A short history of Ballet Terminology
The language of classical ballet is movement, spoken with the body from beautifully pointed feet all the way to elongated fingertips coupled with the artistic interpretation of the dancer who saturates those exquisite movements with feelings and emotion which move the audience to tears and rapture in equal measure! But how do ballet dancers communicate these ethereal, heavenly movements in the ballet studio? This is where ballet terminology comes into play. For a newcomer to ballet, the lingo can be intimidating and foreign, as foreign as being in a new country, so we have put together a basic glossary of the ballet terminology which you are most likely t come across while taking a ballet class to help you to feel confident to dance forward without fear!
To begin, a short history lesson is required to explain why ballet terminology used today is in French. The French word “ballet” stems from the Italian word balletto, a diminutive of ballo which comes from the Latin ballo, ballare which means "to dance". The history of ballet began in Italy in the fifteenth century during the Italian Renaissance but then later developed into a form of concert dance in France primarily thanks to Catherine de' Medici (1509-1589), an Italian noblewoman who became the queen of France in 1547. She introduced her homeland's court dances to the French court, funding lavish productions that became known as ballet de cour.
Fast forward to King Louis XIV in the 17th century and we find that ballet took a major step forward toward professionalisation. The Académie Royale de Danse was established in 1661, creating the foundation for professional training. Ballet performances also transitioned from the courts to the stage, and a new dance academy was opened in Paris, which would eventually become the home of the Paris Opera Ballet. The choreographer Pierre Beauchamp (1631-1705) helped to standardise ballet technique, developing the five foot positions which we still use today.
Initially, ballet was often performed as part of operas. However, by the mid-1700s, figures like the French ballet master Jean-Georges Noverre (1727-1810) advocated for ballet as a standalone art form, laying the groundwork for the narrative ballets of the 19th century such as Giselle.
In the early 1700s, Peter the Great brought French ballet masters to his court in order to westernise Russian culture. He was impressed by the art form at the French court and wanted to elevate Russia's status through new cultural contributions. This influx of foreign talent and the subsequent establishment of a dedicated Imperial Ballet School laid the foundation for Russia's own classical ballet tradition. Marius Petipa (1818–1910) was a French-born dancer and choreographer who became the chief choreographer of the Russian Imperial Ballet, transforming ballet into a world-renowned art form. His work established the standard for classical ballet, creating enduring masterpieces like The Sleeping Beauty, The Nutcracker, and Swan Lake, and his choreography continues to be performed globally today.
So, to summarise, Ballet terminology is in French because the art form was formalised and codified in France under King Louis XIV and as the king was a passionate dancer and established the first official ballet academy, French became the universal language of ballet, allowing for standardised communication among dancers worldwide.
Glossary (under construction)
1st position
1st position is the most basic ballet position which is the basis for all other positions. In 1st position of the feet, the heels are together, and the feet are turned outwards, resembling how people often mimic a penguin's stance. This turnout originates from the hips, rotating the legs outward. Ideally, the feet should form a straight line with the toes pointing in opposite directions, achieving a 180-degree turnout.
For 1st position of the arms in ballet, the arms are held in a circular shape in front of the body, at the level of the navel, with the elbows lifted to the side. Picture yourself hugging a beach ball. The middle fingers do not touch, maintaining a space approximately a hand's breadth between the opposite fingertips. This arm position is essential for many movements, including most pirouettes.
2nd position
2nd position of the feet is exactly the same as 1st position but with the heels of the feet placed hip width apart. The turnout is also maintained from the hips and tops of the legs.
In 2nd position of the arms, the arms are extended to the side of the body, slightly sloping down from the shoulders. Imagine if a drop of sweat fell from your earlobe, it would gently follow the slope of your arm and drip off your fingertip. Achieving this position can be challenging due to the opposing rotations of the upper and lower arms. The upper arm is rotated upwards from the shoulder to the elbow to ensure the elbow is lifted and not drooping (often referred to as "chicken wings" in ballet slang). Meanwhile, the lower arm is rotated downwards from the elbow to the wrist and hand, allowing the hand to face forwards rather than the floor. This creates a beautiful curve, the ideal aesthetic for this position. Ballet teachers often remind students to keep their arms in front of them in second position to avoid allowing the arms to go too far to the side, causing the elbows to end up behind the body. The elbow should be slightly in front of the line of your body to the side, with the wrist and hand further forward than that.
See also "Á la seconde".
3rd position
3rd position of the feet in ballet involves placing one foot in front of the other, with the heel of the front foot aligned with and touching the middle of the back foot. Both feet are turned out, similar to the 1st and 2nd positions. While rarely used by professional dancers, 3rd position is primarily employed in the training of young dancers to prepare them for dancing in 5th position. 3rd position mimics 5th position but is less crossed, reducing strain on the knees. Correct practice in 3rd position helps build the necessary muscles for safely executing 5th position.
In 3rd position of the arms, one arm is placed in 1st position while the other is in 2nd position. This position is vital as a preparatory stance for movements like pirouettes and double tours where the arm in 1st position opens to the side, followed by both arms closing to the 1st position at great speed. This coordinated movement generates much of the force required to initiate these complex ballet movements.
4th position
4th position of the feet in ballet involves placing one foot in front of the other, as in 5th position. However, in 4th position, the front foot is not touching the back foot but is positioned approximately one foot's length ahead of the back foot without touching it. When standing in this position, the body weight is evenly distributed between both feet, though certain movements may require shifting weight more onto one foot. An example of this is during preparation for pirouettes en dedans, where the weight is centred on the front leg for the relevé.
4th position of the arms in ballet features one arm raised overhead in 5th position, while the other arm is extended to the side in 2nd position. Additionally, there is a "4th crossed" position whereby one arm is in 5th position and the other in 1st position in front of the body. This crossed position is typically used as a transitional movement or to add expression within choreography.
5th position
The 5th position of the feet in ballet is the most frequently used position of the feet in classical choreography, serving as the default starting point for nearly any movement. To achieve this position, place one foot in front of the other, with both feet turned out. The toes of the front foot should point in the opposite direction of the back foot, with the heel of the front foot aligned with the toes of the back foot, and vice versa.
5th position of the arms in ballet forms an oval-shaped frame around the head and face. The arms are positioned above the head but slightly in front, allowing the dancer to see their little fingers in their peripheral vision. The elbows are pushed back to the sides to create width in the frame created by the arms. As in 1st position, the fingers do not touch.
À la seconde
The literal translation is "to second" which in ballet lingo means "in second position".
When a step is done "à la seconde", it is done to the side of the body.
À terre
"À terre" means "on the floor" and is used in exercises like rond de jambe à terre, indicating that the movement is performed with the foot touching the floor. In contrast, rond de jambe en l'air is executed in the air.
Adage
The term "Adage," also known by its Italian counterpart "Adagio," means "slowly, at ease." In ballet class, adage is one of the fundamental exercises which comes at the end of barre (before grand battement), and then is also the first or second exercise in centre practice. It involves slow, controlled movements that emphasise leg extensions, known as "développé," to at least 90 degrees in all directions: front, side, and back.
In classical ballet repertoire, "Adage" also refers to a segment within a grand pas de deux where the principal dancers perform partnering work together. For instance, in Act III of Sleeping Beauty, Princess Aurora and Prince Desiré perform the grand pas de deux. This begins with the Adage, followed by Prince Desiré's solo, then Princess Aurora's solo, and culminates in the Coda, where both dancers reenter individually before concluding their performance by partnering together.