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Ballet Talk for Dancers

Releve passe


Guest kella

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I can only address what is done in Vaganova. There is a rule about how to rise, whether springing or rolling. Whenever one begins the rise with a demi plié, the rise is accomplished through a spring up with the supporting foot coming under the head and at first with a spring down, so enabling the toes to release outward in the direction of origin. If the rise is from a stretched leg, one must roll up, transferring the over to the toe. Coming down one pulls up really high and comes through the foot without showing the break to demi pointe.

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  • Victoria Leigh

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Yep, that's exactly it in my training too, vrs. It's the difference between relevé and elevé. :)

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Thank you for the details of the rule and for the names.

If you allow me one last question: should it be a roll up after a temps lié and a spring up for turns/pirouettes? (by extension)

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? Smiling from ear to ear Victoria. So happy to read your post.

 

As for the next question, your vocabulary/language is different

than mine. What does temps lié mean to you?

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Sorry, for me temps lié is a transfer of weight with plié. I do not succeed to insert a video but it is like battement tendu front, plié in 4th position with transfer of weight to the front leg ending with a stretched leg front and a pointed foot back (battement tendu back not closed).

Instead of ending like that, it is a rise on the front foot (and attitude derrière or passé).

So I was wondering if the plié in the temps lié is considered as a plié so it would be a spring up to rise or if it is considered that the temps lié is ended in a stretched leg so it would be a roll up to rise.

 

If a sentence does not mean anything, I will rephrase.

 

Sometimes, it is a step used to make a preparation for allegro (before it begins), if it helps. And generally, we skip the battement tendu front, it is more like a slide of the front foot on the floor with plié and transfer of weight. Sorry if it is more confusing.

Edited by Plume
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I have understood the transfer of weight from one leg to another through 4th position. The rest, I am confused. No matter. Are you discussing transfering the weight through 4th with a rise to demi pointe attitude croisé back?

 

If so, in Vaganova it would spring up, but it is not a temps lié. I cannot say in other methods of teaching.

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I think yes.

I have found an example with arabesque at 00:17: www.dailymotion.com/video/x3eezwp .

 

Thank you for your patience and your help.

The rule you have given works for several methods, I will try to follow it.

 

Thank you Ms. Leigh too. There is a verb "élever" but I did not know that could be a name related to ballet.

 

It was also interesting to see that several methods may have the same way of doing things. :happy:

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  • 4 years later...

This topic is great. I hate to passe in demipointe without barré but it seems like it is a must. Is it really? I mean I have never seen it ina coreography that someone stands on one foot en pointe or demi pointe for more than 2 seconds. Example is the rose adagio. I know that is not in passe. So my question is:

Is passe in relevé that important for combinations and turns that you should master it to stand in it to the infinity or is it just an exeelrcise that helps you find the center of the balanced body and posture for turns?

Of course I wish to get over the before mentioned fake balance but how long should you stand in it to say that you ar okay? 3 seconds? 5? 20? Anyone does it for that long or just some slowmo instagram trick it is?

I do not mean to disrespect the methods. I just wonder if it is just an exercise or a ballet stance like sous sous for example.

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Moncabe welcome to Ballet Talk for Dancers. Please go to the Welcome Forum to introduce yourself. It is always good to know a little bit about our members. You might consider letting us know your particular interest in ballet. Please do not include any personal information. Please also read through the rules and regulations as so you are familiar with how to posts and understand which forums might be most interesting for you.

As for balancing on demi pointe in passé or retiré, it is of major importance to be able to balance without turning as gaining strength to do this contributes not only to turning in passé but also to all demi pointe, pointe and allegro work. The longer one can balance, the more turning one can achieve with classical line. A strong sense of balancing contributes to overall coordination, classical line and artistry.

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Thank you for your response and advice. Will look around of course. I just wanted to ask here before I lose the topic.

So it is a kind of exercise. And how do you see the duration of it? Let's stick to the previously mentioned 3 second as the limit of the fake balance. How long should one be able to keep it after 2 or 5 or 10 years in ballet? I know it depends on age and intensity of studies but I simply wonder if I am all right with my 4 or 5 seconds or should be able to balance for a minute at least? Demi pointe in soft shoes of course. Pointe shoes are beyond my skills. 😅

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The study of balancing on demi pointe begins at the barre usually around age 12 in the Vaganova program of study and later brought to centre work in the study of preparation for pirouette. The balance must be held for three counts before closing to 5th position. The most important part is not that the demi pointe is held for 3 counts rather that the passé is held. The goal before moving forward to the turn is to maintain the passé while staying on demi pointe for 3 counts.

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Thank you! This is what I was looking for. Will practice it on and on. I am not a turner but it is all just a matter of practice. 40 hours every day. 😁

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😁  

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