Ballet Glossary - Complete Dictionary of Ballet Terms
A comprehensive guide to ballet terminology, from basic positions to advanced techniques. Whether you're a ballet enthusiast, student, or curious newcomer, this glossary will help you understand the beautiful language of classical ballet.
Adagio
[ah-DAH-zhee-oh]
Slow, sustained movements performed with grace and control. In ballet class, adagio exercises focus on balance, line, and the seamless flow between positions. In performances, adagio often refers to the slow, lyrical sections of a pas de deux where partners support each other in beautiful, flowing movements.
Allegro
[ah-LAY-groh]
Fast, lively movements including jumps, leaps, and quick traveling steps. Allegro exercises in class build strength, speed, and coordination. Examples include échappés sautés, assemblés, and grand jetés. The term comes from the musical indication for a quick, cheerful tempo.
Arabesque
[ar-ah-BESK]
A position where the dancer stands on one leg with the other leg extended straight behind the body. The working leg should be fully turned out and lifted as high as possible while maintaining proper alignment. There are several variations including first, second, third, and fourth arabesque, each with different arm positions.
Assemblé
[ah-sahn-BLAY]
A jump where one foot brushes along the floor and into the air while the other leg pushes off the ground to join it. Both legs come together ("assemble") in fifth position in the air before landing. Can be performed to the front, side, or back, and in various directions.
Attitude
[ah-tee-TEWD]
A position where one leg is raised with the knee bent, creating a curved line. The raised leg can be in front (attitude devant) or behind (attitude derrière). This position was inspired by the statue of Mercury by Giovanni da Bologna, showing the graceful, curved line of the leg.
Ballerina
[bal-eh-REE-nah]
Traditionally, the title reserved for the principal female dancer of a ballet company. In common usage, it refers to any female ballet dancer. The term comes from Italian and originally denoted a female dancer of exceptional skill and artistry who could perform leading roles.
Ballet Master/Mistress
[bal-LAY mas-ter/MIS-tris]
The person responsible for the daily training of the dancers in a ballet company, teaching company class, rehearsing ballets, and maintaining the artistic standards. They often coach dancers in roles and preserve the traditional style and technique of the company.
Barre
[bar]
The horizontal rail used for support during the first part of ballet class. Also refers to the series of exercises performed at the barre to warm up the body and practice fundamental movements. Barre exercises include pliés, tendus, dégagés, and many others that build strength and technique.
Battement
[bat-MAHN]
A beating movement of the leg. There are many types including grand battement (high kicks), petit battement (small beats at the ankle), and battement tendu (stretching the foot along the floor). These exercises develop leg strength, flexibility, and control.
Choreographer
[kor-ee-AH-gruh-fer]
The person who creates and arranges the movements and dances for a ballet. Famous choreographers include Marius Petipa, George Balanchine, and Kenneth MacMillan. They combine technical steps with artistic expression to tell stories or create abstract works through dance.
Corps de Ballet
[kor duh bal-LAY]
The ensemble of dancers in a ballet company who perform together in groups. They create the background and atmosphere for the principal dancers' solos and pas de deux. Famous corps work includes the swans in Swan Lake and the Wilis in Giselle.
Danseur
[dahn-SUR]
A male ballet dancer. A danseur noble is a principal male dancer who typically performs the leading romantic roles, while a danseur de caractère specializes in character roles that require dramatic acting as well as technical skill.
Développé
[dayv-law-PAY]
A movement where the working leg is drawn up to the knee and then extended to an open position in the air. The leg "develops" or unfolds smoothly from the closed position. This exercise builds strength and control while creating beautiful lines.
En Pointe
[ahn pwahnt]
Dancing on the tips of the toes using special pointe shoes. This technique creates an ethereal, otherworldly appearance and is a hallmark of classical ballet. Dancers typically begin pointe work after several years of proper training to develop sufficient strength and technique.
Écarté
[ay-kar-TAY]
A position where the body is placed at an oblique angle to the audience with one leg extended to second position in the air. The term means "separated" or "thrown wide apart," referring to the open, expansive line created by this position.
Fouetté
[fway-TAY]
A whipping movement of the leg or body. The most famous is the fouetté en tournant, where the dancer turns on one leg while the other leg whips around in a circular motion. Odile performs 32 fouettés in Swan Lake Act III, one of ballet's most challenging and iconic sequences.
Grand Jeté
[grahn zhuh-TAY]
A large traveling jump where the dancer leaps forward with one leg extended in front and the other stretched behind, creating a split in the air. This spectacular jump requires great strength, flexibility, and timing to achieve maximum height and distance.
Grand Battement
[grahn bat-MAHN]
A high kick where the leg is thrown up to 90 degrees or higher while keeping the hips level and the supporting leg straight. This exercise develops flexibility, strength, and control. The leg should return to position with the same control used to lift it.
Jeté
[zhuh-TAY]
A jump where the dancer springs from one foot to the other, with the working leg thrown forward, backward, or sideways. The term means "thrown" in French. Variations include grand jeté, jeté en avant, and jeté en arrière.
Libretto
[li-BRET-oh]
The story or scenario of a ballet. Unlike opera, ballet librettos focus on dramatic action that can be conveyed through movement, mime, and music without words. Famous librettists include Marius Petipa and Michel Fokine.
Maître de Ballet
[MEH-truh duh bal-LAY]
The artistic director or chief choreographer of a ballet company, responsible for the overall artistic vision and standards. Historically, this person would create new ballets, set existing works, and maintain the company's repertoire and style.
Pas de Deux
[pah duh DUH]
A dance for two people, typically a male and female dancer. In classical ballet, a grand pas de deux follows a specific structure: entrée (entrance), adagio (slow section with lifts and partnering), two variations (solo dances), and coda (finale together). Famous examples include the Rose Adagio from Sleeping Beauty.
Pirouette
[peer-oh-WET]
A turn executed on one leg with the other leg in various positions such as passé (at the knee), attitude, or arabesque. Multiple pirouettes require perfect balance, strong core muscles, and proper spotting technique. They can be performed en dehors (turning outward) or en dedans (turning inward).
Plié
[plee-AY]
A bending of the knees while keeping the back straight and the feet turned out. Demi-plié is a half bend where the heels remain on the floor, while grand plié is a full bend where the heels may rise in some positions. Pliés are fundamental to all ballet movement and are the first exercise at the barre.
Port de Bras
[por duh brah]
The movement and positioning of the arms. Good port de bras creates graceful, flowing lines and helps with balance and artistic expression. The arms should move smoothly and continuously, never stopping abruptly, creating the illusion that they're floating through water.
Relevé
[ruhl-VAY]
Rising onto the balls of the feet (demi-pointe) or, for advanced dancers, onto pointe. This movement strengthens the feet and calves and is essential for developing the strength needed for pointe work. Relevés can be performed in any position of the feet.
Rond de Jambe
[rohn duh zhahmb]
A circular movement of the leg. Rond de jambe à terre traces a semicircle on the floor, while rond de jambe en l'air is performed with the thigh held stationary and the lower leg making the circular motion. This exercise develops hip flexibility and leg control.
Sauté
[soh-TAY]
A jump where both feet leave the ground simultaneously and land together in the same position. The most basic sauté is performed in first position, but it can be executed in any position of the feet. The landing should be soft and controlled, going through demi-plié.
Sissonne
[see-SAWN]
A jump where the dancer takes off from both feet and lands on one foot. There are many variations including sissonne ouverte (landing with the other leg extended in the air) and sissonne fermée (landing with both feet together). Named after the Comte de Sissonne.
Tendu
[tahn-DEW]
A movement where the foot slides along the floor until it points, creating a straight line from the hip to the toe. The working foot maintains contact with the floor throughout the movement. Tendus strengthen the feet and legs while developing control and precision.
Tour Jeté
[toor zhuh-TAY]
A turning jump where the dancer leaps forward while making a half turn in the air. The movement combines the explosive power of a jeté with the controlled rotation of a turn, requiring excellent coordination and timing.
Tutu
[too-TOO]
The iconic ballet skirt. A romantic tutu is long and flowing, made of soft tulle, as seen in Giselle. A classical tutu is short and stiff, extending horizontally from the hips, as worn in Swan Lake. The tutu was designed to showcase the dancer's leg movements and create beautiful silhouettes.
Variation
[var-ee-ah-see-OHN]
A solo dance within a ballet, showcasing an individual dancer's technical skill and artistry. In classical ballets, principal dancers each perform variations in the grand pas de deux. Famous variations include the Rose Adagio and the 32 fouettés from Swan Lake.
Quick Reference: Five Basic Positions
First Position
Feet together, heels touching, toes turned out to form a straight line.
Second Position
Feet apart, both turned out, in line with each other.
Third Position
One foot in front of the other, heel of front foot touching the arch of the back foot.
Fourth Position
One foot in front of the other, about one foot's distance apart, both turned out.
Fifth Position
Feet completely crossed, heel of front foot touching the toe of the back foot.