Arabesque is a ballet position. The dancer stands on one leg with the other leg raised behind with a straight knee.
Barre a horizontal pole, usually made of wood. The dancers hold onto it to warm up for the first part of class.
Choreographer a choreographer is the person who makes up the dances. He or she is responsible for creating and arranging the patterns and steps.
Design plays a major role in the style of the ballet. It adds to this visual art form through scenery, costumes, lights and technology.
Expression Dancers express themselves, emotions, moods, stories and relationships through their bodies.
French is considered the language of ballet. Many of the terms and steps in ballet come from the French language. Pictured is Sophie Martin Principal dancer with Scottish Ballet. Born in the French city of Cherbourg, Sophie trained at the Conservatory National SupĂŠrieur of Paris under the tuition of NoĂŤlla Auguste.
Graceful elegance of movement, is what every dancer needs.
History 1500 Ballet, as we know it today, began during the Renaissance around the year 1500 in Italy. 1600 From Italian roots, ballets in France and Russia developed their own stylistic character. 1800 By 1850, Russia had become a leading creative center of the dance world, and as ballet continued to evolve, certain new looks and theatrical illusions caught on and became quite fashionable. Dancing en pointe (on toe) became popular during the early part of the 19th century. 1900 In the early 20th century, the Russian theatre producer Serge Diaghilev brought together some of that country’s most talented dancers, choreographers, composers, singers, and designers to form a group called the Ballet Russes.
1930 In America, ballet grew in popularity during the 1930’s. 1931 the Royal Ballet was founded in 1931 by Dame Ninette de Valois. It became the resident ballet company of the Royal Opera House in 1946 1948 George Balanchine firmly established ballet in America by founding the New York City Ballet. 1969 Founded by Peter Darrell, Ballet West moves to Glasgow and is known as Scottish Ballet.
Ivanov Lev Ivanov (1834-1901) was an important Russian choreographer. He often worked as an assistant to Marius Petipa, perhaps the most famous Russian choreographer. Most famously Ivanov is credited with choreographing the Nutcracker (1892) as well as the white swan scenes from Swan Lake (1895).
JetĂŠ a jump while splitting the legs. Can be small - petit jetĂŠ, and large - grande jetĂŠ.
Kenneth MacMillan (1929 –1992) Sir Kenneth MacMillan was born at Dunfermline, Scotland. He was a British ballet dancer and choreographer. He was artistic director of the Royal Ballet in London between 1970 and 1977. He continued as Principal Choreographer to the Royal Ballet until his death in 1992.
Leotard a tightly fitted garment like a swim suit, worn by dancers. Invented in the mid-19th century by the French acrobat, Jules LĂŠotard.
Mime telling stories or describing a story without the use of words. Stylised gestures are used within many Classical Ballets.
Narrative Ballet a ballet which tells a story.
O Orchestra Live music plays a vital role in the performances of Ballet. Led by a conductor the orchestra is made up of woodwind, brass, percussion and strings.
Pointe Shoes ballet shoes worn for pointe work. The dancers appear to dance on the tips of their toes.
Quatrieme The 4th position of the feet. Other positions are 1st, 2nd, 3rd and 5th
Romantic Ballet a style of ballet from the early 19th century which favoured fantasy. The plots of many ballets were dominated by spirit women and ghosts.
Scottish Ballet is Scotland’s national dance Company. Founded by Peter Darrell, the Company moved to Glasgow in 1969. Ashley Page is the current Artistic Director.
Tutu a short ballet skirt made of tarlatan or net often with an attached bodice, worn in classical ballets from the late 19th century. In the early 19th Century the ballet skirt was longer, reaching beyond the calf and was used in many Romantic Ballets.
Upstage a direction of the stage, travelling away from the audience
Virtuosity is exceptional technical skill. A Virtuoso dancer is able to perform very difficult steps such as multiple pirouettes and high jumps.
Warm up A warm up in ballet is essential to prepare the body for the exercise that follows. It should be done before any barre work is started. A good warm up stretches a dancer’s muscles to provide a greater range of motion at the joints.
X-ray Unfortunately dancers do get injured both in rehearsal and performance. An X-ray is often used to see exactly what the injury is. Gyrotonics is used for injury prevention and rehabilitation.
Yellow Gold the colour of Scottish Ballets roof. Scottish Ballet moved into its new home at Tramway in 2009. Its bright colour means it is easily seen across the city. Look carefully if you are flying over Glasgow you may just see us.
Zzzzzzzz A dancer’s job is a very busy and physical one. Lots of good food and plenty of sleep is needed to keep them at the peak of their physical fitness.
Unless otherwise stated, all photographs by Andrew Ross.
J Victoria Willard in Stephen Petronio’s Ride the Beast.
T Claire Robertson as Marie in Ashley Page’s The Nutcracker.
A Tomomi Sato as Aurora in Page’s The Sleeping Beauty.
K Adam Blyde, Eve Mutso and Tama Barry in Kenneth MacMillan’s Song of the Earth. Photograph by Nisbet & Wylie.
U The stage at Glasgow Theatre Royal.
B Ballet Buzz participants. C Val Caniparoli and Eve Mutso in rehearsals for Val Caniparoli’s Still Life. D Production Manager Tim Palmer working on a back cloth. E Daniel Davidson and Quenby Hersh in Ashley Page’s Pennies From Heaven. F Sophie Martin as Cinderella in Ashley Page’s Cinderella. G The Company in Frederick Ashton’s Scènes De Ballet. H Peter Darrell in rehearsals. Photograph by George Wilkie I Claire Robertson as Marie, Erik Cavallari as the Nutcracker and Tama Barry as Drosselmeyer in Ashley Page’s The Nutcracker.
L Eve Mutso in Still Life by Val Caniparoli. M Limor Ziv as Carabosse in Page’s The Sleeping Beauty. N Erik Cavallari as Romeo and Sophie Martin as Juliet in Scottish Ballet’s Romeo and Juliet. O Scottish Ballet Orchestra. P Pointe shoes. Photograph by Graham Wylie. Q RSAMD BA modern Ballet students. Photograph by Kenneth Dundass R The Company in La Sylphide. Photograph by Kevin Low. S The Company in rehearsals.
V Adam Blyde as The Bluebird in rehearsals for Page’s The Sleeping Beauty. W Dancers taking class. X Eve Mutso using Gyrotonic equipment. Y The Scottish Ballet Building seen from Pollokshaws Road. Z Dancers resting.