This is the first post devoted to small jumps, the main components of what is known as petit allÃ©gro. Used in training they assist in the development of musicality, coordination, and quick footwork (stressing the use of the lower leg) while onstage, they are widely used in variations and/or character dances in full-length ballets, most prominently in Bournonville.
A straight up jump from fifth, with both legs and arches extended. Starting from a demi-pliÃ© to gain impulse, the dancer springs into the air, being careful not to brush one calf against the other. In some schools, this may also be a travelling jump, ie. the dancer moves from its original departure point.
Temps de Poisson (or Sissone Soubresaut)
Means “fish movement”. This is a particular form of soubresaut in which the dancer bends its back at the height of the jump, feet placed together and pointes crossing to form a fishtail. The dancer lands in one leg in demi-pliÃ© (fondu) with the opposite leg stretched back in the air. This step, also referred to as sissonne soubresaut, are the distinctive soubresauts in act 2 of Giselle:
Bolshoi’s Nelli Kobakhidze performs a series of sissonne soubresauts in act 2 of Giselle. Move forward to 6:27.
Temps de L’Ange
If while performing a sissone soubresaut the dancer’s legs are bent in attitude, the jump becomes known as temps de l’ange.
It literally means a “jumping, escaping movement”. The dancer starts in fifth position and jumps to finish in a demi-pliÃ© in second position or fourth position, with both feet traveling in equal distance from the original centre.
A jump where the feet change positions. The dancer starts in fifth position and jumps straight up and down, getting impulse from a pliÃ© and changing feet in the air to land back in fifth, opposite foot in front.
It is a type of changement where one calf beats against the other before the feet change position to land in fifth. Because of this it can also be referred to as changement battÃº (ie. battÃº=beaten).
Here is a masterclass in allegro, featuring all the steps above described, although all of them – not just the Royales – are beaten, meaning that the calves touch before landing.
Johan Kobborg as James in Bournonville‘s La Sylphide. Notice the Ã©chappÃ©s around 1.20 (with a beat) and royales everywhere.
Stands for braiding (or interlacing). It is a straight up jump from fifth, in which the dancer crosses its legs rapidly while in the air by switching opposite fifth positions.
Each crossing counts as two movements and depending on the landing, one can have even-numbered entrechats (landing with both feet in fifth) or odd-numbered entrechats (landing on one foot), thus:
- Landing on both feet: entrechats deux, quatre, six, huit, dix.
- Landing on one foot: entrechats trois, cinq, sept, neuf.
The Royal Ballet’s Johan Kobborg executes a series of entrechats-six in Siegfried’s variation (around the 0:40 mark).
Pas de Chat
Means “Step of the cat”. The dancer starts in fifth position and the front leg is lifted through retirÃ© as the other leg pushes off the floor and is also raised into a retirÃ©. The first leg lands first, with the second leg following to close in fifth.
The Cygnets (small swans) in the Bolshoi’s production of Swan Lake doing a series of pas de chats in a diagonal around the 1.08 mark. There’s also a series of entrechats-quatre before.
The Russian Pas de Chat is a variant of this step in which both legs are positioned in attitude derriÃ¨re rather than retirÃ©
Mariinsky’s Maya Dumchenko does some Russian Pas de Chats at 0:17, while dancing the Paquita 4th Variation.
A small jump which is mainly used to power a big one, or to connect another step. Starting from fifth position, the dancer does a demi-pliÃ© and springs slightly upwards. Front leg glides along the floor towards second position, the whole body traveling towards this extended leg, while the back leg glides onto fifth position, so the dancer is again in demi-pliÃ©, ready for the subsequent step.
Glissades can be done in all directions (en avant = forward, en arriÃ¨re = backwards, Ã la seconde, etc.), with the feet changing accordingly when closing into the final pliÃ©.
Assembler means “to put together” or “to assemble”. One starts from fifth position and pliÃ©. The back leg slides off to a 45 degree angle battement (beating) on the side, while the front leg (now turned supporting leg) pushes and extends off the floor. The working leg closes in front fifth position, with both legs coming to the ground at the same time. Done in this way, the assemblÃ© is said to have been executed dessus (from the back to the front) but can also be done dessous (from the front to the back).
This step does not travel, ie. the dancer remains in its original position.
Paris Opera Ballet dancers Emmanuel Thibault, Nolwenn Daniel and MÃ©lanie Hurel do assemblÃ©s around the 0:33 & 0:40 mark in this beautiful pas de trois from Paquita. Look out for glissades at 1.29 & 1:35, changements at 2:53 & 2:57, entrechats at 4:30 & pas de chats at 4:38 & 4.40.
BrisÃ© stands for “broken”. This step is like a “beaten and travelled” version of the assemblÃ©. It can be done en avant and en arriÃ¨re: en avant, the dancer starts from fifth, back leg brushing in effacÃ© devant and supporting leg pushing from the floor to beat the other leg from behind and front, finishing in fifth position (demi-pliÃ©), body arched towards the front throughout. En arriÃ©re, all positions are reversed (now the working leg is thrown to effacÃ© derriere), body arched towards the back throughout.
Royal Ballet’s Alina Cojocaru (with Johan Kobborg) in a series of brisÃ©s in a diagonal, at around 4:52 in this Flower Festival in Genzano Pas de Deux.
Sources and Further Information:
Technical Manual and Dictionary of Classical Ballet by Gail Grant. BN Publishing. ISBN 1607960311.
Note: Whilst we have used widely known names for these jumps, note that terminology might vary slightly from school to school.
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