Intermediate Theory

Question 1

Five positions of the feet

Answer 1

1st, 2nd, 3rd, 4th, 5th

4th croise(opposite 5th), 4th Ouverte(opposite 1st), classical 4th (opposite 3rd)

Question 2

Positions of the arms

Answer 2

R1st, 2nd, 3rd, 4th en avant, 4th en haut, 5th en bas, 5th en avant, 5th en avant

Demi 2nd (for port de bras and adage and used for allegro)

Question 3

Derivative arm positions

Answer 3

The lyre bird
The cecchetti pas de chat
Presentation or giving pose
Spanish 4th

Question 4

Five positions of the head

Answer 4

Erect, inclined to either side, turned to either side, raised, lowered
These positions may also be combined for example half turned half inclined

Question 5

Seven movements on dancing

Answer 5

P lier - to bend 
E tendre - to stretch 
R elever- to rise
G lisser - to glide 
S auter - to jump 
E lancer - to dart 
T ourner - to turn

Question 6

Eight fixed points

Answer 6

Used by the choreographer or teacher to indicate to the dancer where they may begin, travel to or end a dance or enchanement, and to assist the dancer with body alignment

(Corner one to the right)

Question 7

Seven correct movements of the foot

Answer 7

1. Pied a Terre
2. Pied a quart
3. Pied a Demi
4. Pied a trios quart
5. Pied a pointe (sur la pointe)
6. Showing the foot raised in the air, and extended as much as possible, with the instep correctly stretched outwards and the pointe forced downwards
7. Showing the foot raised in the air, and extended as much as possible, with the instep correctly stretched outwards and the pointe forced downwards so that the heel is brought well forwards

Question 8

Theory of port de bras

Answer 8

The literal translation of port de bras is carriage of the arms. The theory of port de bras is concerned with the positions, opposition and carriage of the arms used in harmony with the legs, head and body to compliment the dancers line. Whether in movement or stillness, arms should always be balanced or counterbalanced by each other. This is learnt in 4th and 2nd port de bras. In 2nd, when one arm is brought forwards to arabesque the other moves backwards . The arms balance in 2nd positions and arrive in attitude, 2nd arabesque and 5th en avant at the same time. In 4th port de bras, when one arm moves up the other moves correspondingly downwards. One arm must move quickly whilst the other moves slowly so that the arms balance in 2nd positions and arrive in 4th positions and 5th en bas at the same time. The arms should never cross the imaginary centre line of the body except in some derivative arm positions such as the cecchetti pas de chat position. Usually the arms are raised though 5th en avant and lowered again through second positions. This is taught primarily in 1st port de bras when the arms are lifted to 5 en avant opened to 2nd and then lowered back to 5th en bas. This is expanded on in 3rd port de bras where the arms go up to 5th en haut through 5 en avant and open out lowering through second. 3rd port de bras is also an example of how port de bras are used with various dance steps as it is often used in allegro to help propel the dancer up to the height of the jump such as in a grand jete entournant. The arms should always accompany each ,over the exactly, so that they Set off the dancers pose just as a frame sets of a painting.

Question 9

Five arabesques

Answer 9

1st, 2nd, 3rd, 4th, 5th

En lair or a Terre

Question 10

Eight directions of the body

Answer 10

Croise devant, à la quatrième devant, écarte, efface, à la second, épaule, à la quatrième derrière, croise derrière,

Question 11

Movements of adage

Answer 11

1. Dégage en tournant à terre
2. Fouette en l’air
3. Développe en tournant en dehors