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Ballet Talk for Dancers

Preparation Run for Tour Jete (aka Grande Jete Entrelace)


addy

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Hello, I have on page 310 of GWW how to do the actual tour. The dancer here begins by tombe'ing to a lunge 4th etc. That is fine.

(ps does anyone know how to add the accent on top of the e?)

 

1)In our classes, we begin facing the opposite direction, in a croise pique 1st arabesque, facing DOWNSTAGE LEFT

 

2)We then "turn" our torsos 90 degrees dehors to face the UPSTAGE LEFT.

 

3)It seems we then push off sideways (cote) from the piqued leg and fall into a lunge a la seconde (if there is such a thing) onto the original upstage leg- (the one in the air during arabesque)

 

4)Then, I am sure that we DO NOT glissade and we DO NOT chasse. But we do SOMETHING#1 with the original supporting piqued leg to bring it to either 1st or 5th or 4th (devant). I am not sure what happens to the lunge leg- if it stays in plie or straightens. At this point we are facing UPSTAGE RIGHT; that is, we are now facing the same direction as the dancer on page 310. Then we do SOMETHING#2 with the oppostite leg to tombe onto it into the Lunge 4th position that the dancer on page 310 is in.

 

(For people without GWW, the tombe into Lunge 4th is the beginning of the tour jete. From there the dancer grande battements the back leg front whilst turning 90 degrees dedans etc and jumping up vertically etc- I have all that in my book, I don't need help with the actual tour- it is what comes before the tombe... she finishes to face DOWNSTAGE LEFT)

 

Does anyone know what SOMETHING#1 and SOMETHING #2 are? I am thinking now perhaps SOMETHING#1 would be to close back to Sous Sus- that would look nice anyway. Then while still on demi-pointe, petite developpe the front leg to tombe onto it into the lunge 4th. So SOMETHING#2 could be the petite developpe?

 

Also, the dancer on page 310 tombes into quite a large lunge.... I am wondering with this unknown preparation that I am asking for help on if the lunge will be as large? Perhaps her lunge is that large because she is beginning the tour form a stationary position whereas we are sort of "running" into it .(pique arabesque->something#1->something#2 is the "run") Or perhaps with our preparation "run" we do not even lunge 4th but rather just step front with that leg?

 

What is the correct way to do this? If there is no standardized way to do this, which way do you think would look the nicest and help in pointing the feet and straightening the legs?

 

thank you very much!

Edited by addy
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It sounds like you might be trying to do a tombé coupé (also called chassé coupé) into the tombé for the jump. When you plié from the piqué arabesque you need to turn to face the back as you tombé onto the back leg. Then the you jump upwards and the other leg comes in behind the first leg in a 5th in the air. You land on the back leg and then tombé onto the front one to make the jump.

 

One can also run into this jump, usually with 3 runs, the third being the push off step.

 

The key to making any of the preparations look good is articulation of the feet and using the levels in space to create the "up to go down to go up". Keep you level up until the actual push off step, and even then you do not need a huge lunge or even a huge plié. Be sure every step goes through a pointed foot, though, whether running, chasséing or tombéing!

 

The accent mark, on a desk top or a lap top with a numeric keypad, is alt130 for the é. If you don't have a numeric keypad, there is a code, but I don't remember it right now. We have a Sticky on the forum How to do things that gives you the codes for all the accents. :D

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Thank you very much Ms. Leigh! I couldn't have asked for a better, meatier answer.

I do not think I have been fully lowering my heel to do a proper plié after the intial piqué arabesque. Thank you!

I certaining haven't been turning immediately to upstage right. Thanx.

The tombé coupé sounds really nice.

I now think we are doing the run into the jump that you mention- my confusion being how to point the feet and make it look good. I am sure now all we do is run into it.

 

I am going to work on the run. The levels you mention are new to me. I will return to this later this week when I have more time.

 

Thank you again, you have really answered my question! And more- there is always more!

Edited by addy
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You are welcome, addy! That is why we are here. :flowers:

 

As far the running, strangely enough, that is one of the more difficult, as well as most neglected, things in ballet classes. Learning to run should have come before being asked to run into a grand allegro step! You have to learn to walk before you run, just as you did as a baby! Ask the teacher to teach you how to walk, so that you can then learn how to run. The level of the body must be higher for the run, in order to point the feet. Every step, no matter how fast or slow you are moving, MUST go through the toes. The plié is slightly deeper on the step that pushes you into the jump, but the other steps are not in plié. The run into the entrelacé is actually more difficult than the tombé coupé, which, if done correctly, creates the levels for you.

 

Remember that the action/reaction theory applies to ballet too! One must go down in order to go up, and up in order to go down. The energy and the usage of the plié to push into the air is the action, the jump is the reaction. :thumbsup:

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Hello Ms. Leigh!

 

I actually read your response yesterday; thank you for your speedy response because it helped me for class tonite as we did Tour Jeté's again.

 

The teacher definitely said "step, step, step" - so that is a run; it was a run for sure.

 

But I decided to try the tombé coupé/chassé coupé in class (under pressure) and it felt so much better than the run. It felt balletic as opposed to pedestrain. Ofcourse, I did it in a "fuzzy" manner (legs not perfectly straight or feet not really together on the coupé) but it felt pretty good. And you are correct- I found it easier and more natural than the run. I learnt that step in my beginner class a couple of years ago- the teacher called it a "gallop", it is what little children do when they gallop around (the fuzzy version anyway)

 

As far the running, strangely enough, that is one of the more difficult, as well as most neglected, things in ballet classes. Learning to run should have come before being asked to run into a grand allegro step! You have to learn to walk before you run, just as you did as a baby!...

 

I am very reassured and validated to hear that running is considered difficult! Thank you for that! I learnt a ballet walk in a beginner class once- during an adage- I think we walked (3-4 steps) into a posé arabesque. But we never practiced runs. The walk was similar to the one on page 60 of GWW- they have the run there too. I will practice, thank you.

 

 

....The level of the body must be higher for the run, in order to point the feet. .....

 

 

**aha....** yes, this has been my mistake- by running in plié I always felt I didn't have the vertical space to point my feet or the time to do the necessary petite développés.

 

Thank you very much again Ms. Leigh, you have really helped me.

 

 

ps- it's late here & I need to go to sleep but I just remembered that in a Contemporary class we used to do "Low Runs", in which we were told to point our feet- we were basically running in plié non-stop- a bit like baby ducks. I just wanted to add this because being in plié didn't prevent us from pointing our feet so what I said above about not having enough vertical space may be incorrect.

Edited by addy
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It's possible to do it in plié and point the feet, however, that low a level is not what you want to use for ballet!

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Thank you Ms. Leigh. Haha, yes, it looks pretty odd.

 

I practiced the ballet walk tonite on the treadmill. 15 minutes at 1mph. It's very difficult- I really had to steady my core for balance and my feet really felt it!

 

Thank you again :D

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