Classical

Portfolio
made by
Gia Kristel L. Lopez
BSEd-Filipino 1C
istory
The Italian
Origins
• Ballet, from Italian word “balletto” or
“little dance”, originated in Renaissance
Italy as a combination of social dance and
choreographed display at aristocratic
gatherings.
• During this time, the Italian courts were
flourishing. Their noblemen and women
were enjoying lavish events and
celebrations, where dance and music were
integral. A very typical celebration to have
was to hold balls with attendees wearing
masks.
• In many aspects, it was a way of controlling
people in court with acceptable forms of
behavior such as the manner in which
people stepped, bowed or took someone’s
hand. It also involved rules governing
everything from attire to where one could
walk or sit in relation to the King. Over
time, the study of ballet became the central
element of court life, and proper grasp of
the etiquette could make or break one’s
success as a courtier.
The French
revolutionizing ballet
I. 16th century
• Ballet was brought to France
in the 16th century by
Catherine de Medici, the
Italian wife of King Henry II.
• Due to her efforts, ballet
gained popularity in France,
and a festival called ballet de
cour (ballet of the court)
became commonplace.
• As celebrations become more lavish, so did the
dance. In these celebrations, the attendees were
often taught dance by masters of the art, creating
spectacular performances.
• Under Catherine’s tutelage, ballet was married to
French style, becoming more performance-based
and intellectual. The dancers began to wear lighter
costumes, used freer movements and complex
dances.
• The focus shifted from participation to performance,
and the form acquired more theatrical trappings
such as professionally designed sets and a slightly
raised platform or stage with curtains and wings.
The French
revolutionizing ballet
II. 17th century
• it was in the 17th century court of
Louis XIV that ballet was refined
into the art that we know today.
• Louis was enthusiastic enough to
codify the entirety of ballet
costumes, movements, stories and
music, and formally supported
them under the Crown.
• Louis the XIV is especially remembered for his role
of the God of Sun, Apollo, in Ballet de la nuit, and
this inspired many amateurs to perfect their art.
Through his example, dancing became an essential
skill for all gentlemen of the era.
• He found the Royal Academy of Dance in 1661. He
appointed his personal ballet master and frequent
performance partner, Pierre Beauchamp, who
codified the five main positions of the body still
used today. Through his collaborations with Jean-
Baptiste Lully, the director of the Royal Music
Academy, and famed playwright Moliére,
Beauchamp helped establsihed ballet as a grand
spectacle.
The French
revolutionizing ballet
• In 1669, a separate ballet academy was found - the
Paris Opera Ballet survives today as the oldest ballet
company in the world. Two decades later, ballet
shifted from courts to performing on stage.
• However, in the mid-1700s, ballet proponents like
Jean Georges Noverre were already pushing for
ballet to be its own art form. They strongly believed
that ballet had expressive and dramatic movements
that could help establish character roles on stage. At
this point, ballet d’action came into existence,
dramatic and narrative. This is an important
development, picking speed especially in the 19th
century.
19th Century
Ballet
• The first half of the 19th
century saw the rise of the
Romantic Movement. This
influenced all of art and
culture, and ballet was no
exception. The themes of the
movement were supernatural
and magical, with women
being portrayed as fragile and
passive. The stories became
more of fairy tales than
commoners’ lives.

• The dancers were expected to be more sylph-like

and wore loose, flowy costumes. Tutus were long
and airy, and the stories were heavily inspired from
folklore. The ballet slipper was invented to help
these dancers accomplish their leaps and jumps
skillfully.This period was also when pointe work
was created. Pointe work is the technique in which
ballerinas stand on the tips of their toes and dance.
This has become the iconic image of ballet in the
world. Pointe work was invented by Marie Taglioni
who danced La Sylphide. Together, these gave
ballerinas the image that they are associated with
today.
The Russian
Influence on
Ballet
• Towards the latter half of the
19th century, ballet declined
in popularity in France. But it
remained popular in Russia,
where some of the best-loved
ballerinas of the world come
from.

• Serge Pavlovich Diaghilev owned a dance company

called Ballet Ruses, which began to charm
audiences in Paris in 1909. Thereafter, Ballet Ruses
was strengthened with the brilliant composer Igor
Stravinsky and an array of innovative choreography,
costumes and Russian folklore.
• Because these companies could not return to Russia,
they remained in Western Europe after the
revolution and this helped ballet regain its
popularity across the globe.
• The most popular ballets of all time are also Russian
and from this production company, such as
Tchaikovsky’s Swan Lake and The Nutcracker.
Beginning of
American
Ballet
• A few years later, Serge
Pavlovich Diaghilev died and
one of his famous dancers,
George Balanchine came to
America, founded the New
York City Ballet, produced
his version of The Nutcracker
and established a name for
ballet in the minds of
American audiences.

•  Balanchine was also accompanied by many other

dancers from the Ballet Ruses company.  One of
these was Adolph Bolm, who founded the San
Francisco Ballet School.
• One of the many ways that Balanchine transformed
ballet was by introducing neo-classical ballet. This
is a form of ballet that is plotless and endeavors to
express human emotions through movement and
music. This was more expansive and flexible, and
dancers danced at extreme tempo, performing
technical feats.
• Balanchine is also partly responsible for the
techniques of contemporary ballet. Contemporary
ballet is a fusion of classical ballet and modern
dance. It takes the technique of classical ballet and
has freer movement of the body.
teps
Arabesque
• An arabesque is an extension of the dancer's leg off
the floor to the back of the body.

Assemblé
• An assemblé begins in fifth position. It is a jump in
which the front leg extends out to the side and up off
the floor while the supporting leg hops. The
extended leg then lands behind the supporting leg in
fifth position.
Attitude
• Attitude is a pose in which the dancer's leg is lifted
and extended to the front or back of the body, knee
turned out to the side.

Balancé
• The balance is also known as the "waltz." It is a
three-step combination in which the dancer steps to
the side with one foot, lifts onto the ball of the
second foot from behind the ankle, then replaces
weight on the ball of the first foot to begin again on
the other side.
Battement
• Battement is when the dancer's lifted leg is extended
away from the supporting leg. There are a variety of
types.
a. A petite battement involves small
movements, or kicks from one side of the
ankle to the other.

b. In a grand battement, the legs stays

completely straight. It lifts to a higher level
and moves at a slower pace.

c. In a developpe, the knee bends first during

the lift, then extends to straight.
Brisé
• A brisé is similar to an assemblé in that one foot
extends up and out before the jump. There are three
main differences.
a. The back foot extends and lifts.
b. The brisé is a lateral movement, traveling
right or left.
c. The feet do not switch positions, but rather
return to their starting positions upon landing.

Cabriolé
• A cabriolé is a jump in which your legs meet in the
front or in the back. One leg is extended first, and the
other is lifted to meet it quickly before landing on the
supporting leg.
Changement
• Changement means "change." The dancer begins in
fifth position. He or she jumps and switches which
foot is in front before landing again in fifth position.

Chassé
• The chassé is a small moving jump in which the feet
tap together in the air. Each jump lands in fourth
position.
Ciseaux
• The ciseaux is a split leap with one leg in the front of
the body and one in the back.

Coupé
• The coupé is a pose in which one foot is pointed
behind the ankle of the other leg. You can practice
rising up to relevé from coupé.
Echappé
• In echappé, the dancer separates his or her legs and
lifts onto the toes. It begins and ends in fifth position.

Emboité
• In emboité, the supporting leg is on point while the
other is externally rotated. In the rotated leg, the
dancer's toes point to the inside edge of his or her
thigh, just above the knee of the supporting leg.
Glissade
• Glissade is a movement in which the dancer slides
along the floor, extending one foot out to the side
from fifth position, releasing it to the floor, then
gliding the other back into fifth position.

Jeté
• A jeté is a quick extension and lift of one leg to the
front, back, or side. In this move, the leg should be
completely straight.
Pas de Basque
• Pas de basque is a more advanced set of movements
that literally translates to "step of the Basques," part of
the national dance of the Basques in Southern France.

Pas de Bourrée
• A pas de bourrée is a three step lateral movement,
dancing on the toes. To begin, lift the back foot into
coupé.
Pas de Chat
• Pas de chat is a leap in which the knees are bent and
the toes lift toward the center of the groin. It begins
through a coupé so that one foot lifts and lands before
the other.

Passé
• A passé is the movement of foot up the supporting leg
and replacement behind it. You can begin learning
how to do a passe from retire.
Penché
• A penché looks like an arabesque. However, there are
a few differences.: Your hips are turned out, your
lifted leg extends high, toes pointed toward the
ceiling, your torso lowers toward the floor.

Petit Jeté
• A petite jete is a jump switch from coupé.
Pirouette
• A pirouette is simply a turn. The simplest way to start
practicing is by beginning in fourth position.

Plié
• To perform a plié, you bend your knees, or squat. This
can be done with any basic foot position.
a. A demi-plié is a small movement. You
lower just a bit before returning to the
starting position.
b. The grand plié is a larger movement in which
you lower down completely then return to the
starting position.
Port de Bras
• Port de bras are arm positions that create a poised and
stylized look in the dancer's upper body. They also
help with balance and core engagement.

Relevé
• A relevé is simply lifting your heels up so that you are
on your toes. It can be performed in any position, on
one or two feet.
Sissonne
• A sissonne is a jump which begins with both feet
leaving the floor simultaneously. One leg extends out
and up, while the other moves to land. The feet then
quickly come back together.

Rond de Jambe
• In a ron de jambe, the dancer draws a circle from the
front of his or her body to the back, toes pointed, leg
long. This can be performed with the toes tracing
along the floor or the foot lifted to any height.
Soubresaut
• A soubresaut is a jump beginning in fifth position. The
dancer jumps straight up and lands in the same
position. Beginners can practice in third position.

Sous-sus
• Sous-sus are releves in which you bring the toes of
your front foot to meet the toes of your back foot as
you lift up.
Tendu
• A tendu is a simple point of the toe away from your
body. It is the foundation of many other moves in
ballet.
ostumes
• The romantic tutu emphasizes airyness. It is a long
flowing skirt typically made from 6 layers of tulle,
reaching the mid calf.
• The bell tutu (made famous Degas paintings) is short
and stiff. The layers of netting are not supported by a
hoop and fall into a bell shape.
• The pancake tutu jets straight out at the hips and is
supported by a wire hoop embedded in it’s layers. It is
short and stiff. True to it’s name, it looks like a
pancake.
• The platter tutu is quite similar to the pancake, but
has a flat top which is often decorated instead of
pleated. It does not have a wire hoop.
• The Balanchine tutu (aka powder puff) is a short
tutu that doesn’t stick as far out as the pancake or
platter. It does not have a wire hoop and has a softer
full appearance.
RESOURCES
• https://www.youtube.com/watch?v=OEekFTj5PvU
• https://theballet.website/history-of-ballet/
• https://dance.lovetoknow.com/ballet-dance-steps
• https://reneenicolegray.medium.com/the-history-of-the-ballet-tutu-5886801ae785
• https://www.youtube.com/watch?v=ib7qt_4U3sU
• https://www.youtube.com/watch?v=-JDGa08MPpw
• https://www.youtube.com/watch?v=ytKyS3odmjM
• https://www.youtube.com/watch?v=fm-XZCi9skQ
• https://www.youtube.com/watch?v=fM0cc3EBBNA
• https://www.youtube.com/watch?v=XAsMB3eRe6g
• https://www.youtube.com/watch?v=X9zdAmuS2ao&t=1s
• https://www.youtube.com/watch?v=1hdHc1hJAWU
• https://www.youtube.com/watch?v=2KnzfvaENKE
• https://www.youtube.com/watch?v=2bKPQ9omy5E
• https://www.youtube.com/watch?v=kk8K1DYeXIU
• https://www.youtube.com/watch?v=GjMyKID5JEs
• https://www.youtube.com/watch?v=vwx6H9IVyCg&t=2s
• https://www.youtube.com/watch?v=dHKtrn2qVjs
• https://www.youtube.com/watch?v=m4A6PLeGIB4
• https://www.youtube.com/watch?v=BVM8AP3luyI
• https://www.youtube.com/watch?v=1jiqrMb4Lu0
• https://www.youtube.com/watch?v=AF7jpoEylqQ