Basic Principles of Classical Ballet by Agrippina Vaganova Read Free Book Online Page B
Authors: Agrippina Vaganova
pointed toe. The accent is in the 2nd position.
14. Battement frappé
Sur le cou-de-pied front is the position of one foot on the ankle of the other one. The sole, with the instep stretched out and the toes lowered, grasps the ankle. Sur le cou-de-pied back: the instep and toes in the same position, but the side of the heel and ankle are pressed against the standing foot from behind 15
When battement frappé is done back, the foot does not beat sur le cou-de-pied, but passes behind the ankle.
This form is used in the elementary study of the movement.
In the more advanced classes when battement frappé is done on the half-toe and the leg reaches the 2nd position in the air at 45° the same accent must be felt and directed to the same point of the 2nd position; the knee must be taut and springy, the contact with the left leg a short beat, the leg should rebound like a rubber ball. The upper part of the leg must be immobile and turned out; the leg must work without vibrating in the knee-joint.
BATTEMENTS DOUBLES FRAPPÉS
This is the same movement as battement frappé, but the foot does not beat the left leg in the front only once. It is transferred in a second passing beat sur le cou-de-pied back. From there it opens to the side, into the 2nd position. If the first beat is done back, then the second passing beat is done front.
PETITS BATTEMENTS SUR LE COU-DE-PIED
In the starting position the right foot is sur le cou-de-pied. It opens in the direction of the 2nd position, but only halfway, because the leg is not fully extended at the knee. Then it is transferred back, touching the left leg at the ankle, and opens again in the same manner, and returns front.
15. Petit battement sur le cou-de-pied
At the beginning of the study petits battements should be done without any accent.
At the moment of the transfer of the foot, attention must be paid that the instep is not shortened, that the sole does not bend.
The upper part of the leg from the knee to the hip must be firm, immobile, fully turned out and the lower part must do the movements freely. At the change to fast tempo, the opening of the leg gets shorter. But it must never fade and turn into a smear. Although the transfer of the foot from cou-de-pied front to the back is almost imperceptible to the eye, this movement should never lose its precision, and requires the same articulate execution as if done in slow tempo.
BATTEMENTS BATTUS
The starting-point is sur le cou-de-pied. From here the right foot does a number of short swift strokes on the heel of the left foot in the position sur le cou-de-pied front. The stroke should be done with the toe; the lower part of the leg should move freely.
16. Battement battu
This exercise should not be started before the leg is well developed. Usually, it is done only in the higher grades.
BATTEMENTS FONDUS
The right foot moves from the 5th position to sur le cou-de-pied, the left one simultaneously does a demi-plié, its knee turned out. Then the right leg opens forward with the toes pointed on the floor, the left one straightens out and extends in the knee-joint simultaneously with the right one. The right foot returns to sur le cou-de-pied, and the movement is repeated in the 2nd position and to the back. In the latter case the foot passes sur le cou-de-pied back.
Attention must be paid that in this battement the knee is not raised and the leg is not lifted. These two things are done only when the exercise is performed with the legs at an angle of 45° or 90°.
17. Battement fondu 16
In the grand and petit développé the legs should be turned out as carefully as in battements tendus. For example, in doing the movement back attention should be paid that the knee is not dropped, and that the upper part of the leg is well turned out.
This movement belongs to the category of more complicated exercises, because the leg on which the dancer stands also participates in the work, doing a plié simultaneously with the
14. Battement frappé
Sur le cou-de-pied front is the position of one foot on the ankle of the other one. The sole, with the instep stretched out and the toes lowered, grasps the ankle. Sur le cou-de-pied back: the instep and toes in the same position, but the side of the heel and ankle are pressed against the standing foot from behind 15
When battement frappé is done back, the foot does not beat sur le cou-de-pied, but passes behind the ankle.
This form is used in the elementary study of the movement.
In the more advanced classes when battement frappé is done on the half-toe and the leg reaches the 2nd position in the air at 45° the same accent must be felt and directed to the same point of the 2nd position; the knee must be taut and springy, the contact with the left leg a short beat, the leg should rebound like a rubber ball. The upper part of the leg must be immobile and turned out; the leg must work without vibrating in the knee-joint.
BATTEMENTS DOUBLES FRAPPÉS
This is the same movement as battement frappé, but the foot does not beat the left leg in the front only once. It is transferred in a second passing beat sur le cou-de-pied back. From there it opens to the side, into the 2nd position. If the first beat is done back, then the second passing beat is done front.
PETITS BATTEMENTS SUR LE COU-DE-PIED
In the starting position the right foot is sur le cou-de-pied. It opens in the direction of the 2nd position, but only halfway, because the leg is not fully extended at the knee. Then it is transferred back, touching the left leg at the ankle, and opens again in the same manner, and returns front.
15. Petit battement sur le cou-de-pied
At the beginning of the study petits battements should be done without any accent.
At the moment of the transfer of the foot, attention must be paid that the instep is not shortened, that the sole does not bend.
The upper part of the leg from the knee to the hip must be firm, immobile, fully turned out and the lower part must do the movements freely. At the change to fast tempo, the opening of the leg gets shorter. But it must never fade and turn into a smear. Although the transfer of the foot from cou-de-pied front to the back is almost imperceptible to the eye, this movement should never lose its precision, and requires the same articulate execution as if done in slow tempo.
BATTEMENTS BATTUS
The starting-point is sur le cou-de-pied. From here the right foot does a number of short swift strokes on the heel of the left foot in the position sur le cou-de-pied front. The stroke should be done with the toe; the lower part of the leg should move freely.
16. Battement battu
This exercise should not be started before the leg is well developed. Usually, it is done only in the higher grades.
BATTEMENTS FONDUS
The right foot moves from the 5th position to sur le cou-de-pied, the left one simultaneously does a demi-plié, its knee turned out. Then the right leg opens forward with the toes pointed on the floor, the left one straightens out and extends in the knee-joint simultaneously with the right one. The right foot returns to sur le cou-de-pied, and the movement is repeated in the 2nd position and to the back. In the latter case the foot passes sur le cou-de-pied back.
Attention must be paid that in this battement the knee is not raised and the leg is not lifted. These two things are done only when the exercise is performed with the legs at an angle of 45° or 90°.
17. Battement fondu 16
In the grand and petit développé the legs should be turned out as carefully as in battements tendus. For example, in doing the movement back attention should be paid that the knee is not dropped, and that the upper part of the leg is well turned out.
This movement belongs to the category of more complicated exercises, because the leg on which the dancer stands also participates in the work, doing a plié simultaneously with the
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