ballet position

Any of the five positions of the feet fundamental to all classical ballet.

First codified by Pierre Beauchamp (1636–1705) in 1680, the positions form the base from which a dancer achieves stability or aplomb, the basic law of ballet. Fundamental to all the positions is the turnout, or rotation of the dancer's legs out from the hips, which creates a firm basis for movement in any direction. Various positions of the arms and hands (port de bras) complete the figures.

Arabesque executed by Natalya Bessmertnova, with Nikolay Fadeychev, of the Bolshoi Ballet; Swan ...

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 any of the five positions of the feet fundamental to all classical ballet. The term may also denote the various poses of the body. First used by Thoinot Arbeau (Arbeau, Thoinot) in 1588, codified by Pierre Beauchamp (Beauchamp, Pierre) c. 1680, and set down by Pierre Rameau in Le Maître à danser (1725; The Dancing Master, 1931), the positions are the starting and ending points for the intricate ballet movements (q.v.).

      In all positions each leg is turned sideways from the hip, so that the toes extend out to each side and the feet form straight or parallel lines on the floor. Body weight is evenly distributed over both feet, which can either remain flat on the floor, rest on the balls of the feet (demi-pointe), or rest on the toes (pointe; women only). Corresponding positions of the arms and hands (port de bras) complete the perfect balance of the figure.

      In the first position, the heels are together, with toes turned out until the feet are in a straight line. In the second position, the feet are in a parallel line, separated by a distance of about 12 inches (30 cm) and both turned outward, with the weight equally divided between them. In second position en l'air (“in the air”), the weight is supported by one foot while the other is raised at the side. In the third position, the heel of one foot rests against the instep of the other; both are firmly turned out, and the weight is divided between them. Used extensively in 18th-century social dances such as the minuet and gavotte, this position has almost disappeared from theatrical usage. In the fourth position, one foot rests about 12 inches in advance of the other, both are turned out, and the weight is divided between them. Like the second position, fourth has its equivalent en l'air. In the fifth position, the feet are turned out and pressed closely together, the heel of the one foot against the toe of the other.

      In addition to the five fundamental positions of the feet, there are two major body positions in classical ballet. The arabesque is a body position in which the weight of the body is supported on one leg, while the other leg is extended in back with the knee straight. One of the most graceful of ballet positions, the arabesque can be varied in many ways by changing the position of the arms, the angle of the body, and the height of the leg in the air. The dancer's body may be supported on the full foot, the ball of the foot (demi-pointe), or toe (pointe; women only), and the supporting leg may be straight or bent.

      The attitude is a position similar to the arabesque except that the knee of the raised leg is bent. The raised leg is held at a 90° angle to the body in back or in front (attitude an avant); the knee may be either well bent or nearly straight (attitude allongée). The supporting leg also may be straight or bent. As in the arabesque the body may be supported on the full foot, the ball of the foot, or the toe. The pose was first described in 1829 by Carlo Blasis, who was inspired by the statue of Mercury by Giambologna.

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