Step to connect; to thicken; a movement where the legs transfer the weight of the body from one leg to the other - it can be done front, side or back. This is a term for a whole series of conventionally connected movements executed in the center of the room, often during an adagio. However, it is also the term for an independent form of a step. Here, both legs are completely stretched with the now working leg stretched toe to the floor in back.
At the moment of weight transfer, the arm that corresponds to the now working leg is raised overhead, while the other arm opens sideward; the head turns towards the sideward arm. It is done in all years of study developing from the toes pointed to the floor, at 45 degrees, at 90 degrees, with demi-pointe, with tours pirouettes, petit and grand , as a petit allegro movement, as a grand allegro movement and then as an allegro movement entournant.
The confusion that exists about the terminology has many roots! Also please remember that not all teachers are trained as teachers in methodology and may be using "company lingo" which may be a different thing all together. The Cecchetti program and the RAD programs may have different uses of the terms so the best advise I can give is to keep your eyes and ears very alert.
Hear what the teacher says and watch what the teacher does for you to know what is being asked. Also, if it is still unclear, ask the teacher to explain what is required in that class. Any Cecchetti or RAD chasses out there? If you would like a more complete description of temp lie, let me know! RAD here!! Like a ship may have a boat on it, but a boat can't have a ship on it. Sorry if I sound confused and seem to be thinking out loud!
The movement described as temp lie in RAD is actually refered to in the Vaganova program as pas degage. It was drawn directly from the 19th century French in combination with the Russo-Imperial method. Until, likely, some time after Cecchetti, the idea of sliding the sole of the foot along the floor was unthinkable.
They tesch and stage it because they never learned that it is not classical, because few, have much training in the etymology, histology, or aesthteics of thr technique of classical ballet. It is a rising trend to change or discard from classicism, versus enhance and enrich it, that Histo. Indeed, the floors and shoes before WW1, simply could not accomodate such a step.
The idea of "step" is also a key to this. One must -step- into a movement or position, not violate the principles of balletics to make it happen. The historiological derivation of the principles of classical ballet began as ritual, and then social dances amongst peasants, a few of whom, rose to aristocracy and royalty.
These elites refined the art form into classicism, as is true for all classical art forms of all cultures. Thus we can trace the advancement of classical ballet, and, for that matter, most of human dance, to the simple acts of standing, walking and running.
Theough thendevelopment of early dance globally, and later, classical ballet, sliding one's foot, showed a lack of discipline, awareness, attitude and care. Ergo, until contemporary ballet, it simply had no place in usage. As an "European ethnic" art form, Kealiinohomoku, , to slide the foot, means the foot isn't pointed, which goes against the balletic principle: when ever the foot is free from the floor, becoming free of the floor, or returning to the floor, the foot is always pointed plantar flexed.
Hi Philip: Interesting - Many things have changed significantly in the evolution of classical ballet. I should think ballet is like all other human endeavors - it changes over time for many reasons. Some today do not like the look of things now - there have been discussions in this forum and in the teachers forum about such subjects as overextension to the point of losing classical form in arabesque line, for example.
I am sure ballet will continue to evolve, and there will be differences of opinion about whether what is "new" is actually "better". The instruments are different, made differently out of different materials.
Our bodies are different: taller, heavier, so Mozart's songs will sound different. And so on. Technically, speaking as an historian, the term 'classical' for ballet only applies from the latter decades of the 19th century.
Before that, we should probably call it 'Romantic. I'm not arguing that we need to keep moving on, and erasing changes, and the history of changes. Rather, that our sense of the dance vocabulary needs to broaden to accommodate those changes? As Pas de Qua's rightly proposes, "ballet will continue to evolve. So, as servants to our art, I think it absolutely essential that we know to accept that which affirmatively advances the art form, and changes that deconstruct the purpose and aesthetic of the art form, not to mention degrades the technical underpinnings that allow it to continue.
Accomodations to change is fine. But, dissolution of aesthetic and technique by conscious change, is destructive. There are wonderful developments and increases in ballet technique, allowing the performer to communication choreographic syntax and grammar with facility and presence.
The increase in range of motion of the back and legs, over the whole of the last century. Increase in quantity of technical skill. Better known as a Believe it or not! Though, that fact that some methods do not use these steps, and others do is fine: as long as they are performed in context of the foundations and principles of classical ballet.
But, if we dilute the linguistics classical ballet, we weaken the cultural validity of classical ballet. Specifically, my argument is that we should maintain well defined boundaries between these new hybrid genre, otherwise they will morph and erode into something unrecognizable to the tradition- of classical ballet we are beholden to serve and maintain.
Lastly, as stated, dancers move by the processes of steps. This is not a step, no will it ever be. The injury inducing reduction of the coronal curve in arabesque. This list goes on and on what presents itself as a misunderstanding of the basic foundation and concepts of the aesthetic, supported by technique by mostly western teachers. What I find the problem to be is a lack of education in anatomy and kinesiology, the historical aesthetic and its progression, and the nitty-gritty understanding of what it takes to train a dancer, if only to the intermediate levels!
This doesnt necessarily mean a college education, but, certainly, it doesnt hurt. The career of a dancer is short, and it was to find the time and money to educate oneself.
I actually had a teacher who was opening a school criticize me for educating myself, stating that a college education makes you a bad teacher. I repeat, I am not only fully supportive of the extension of new kinetics and position such new forms as the aforementioned therapeutic ballet class, contemporary ballet and performance.
I am a professional choreographer, and I work in several varieties of dance genre. But, when it comes to the foundations and principles that are constants that frame classical ballet and the specifics of its pedagogy, I am adamant that some developments must be encouraged, and others, like the above, be left for the hybrids that have arisen from it. When I teach on aesthetics I use one specific definition towards classical ballet. Note that when referencing classical art forms and crafts such as "classical ballet", it references both- periodic agency and- a maintenance of cultural aesthetic based upon the dualistic labeling of eras within cultures.
Classicism: "An historical cultural custom, action, aesthetic or art form, that maintains and serves cohesion within the community it exists, continues in perpetuity beyond other aesthetics with a lesser basis of quality, after the time of it's creators and inheritors, that grows and changes within and beyond the boundaries of its native environs and ferment, but only within the codified constructs and principles within which it arose.
However this be, it is hard to say that these fibs have that clear intention to deceive which constitutes a complete lie. The "bad form" of telling a lie to the head-master is a later illustration of the same thing. The word of the law shall be fulfilled without a lie, and wisdom shall be made plain in the mouth of the faithful. The hut was barely high enough to let him sit up, and long enough to let him lie down—not to stretch out.
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