T

Tableau [ta-BLOH]

Picture. A striking or artistic grouping that forms a large picture on the stage.

Talon [ta-LAWN]

Heel.

Taqueté [tak-TAY]

Pegged. A term used to indicate a dance sur les pointes consisting of quick, little steps in which the points strike the floor sharply in a staccato manner. Steps of taqueterie include piqué, emboîté sur les pointes, pas de bourrée and so on.

Tarantella [tah-rahn-TEL-lah]

A fast Italian dance in 6/8 time.

Temps [tahn]

Time, step, movement. A part of a step or movement in which no transfer of weight takes place. A temps is a section of a pas.

Temps collé [tahn kaw-LAY]

Adhering movement. See Collé; Temps de poisson.

Temps de ciseaux [tahn duh see-ZOH]

Scissors movement. Same as pas de ciseaux.

Temps de cou-de-pied [tahn duh koo-duh-PYAY]

Movement of the instep. This is an equal pulling up in the fifth position of both feet onto the points or demi-pointes. The feet are well crossed so that the front foot hides the back one. See Relevé sur les pointes.

Temps de cuisse [tahn duh kweess]

Thigh movement. A compound step consisting of a battement dégagé and a sissonne fermée. The working foot executes a battement dégagé on the upbeat of the measure in preparation for a sissonne fermée in the required direction. The step is traveled slightly and the feet must close sharply. It may be executed dessous, dessus, en avant and en arrière. There are several variations of the temps de cuisse dessous and dessus in which the body may be turned in any given direction.

Temps de cuisse dessous [tahn duh kweess duh-SOO]

Temps de cuisse under. Fifth position R foot front. Demi-plié and execute a battement dégagé to the second position with the R foot. Immediately slide the R foot to the fifth position back in demi-plié. Spring off both feet, using the insteps only and traveling slightly to the left. Come to the ground on the L foot in demi-plié with the R foot extended à la seconde demi-hauteur, then slide the R foot to the fifth position back, bending the knee.

Temps de cuisse dessus [tahn duh kweess duh-SEW]

Temps de cuisse over. Fifth position R foot back. Demi-plié and execute a battement dégagé to the second position with the R foot. Immediately slide the R foot to the fifth position front in demi-plié. Spring off both feet, using the insteps only and traveling slightly to the left. Come to the ground on the L foot in demi-plié with the R foot à la seconde demi-hauteur, then slide the R foot to the fifth position front, bending the knee.

Temps de cuisse en arrière [tahn duh kweess ah na-RYEHR]

Temps de cuisse backward. Fifth position R foot front. Demi-plié and execute a battement dégagé to the second position with the R foot. Immediately close the R foot to the fifth position back in demi-plié. Spring off both feet, traveling backward. Come to the ground on the R foot in demi-plié with the L foot extended to the fourth position front, low to the floor, then slide the L foot to the fifth position front in demi-plié.

Temps de cuisse en avant [tahn duh kweess ah na-VAHN]

Temps de cuisse forward. Fifth position R foot back. Demi-plié and execute a battement dégagé to the second position with the R foot. Immediately close the R foot to the fifth position front in demi-plié. Spring off both feet, traveling forward. Come to the ground on the R foot in demi-plié with the L foot extended to the fourth position back, low to the floor, then slide the L foot to the fifth position back in demi-plié.

Temps de flèche [tahn duh flesh]

Arrow movement. This step is so named because the first leg acts as a kind of bow and the second leg the arrow. There are several variations of this step. (1) From demi-plié in the fifth position, the front leg (the bow) executes a grand battement a la quatrième devant and is then brought back to the knee (raccourci) with a spring into the air as the second leg (the arrow) does a quick développé through it. The dancer then alights in fondu on the first leg. (2) From a demi-plié in the fifth position, perform a grand battement with the front leg, then a second battement with the back leg before the first leg alights. The legs pass each other in the air. (3) From a demi-plié in the fifth position R foot back, execute an enveloppé with the R leg while springing into the air; as the pointed toe of the R foot comes in to the knee of the L leg, quickly raise the L knee and développé the L leg effacé devant while alighting on the R leg in fondu.

Temps de l’ange [tahn duh lahnzh]

Angel’s step. This step is very similar to the temps de poisson, but the legs are bent as in attitude with the knees slightly open. The back is well arched with the head back and the arms en couronne. The step is plané and the landing is made on the same spot as where the step started.

Temps d’élévation [tahn day-lay-va-SYAWN]

Step of elevation. This term is applied to all movements which involve a jump or spring. These include changements, soubresauts, jetés, sissonnes and so on.

Temps de pointe détourné [tahn duh pwent day-toor-NAY]

Toe movement, turned aside. A term of the French School. From a demi-plié in the fifth position the dancer springs into a relevé on the points, pivoting toward the rear foot and finishing the turn with the rear foot in front. See Détourné.

Temps de pointe en descendant [tahn duh pwent ahn day-sahn- DAHN]

Toe movement, coming down. A term of the French School. Same as piqué en avant.

Temps de pointe en remontant [tahn duh pwent ahn ruh-mawn- TAHN]

Toe movement, going up. A term of the French School. Same as piqué en arrière.

Temps de pointes [tahn duh pwent]

Movement(s) on the points (toes), pointe work. A term of the French School. These include piqué, relevé, etc. (qq.v).

Temps de poisson [tahn duh pwah-SAWN]

Fish step or movement. This is a form of soubresaut in which the dancer jumps with the back arched. The legs, which are well extended, are behind and held close together with the pointed feet crossed so as to represent a fish’s tail. Fifth position croisé R foot front. Demi-plié and spring upward and forward into the air, turning the body effacé. As the body rises in the air, the legs are thrown upward in back of the body with the back well arched and the arms en couronne. The landing is made in fondu on the R foot with the L leg extended back in the air. To repeat the temps de poisson it is usual to perform a chassé passé in the direction croisé en avant with the L foot, followed by an assemblé dessus R, to bring the feet into the fifth position. Also known as “pas de poisson,” “sissonne soubresaut” and “temps collé.”

Temps levé [tahn luh-VAY]

Time raised, or raising movement. A term of the Cecchetti method. This is a hop from one foot with the other raised in any position. The instep is fully arched when leaving the ground and the spring must come from the pointing of the toe and the extension of the leg after the demi-plié. In the Cecchetti method the term also means a spring from the fifth position, raising one foot sur le cou-de-pied. In the Russian and French Schools this latter step is termed “sissonne simple.”

Temps levé chassé [tahn luh-VAY sha-SAY]

Temps levé chased. A term of the Cecchetti method. Same as chassé en avant (Russian and French Schools).

Temps levé en arabesque [tahn luh-VAY ah na-ra-BESK]

Temps levé in an arabesque position. From an arabesque or attitude on the R foot, demi- plié and spring into the air, holding the arabesque or attitude position. Come to the ground in demi-plié on the R foot in the same position.

Temps levé en tournant [tahn luh-VAY ahn toor-NAHN]

Temps levé, turning. A term of the Cecchetti method. Same as sissonne simple en tournant.

Temps levé sauté [tahn luh-VAY soh-TAY]

Temps levé jumped. A term of the Russian School. This is a jump from both feet ending in the same position. From the first position, demi-plié, push off with the heels and jump into the air, pointing the toes and straightening the knees. Land in demi-plié in the first position. Temps levé sauté may be performed in the first, second, fourth and fifth positions of the feet. It may also be performed on one foot with the other foot held in a position taken before the jump.

Temps levé sur la pointe [tahn luh-VAY sewr lah pwent]

This is a small jump close to the floor on the point of one foot with the other leg raised in any pose at 45 degrees or in an arabesque at 90 degrees. The foot of the supporting leg is held taut and the knee remains slightly bent in the jump. It Temps de pointes [tahn duh pwent]. Movement(s) on the points (toes), pointe work. A term of the French School. These include piqué, relevé, etc.

Temps de poisson [tahn duh pwah-SAWN]

Fish step or movement. This is a form of soubresaut in which the dancer jumps with the back arched. The legs, which are well extended, are behind and held close together with the pointed feet crossed so as to represent a fish’s tail. Fifth position croisé R foot front. Demi-plié and spring upward and forward into the air, turning the body effacé. As the body rises in the air, the legs are thrown upward in back of the body with the back well arched and the arms en couronne. The landing is made in fondu on the R foot with the L leg extended back in the air. To repeat the temps de poisson it is usual to perform a chassé passé in the direction croisé en avant with the L foot, followed by an assemblé dessus R, to bring the feet into the fifth position. Also known as “pas de poisson,” “sissonne soubresaut” and “temps collé.”

Temps levé [tahn luh-VAY]

Time raised, or raising movement. A term of the Cecchetti method. This is a hop from one foot with the other raised in any position. The instep is fully arched when leaving the ground and the spring must come from the pointing of the toe and the extension of the leg after the demi-plié. In the Cecchetti method the term also means a spring from the fifth position, raising one foot sur le cou-de-pied. In the Russian and French Schools this latter step is termed “sissonne simple.”

Temps levé chassé [tahn luh-VAY sha-SAY]

Temps levé chased. A term of the Cecchetti method. Same as chassé en avant (Russian and French Schools).

Temps levé en arabesque [tahn luh-VAY ah na-ra-BESK]

Temps levé in an arabesque position. From an arabesque or attitude on the R foot, demi- plié and spring into the air, holding the arabesque or attitude position. Come to the ground in demi-plié on the R foot in the same position.

Temps levé en tournant [tahn luh-VAY ahn toor-NAHN]

Temps levé, turning. A term of the Cecchetti method. Same as sissonne simple en tournant.

Temps levé sauté [tahn luh-VAY soh-TAY]

Temps levé jumped. A term of the Russian School. This is a jump from both feet ending in the same position. From the first position, demi-plié, push off with the heels and jump into the air, pointing the toes and straightening the knees. Land in demi-plié in the first position. Temps levé sauté may be performed in the first, second, fourth and fifth positions of the feet. It may also be performed on one foot with the other foot held in a position taken before the jump.

Temps levé sur la pointe [tahn luh-VAY sewr lah pwent]

This is a small jump close to the floor on the point of one foot with the other leg raised in any pose at 45 degrees or in an arabesque at 90 degrees. The foot of the supporting leg is held taut and the knee remains slightly bent in the jump. It may be done in a series, in place, traveling forward or backward, or turning in place. It may also be done with the free leg executing ballonné or rond de jambe en l’air en dehors. SeeSoubresaut sur la pointe.

Temps levé sur le cou-de-pied derrière [tahn luh-VAY sewr luh koo- duh-PYAY deh-RYEHR]

Temps levé on the back of the ankle. Raise the R foot to the position sur le cou-de-pied derrière; demi-plié on the L foot; spring upward into the air off the L foot; come to the ground on the L foot in demi- plié.

Temps levé sur le cou-de-pied devant [tahn luh-VAY sewr luh koo- duh-PYAY duh-VAHN]

Temps levé on the front of the ankle. Raise the R foot to the position sur le cou-de-pied devant with the instep fully arched and the toe pointing downward; demi-plié on the L foot; spring upward into the air off the L foot; come to the ground on the L foot in demi-plié.

Temps levé sur les pointes (Russian School) [tahn luh-VAY sewr lay pwent]

Temps levé on the points. This is done in the first, second, fourth and fifth positions. Demi-plié, push off from the heels with a slight spring, straightening the knees and rising on the points; with a slight spring, lower the heels to the floor in demi-plié. See Relevé sur les pointes or demi-pointes (Cecchetti method).

Temps lié [tahn lyay]

Connected movement. Temps lié, an exercise used in centre practice, is composed of a series of steps and arm movements based on the fourth, fifth and second positions. A very valuable exercise for the achievement of a soft demi-plié, it teaches control and balance in transmitting the weight of the body from one position to another with a smooth, rhythmical movement. It is widely used in the Russian School, starting in the beginner’s classes and gradually increasing in difficulty. The movement is done en avant and en arrière and may be done sauté, with développé at 90 degrees, with pirouettes and sur les pointes.

Temps lié, grand [grahn tahn lyay]

Big connected movement. Grand temps lié is done raising the legs 90 degrees. Fifth position R foot front, facing croisé. Demi-plié on the L leg and développé the R leg to croisé devant, raising the arms from bras bas to the gateway. Piqué on the R demi-pointe en attitude croisée en l’air. Coupé dessous on the L foot, bringing the R foot to retiré devant, body en face, and lowering the L arm down in front of the diaphragm. Développé the R leg to the second position, opening the L arm to the second position. Step on the R demi-pointe, raising the L leg into the second position en l’air. Demi-plié on the R leg and bring the L foot to retiré devant, or close the L foot to the fifth position croisé and demi-plié, lowering the arms to bras bas. Repeat the movement to the other side. Grand temps lié may also be done en arrière.

Temps lié par terre [tahn lyay par tehr]

Connected movement on the ground. Same as temps lié simple (en avant or en arrière).

Temps lié sauté [tahn lyay soh-TAY]

Connected movement, jumped. This temps lié is executed with a sissonne simple taken each time from the fifth position, then followed by a piqué on demi-pointe into attitude or à la seconde, and finished with an assemblé to close in the fifth position.

Temps lié sauté en tournant [tahn lyay soh-TAY ahn toor-NAHN]

Connected movement, jumped and turned. This is a temps lié sauté performed with a sissonne simple en tournant before stepping into each position.

Temps lié simple en arrière [tahn lyay SEN-pluh ah na-RYEHR]

Simple connected movement, traveling backward. Fifth position croisé L foot back, arms bras bas. Demi-plié and glide the pointed toe of the L foot into the fourth position croisé derrière. Demi-plié in the fourth position, then shift the weight onto the L foot, straightening the knees and raising the R foot pointe tendue croisé devant. Close the R foot to the fifth position front in demi-plié, body en face. Slide the pointed toe of the L foot to the second position, leaving the R foot in demi-plié; shift the weight onto the L foot demi-plié, straighten the knees and point the R foot in the second position, then slide the R foot into the fifth position croisé derrière and demi-plié. Repeat the whole movement to the other side. The arms and head are moved as in temps lié simple en avant.

Temps lié simple en avant [tahn lyay SEN-pluh ah na-VAHN]

Simple connected movement, traveling forward. Fifth position croisé R foot front, arms bras bas. Demi-plié and glide the pointed toe of the R foot into the fourth position croisé and raise the arms to the gateway. Demi-plié in the fourth position, then shift the weight onto the R foot, straightening both knees and raising the L foot pointe tendue croisé derrière and the arms en attitude, L arm high. Close the L foot to the fifth position back in demi-plié, body en face, and lower the L arm in front of the waist. Slide the pointed toe of the R foot to the second position, leaving the L foot in demi-plié; shift the weight onto the R foot in demi-plié, straighten the knees opening the L arm to the second position and turning the head to the left. With pointed toes, slide the L foot into the fifth position croisé devant and demi-plié, lowering the arms to bras bas. Repeat the whole movement to the other side.

Temps lié sur les pointes [tahn lyay sewr lay pwent]

Connected movement on the points. Fifth position croisé, R foot front, with the arms held in the position bras bas. Demi-plié, sliding the R foot forward pointe tendue and raising the arms to the gateway. Step onto the R point, drawing the L foot to the fifth position back on point, and raise the arms en attitude, L arm high. Lower the heels and demi-plié, turning the body en face and bringing the L arm down in front of the diaphragm. Slide the R foot to the second position pointe tendue, leaving the L leg in demi-plié and opening the L arm to the second position. Step onto the R point, drawing the L foot to the fifth position front on point and turning the body croisé. Lower the heels and demi-plié, dropping the arms to bras bas. The head moves in proper épaulement (toward the shoulder on the same side as the leg that is in the front). Temps lié sur les pointes may also be done en arrière.

Temps plané [tahn pla-NAY]

Time soared, soaring movement.See Plané.

Temps relevé [tahn ruhl-VAY]

Lifting movement. A term of the Russian School. This is an exercise done at the bar or in the centre. It is often used as a preparation for another movement. When it serves as preparation for a pirouette, the working leg does the développé forward, then is whipped to second position and to sur le cou-de-pied while the supporting leg remains in demi-plié. The dancer immediately does a relevé and turns in a pirouette en dehors. Temps relevé may be performed en dedans or en dehors at 45 to 90 degrees.

Temps relevé, grand [grahn tahn ruhl-VAY]

Large lifting movement. This is performed in the same manner as petit temps relevé with the développé performed at 90 degrees.

Temps relevé, petit [puh-TEE tahn ruhl-VAY]

Small lifting movement. En dehors: Fifth position R foot front. Demi-plié and développé the R leg to the fourth position front at 45 degrees. Without stopping the movement, carry the R leg to the second position at 45 degrees, rising simultaneously on the L demi-pointe. En dedans: This is done in the same manner but starting with the R foot back and reversing the movement.

Tendu, tendue [tahn-DEW]

Stretched. As, for example, in battement tendu.

Terminé, terminée [tehr-mee-NAY]

Ended. Example: pirouette sur le cou-de-pied terminée en attitude.

Terre, à [a tehr]

On the ground. This term indicates: (1) that the entire base of the supporting foot or feet touches the ground; (2) that the foot usually raised in a pose is to remain on the ground with the toes extended. Example: arabesque à terre.

Terre, par [par tehr]

Along the ground. Same as à terre. As, for example, in rond de jambe par terre.

Terre à terre [tehr a tehr]

Ground to ground. Term used to indicate that in the execution of a step the feet barely leave the ground, as in glissade.

Tête [tet]

Head.
Tights. Same as maillot

Tire-bouchon, en [ahn teer-boo-SHAWN]

Like a corkscrew. A term of the Russian School. This is a position in which the leg is raised so that the thigh is in the second position and the tip of the pointed toe touches the knee of the supporting leg. A pirouette in this position, when done with a renversé movement, gives the impression of a corkscrew. See Pirouette renversée.

Tiroirs, faire les [fehr lay teer-WAHR]

To act like the drawers of a chest. Indicates that two opposite lines of dancers are to cross each other and cross back again to their original positions.

Tombant [tawn-BAHN]

Falling. Same as tombé.

Tombé, tombée [tawn-BAY]

Falling. This is a movement in which the dancer, with the working leg raised in the air, falls forward, backward or sideways into a fondu on the working leg.

Tonnelet [tawn-LEH]

Literally, a cask. A short cask-shaped skirt stretched over a hoop-shaped frame worn by male dancers during the eighteenth century.

Tour [toor]

Turn. A turn of the body. See Pirouette.

Tour, petit [puh-TEE toor]

Little turn. A term of the Cecchetti method. Petits tours are a series of turns done on the points or demi-pointes, making a half-turn on each foot with the feet close together. The turns should be done evenly and with great speed, aided by small movements of the arms and the spotting of the head. Petits tours are usually performed en diagonale or in a circle (autour de la salle).

Tour chaîné [toor sheh-NAY]

Tours chaînés are turns in a chain. See Chaînés; Déboulés.

Tour chaîné déboulé [toor sheh-NAY day-boo-LAY]

Tours chaînés déboulés are literally “a chain of turns, rolling like a ball.” A term of the French School. See Chaînes; Déboulés; Tours, petits.

Tour de basque [toor duh bask]

Basque turn. This is a type of pas de basque performed en tournant either sur les demi-pointes or sur les pointes. Fifth position R foot front. Demi-plié and execute a demi-rond de jambe en l’air en dehors at 45 degrees with the R leg; spring onto the R point or demi- pointe and immediately close the L foot in the fifth position front and pivot to the right. Finish facing front with the R foot front and execute a coupé dessous with the L foot, extending the R foot forward. See Pas de basque sur les pointes; Tour glissade en tournant (sur les pointes).

Tour de force [toor duh fawrss]

An arresting, vital step; a feat of technical skill such as a series of brilliant pirouettes or a combination of outstanding jumps and beats.

Tour dégagé [toor day-ga-ZHAY]

Disengaged turn. A term of the Russian School. These tours are performed en dedans and en dehors starting from a preparation dégagé. See Piqué tour en dedans; Piqué tour en dehors.

Tour de reins [toor duh ren]

Turn of the back. This is a series of coupé- jeté en tournant done en manège. The dancer contracts his back muscles and leans toward the centre of the circle at an acute angle. The angle is obtained through the speed and continuity of the step which demands good elevation and a well-arched back. The tempo has an unusual accent and the step actually becomes jeté-coupé instead of coupé-jeté. The jeté may be performed in attitude or arabesque. See Coupé-jeté en tournant.

Tour en dedans [toor ahn duh-DAHN]

Inward turn. A turn in which the dancer turns to the side of the supporting leg; that is, if the turn is done on the R foot, the turn will be to the right. See Pirouette en dedans.

Tour en dehors [toor ahn duh-AWR]

Outward turn. A turn in which the dancer turns to the side of the working leg; that is, if the turn is done on the L foot, the turn will be to the right. See Pirouette en dehors.

Tour en l’air [toor ahn lehr]

Turn in the air. This is essentially a male dancer’s step although contemporary choreographers use this tour for girls. It is a turn in the air in which the dancer rises straight into the air from a demi- plié, makes a complete turn and lands in the fifth position with the feet reversed. The turn may be single, double or triple according to the ability of the dancer. Fifth position R foot front. Demi-plié and push off the floor into the air, turning en dehors (to the right). Land in demi-plié in the fifth position, R foot back. The arms assist and the head must spot as in pirouettes. Tour en l’air may also be finished in various poses such as attitude, arabesque, grande seconde or on one knee. It may also be done in a series.

Tour en l’air avec chute allongée [toor ahn lehr a-VEK shewt a- lawn-ZHAY]

Turn in the air with an outstretched fall. This is a double tour en l’air in which the dancer, before the end of the movement, inclines his body in the direction of the turn and falls sideways to the floor in a horizontal position.

Tour glissade en tournant (sur les pointes) [toor glee-SAD ahn toor-NAHN sewr lay pwent]

Glissade, turning on the points. A term of the Russian School. Same as pas de basque sur les pointes.

Tour-hanche [toor-AHNSH]

“Hip turn.” This was a mechanical device of the eighteenth century designed for achieving a turn-out. The feet were fixed in a turned-out position in this device which did not turn out the leg at the hip joints but only at the ankles and knee joints. Therefore it did not fulfill the purpose for which it was designed.

Tour jeté [toor zhuh-TAY]

This is a corruption of the term “grand jeté dessus en tournant.” See Jeté dessus en tournant, grand (French School); Jeté en tournant en arrière, grand (Cecchetti method); Jeté entrelacé (Russian School).

Tour lent [toor lahn]

Slow turn. A term of the Russian School. A slow turn, used in adagio, performed on the whole sole of the foot. It is done either en dehors or en dedans by a slight movement of the heel in the required direction. These turns are done in all poses such as attitude, arabesque, à la seconde, and also with a change from one position to another during the turn. The entire body must remain immobile while turning. In a pas de deux, the girl does a supported tour lent sur la pointe while the boy walks around her in a promenade.See Promenade, tour de.

Tournant, en [ahn toor-NAHN]

Turning. Indicates that the body is to turn while executing a given step. As, for example, in assemblé en tournant.

Tourner [toor-NAY]

To turn around. One of the seven movements in dancing.

Tour piqué en dedans [toor pee-KAY ahn duh-DAHN]

Pricked turn, inward. Same as piqué tour en dedans.

Tour piqué en dehors [toor pee-KAY ahn duh-AWR]

Pricked turn, outward. Same as piqué tour en dehors.

Tour posé [toor poh-ZAY]

Poised turn. A term of the Cecchetti method. Same as Piqué tour.

Tour sauté [toor soh-TAY]

Jumping turn. Tours sautés are done with the supporting leg in demi-plié, the other leg raised in grande seconde, in arabesque or attitude. The dancer does a series of quick little hops, pivoting on the ball of the foot and shifting the heel with each little hop, turning either en dehors or en dedans. The head “spots.” Tours sautés are often combined with pirouettes à la seconde and pirouettes sur le cou-de-pied to make up the many variations of grande pirouette. See Pirouette, grande.

Tour sautillé [toor soh-tee-YAY]

Hopping turn. A term of the Russian School. These turns are done with a series of tiny hops turning in demi-plié on the supporting foot with the heel barely leaving the floor. The turns are done en dedans in first and second arabesque and attitude effacée and en dehors in third and fourth arabesque and attitude croisée.

Travesti, en [ahn tra-ves-TEE]

In disguise. A term applied to a female dancer dressed as a man and taking a man’s part.

Trois [trwah]

Three. As, for example, in entrechat trois.

Troisième [trwah-ZYEM]

Third. As, for example, in troisième arabesque.

Turn-out

This is the ability of the dancer to turn his or her feet and legs out from the hip joints to a 90-degree position. This turn-out, or en-dehors, is one of the essential principles of the classical dance, giving the dancer freedom of movement in every direction.

Tutu [tew-TEW]

This is the short classical ballet skirt made of many layers of tarlatan or net. The romantic tutu is the long skirt reaching below the calf.