intermediate ballet technique (majors)sotd’s ballet technique curriculum is designed to focus the...
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INTERMEDIATEBALLETTECHNIQUE(MAJORS)2CREDITSSPRING2018Tuesday/Thursday8:45–10:15McGuirePavilionINSTRUCTOROFRECORD: DAA3208/6394 INTERMEDIATE: IsaGarcia-Rose [email protected]*
*EmailPolicy:UseONLYyourUFL.EDUemailaccountfore-mailcorrespondencerelatedtoclass.Pleaseincludeyourname&classinthesubjectlineorwithinthebodyofallcorrespondence.SyllabiarepostedatCFAwebsiteunder:Student&Parents:http://arts.ufl.edu/syllabi/LabFeescanbelocatedat:http://registrar.ufl.edu/soc/201608/all/theadanc.htmOffices: NadineMcGuireTheatre&DancePavilionOfficeHours: HoursforIsabyappointmentonly OfficePhone: 352-273-0500MainOfficeRECOMMENDEDREADING: BasicBalletClassicalBalletTechnique TechnicalManualandDictionaryofClassicalBalletByGretchenWardWarren ByGailGrantIntermediateBalletInsideBalletTechnique:SeparatingAnatomicalFactfromFictionintheBalletClassByValerieGriegAdvancedBalletDancingLives:FiveFemaleDancersfromtheBalletd'ActiontoMerceCunninghamByKarenEliot COURSEDESCRIPTION:DAA2204Credits:2;canberepeatedwithchangeincontentupto6credits.Prereq:DAA1000withminimumgradeofC,oraudition.Basicballettechniquewithdiscussionofterminologyandhistory.DAA3208Credits:2;canberepeatedwithchangeincontentupto6credits.Prereq:audition.Intermediateballettechniquewithdiscussionofterminologyandtheory.DAA4210Credits:2;canberepeatedwithchangeincontentupto8credits.Prereq:audition.Advancedballettechniquewithdiscussionofterminologyandstyle.
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STUDENTPROGRESSIONINBALLETDANCETECHNIQUE:Thisinformationaddressesthestandardsutilizedbythedanceareaforassessingstudentprogressionthroughthreelevelsofballet:Basic,Intermediate,Advanced.Theprogram’sapproachtoballetisincontexttotheUFBFAdegreeprogram,relyingontraditionaltrainingstandardsalongwiththeawarenessofthestylisticandtechnicaldiversityoftheUFdanceprogram.Usingtheobjectivesstatedinthissyllabus,thedanceprogramassessesstudentprogressthroughthreelevelsofballetdancetechnique:basic,intermediate,andadvanced.Youaregradedandconsideredforthenextlevelaccordingtoyourachievementofthecriteriaasdeterminedbyyourinstructor.DuetothenatureofbothtraditionalballetictrainingandballeticlevelsintheUFprogram,receivingthefinalgradeof“A”doesnotinsureprogressiontothenextlevel.CourseObjectivesforBalletTechniqueSoTD’sballettechniquecurriculumisdesignedtofocustheintellectualandphysicalabilitiesofstudents—majors,minors,andnon-majors—toembracethedemandsofthe21stcenturyartist.Eachofthethreelevelsbuildstherequiredhistorical,aesthetic,andbiomechanicalfoundationsforgraduatingasamajorinourdancedegreeprograms.Likewise,theminorornon-majormustrecognizetheclassesasapre-professionaltraininggroundbymeetingtheobjectivesattheappropriatelevel.Wheneverystudentbringsintoeveryclasstheirdisciplineandmotivation,theywillbereadytomeetandgreetthefollowinggoalscommontoeachrespectiveleveloftechnique:BASICBALLETCOURSEOBJECTIVES*:
• Toinstructyouinclassicalballetvocabulary,technique,andrelatedhistoryappropriatetothelevelofthecourse.
• Toestablishaconsistencyof‘daily’studiopracticeandtowardsusingballetclassprogressiontobuilda‘permanent’foundationforbuildingyourtechnique.
• Toapproachalltraining,practiceandperformancefromananatomicallycorrectand‘coreconnected’standpoint,especiallyintheapplicationofrotation(bothparallelandoutward)usingthefollowingevaluativeguides:
o PLACEMENTANDALIGNMENTo CORESUPPORTANDCONDITIONINGo APPLICATIONOFROTATION-STATIONARYANDLOCOMOTORo SPATIALAWARENESSANDFULLBODYINTEGRATIONo RHYTHMICCLARITY/MUSICALITYo PROFESSIONALISM
• Initiatetheprocessofconnectingtheoryandtechniquetoabasiclevelperformanceaptitude.
• Enhanceaestheticandpracticalappreciationoftheworkbehindthisexactingandexcitingartform.
• Developanappreciationofthetheory,criticismandaestheticbehindthisexactingyetexcitingartform.
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INTERMEDIATEBALLETCOURSEOBJECTIVES:
•Toinstructyouinclassicalballetvocabulary,technique,andrelatedhistoryappropriatetothelevelofthecourseanddevelopinggreaterfluencyinclassicaldancetechniqueandperformanceskillsattheintermediatelevel.•Theadvancementofterminologywithitsapplicationtobarre,centreandtoperformancewillbeemphasizedandtestedduringtheprogressionofthesemester.• Toapproachalltraining,practiceandperformancefromananatomically
correctand‘coreconnected’standpointusingthefollowingevaluativeguides:
o PLACEMENTANDALIGNMENTo CORESUPPORTANDCONDITIONINGo APPLICATIONOFROTATION-STATIONARYANDLOCOMOTORo SPATIALAWARENESSANDFULLBODYINTEGRATIONo RHYTHMICCLARITY/MUSICALITYo PROFESSIONALISM
•Createanenvironmenttotestandimprovethestudent’sphysicalaptitudeinballettechnique.•Enhancetheappreciationofthetheory,criticismandaestheticbehindthisexactingyetexcitingartform.
ADVANCED BALLET COURSE OBJECTIVES:
• To test the understanding of ballet theory and technique through a more rigorous standard of execution. • To develop greater fluency in classical dance technique as related to performance skills and as accessed through the following criteria:
o PLACEMENTANDALIGNMENTo CORESUPPORTANDCONDITIONINGo APPLICATIONOFROTATION-STATIONARYANDLOCOMOTORo SPATIALAWARENESSANDFULLBODYINTEGRATIONo RHYTHMICCLARITY/MUSICALITYo PROFESSIONALISM
• Demonstrate musical and spatial skills suitable to the technique and style of ballet as taught by instructor • Demonstration that the student is capable of performing at a higher and more professional level • To expand the dancer’s expressive and qualitative range of movement and performance. • To empower the person/dancer/thinker/artist in each student.
*DuetothenatureoftheUFballettrainingprogram,thestudententeringBasiclevelshouldhavealreadyestablishedcertainalevelofproficiencyasdeterminedby
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auditionforentryintotheBFAprogram.Levelfornon-majorscanbedeterminedbyplacementclasses.
COURSEPOLICIES:SOTDDANCEATTENDANCE:DanceTechniqueClassAttendanceGuide:
•Mindfulparticipationineachclassmeetingistheonlywaytomeettheobjectivesofthiscourse.•Attendance,whichismandatory,meansthatwhenyouentertheclassroom,youarepresent,alert,andcontributingto
theprogressoftheclasseverysecond.•Ifyouarenotpresentwhenattendanceistakenorclassbeginsyouaremarkedabsent.•Inthecaseofextendedhealthissues,refertotheInjuryandIllnessPolicyintheSoTD2016-17Handbook(SoTD
website)andincludedinthissyllabus.DanceTechniqueClassAbsencePolicy
•Five(5)ormoreabsences(excusedorunexcused)resultinautomaticfailure.•Allundocumentedabsencesareunexcused:eachunexcusedabsence=5pointdeduction.Excusedabsencesmayincludethoserelatedtoillness/injurywhicharedocumentedbyamedicalprofessional.Eventsrelatedtofamilyemergenciesorprofessionalobligationsshouldbediscussedwithyourinstructor.(SeeMake-upPolicyformoreinformationonexcusedabsences.)•Foryoursafetyandthefocusoftheclass,youmaynotjoinclassifithasalreadystarted.Youarelateandcountedabsent;withinstructorpermission,youmayobserve.•Ifyoushouldleaveclassearly,3pointsaredeductedfromyourgrade.•Ifunabletodancebutstillattend,withinstructorpermission,youmay‘actively’observeforfullclasscredit,onetime.Youwillcompleteanassignmentasassignedbytheinstructordueattheendofclass.•UFapprovedreligiousdaysareexcusedanddonotneedtobemade-up.(Traveltimenotincluded.)Youareresponsibleformaterialcoveredduringyourabsence.•AMEDICALWITHDRAWALwillnotbesupportedwithoutapproveddocumentation.AnIncompleteisonlyconsideredbyUFDanceinextremecasesandisnotavailableintechniqueclasses.
UFAbsencePolicyRequirementsforclassattendanceandmake-upexams,assignments,andotherworkinthiscourseareconsistentwithuniversitypolicies,asfollows:
Source:https://catalog.ufl.edu/ugrad/current/regulations/info/attendance.aspx• Studentsareresponsibleforsatisfyingallacademicobjectivesasdefinedbytheinstructor.
Absencescountfromthefirstclassmeeting.• Ingeneral,acceptablereasonsforabsencefromorfailuretoparticipateinclassinclude
illness,seriousfamilyemergencies,specialcurricularrequirements(e.g.,judgingtrips,fieldtrips,professionalconferences),militaryobligation,severeweatherconditions,religiousholidaysandparticipationinofficialuniversityactivitiessuchasmusicperformances,
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athleticcompetitionordebate.Absencesfromclassforcourt-imposedlegalobligations(e.g.,jurydutyorsubpoena)mustbeexcused.Otherreasonsalsomaybeapproved.
• Youcannotparticipateinclassesunlessyouareregisteredofficiallyorapprovedtoauditwithevidenceofhavingpaidauditfees.TheOfficeoftheUniversityRegistrarprovidesofficialclassrollstoinstructors.
• Ifyoudonotparticipateinatleastoneofthefirsttwoclassmeetingsofacourseorlaboratoryinwhichyouareregistered,andyouhavenotcontactedthedepartmenttoindicateyourintent,youcanbedroppedfromthecourse.Youmustnotassumethatyouwillbedropped,however.
• Theuniversityrecognizestherightoftheindividualprofessortomakeattendancemandatory.Afterduewarning,professorscanprohibitfurtherattendanceandsubsequentlyassignafailinggradeforexcessiveabsences.
MAKE-UPPOLICY:DanceTechniqueClass–MakeupPolicy
• Youareresponsibleforallmaterialcoveredduringanyabsence• Therearenomakeupoptionsforunexcusedabsences• AbsencesfromWrittenExams,Quizzes,Mid-Terms,and/orFinalsmayonlybemadeupwith
approveddocumentation• Toearncredit(amountofcreditdeterminedbytheinstructor)foranexcusedabsenceyou
mustdotwothings:1)Immediatelyafteryourreturntoclass,turninapproved/legaldocumentationtoinstructor.Ifyouneedtheoriginaldocumentation,theinstructorwillacceptcopies.2)Make-uptheclasswithanapprovedassignmentsubmittedontherequireddate.Iftheassignmentistoattendanotherclassasamake-up,itmustbethesametechnicallevel,orlower;studentmustrequestpermissionofthatinstructor.
IntheUFDanceProgram,threeunexcusedabsenceswillreduceyourgradeone-lettergrade(i.e.,fromBtoC).Eachsubsequentunexcusedabsencelowersyourgradebyhalflettergrade(i.e.,fromCtoC-).Afterfiveunexcusedabsencesthestudentmaynotreturntoclassandresultinautomaticfailureofthecourse.AstudentwithmedicaldocumentationmayapplytoUFforMedicalWithdrawal.PleaseconsultthefollowingsitesforUF’sphysicalandmentalhealthresources:
http://shcc.ufl.edu/(StudentHealthCareCenter)http://shcc.ufl.edu/forms-records/excuse-notes/(excusenotepolicy)http://dso.ufl.edu/(DeanofStudents)
STUDENTON-LINEEVALUATIONPROCESSStudentsareexpectedtoprovidefeedbackonthequalityofinstructioninthiscoursebycompletingonlineevaluationsathttps://evaluations.ufl.edu.Evaluationsaretypicallyopenduringthelasttwoorthreeweeksofthesemester,butstudentswillbegivenspecifictimeswhentheyareopen.Theinstructoristheonlypersonthatviewsyourwrittencomments.Summaryresultsoftheseassessmentsareavailabletostudentsathttps://evaluations.ufl.edu/results/UFPOLICIES:UNIVERSITYPOLICYONACCOMMODATINGSTUDENTSWITHDISABILITIES:StudentswithdisabilitiesrequestingaccommodationsshouldfirstregisterwiththeDisabilityResourceCenter(352-392-8565,www.dso.ufl.edu/drc/)byproviding
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appropriatedocumentation.Onceregistered,studentswillreceiveanaccommodationletterthatmustbepresentedtotheinstructorwhenrequestingaccommodation.StudentswithdisabilitiesshouldfollowthisprocedureasearlyaspossibleinthesemesterUNIVERSITYPOLICYONACADEMICMISCONDUCT:AcademichonestyandintegrityarefundamentalvaluesoftheUniversitycommunity.StudentsshouldbesurethattheyunderstandtheUFStudentHonorCode:http://www.dso.ufl.edu/sccr/process/student-conduct-honor-code/-UFstudentsareboundbyTheHonorPledgewhichstates,“We,themembersoftheUniversityofFloridacommunity,pledgetoholdourselvesandourpeerstothehigheststandardsofhonorandintegritybyabidingbytheHonorCode.OnallworksubmittedforcreditbystudentsattheUniversityofFlorida,thefollowingpledgeiseitherrequiredorimplied:“Onmyhonor,Ihaveneithergivennorreceivedunauthorizedaidindoingthisassignment.”TheHonorCode(source:http://www.dso.ufl.edu/sccr/process/student-conduct-honor-code/)specifiesanumberofbehaviorsthatareinviolationofthiscodeandthepossiblesanctions.Furthermore,youareobligatedtoreportanyconditionthatfacilitatesacademicmisconducttoappropriatepersonnel.Ifyouhaveanyquestionsorconcerns,pleaseconsultwiththeinstructorinthisclass.COUNSELINGANDWELLNESSCENTERCONTACTINFORMATION:http://www.counseling.ufl.edu/cwc/Default.aspx,392-1575;andtheUniversityPoliceDepartment:392-1111or9-1-1foremergencies.
NETIQUETTE:COMMUNICATIONCOURTESY:Allmembersoftheclassareexpectedtofollowrulesofcommoncourtesyinallemailmessages,threadeddiscussionsandchats.GETTINGHELP:Ifapplicable:ForissueswithtechnicaldifficultiesforE-learninginCanvas,pleasecontacttheUFHelpDeskat:
● (352)392-HELP-selectoption2● https://lss.at.ufl.edu/help.shtml
Anyrequestsformake-upsduetotechnicalissuesMUSTbeaccompaniedbytheticketnumberreceivedfromLSSwhentheproblemwasreportedtothem.Theticketnumberwilldocumentthetimeanddateoftheproblem.YouMUSTe-mailyourinstructorwithin24hoursofthetechnicaldifficultyifyouwishtorequestamake-up.Otherresourcesareavailableathttp://www.distance.ufl.edu/getting-helpfor:
• CounselingandWellnessresources• Disabilityresources• Resourcesforhandlingstudentconcernsandcomplaints
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• LibraryHelpDesksupportEVALUATION 1.Eventattendance 15points Seeinformation 2.MidtermEvaluations 30points InClass
ThursdayMarch2ndBothMidtermandFinalEvaluationswillbebasedonthesetechnicalproficiencies
• PLACEMENTANDALIGNMENT• CORESUPPORTANDCONDITIONING• APPLICATIONOFROTATION-STATIONARY
ANDLOCOMOTOR• SPATIALAWARENESSANDFULLBODY
INTEGRATION• RHYTHMICCLARITY/MUSICALITY• PROFESSIONALISM
3.FinalEvaluations 30points InClassThursdayApril20th
4.Vocabulary/HistoryExamand/orPerformanceProject
25points Instructorwillannouncedates,ifrequired(Seeballetglossaryattachedandusethefollowinglinkforstudy:http://www.abt.org/education/dictionary/index.html)Showing/Performance,ifrequired:April25th
Youroverallscoremaybeaffectedbyyourattendancerecord.
A93-100pointsA-90-92B+86-89B83-85pointsB-80-82C+77-79C73-76pointsC-70-72D+67-69D63-66pointsD-60-62E59andbelow
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EACHSTUDENTISRESPONSIBLEFORMONITORINGHER/HISOWNPROGRESSTECHNIQUEMID-TERM: ThursdayMarch2nd,2018*TECHNIQUEFINAL: ThursdayApril20th,2018**Disclaimer:Thissyllabusrepresentscurrentplansandobjectives.Aswegothroughthesemester,thoseplansmayneedtochangetoenhancetheclasslearningopportunity.Suchchanges,communicatedclearly,arenotunusualandshouldbeexpected.Anychangesintechniqueexamdatesduetounseencircumstanceswillbeannouncedinclassandpostedonthedanceboardinatimelyfashion.RequiredPerformanceandEventDates
Tohelpyouto“thinkoutsidethebox,”youmustventureoutsidethestudio!
BFA/BAMajors:Inadditiontoattendingallclasses,attendanceisrequiredatthefollowinglistedeventsplus1outsideprofessionalshow.Youwillprovideproofofattendancetotheinstructorwhoistheteacherofrecordofyourcoursewithinoneweekafterviewingproduction.Dependingonyourtechniqueschedule,youmayusethesesameevents/performancesforothertechniqueclasses,aswell.Non-Majors:Required=BFAFallDanceShowcaseaudition,twooftheUnShowings,Dance2018oneBFASpringDanceShowcasePerformance,oneoutsideprofessionalshow.Youwillprovideproofofattendancetotheinstructorwhoistheteacherofrecordofyourcoursewithinoneweekafterviewingproduction.Dependingonyourtechniqueschedule,youmayusethesesameevents/performancesforothertechniqueclasses,aswell.The(McGuire)UniversityBoxOfficewillopen45minutespriortotheopeningofeachConstansTheatreorMcGuireBlackBoxproduction.StudentsmustredeemtheircouponsatBenHillGriffinStadiumGate3.Thisiswhereyoucanpurchaseyourticketsduringregularbusinesshours.
PerformanceBehavior/Decorum:
• Yes,pleasedressnice!• Nocellphones/textingatall,ever,neverduringaperformance(unlesstheshowrequestsit!)• RepresenttheSoTDattheshow!
RequiredPerformanceandEventDatesDates/timessubjecttochange–pleasecheckdancebulletinboardand/orcontactappropriateboxoffice.Youwillreceiveavoucher(coupon)atthebeginningofthesemesterfordesignatedSoTDproductionswithinstructionsofhowtouseittogetyourticket.ViewingofSoTDplays(suchasaplayormusical)ishighlyrecommended,butnotrequired.Majors:pleaseattendBFASpringDanceShowcase,Dance2018,andoneoutside
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professionalperformance.
UnShowingDates/UFDancePerformancesWelcomeBackDanceMeetingforallDanceMajors-Monday,January8,2018at6:30pm-8:00pmAudition-Thursday,January11,2018-Spring2018BFAShowcaseFirstUnShowing-Friday,February2,2018at10:40am-12:35pmSecondUnShowing-Monday,February26,2018at6:30pmAdjudication#1Showing:Monday,March12,2018at6:30pm-9:00pmAdjudication#2Showing:Monday,March19,2018at6:30pm-untilDance2018:SteppingontheAudience:AnEveningofDanceinIntimateSpaces-February9-10at7:30PM,February11at2:00PM,February14-17at7:30PMandFebruary18at2:00PMTheHarnMuseumofDance(HMod2.0)-Saturday,March17,2018at1:00PM-4:00PMSpring2018BFAShowcase-Wednesday,April4(ProgramAat7:30pm)Thursday,April5(ProgramBat7:30pm)Friday,April6(ProgramAat7:30pm)Saturday,April7CommunityinMotionPerformance(2:00P)*Saturday,April7(ProgramBat7:30pm)Sunday,April8(ProgramAat2:00pm)Sunday,April9(ProgramBat4:00pm)*FreePerformance-Firstcomefirstservebasis*UFPADancePerformancesTangoFire-Friday,January19,2018at7:30PMhttps://performingarts.ufl.edu/events/tango-fire/BalletBoyz-Friday,January31,2018at7:30PMhttps://performingarts.ufl.edu/events/balletboyz/DanceAliveNationalBallet:L'Amour-February14,2018at7:30PMhttps://performingarts.ufl.edu/events/dance-alive-national-ballet-presents-lamour/Pilobolus:Shadowland-Friday,February23,2018at7:30PMhttps://performingarts.ufl.edu/events/pilobolus-shadowland/MarthaGrahamDanceCompany-Monday,March5,2018at7:30PMhttps://performingarts.ufl.edu/events/martha-graham-dance-company/
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FalunDafaAssociationPresentsSHENYUN-Wednesday,March14-16at7:30PMhttps://performingarts.ufl.edu/events/shen-yun/LilBuckandJonBoogz:LoveHealsAllWounds-Tuesday,March20,2018at7:30PMhttps://performingarts.ufl.edu/events/lil-buck-and-jon-boogz-love-heals-all-wounds/RodgersandHammerstein'sCinderella-Thursday,April5,2018at7:30PMhttps://performingarts.ufl.edu/events/rodgers-and-hammersteins-cinderella/DanceAliveNationalBallet:TheRing-Saturday,April7,2018at7:30PMhttps://performingarts.ufl.edu/events/dance-alive-national-ballet-presents-the-ring/AChorusLine-Sunday,April22,2018at7:30PMhttps://performingarts.ufl.edu/events/a-chorus-line/BFADanceAuditionsFriday,January26,2018JuriesThursday,April26andFriday,April27(ForAllBFAMajorsandBASeniors)
UF Box Office #: (352) 392-1653 UF Performing Arts (Phillips Center) #: (352) 392-2787 SFC Fine Arts Hall Theatre (352) 395-4181
SpringSemesterJuriesALLBFAmajorsandgraduatingBAmajorsarerequiredtoattendanendoftheyearconference(Jury)April20/21withthedancefacultyduringReadingDays(thetwodaysfollowingendofclasses).Donotmaketravelplansatthistime—gradepointswillbededucted.Itisyourresponsibilitytoknowyourschedule.Checkyour(UF)email&thedancestudiobulletinboardsregularly.DressPolicy:
·Women:Leotards,tights,softballetshoes.Pointeshoesareencouragedbutnotrequired.Speaktotheteacheraboutindividualneedsandpointelevel.·Hairmustbeworninaneatballetbunortwist.Shorterhairiswornoffthefacecompletely.Ifthehairfallssodoesthegrade.·Men:LeotardortightfittingT-shirt/tanktop(whitepreferred).Tights,balletshoes(whiteorblack)anddancebelt(tightswornwithelasticbeltorarmybelt)arerequired.Whitesocksrecommended.·Colorsareatthestudent'sdiscretionbutshouldreflectarespectofballeticvalues.
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·Nowarmersunlesstheyareformfitting.Allwarmersmustberemovedfollowingwarm-up.Youmaywearaballetskirtorbeltorcenter.·Nooversizedclothing.Youdon’tworkonwhatyoudon’tsee.·Youranklesmustbevisible.·Nolargejewelry,includingallnon-studearrings,necklaces&watches.·Nochewinggum.
Studentsnotincompliancewiththeaboverequirementswillbeconsideredabsentfromclassorpointsdeductedatinstructor’sdiscretion.ESSENTIALSOFACHIEVINGTECHNICALAPTITUDE
Theseaspectsoftechnicaldevelopmentaredividedintosix(6)categoriesandarethebasisbothforgradingandforanyconsiderationtowardpromotiontoahigherballettechniquelevels:
• PLACEMENTANDALIGNMENT• CORESUPPORTANDCONDITIONING• APPLICATIONOFROTATION-STATIONARYANDLOCOMOTOR• SPATIALAWARENESSANDFULLBODYINTEGRATION• RHYTHMICCLARITY/MUSICALITY• PROFESSIONALISM
PLACEMENTANDALIGNMENT
Apriorityisplacedonalignment,whichincludesanawarenessandintegrationofskeletalstructureinshapingthebodyinplaceandinmotion,toefficiencyofmovement,butreduce,ifnoteliminate,thepotentialforinjury.Thisintrinsicunderstandingshouldbeevidentinallexercises:barre,center,andphrasework.
• 5-Excellent
Hastheabilitytoselfassesswhileconsistentlymaintainingalignmentoftorso/spine,pelvis&limbswhilestationaryandmoving.Articulateslimbswithexcellentprecisionandclarity.
• 4-GoodConsistentlymaintainsalignmentoftorso/spine,pelvis,&limbswhilestationaryandmoving.Articulateslimbswithexcellentprecisionandclarity.
• 3-SufficientDemonstratesaconsistentapplicationofprinciplesofalignment.Demonstratesconsistentclarityduringarticulationoflimbs.
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• 2-Limited/Deficient
Demonstrationofcorrectpersonalalignmentisnotobservable.Precisionandclaritynotdemonstratedduringexercisesormovementthroughspace.
• 1-Unsatisfactory
Failstodemonstrateanunderstandingofbasicsofalignmentandbodyfundamentals.
CORESUPPORTANDCONDITIONING
Coupledwithdevelopingapropersenseofalignmentandplacementasappliedtodance(andlife)isaseparateandequalareareferredtoasCoreSupport/Strength.Itisnecessarytolistitasitsowncategorytoemphasizeitsimportancetomovementandpromoteawarenessofitsconnectiontothesafelyoftheindividualastheymovethroughvariouspositionsandasappliedtoballettechnique.Developmentofstrengthtosafelyperformmovementsthatrequireweightbearingonarms,includinginvertedmovements.Conditioningisincludedinthissectionininsurethatstrengthisnotoveremphasizedandthatthestudentfindsapersonalpracticethatenforcesthisaspectoftheirtraining.
• 5-Outstanding/Advanced
Hasabilitytoselfassesswhileconnectingcoreandwholebodyconditioningtohowthewholebodymovesthroughspaceandconsistentlymoveswithpowerandcontrolthroughspaceandalllevels.
• 4-ExcellentConnectscoreandwholebodyconditioningtohowthewholebodymovesthroughspaceandconsistentlymoveswithpowerandcontrolthroughspaceandalllevels.
• 3-Good/Sufficient
Demonstratesmovementscompetentlywithanadequateapplicationofcoresupport.Overallbodystrengthandconditioningisadequate,withroomforimprovement.
• 2-Limited/Deficient
Workinclassindicatesweaknessincorestrengthandmovementcontrol.Demonstrateslimitedpowertosafelypropelselfthroughspace.
• 1-Unsatisfactory
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Demonstrateslackofsufficientcoresupport,conditioningandtotalbodystrength.Lackspowerandcontroltosafelypropelselfthroughspace.
APPLICATIONOFROTATION-STATIONARYANDLOCOMOTOR
Essentialtothehealthydevelopmentofballet(andgeneraldance)techniqueisthefullawarenessofcorrectpersonalanatomicalignmentinrelationtoparallelandoutwardrotationwhichincludeshipsocket,kneeandankleforthelowerbodyandspine,ribs,shouldergirdle,headandneckforupperbody.• 5-Outstanding/Advanced
Highdegreeofprecisionandpersonalunderstandingofparallelandrotationinrelationtowholebodyalignment.Showseaseandeconomyofeffortwhenquicklyshiftingamongpositions.
• 4-ExcellentAbilitytoachievecorrectparallelandrotationandmoveeasilyamongpositionsinrelationtopersonalanatomicalconsiderations.
• 3-Good/Sufficient
Consistentcorrectapplicationofalignmentprinciplesinrelationtoparallelandrotatedpositions,particularlyinlowerbody.Canshowimprovementinrelationofthesealignmentprinciplesthroughoutthebody.Showsabilitytotransferfromonepositiontoanotherwithrelativeeaseandminimumeffort.
• 2-Limited/Deficient
Inconsistentdemonstrationofparallelandrotationinrelationtopersonalalignmentthroughoutbody.Difficultytransferringbetweenparallelandrotation.
• 1-Unsatisfactory
Incorrectuseofparallelandrotationinrelationtooverallpersonalalignment.Especiallydemonstratesunsafealignmentofknee,ankle,andhiprelationships.Unsuccessfultransferofweightandre-alignmentwhenshiftingbetweenparallelandrotation.
SPATIALAWARENESSANDFULLBODYINTEGRATION
Necessarytothetrainingofaballetdanceristheunderstandingofthemovementofthebodyasaunit,andinrelationtospecificbodyparts(upperandlowerbodyhalves,andrightandleftbodyhalvesinmotion),aswellasa
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senseofspatialawarenessastheyrelatetothemovementofthebodythroughclassicallydefinedpositions.
• 5-Excellent
Demonstrateshighlyrefinedunderstandingofmovementofbodypartsinrelationtopersonalcenterofgravity.Integrationofbodyinmotionthroughspaceisclearandprecise.
• 4-GoodStudentconsistentlymovesthroughspacewithfullcommitmentandknowledgeoflevelanddirectionchanges.
• 3-Sufficient
Demonstratesadevelopmenttowardsthesensitivitytomovingthebodyasawholeunitandanabilitytoexperimentwiththebodyinmotionthroughtimeandspace.Continuestodemonstrateadevelopingunderstandingoftherelationshipbetweenbodypartsandcenterofgravity.
• 2-Limited/Deficient
Demonstrateslimitedawarenessoftheconnectionbetweenstrengthofcenterandtotalbodymovement;minimalabilitytointegratethebodyinmovement.
• 1-Unsatisfactory
Demonstrateslackofunderstandingoftheconceptoffullbodyintegration,aswellasanadequateunderstandingofspatialawareness.Demonstratesalackofunderstandingoftheconnectionbetweenupperbodyandlowerbody,andbetweenbodyhalves.
RHYTHMICCLARITY/MUSICALITY
Astudent’sprogressthroughthetechniquesequenceshouldalsoyieldbothapracticalandintrinsicunderstandingofhowrhythmandmusicalityareappliedtoanexercise,aphrase,anddanceperformance.Musicalityistheabilitytoperformmovementphrasesinformedbymusicandasregulatedbythechoreography/classicalrepertoire.Rhythmicclarityistheabilitytounderstandtherelationshipofthemovingbodytotime.
• 5-Excellent
Studentdemonstratesanintrinsicunderstandingofhowthemusicandmovementareunited.Consistentawarenessofsounddemonstratedthroughaccurateresponsetoinstructionsandtomusicalcueing.
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• 4-GoodStudentconsistentlymoveswithknowledgeofbeat/meter,accents,tempo,andrhythmicpatterning.
• 3-Sufficient
Studentisconsciouslyworkingtowardstheapplicationofbeat/meter,accents,tempo,andrhythmicpatterningandappliesthesemusicalbasicstoexercises,phrases,andrepertoire.Generallyappearstosensemusicdeeplyandtoallowthenatureofthemusictoaffecttheinterpretationofmovementphrases.
• 2-Limited/Deficient
Inconsistentlydemonstratesbeat/meter,accents,tempo,andrhythmicpatterning.Insufficientlydevelopedsenseofinternaltimingorapassiveapproachtodancephrasing.Studentmayshowdependonotherdancers,instructorcounting,orobviousmusicalcues,ratherthanintrinsicmusicalresponses.
• 1-Unsatisfactory
Studentrarelymoveswithusingbeat/meter,accents,tempo,andrhythmicpatterning;orfailstoinvestindevelopingskillsinthisarea.
PROFESSIONALISM
Studentdemonstratesamatureartisticsensibilitywhilecultivatingtheirartisticaptitudes.Theimportanceofattendanceisemphasizedandpartofthefinalgradingprocess,asnotedinthesyllabus.
• 5-ExcellentThestudentconsistentlydemonstratesanattitudethatisteachable,mature,attentive,supportive,open,andwelcomesandintegratescorrections.
• 4-GoodStudentshowsahighlevelofamatureandprofessionalapproachtoallaspectsofcoursework.
• 3-Sufficient
Studentshowsaconsistentandgrowingawarenessoftheprofessionthroughclassroombehaviorandpeerinteraction.
• 2-Limited/Deficient
Studentdemonstrateslimitedinterestorabilityinunderstandingandexpressingaprofessionalattitude.Mayresistcorrectionsand/orwhat
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isbeingtaught.Failstoheedinstructionand/ordemonstratesotherbehaviorsunbecomingaprofessionaldancer.
• 1-Unsatisfactory
Studentrarelydemonstratesanattitudethatisteachable,mature,attentive,supportive,open,anddoesnotintegratecorrections.
EvaluationsandGrading:MidtermandFinalevaluationsoccurduringtheclass.Youwillbeobservedbytheinstructorandperhapsothermembersofthedancefaculty.Gradeswillbeassignedbasedonthetechnicalproficiencieslistedabove.FortheBFAmajor,applicationofyourtechniqueworktoconcert/performanceworkwillbefactoredintoyourtechniquegrade.
GUIDINGCONCEPTSThesefollowinggeneralconceptsareappliedtoallareasoftechnicaldevelopmentandusedbyfacultytoassessstudentprogress:
“Self’AwarenessandEnsembleSkillsThestudentdemonstratesanabilitytoretainanawarenessofselfwhileintegratingtheirmovementintospatialrelationshipswithotherpersonsandgroups.Thestudentshouldalsodemonstrateclarityinthree-dimensionalmovementsandanabilitytosustaindirectionalityinexercisesandinphrasesofsubstantiallength.
TransitionalSkills(ContinuityofFlow)Exercisesshouldbeperformedwithanunderstandinganddynamicuseofdifferenttypesofphrasing.Studentsshoulddemonstrateanabilitytosequenceavarietyofmovementsintoanextendedphrase:recognizingandmovingthroughtransitionsanddemonstratingfollow-throughofmovementimpulsesasappropriate.
PERFORMANCEQUALITY(DYNAMICAWARENESS)Eachinstructorwillprovidetheclasswithspecificmovementandperformancegoalsthatdelineateforthestudent:suitableuseofenergy,rangeofdynamicsandmovementqualities,theimagesormind-settoevokeexpressiveand/orstylisticqualitiesandfunctionaldetails
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GeneralInformationStudentInjuryandIllnessPolicy:TheDanceAreaofSoTDbelievesthatdancestudent'sphysicalandmentalwell-beingisparamounttosuccessinallarenasoftheirdancetraining,fromclasstothestage.Inthecaseofinjury,fosteringaproductiveandholisticresponseinsuresaspeedyandeffectiverecovery.Ifthedancestudentbecomesillorinjuredtothedegreethattheycannotattendandparticipateindanceclasses,SoTDsponsoredrehearsals,orperformances,the5stepsofthedancestudentinjuryandillnesspolicyaretobefollowed:1.Thestudentisrequiredtoseeahealthcareprofessionalimmediately.2.Iftheillnessorinjurypreventsthestudentfromparticipationindanceclass,rehearsal,orperformance,thestudentistorequestdocumentationfromthehealthcareprofessionalthatexplicitlyprojectsthedurationoftheinjury,and/ortheamountandtypeofactivityrecommendedforthewelfareofthestudent.3.Followingtheappointmentwiththehealthcareprofessional,thestudentisrequiredtobringmedicalrecommendationsandrelateddocumentationtotheattentionofhisorherinstructor(s),choreographer(s),ordirector(s)asthebasisfordiscussion.4.Unlessotherwisemedicallyadvised,thestudentisprohibitedfromactiveparticipationinallrelatedUFdanceactivities,classes,events,performances,etc.Thestudentmaynotpersonallyselectoneactivityashavingahigherpriorityoveranother.Thestudentisnottodanceinanyevents,activities,performancesorrehearsalsifthestudentisnotindanceclass.Iftheinfirmityculminatesinamedicalwithdrawal,thisisalsoawithdrawalfromallperformancerelatedactivities.5.Thestudentisneverallowedtosacrificeclassroomparticipationforthedemandsofaperformance.Thestudentwillnotbeallowedtoparticipateinaperformanceiftheymissdanceclassduetoaninjury.ThestudentisexpectedtofollowthestudentinjuryandillnesspolicyevenifperformancestakeplacebeyondthescopeofSoTD,aswithanotherUF,professional,orcommunityperforminggroup,etc.IfinvolvedinaSoTDproducedproduction(withorwithoutcredit),thereisrequiredattendanceattheproduction’sStrike(asstatedinthecurrentSoTDProductionHandbook):
Strike
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• Strikeistherestoringofthestagetoitsoriginalcondition.Thismainlyconsistsofthebreakdownoftechnicalcomponentsoftheproduction.
• Striketypicallytakesplaceimmediatelyfollowingthefinalperformanceoftheproduction.
• StrikeisrunbytheTechnicalDirectororScenicStudioSupervisor.• Safetyisoftheutmostimportance!Properfootwearandclothingmustbe
worn.AdditionalSafetyEquipmentmayberequireddependingonthetask.• TheStrikerequiresthepresenceofallundergraduateperformersinvolvedin
theshowandcrew,PropsMaster,MasterElectrician,andTechnicalDirectororScenicStudioSupervisor.
• OnlytheTechnicalDirector,MasterElectricianandCostumeSupervisorcanreleaseanyonefromStrike.
• Additionally,allcastmembersandcrewmustsignoutwiththeStageManager.• AllundergraduatestudentsinvolvedintheproductionareREQUIREDtoattend.• GraduateActorsarereleasedafter1hourofparticipationatStrikeduetotheir
GTAresponsibilities.GradActorsmustsignoutwiththeStageManagerbeforeleaving.
• OnlytheTechnicalDirectormayapproveanabsencefromStrike.Underextenuatingcircumstancesmayastudentbe“excused”fromorpermittedtoleaveearlyfromStrike.Ifthestudentis“excused”fromaREQUIREDstrikeorleavesearlyfromStrike,theStrikemustbe“madeup”byoneofthe3followingoptions:
• ThestudentmustparticipateintwoStrikeswithinthecurrentacademic
semester.--or—
• Thestudentmustparticipateinonestrikeandserve6hoursintheshopwithinthecurrentacademicsemester.
--or—• Thestudentmustserve12hoursintheshopwithinthecurrentacademic
semester.
• IfastudentdoesnotadheretotheabovepenaltiesformissingStrikeorleavingearlyfromStrike,orifthestudentsmissesorleavesStrikeearlywithoutapprovaloftheTechnicalDirectorthestudentwillbe:
• IneligibleforTheatreandDanceScholarships.• IneligibletobecastinSchoolofTheatreandDanceproductionsforthe
upcomingsemester.• Ineligibletoregisterforclasses.• IfenrolledinanysectionofP&Pthestudent’sgradewillbelowered.• IfenrolledinSeniorProjectthestudent’sgradewillbelowered.• IfenrolledinDancersforChoreographersorDanceEnsemblethe
student’sgradewillbelowered.
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• IfenrolledinWestAfricanDanceorWorldDance(Agbedidi)thestudent’sgradewillbelowered.
PleaseNote:Ourworkinthestudiosisdesignedtobechallenging;physically,intellectually,andemotionally.Danceclassesofteninvolvetouching.Physicalcontactmayrangefromsimpletouch,tocorrectingalignmentand/orrelaxationmassage.Studentsmayalsobeaskedtoexperimentwithexercisesthatinvolveweightexchange,andinthecaseofaballetclass,partneringexercises.Ifyouhavearelatedmedicalconsiderationortouchmakesyouuncomfortable,itisyourresponsibilitytonotifytheinstructoratthestartofthesemester.
Instructor’sBiographies
BorninCuba,Ms.IsaGarcia-RosespentmanyyearsinSpainbeforesettlinginMiami,Florida.ShestudiedwithandbecameamemberofBalletConcertoperforminginGiselle,SwanLake,LaBayadere,Serenade,Nutcracker,andLesSylphides.Ms.Garcia-RosejoinedDanceAliveNationalBalletin1989,andhasperformedvariousBalanchinepieces,'Titania'inAMidsummerNight'sDream,variousrolesinNutcracker,'Ophelia'inHamlet,'LadyBug'inLadyBug:ActionHero,andothercontemporaryroles.AgraduateoftheUniversityofFloridawithaBFAinDance,Ms.Garcia-RosereceivedherMFAfromFloridaStateUniversity.Ms.Garcia-RosehasbeenafacultymemberoftheUniversityofFloridaSchoolofTheatreandDanceteachingclassicalballetandmoderndancetechnique.ShehascreatedworksforthestudentsandhaspresentedpiecesattheFloridaDanceFestivalamongstothervenues.Ms.Garcia-Rosespentthe1994-1995seasonasamemberoftheDemetriusKleinDanceCompanybeforerejoiningDanceAliveNationalBallet.Ms.Garcia-RosetaughtclassicalballetfulltimeatFloridaStateUniversitySpring2007.Ms.Garcia-RoseiscertifiedinStottPilatesmatandreformer.ShehastaughtmasterclassesinAlabamaaswellasinotherfestivalsincludingtheFloridaDanceFestivalinMiami.
ElizabethJohnson'sprofessionalleveldancetrainingbeganatNorthCarolinaSchooloftheArtswhereshestudiedwithmanyhistoricallynotableteachers includingMelissaHayden,DuncanNoble, andRobertLindgren. SheholdsaBFA inDancewithhonors fromGeorgeMasonUniversity,anMFAinPerformanceandChoreographyfromtheUniversityofIllinoisUrbana-Champaign and a GLCMA (Graduate Laban Certificate of Movement Analysis) inLabanMovementAnalysisfromColumbiaCollegeChicago.
JohnsonisthefounderandartisticdirectorofYourMotherDances,herMilwaukeebasedcontemporaryrepertorycompany.HerchoreographyhasalsobeenproducedinNewYork City, Washington, D.C. Chicago, Minneapolis, Louisville, New Haven, CT, KrannertCenter for thePerformingArts inUrbana, ILandhasbeenselectedseveral times forGala
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performanceattheAmericanCollegeDanceFestival.In addition to her own company work, Johnson has performed with Sara Hook
Dances (NYC & IL), Molly Rabinowitz Liquid Grip (NYC), and toured nationally andinternationallyasaguestartistwithNewYorkCity'sDavidParkerandTheBangGroup.Johnson has served as dance faculty at the University of Illinois Champaign-Urbana, theUniversity of Wisconsin in Madison, the University of Wisconsin-Milwaukee, and theUniversity of North Carolina-Greensboro teaching a wide range of undergraduate andgraduate technique, creative and theory courses. Her research and teaching interestsinclude the integration of anatomy/kinesiology and somatic inquiry (Laban MovementAnalysisandAlexanderTechnique)intodancetechniqueteaching,DanceCompositionandImprovisation pedagogy, and exploring embodiment, relationship, and popular culturetrendsinherchoreographicwork.
SherecentlycompletedhersecondofthreeyearsoftrainingtobecomeacertifiedAlexanderTechniqueteacher.ejohnson@arts.ufl.edu
RicRose,AssociateProfessor/DanceCoordinatorattheUniversityofFloridaSchoolofTheatreandDance,hasbeencreatingoriginalworksatUFsince1987.HischoreographyhasbeenpresentedinUtrecht,BuenosAires,London,andcompaniesinthesoutheastincludingTallahasseeBalletCompany,DanceAliveNationalBallet,SCAD,JamesMadisonUniversity,ColoradoMesaState,andseveralotherschools.RichasbeenanArtist-in-ResidenceandguestchoreographerwithDanceAliveNationalBallet,aprofessionalballetcompany,since1984,havingalsodancedwithDemetriusKleinDance,TheYard,inAtlanticCityBally’sCasinoandforseveralartistsinNYC.HehasscriptednarrationfortwoballetsforDanceAlive,DraculaandTheCrackedNut.Hehasdirected,choreographedandperformedinnumerousproductionsfortheHippodromeStateTheatre,includingRobinHood,The39StepsandAroundtheWorldin80Days,aswellas,AVeryOldManwithEnormousWingsandFrankenstein.TheHippalsoproducedhisoriginalplay,TheCantaDancaDancer,aworkdesignedtointroducedancetostudentsK-12andcompletedayear-longtourthroughouttheFloridaschoolsystem.Ricimplementedthespecialtychoreographyinthemovie,"DocHollywood,"wherehealsoappearedasasquash.HeisfounderoftwodanceensemblesatUF,ShadowDanceTheatreandTheatreJazzRepertoire.HehasservedastheemceefortheFlorida4-HCongressforseveralyearsandhasbeenanadjudicatorforbothACTFAproductionsandtheMid-AtlanticACDFAfestival.Since1990,RichastwicebeenawardedboththeTeacheroftheYear(CollegeofFineArts)andtheTIPUniversityAwardforexcellenceinteaching.HehasalsobeenrecognizedwithadepartmentalFacultyoftheYearandaUFSuperiorAccomplishmentAward.HeisapastpresidentoftheFloridaDanceAssociationandacurrentboardmember.HereceivedhisMFAfromConnecticutCollegeandhisBAfromBaldwin-WallaceCollege.
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BALLETVOCABULARYPrimarywords
ListedincategoriesalphabeticallyPleasenotethatthedefinitionsaregeneraldescriptions/translationsofthetermsTermsrelatedtobarreand/orcentre:Adagio: SlowsustainedmovementAllonge´: Extended,outstretched,asopposedtobentorcurved.Arabesque: Abasicballeticpose,usuallyperformedinprofile:Thepositionofthebodywhen
supportedononelegwiththeotherextendedtothebackwiththekneestraight.Assemble´: Toassemble(orplacetogether)thelegsintheairAttitude: Thepositionofthebodywhensupportedononelegwiththeotherliftedtothefront
sideortheback,withthekneebent.Aposeinspiredbythestatueof‘Mercury’(byGiovannidaBologna)
Barre: Thelong,pipe-shapedbarthatdancersholdontoforsupportwhenwarmingup.Thewordisalsousedtorefertothesetofexercisedperformedatthebarreatthebeginningofeveryclass.
Battement: “rebound,”anymovementofthelegCambre´: Abendofthebodyfromthewaist,forward,sideward,orbackward.Change’: Literally,“changed”.Atermusedtoindicatethatthefeetchangepositionin
relationshiptoeachotherduringtheexecutionofastep(i.e.,thefootbeginsinthefromandfinishesintheback,orvisaversa).
Cloche,en: Literally,“likeabell”.Referstoswingingmovementsoftheworkinglegforwardandbackwardthrough1stpositioninstepssuchasbattementsdegagesencloche.
Combination:Anumberofstepsgroupedtogethertoformanexercise.Cou-de-pied: Onthe“neck”(cou)oftheankle.Thepositionoftheworkingfootwhenliftedand
pointedinfrontof,inthebackoforwrappedaroundtheankleofthesupportingleg.
Coupe´: Tocut–Thefootisraisedtotheankleoftheoppositeleg.Developpe': Theworkingfootisdrawnupthesupportingkneeandopenedintheairinany
givendirection,"unfolding".Degage: “Todisengage”Themovementofthefootoutwardfromaclosedpositiontowhere
thetoesleavethefloortoapositionof15degrees.Extension: Theheightofadancer'sworkinglegwhenliftedformthefloor.Alsoinreferenceto
thelengtheningofabodypart.Fondu: Literally,"melted",Thistermisusedsynonymouslywiththeword"plie".Itmeans
on,orwithabentsupportingleg.Frappe: Strongbrushofthesupportinglegwiththeworkingfootincoupe,"strike".Pas: Astep.Usedtorefertoanysinglemovementintheballetvocabulary.Pasdecheval:Horse’sstep.Penche': "Inclined".Usuallyreferstoarabesquepenche',apositioninwhichthedancertiltsforwardfrom
thehip,directingthetorsoandheadtowardthefloor,andliftingthefootoftheextendedbacklegtowardtheceiling.
Plie(plier): Tobend-Abendingmovementoftheknees,demiorgrand.Portdebras: Movementsorpositionsofthearms.Preparation: Themusicalphraseand/ormovement(s)thatactasalead-inforthedancer.Releve´:Arise.Describesapositionofthesupportingfootinwhichtheheelhasbeenraisedfromthefloor,
andthedancerisbalancedontheballofthefoot(oronthetoes,ifenpointe).Alsothecombinationofademi-pliefollowedbytheraisingoftheheel(s)fromthefloor.
Ronddejambe:Circleoftheleg(aterre)ontheground,or(enl'air)intheair. endehors:Outward,foottravelsinanarcfromfronttoback
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endedans:Inward,foottravelsinanarcfrombacktofrontSous-sus:Under-over.Onefootbeingunder,orintheback,andonefootbeingover,orinthefront.Tendu:“stretched”Theactionofthefootleavingaclosedpositiontoafullyextendingpositionwithoutthe
toesleavingthefloor.Termsrelatedtocentre:Allegro,grand:Combinationsofexpansiveandwidelytraveledjumping,movementsthat
incorporatelarge,advanced-levelleapssuchasgrandjetes.Allegro,petite:Sprightlycombinationsofsmalljumpingmovementsperformedataquick
tempoBalance`: Arockingstepresemblingawaltz,consistinginthreepartsofalterationof
balance.Balon: Atermencompassingthedesirablequalitiesoflightness,ease,andreboundwhen
jumping.Batterie: Jumpingmovementsinwhichthelegsbeat,orexchangeplaceswitheachother,in
5thpositionintheaironeormoretimesbeforelanding.Theeffectisoneofinterlacingorcrisscrossingthelegsintheair.
Beat: Tohitthelegstogether,movingtheminandoutof5thpositionintheairsotheyappeartocrisscross.Allbatterieiscomposedof“beaten”movements.
Cabriole: Caper,likeagoat’sjump.Theworkinglegopensstraightout;thesupportingleg pushesoffandbeatsunderneaththeworkingleg,propellingithigher.
Chaine`: Linkedlikeachain–aseriesofturnswiththefeetinfirstposition.Chasse`: Chasingonefootwiththeother–acontinuousmovement.Entournant: Turning.Entrechat: Abeatenjumpinwhichthelegscrossin5thpositionintheairwithoutchange'.Fouette`: Whipping.Astrongwhippingmovementofonelegaccompaniedbyahalforfull
revolutionofthebody.Glissade: Toglideorslide–alinkingorpreparatorystep.Jete: Springfromonefoottotheother,"thrown".GrandJete:Largeleap.EnManege: Atermusedtodescribeaseriesofsteps(usuallyturnsorjumps)performedwhile
travelinginacirclearoundtheperipheryofthestage.Pasdebasque:AstepderivedfromthenationaldancesoftheBasques.Takinginthreedistinctcounts.Pasdebourree:Asteporiginatingincountrydances.Thismovementinvolvesthreeortwostepsinanydirectionthatusually
changeswhichfootisinfront.Pasdechat:Acat-likespringingmovementfromonefoottotheother,"Stepofthecat".Pasdebourre:Pique: literally,"pricked"-toprickwiththetoesaswithaneedle.1)Amovementin
whichthestronglypointedtoeoftheliftedandextendedlegsharplylowersmomentarilytohitthefloor,thenimmediatelyreboundsupward.2)Adjectivedescribingamovementinwhichthedancertransfersthebodyweightfromoneleg(inplie)totheotherbysteppingoutdirectlyontopointeordemi-pointewithastraightleg;forexample,piquearabesque.
Pirouette: Whirlorspin-Acontrolledturnononelegondemi-pointeorpointeinanypose.Promenade: Aslowrotationofthebodyinadagioexercises,inwhichthedancer,maintainingaposeonone
legwiththeotherraisedofftheground,executesmanylittlepivotsofthesupportingheelinordertoturnthebodyaroundonthewholefoot.
Saute(sauter):Jump.Sissonne: Namedforthecreatorofthestep.Springingupfrombothfeet,landingononeleg.Soutenu: "Sustainedturning."Tombe`: Tofall.Tour: Aturnofthebody.
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Tournant,en:TurningTERMSRELATEDTODIRECTIONS:EnAvant: Travelingforward.Croise’: Crossed.Referstoadirectionofthebodyinwhichthelegsofthedancerappear,
fromtheaudience’sviewpoint,tobecrossedoneinfrontoftheother.Examples:Croise’devant(crossedwiththeworkinglegextendedtothefront)orarabesquecroise(crossedwiththeliftedbacklegbeingtheupstageleg.)
EnCroix: Intheshapeofthecross.Referstoaballetconventioninwhichthesamemovementisperformedinsequencetothefront,theside,theback,andagaintothesameside.
EnDedans: Inward.Characterizesanycircularorturningmovementinwhichtheworkinglegmoves.Derriere: Totheback(behind).Devant: Tothefront.Ecarte: Spreadwide.Oneofthedirectionsofthebody.(Seesheetonbodypositions.)Efface: Erased,shaded.Oneofthedirectionsofthebody.(Seesheetonbodypositions.)Endehors: Outward.Enface: referstothepositionofthedancer'sbodywhendirectlyfacingtheaudience.(See
sheetonbodypositions.)a`laSeconde:Inthe2ndposition.Amovementinwhichthearmorlegisextendedtothesideofthebodyis
saidtobeperformeda`laseconde.
TERMSRELATEDTOTHEPERSONNELINABALLETCOMPANY:Ballerina: Aprincipalfemaledancerinaballetcompany.Balletmaster/mistress:Thepersoninaballetcompanywhorehearsestherepertoireand
teachescompanyclass.Balletomane: Anenthusiasticballetfan.Corpdeballet:Thedancersinaballetcompanywhodonotperformsoloroles.Typicalofcorpdeballet
workistheperformanceofchoreographyinwhichthedancersmoveinlargegroupsinunisonwhile
changingformationandcreatingbeautifulspatialpatternsacrossthestage.Danseur: Theleadingmaledancerinaballetcompany.Danseurnoble:Amaledancerwhoistall,elegant,andaristocraticinappearanceanddancesleadingroles
suchasthePrinceinSwanLakeorthepoetfigureinLesSylphides.Hemustbeanexcellentsoloistandpartnerandpossesspureclassicalline.
PrimaBallerina(Absoluta): Thetop-rankedfemalesoloistinaballetcompany.Thistitleisusuallyreserved
foronlyafewworld-classballerinas.
TERMSRELATINGTOCLASSCentrebarre:Theexercisesthatareperformedinthemiddleoftheroomwithoutthesupportofthebarreand
thataredirectlyrelatedinformtothetenstandardbarreexercises.Examples:plies,tendus,ronddejambe,fondus.
Centerwork: Allexercisesinaballetclassthatareperformedinthemiddleoftheroomwithoutthesupportofthebarre.
Line: Thesculpturalshapeformedinspacebyadancer'slimbsandbody.Goodlineisoneadancer'smostvaluedattributes.Itisproducedbyacombinationofflexibility,disciplinedtraininginthepositionsofthebody,andthenaturallybeautifulshapeandproportionofbodypartsaccordingtotheidealofclassicalballet.
TERMSRELATINGTOPHYSICALPLACEMENT
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Alignment: Thearrangementofpartsofthebodyinrelationtoeachotheraccordingtotherulesofclassical
ballet.Placement: Tobeplaced.Awell-placedbodyisonethatiscorrectlyaligned,withoutuselesstension,to
allowfreemotion.Thealignmentofthepartsofthebodyandthedistributionofbody.
Demi-pointe: Thepositionofthefootwhentheheelisraisedfromthefloorandthedancerispoisedontheball
ofthefoot.Thetermisoftenusedsynonymouslywiththetermreleve’isalsoendemi-pointe.
Dessous: Under:Describesamovementinwhichonefootstepsbehindorcutsacrossinbackoftheother,sometimesreplacingit,asincoupedessous,whenthebacklegreplacesthefront.Over:Describesamovementinwhichonefootstepscutsacrossinfrontoftheother,sometimesreplacingit,asincoupedessous,whenthefrontlegreplacestheback.
Epaulement: Shouldering.Referstothemannerinwhichadancerslightlytwiststhetorsowhenfacingstraightahead,bringingoneshoulderforwardoftheother.
Ferme: Closed,asinsissonneferme'(ajumpinwhichthelegsfinishclosedin5thposition).Ouvert: Open,asincabrioleouvert,ajumpfinishedononelegwiththeotherheldaloft.Haut,en: High.Describestheheightofthearmswhentheyarebeingheldabovethelevelofthehead,as
in5thpositionenhaut.L’air,en: Intheair.Usedtoindicatethatoneorbothfeetareoffthefloor,asinronddejambeenl’air
(onefoot)ortourenl’air(bothfeet).Parallelposition:Notturned-out;usuallyusedtoreferto6thposition,inwhichbothfeetare
placetogetherfacingstraightfront,paralleltoeachother.Parterre: Onoralongthefloor.Pointe,en: Thepositionofthefootinapointe(ortoe)shoe,inwhichtheheelisraisedwiththefootpointed
vertically,andthedancerstandsbalancedontopofhertoe(s).Surlespointe:Enpointe.Standingonthetoes.Pronated: Sameas‘beveled’.Quatrieme,ala:Inthe4thposition.Sickled: Anincorrectpositionofthefootinrelationshiptotheankle,inwhichthedanceroverextendsthe
outsideofthefootbyturningthefootinwardfromtheankletowardtheinsideoftheleg.Rolledin,rolledover:Anincorrectpositionofthesupportingfootorleginwhichtheweightisallowedto
dropforwardontotheinsideofthefootorleg.Terre,a: Onthefloor.Tuckedunder:Anincorrectpositionofthepelvisinwhichthebuttocksarepressedforward,forcingthepelvis
totiltandthrowingthehipsoutofproperalignment.Workingleg:Thelegthatisperforming(asopposedtothesupportingleg,uponwhichthedancerisstanding).TERMSRELATEDTOPERFORMINGCharacterdance/style:Astylizedtypeofdancingderivedfromfolk-danceformsbutbased
uponclassicalballettechnique.MostofthelargeclassicballetssuchasSwanLakeorCoppeliaincludecharacterdances,andallseriousballetstudentsarerequiredtostudycharacteraspartoftheirtraining.TypicalcharacterdancesarethosebasedupontheHungarianczardas,thePolishmazurka,theItaliantarantella,andthe
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Spanishflamencostyles.Inaddition,thetermcanrefertoanydancebasedonmovementsassociatedwithaparticularprofession,personality,orlife-style,suchasasailor’sdance.AspecificexampleistheclogdanceforMotherSimoneinFredrickAshton’sLaFilleMalGardee’.
Choreography:Thearrangementofthestepsandpatternsinadancecomposition.Demi-caractere:Atermdescribingatypeofclassicalballetchoreographythatisheavily
flavoredwithcharacter-styleorfolk-dancereferences.Anexampleofademi-caracteredivertissementistheDonQuixotepasdedeux,withitsmanyposesdrawnfromSpanishdancing.Ademi-caracteredancerisonewhoisbettersuitedtoperformingtheserolesthanstrictlyclassicalonesforreasonstodowithhisorherphysique,line,ornatural qualityofmovement.
Deux: Two.Pasdedeux: Literally,"stepsfortwo."Adancefortwopeople,usuallyamanandawoman.Structureis1)
anentradaforbothdancersinwhichthemanpartnersthewoman,followedby2)amalesolovariation,3)afemalesolovariation,and4)acodainwhichbothperformindividualfeatsofvirtuosity,thendancetogetherattheconclusion.
Divertissement:Asuiteofshortdancesdesignedtodisplaytechnicalprowessandcharmofthedancers.
Repertoire: Theworkschoreography,orballet,thatareperformedbyadancecompany.Variation: Asolodancechoreographedprimarilyforthepurposeofdisplayingadancer'stechnical
prowess.Virtuoso: Highlyskilled.Avirtuosodancerisonewhodisplaysdazzlingtechnicalprowess,onewhose
abilityisfarabovethatoftheaveragedancer.
OTHERTERMINOLOGYAccent : Thatwhichisemphasized,usuallyaparticularmusicalbeatDemi: Half.Grand: Large.Describesmovementsonwhichthelegsareliftedtoaheightof90degreesor
above,asingrandbattement.Lunge: Awide-open(i.e.,legsapartstanceontwofeetin4thposition,inwhichoneleg(usuallythe
front)isbentandtheotherstraight.Itisoftenusedaspreparatorypositionforpirouettes.
Mark: Tosuggestmovements,todancewithoutdoingallthemovements“fullout”.Petite: Small.Atermdescribingsmallmovementsthatarenotperformedhighintheair,
suchaspetiteassembles.Rose',ric: Whatateacher!Spotting: Thetechniqueofturningtheheadduringpirouettessoastoavoidbecomingdizzy.
Whenspotting,adancerquicklywhipstheheadaroundandrefocusestheeyeswitheachturnofthebody.
Turn-out: Rotationofthelegsoutwardfromthehipjointssothatthekneecapsandtoesfaceoutwardaway
fromthecenterofthebody.Alltraditionalmovementsinclassicalballetareperformedturned-
out.
Majorcontributingsources: GretchenWarren,"ClassicalBalletTechnique" AnnaPaskevska,“BothSidesoftheMirror”Famous(orPopular)BalletMovies:
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TheRedShoes(1948)FirstPosition(2011)Mao'sLastDancer(2009)BlackSwan(2010)BillyElliot(2000)SavetheLastDance(2001)BalletShoes(1975)TheCompany(2003)TheTurningPoint(1977)WhiteNights(1985)TheTalesofHoffmann(1951)Dancers(2008)BalletRusse(2005)CenterStage(2000)ChildrenofTheatreStreet(1977)InvitationtotheDance(1956)BlackSwan(2010)FirstPosition(2011)Ballet422(2014)http://en.wikipedia.org/wiki/Category:Ballet_films