, :I m~asJres'i takeIIt ,~o~~ ,I! II, II, I"~ I BATIEMENTS TENDUSJE~tS IN FIFTH POSITION. 24 measures

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I''I II II I I ill' ,n2/4.! ", !" I' I' '" .' ! . 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 .vith the left le'g!in 4 m~asures; and ther~after in 4 additional measures "; I

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Musical measI

laragraph ;6), II I I!' !', !; jim", ~escribed i,nth,e thi,r.l.lesson (exercises at ,the barre, ! Iil~~:,ex~~, II i II' u,:Iti9~'ias I ~i I i I • I, ::; I: '. TH~RDI ~~~~~SQ~E. .Music~,lmeasu:re 3/4.: Waltz.: ' . .earn In su~cess1On, as mdlcated In the fourth lesson, paragraph 7 (FIrst i"

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'I ! II~I;bfSqUe, Ii. "'I s~, ! ~ I ondlla~. Ii:i I '.! :. I I I nd, ,S)?' Execute Ihe '~emi!pli~in fourth position, wilh ~palilemenl crois~. I According toithe degi-ee of mastery, open the arm~ through the firs~,second. and third ''3!)esque position,. while simultaneously stretching the leg, pointe tendue on the Roor. I

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LESSON

7. THIRD PORT DE BRAS. Musical measure 4/4.4 First measure: on the first and second beats, bend the body forwar, on the third and fourth beats, straighten the body. Second measur on the first and second beats, bend the body backward; on the thi. and fourth beats, straighten the body.

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FIRST

8. TEMPS LEVt IN FIRST, SECOND, AND FIFTH POSITIONS. Mm cal measure 4/4. Similar execution, as described in the fourth lesson.

9. CHANGEMENTS DE PIEDS. Musical measure 4/4. The execution is done fa.cing the barre or in the center, according the level of mastery. a) On the first and second beats, demi-plie; jump between the secOl and third beats, ending in demi-plie on the third beat; stretch the kne on the fourth beat. b) On the first beat, demi-plie; jump between the first and second beal ending in demi-plie on the second beat; stretch the knees on the thi and fourth beats. Repeat the movement 8 times. • Port de bras can be executed as well in ~/4 (wahz). In Ihis instance, each beal 0 measure in 4/4 or in 2/4 corresponds to a single measure of the wahz.

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SIXTH

LESSON

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 in 2/4.

TENDUSJETES

IN FIFTH POSITION.

16 mea~

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; Sixth Lesson i

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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. .

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6. BATIEMENTS

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FRAPPES TO THE SIDE AT 45°.8

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EXERCISES A1j THE BARRE

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AN,D RELEVE ON HALF-TOE .

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1h' firsl1~6LiO~: 2 demi-plie~, each n 4 beats; 2 grands: plies, each in FIRST; SECOND, FOURTH, AND eF!JFTH meas2, measure~; i2 releves on half·toe, ch on POSITIONS. 4 beats,. SameMusical execution in II,

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sd:~nd!' for' ~th, an,d TENDUS fifth positions. 2~:BATfEMENTS IN FI W. H I: POSITION. II

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8 measures

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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 is done on the second beat. Subsequently, when the execution is in 1/4. the passe 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, batlemenls frappes off the Roor at 45°. with the execution of the first half of the with pointe ten due on the Roor, and the second half off the Roor at 45°.

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i~Ji~~-der~iedi ~~c~lhalf bn beat, ~,h~!~.ec~nd.be1~,'e~te.h? the\leg to t.he 'side,! on th~ fourth mamtamthe' pOSitIOn. Repeatq~ickly the exerCise

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at'i:iti~es 45°. Uithl \ II ,i. p~int~ iII.4 time's I with;,! battements I ii, "I tendue I iI'Iii: : i !II I"':' : :!on; I,' I, ! '4: the flO~1 'ran,d \111

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JAMB~ EN L~AIR. m 4/4. 8l RONI?,SiDE Sia~tlihg ~0~ili6it': theiwo~l
th~ thh!d and fourth Jje~ts. Ekecute :the exercise ,4 times en

II I I I: I I ~ I:':' ii' I I I I d~ho~ frl I I' , i I a~d II I t\rh,es: I ii', d~d?,n,si' . : i , ,'I iii' Ext~nd slight!Bt, ylthe working leg tile,U,-DE~PIED. cou-de-pied Measure front 'position 9.; PETITS IT1, EMENTS SURfrom LE C, 2/4. to : III

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~jde, ~hel'l;~half n,thebeat, firstextend ,beat, ~eturn tou-de-pied back; the se~i06d slightlyt~,e I ~ofoot:sur the 'side;Ieand on the second 1

beat, ;r~t~~n'I'th~: foo~ ~ur ,le~ou-de-pied to; 16: timfs.\ I i I 10. JA -rtE~EWTS

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DtVELOP~ES

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front. Repeat the, exercise 8 i

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F~OM THE FIFTH POSITION TO

T,HE!SID~ A~,0:, TO THE, BA,CK,. Mea~ure 4/4. I, Faci~g t~~ bar~e,~, First tnea~ur~: ~n ~h ' first .an~ se~~nd b~a.ts, bring the working: foot: sur Ie cou~de~pled a d main tam thiS pOSltiOn.4 On II' 'I I Ifourth ,i, ' beats~ , ' raise " ' the third ~nd the foo 'to thei knee of the supporting leg (front!b~ back) and maintain I this pO$ition as well. Second measure: cxteilii th~ le~ at 90~ in the giv~n dire~tion. Third rrieasure: maintain I'

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. : , the e*ercl~e ,2' to:4 times. i: iI II' I f~urth. I,' ,I the, pbsiti.~nl measure,:; IO"werthl' leg into fifth I ,i ' I '.' i' I I;position. .Repeat 11. GiRA~IDS1~1TTEMENTS)~nES PpINT~S. 16 measures In 4/4. On the fi~st, ~eat: a sharp throw of the workmg leg I to 90°. On the ;ccond be!tt; lower the leg; pointe tendue. On the third and fourth beats:: maihthi~ ,the position. Repeat th~ exercise 4 to 8 times in all

EXERCISES IN THE CENTER

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,i i I Ii! i Iii,'II '. Ii ,,: i,ii' " :, ! i I '. jir,ec,dons!! 12J RELEVE ON'i-IALF-TOE IN'FIRST, SECOr-m, AND FIFTH POSI·

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2. BATTEMENTS

TEND US IN FIFTH POSITION.

IN

32 measures In

2/4.

f':xecute nONS. aS'in the previous lessor\s. I,' 1111,1:

1. DEMI-PLIE, GRAND PLIE, AND RELEVE ON HALF-TOE FIRST, SECOND, FOURTH, AND FIFTH POSITIONS. Similar execution as in the exercise at the barre.5

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I. ' front, to Ihe side

I md, 10 I~e back, hl>lding IHe barre wilh one hand. I , The ~6u-de'~i,;d position is conventionally applied 10 the front and t~ the back depending

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.

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• Execute the demi-pli~ and grand pli~ in fourth position with ~paulement '10 !!Ihe

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I the ' , foot ' in the exercise.

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

ii," , INI1F,1FT,H,POSITION.16measures 3. B,,A" TI'IEMENTS"T,ENDU,S1,ETE,S in 2Y4. Four batte~ ll' nts tend us jetes tb the fr9nt, to the side, to the back and I'

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

Ii! I IIfront, , I the side, I ~e~s~re~1 if rl,~, Twd batternents f011dus toI the t6 toI the back, and to

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ten due on thei :'Ifloor.6 , " 'I" 'i i 7. ~E!Jd~R~Ek

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Follow the lexecutionas in the fifth les on of the exercise at the barre. I i SlJlvi I I iN i TORNANT. ii, FEET) 8: ~~S dEIJd0R~Ek i ' I! I, I I II

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3. PAS ECHAPPE. Measure 4/4. Execute facing the barre; according to the degree of mastery, follow with the execution in the center.

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En dehors. !ExC::~utethe 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

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,Execute 8 times, each on 4 beats.

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

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EXERCISE ON POINTES

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I FIFTH rosmoNs,

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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.