8

Special Program in the Arts

(Dance 8)
Quarter 1 – Module 1:
Classical Ballet I: History and Development
Special Program in the Arts – Dance 8
Alternative Delivery Mode
Quarter 1 – Module 1: Classical Ballet: History and Development

First Edition, 2020

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Reviewers: Noriel C. Seville, Rebecca R. Ibarreta,
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 8
SPA – Dance 8
Quarter 1 – Module 1:
Classical Ballet:
History and Development
Introductory Message
For the facilitator:

Welcome to the SPA - Dance 8 Alternative Delivery Mode (ADM) Module on

( Classical Ballet: History and Development) !

This module was collaboratively designed, developed and reviewed by educators

both from public and private institutions to assist you, the teacher or facilitator in
helping the learners meet the standards set by the K to 12 Curriculum while
overcoming their personal, social, and economic constraints in schooling.

This learning resource hopes to engage the learners into guided and independent
learning activities at their own pace and time. Furthermore, this also aims to help
learners acquire the needed 21st century skills while taking into consideration
their needs and circumstances.

In addition to the material in the main text, you will also see this box in the body of
the module:

Notes to the Teacher

This contains helpful tips or strategies
that will help you in guiding the learners.

As a facilitator, you are expected to orient the learners on how to use this module.
You also need to keep track of the learners' progress while allowing them to
manage their own learning. Furthermore, you are expected to encourage and assist
the learners as they do the tasks included in the module.

For the learner:

Welcome to the SPA – Dance 8 Alternative Delivery Mode (ADM) Module on

( Classical Ballet: History and Development )!

This module was designed to provide you with fun and meaningful opportunities
for guided and independent learning at your own pace and time. You will be
enabled to process the contents of the learning resource while being an active
learner.
This module has the following parts and corresponding icons:

What I Need to Know This will give you an idea of the skills or
competencies you are expected to learn in
the module.

This part includes an activity that aims to

What I Know check what you already know about the
lesson to take. If you get all the answers
correct (100%), you may decide to skip this
module.
What’s In
This is a brief drill or review to help you link
the current lesson with the previous one.
What’s New
In this portion, the new lesson will be
introduced to you in various ways; a story, a
song, a poem, a problem opener, an activity
or a situation.
What is It
This section provides a brief discussion of
the lesson. This aims to help you discover
and understand new concepts and skills.
What’s More
This comprises activities for independent
practice to solidify your understanding and
skills of the topic. You may check the
answers to the exercises using the Answer
Key at the end of the module.
What I Have Learned
This includes questions or blank
sentence/paragraph to be filled in to
process what you learned from the lesson.
What I Can Do
This section provides an activity which will
help you transfer your new knowledge or
skill into real life situations or concerns.
Assessment
This is a task which aims to evaluate your
level of mastery in achieving the learning
competency.
Additional Activities
In this portion, another activity will be given
to you to enrich your knowledge or skill of
the lesson learned.
Answer Key
This contains answers to all activities in the
module.
At the end of this module you will also find:

References This is a list of all sources used in

developing this module.

The following are some reminders in using this module:

1. Use the module with care. Do not put unnecessary mark/s on any part
of the module. Use a separate sheet of paper in answering the exercises.
2. Don’t forget to answer What I Know before moving on to the other
activities included in the module.
3. Read the instruction carefully before doing each task.
4. Observe honesty and integrity in doing the tasks and checking your
answers.
5. Finish the task at hand before proceeding to the next.
6. Return this module to your teacher/facilitator once you are through with
it.
If you encounter any difficulty in answering the tasks in this module, do not
hesitate to consult your teacher or facilitator. Always bear in mind that you
are not alone.

We hope that through this material, you will experience meaningful learning
and gain deep understanding of the relevant competencies. You can do it!
 What I Need to Know

This module was designed and written for you to know the history and
development of classical ballet. You will demonstrates an increase knowledge,
appreciation and understanding of the history, principles and basic techniques
in ballet, hone your physical and aesthetic capabilities with the view of enabling
you to create dances which reflect your sentiments as Filipino citizens, provides
you the background and skills to specialize in classical and modern techniques
in the higher grade level. The scope of this module permits it to be used in
many different learning situations. The language used recognizes the diverse
vocabulary level of students.The lessons are arranged to follow the standard
sequence of the course. But the order in which you read them can be changed
to correspond with the textbook you are now using.

This module is divided into two lessons, namely:

Module 1 Classical Ballet

• Lesson 1 – History and Development

• Lesson 2 – Terms and Vocabulary

After going through this module, you are expected to:

1. demonstrate knowledge and understanding on the history and

development of classical ballet;
2. outline the important events happened in the history and development;
and
3. recognize major ballet works, styles and ballet artist in history.

What I Know

Direction: Read the questions carefully. Choose the letter of the correct answer.
Use a separate sheet.

1. Where did ballet, as a theatre art, really start and develop?

a. Italy c. Russia
b. France d. United States
2. What is the best way to categorize the forms of dance?
a. ethnic, ballet, modern, jazz c. social/recreational, theatre
b. social, religious, theatre d. street, folk, theatre
3. In today’s ballet world, what is the primary association one makes with
Cecchetti, Vaganova and Bournonville?
a. choreography c. performance
b. technique d. set design
4. The king reestablished the Opera as the Academie Royale de Musique and made
Lully the director.
a. Pierre Perrin c. Arthur-Saint Leon
b. Jules Perrot d. Marius I

5. Used his music for his choreography of Nutcracker, The Sleeping Beauty and the
revival of Swan Lake.
a. Arthur Saint-Leon c. Jules Perrot
b. Enrico Cecchetti d. Marius Petipa

Direction: Write the letter for each number to solve the answer. Write it on
your activity notebook. Please refer to the box below.

1 2 3 4 5 6 7 8 9 10 11 12 13
A B C D E F G H I J K L M

14 15 16 17 18 19 20 21 22 23 24 25 26
N O P Q R S T U V W X Y Z

___________________ ___________________ ___________________

13 – 5 – 4 – 9 – 3 – 9 8 – 5 – 14 – 18 – 25 – 9 – 9 3 – 1 – 18 – 15 – 19 –
15

____________________________ _________________________
12 – 15 – 21 – 9 – 19 – 24 – 9 – 22 14 – 15 – 22 – 5 – 18 – 18 - 5
Lesson Classical Ballet:
1 History and Development

Classical Ballet is any of the traditional, formal styles of ballet that exclusively
employ classical ballet technique. It is esthetic known for its aesthetic and rigorous
technique (such as pointe work, turn-out of the legs, and high extension, its
flowing, precise movements, and its ethereal qualities.

History (from Greek ἱστορία, historia, meaning "inquiry; knowledge acquired by

investigation") is the study of the past. It is an umbrella term that relates to
past events as well as the memory, discovery, collection, organization,
presentation, and interpretation of information about these events.

Development is defined as the process that creates growth, progress, positive

change or the addition of physical, economic, environmental, social and
demographic components. In short, it is the process of growth or new
information or an event.

Classical ballet is a stunning performance by professionally trained dancers,

usually set to the stirring sounds of an orchestral score. Both emotionally and
visually evocative, classical ballet brings romantic tales to life.
While there are several genres, classical ballets all exhibit similar
composition, costuming, and style. Classical ballet is danced to classical music,
and the choreography includes female dancers dancing en pointe.

What’s In

Directions: Write down your own understanding about Classical Ballet.

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 Notes to the Student
This is your first lesson in SPA – Dance 8 which is all about History
And Development of Classical Ballet. As you go along with the module
, you will encounter several quizzes for you to answer.
I will collect the modules once a week a week to check your work.
Remember that direction is always part of the test.
Good Luck! Stay at home and be safe.

What’s New

Describe the picture above.

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 What is It
What is the History of Classical Ballet?

Ballet serves as a backbone for many other styles of dance, as many other
dance genres are on ballet. Ballet is based on techniques that have been
developed over centuries. Ballet uses music and dance to tell stories. Ballet
dancers have the ability to transport an audience to other worlds.
Ballet is a formalized form of dance with its origins in the Italian
Renaissance courts of dance with its origins in the Italian Renaissance courts of
the 15th and 16th centuries. Ballet spread from Italy to France with the help of
Catherine Medici, where ballet developed even further under her aristocratic
influence.

The etymology of the word “ballet” reflects its history. The word ballet comes
from France and was barrowed into English around the 17 th century. The
French word in turns has its origins in Italian balleto, a diminutive of ballo
(dance). Ballet ultimately traces back to Italian ballare, meaning “to dance”.

Ballet originated in the Renaissance court as an outgrowth of court

pageantry in Italy, where aristocratic weddings were lavish celebrations. Court
musicians and dancers collaborated to provide elaborate entertainment for
them. Tutus ballet and pointe work were not yet used. The choreography was
adopted from court dance steps. Performers dressed in fashion of the times. For
women that meant formal gowns that covered their legs to the ankle. Early
ballet was participatory, with the audience joining the dance towards the end.
Ballet was further shaped by the French ballet de cour, which consisted of social
dances performed by the nobility in tandem with music, speech, verse, song
pageant, decor and costume. When Catherine de’ Medici, an Italian aristocrat
with an interest in the arts, married the French crown heir Henry II, she
brought her enthusiasm for dance to France and provided financial support.
Catherine’s glittering entertainments supported the aims of court politics and
usually were organized around mythological themes.

CATHERINE de’ MEDICI HENRY II

 The first ballet de cour was the Ballet de Polonaise. This ballet was
performed in 1573 on the occasion of the visit of the Polish Ambassador. It was
choreographed by Balthazar de Beaaujoyeulx and featured an hour-long dance
for sixteen women, each representing a French province.
In the same year, the publication of Fabritio Caroso’s II Ballerino, a technical
manual on court dancing, both performance and social, helped to established
Italy as a centre of technical ballet development.

17th Century – France and Court Dance

Ballet developed as a performance-focused art form in France during the

reign of Louis XIV,who was passionate about dance. Pierre Beauchamp, the man
who codified the five positions of the feet and arms, was the king’s personal dance
teacher and favorite partner in ballet in ballet de cour in 1650’s. In 1661 Louis XIV,
who was determined to reverse a decline in dance standards that began in the 17 th
century, established the Academie Royale de Danse.

In 1669 Louis XIV founded the Academie d’Opera with Pierre Perrin as
director. Louix XIV retired in 1670, largely because of excessive weight gain.
Earlier, in 1661 he had founded a school, the Academie Royale de Dance.
Later, after Perrin went bankrupt, the king reestablished the Opera as
the Academie Royale de Musique and made Lully the director. With almost all of
his important creations Jean-Baptiste Lully brought together music and drama
with Italian and French dance elements. His work created a legacy which would
define the future of ballet.
Jean-Baptise Lully, an Italian violinist, dancer, choreographer, and
composer, who joined the court of Louis XIV in 1652, played a significant role in
 establishing the general direction ballet would follow for the next century.
Supported and admired by King Louis
XIV, Lully often cast the king in his ballet.

Popularity Throughout Europe

France’s court was in some ways the leading source of fashionable culture
for other many royal courts in Europe. Styles of entertainment were imitated,
including the royal ballet. Courts in Spain, Portugal, Poland, Germany, and
elsewhere all became audiences and participants in ballets. In addition to France,
Italy became an important influence on the art form, predominantly Venice.
Professional ballet troupes began to organize and tour Europe, performing for
aristocratic audiences.

18th Century – France and Development as an Art Form

The 18th century was a period in the technical standards of ballet and the
period when became a serious dramatic art form on par with the opera. Central to
this advance was the seminal work of Jean-George Noverre, Lettres sur la danse et
les ballets (1760), which focused on developing the ballet d’action, in which the
movements of the dancers are designed to express character and assist in the
narrative. Noverre believed that: ballet plots should be all logical and well-
constructed, choreographers, composers, and designers should collaborate from
the early stages of planning a work, masks should be removed in favor of facial
expression, costumes needed to be pared down to show the dancers figure, and
that choreographers should have a broad education, including painting, in order to
learn to bring life to images.
Reforms were made in ballet composition by composers such as
Christoph Gluck. Finally, ballet was divided into three formal techniques
serieux, demi-caractere and comique. Comic also began to be featured in operas
as interludes called divertissements.
 Outside of France

Venice continue to be a centre of dance in Europe, particularly during the

Venice Carnival, when dancers and visitors from across the continent would travel
to the city for a lively cultural exchange. The city’s Teatro San Benedetto became a
famous landmark largely due to the ballets performed there. Italian ballet
techniques remained he dominant influence in much of southern and eastern
Europe until Russian techniques supplanted them in the early 20 th century.

19th Century

The ballerina became the most popular dance performer in Europe in the
first half of the 19th century, gradually turning the spotlight away from the male
dancer. In many performances, ballet heroes, were played by a woman, like the
Principal Boy in pantomime. The professionalism of ballet companies became a
focus for a new generation of ballet masters and dancers.

The 19th century was a period of great social change, which was reflected in
ballet by a shift away from the aristocratic sensibilities that had dominated earlier
periods through romantic ballet. Ballerinas such as Genevieve Gosselin, Marie
Taglionie and Fanny Elssler experimented with new techniques such as pointework
that gave the ballerina prominence as the ideal stage figure. Professional librettists
began crafting the stories in ballets. Teachers like Carlo Blasis codified ballet
technique in the basic form that is still used today. The ballet boxed toe shoe was
invented to support the pointe work.
 Marie Taglioni Fanny Elssler Geneviève Gosselin

Romantic Movement

The Romantic movement in art, literature, and theatre was a reaction

against formal constraints and the mechanics of industrialization. This led
choreographers to compose romantic ballets that appeared light, airy and free that
would act as a contrast to the spread of reductionist science through many aspects
of daily life that had, in the words of Poe, “driven the hamadryad from the woods”.
These “unreal” ballet portrayed woman of fragile unearthly beings, ethereal
creatures who could be lifted effortlessly and also seemed to float in the air.
Ballerinas began to wear costumes with pastel, flowing skirts that bared the shins.
The stories revolved around uncanny, folkloric spirits. An example of one such
romantic ballet is La Sylphide, one of the oldest romantic ballets still danced today.

Russia

While France was instrumental in early ballet, other countries and cultures
soon adopted the art form, most notably Russia. Russia has a recognized
tradition of ballet, and Russian ballet has had great importance in its country
throughout history. After 1850, ballet began to wane in Paris, but it flourished
in Denmark and Russia thanks to masters such as Auguste Bournonville, Jules
Perrot, Arthur Saint-Leon, Enrico Cecchetti and Marius Petipa. In the late 19 th
century, orientalism was in vogue. Colonialism brought awareness of Asian and
African cultures, but distorted with disinformation and fantasy.

August
Bournonville Jules Perrot
 Arthur Saint-Léon
Enrico Cecchetti

Marius Petipa

Petipa is best remembered for his collaborations with Tchaikovsky. He

used his music for his choreography of the Nutcracker, The Sleeping Beauty
(1890), and the definitive revival of Swan Lake (1895, with Lev Ivanov) These
works were all drawn from European folklore.

The female dancers’ classical tutu as it is recognized today began to appear

at this time. It consisted of a short, stiff skirt supported by layers of crinoline or
tulle that revealed the acrobatic legwork, combined with a wide gusset that
served to preserved modesty.
 20th Century and Modernism Russia and the Ballet Russes

In the early part of the 20th century, Russian choreographers Sergei

Diaghilev and Michel Fokine began to experiment with movement and costume,
moving beyond the confines of classical ballet form and story. Diaghilev
collaborated with composer Igor Stravinsky on the ballet The Rite of Spring, a
work so different —with its dissonant music, its story of human sacrifice and its
unfamiliar movements — that it caused the audience to riot. Choreographer and
New York City Ballet founder George Balanchine, a Russian who emigrated to
America, would change ballet even further. He introduced what is now known
as neo-classical ballet, an expansion on the classical form. He also is considered
by many to be the greatest innovator of the contemporary “plotless” ballet. With
no definite story line, its purpose is to use movement to express the music and
to illuminate human emotion and endeavor. Today, ballet is multi-faceted.
Classical forms, traditional stories and contemporary choreographic innovations
intertwine to produce the character of modern ballet. Sergie Diaghilev brought
ballet full-circle back to Paris when he opened his company, Ballets Russes. It
was made up of dancers from the Russian exile community in Paris after the
Revolution. Russian ballet continued development under Soviet rule. There was
little talent left in the country, but it was enough to seed a new generation.

What’s More

Directions: Outline the sequence of the important events happened during the
development of classical ballet.

_______ The professionalism of ballet companies became a focus for a new

generation of ballet masters and dancers. Carlo Blasis codified ballet technique in
the basic form that is still used today. The ballet boxed toe shoe was invented to
support the pointe work.
_______ Ballet developed as a performance-focused art form in France during the
reign of Louis XIV.
_______ Ballerinas began to wear costumes with pastel, flowing skirts that bared
the shins. The female dancers’ classical tutu as it is recognized today began to
appear at this time.
_______ Tutus ballet and pointe work were not yet used. Ballet was further shaped
by the French ballet de cour, which consisted of social dances performed by the
nobility.
_______ Reforms were made in ballet composition by composers such as Christoph
Gluck. a period in the technical standards of ballet and the period when became a
serious dramatic art form on par with the opera.
______ Sergie Diaghilev brought ballet full-circle back to Paris when he opened his
company, Ballets Russes.
 What I Can Do

Directions: Answer the following questions. Use a separate sheet of pad paper
if needed.

1. What is ballet?
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2. In what century does ballet start?

How it starts to spread?

a. ________________________________________________________________________
b. ________________________________________________________________________

3. List down the artist involves in the history of classical ballet and write their
contributions. (as many as you can)
Lesson

2 TERM AND VOCABULARY

You have learned about the history and development. Now, you will learn
more about the different ballet terminologies which remained largely in the French
language. Ballet dancers across the world learn and can communicate with this
universal ballet vocabulary.

What’s In

Directions: Differentiate barre exercise to center exercise in ballet.

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What’s New

Direction: Identify the following exercises if it is barre work or center work

exercises. Write the letter BW if it refers to Barre Work and CW if it is in
Center Work exercises.

_______1. Adagio
______ 2. Pirouette
______ 3. Developpe
______ 4. Changement
______ 5. Ron de jambe enl’air
______ 6. Soubresaut
______ 7. Glissade
______ 8. Plie
______ 9. Battement tendu
______ 10. Pas de chat
 What Is It

TERMS AND VOCABULARY

BARRE EXERCISES

Barre is a form of physical exercise, usually conducted in group classes in

gyms or specialty studios. ... Barre classes focus on the lower body and core,
developing strength and flexibility from the ankles up though the calves, knees,
thighs, glutes and abdominals.
In ballet, barre work exercises both slow and fast exercises, which both serve
to strengthen muscles. Slow exercises are typically performed first, to stretch
and warm up muscles, and to focus on proper body form, whereas fast exercises
condition dancers to maintain precise ballet technique while moving. Each
exercise has a specific purpose, such as to strengthen feet and legs, increase
extension, improve flexibility, and develop ballon. Proper form (posture,
positions of feet and arms) is strived for in all exercises.
A barre helps dancers by providing a means of stability and balance and,
consequently, barre work often comprises a significant portion of the beginning
dancer’s class. It is an essential tool when first learning foot placement
technique, and also for beginning pointe dancers, who have not yet developed
the strength and technique needed for pointe work. The barre continues to be
an important tool in all levels of ballet. Barre work helps dancers prepare for
partnering, with the barre simulating the support of a real partner.
When used for promoting general fitness, barre exercises may incorporate a
wide variety of activities to increase stamina, flexibility and strength, including
ballet movements that require balance and stimulate the core such as plie and
pirouettes.

BARRE EXERCISES:

1. Plie - (pleeyay) to bend

demi plie – half plie
grand plie – full plie
2. Battement tendu - (bhatmahtondoo) to stretch
3. Battement tendu glisse - (bhatmahtondoogleesay) stretch and thrown
4. Rond de jambe a terre - (ron de jam) round of leg on the floor
5. Battement fondu - (bhatmahfondoo) to melt
6. Battement frappe - (bhatmahfrapay) to strike
7. Ron de jambe enl’air - round of leg in the air
8. Developpe - (developey) to develop or unfold
9. Grand battement - big beat

Ballet center exercises, or center-work, is the portion of the class that

takes place away from the barre. It is a series of combinations of steps designed
to increase strength, flexibility, and balance. It also teaches dancers how to put
steps together fluidly. In the center, you learn steps, positions and poses to gain
 a basic movement vocabulary of ballet. You repeat exercises from the barre and
learn steps that develop into dynamic movement combinations. In other words,
in the center, you apply what you learned at the barre, and you learn to dance.

Center work usually consists of the following exercises:

*Port de bras
*Grand battement
Center work can also consist of adagio and allegro segments, which are fast and
slow combinations that include classical ballet poses, arm and foot positions,
steps, turns, small or large jumps, hops, and leaps.

CENTER EXERCISES:

1. Port de bras - (por de brah) carriage of arms

2. Adagio - a succession of slow and graceful movements
3. Battement tendu
4. Grand tendu
5. Enchainments - (enshanmah) a combination of 2 or more steps
arranged
to fit a phrase of music.
Pose - poised
Echappe - (susu) escaping or slipping movement
Sous sus - over under
Pas de bourrée - (pah de boorey) series of linking steps consisting of
three
small steps
6. Balance - (balansey) waltz, a dance in ¾ time
7. Pirouette - twirl or spin
Pirouette eh de hors
Pirouette en de dans
8. Small jumps
Saute - (sotey) jump
Soubresaut - (sobreso) sudden spring or jump from both feet in
third,
fifth position and landing on both feet in the same
position as they started.
Changement - (shansmah) sudden spring or jump from both feet in
third, or fifth position and landing on both feet in the
opposite position as they started, change of feet.
9. Petit allegro - brisk and lively movements

Pas de chat - (pah de sha) step of a cat, a ballet leap from one foot to
the other in which the feet are drawn up and the knees
are bent so that the legs form a diamond.
Glissade - (gleesad) to glide, a gliding step
Assemble - (assambley) to assemble or put together, movement in
which the dancer’s feet or legs are brought together in
the air, then lands on both feet.
Jete - (jetey) to throw, a step in which the dancer springs
from

10. Turns
 Soutenoen tournant - (sutenu on turnah) sustained turning, one leg is drawn
smoothly to the other.
Chaines - (shaney) chains, a series of short usually rapid, turns
performed in a straight line across the stage.
Pique turns - (pikey) a turn on one foot while the other leg is in
passe, with the toe touching the opposite knee.
11.Grand Allegro - combination of large, leaping steps and jumps that
extend across the stage
Chasse - (shasey) to chase, a sliding dance step resembling the
galop
Temps leve - (tom levey) raising movement, a small hop on one foot,
with the other foot raised off the floor.
Ballonne - (baloney) bouncing step with a broad leap with a
battement to front, side, or back
Grand jete - large jete, a big leap
Sissonne - (sison) a jump in which the dancer lands on one foot,
with the other extended to the back, front, or side.
Tour jete - (tur jetey) a movement in which the dancer leaps from
one ot, makes a half turn in the air, and lands on the
other foot.

Vocabulary:

Enl’aire - in the air

A terre - on the ground
Derriere - back
Devant - front
A la seconde - side

Directions of the feet:

Encroix - (on cruwah) in the shape of the cross

En de dans - (an de dan) inward
En de hors - (an de yor) outward

Epaulment (Directions of the body/shouldering):

De cote - (de cotey) sideways

Croise - (cruwasey) crossed
Ecarte - thrown wide apart
Efface - shaded
En face - (on fas) facing the audience

Arabesque - a ballet position with the other leg extended behind

1st arabesque - arm in front is same as the supporting leg
2nd arabesque - arm in front is same as the lifted leg.

REVERANCE – to bow or curtsey

 What’s More

Direction: Identify the correct answer in each statement. Write the correct letter
of your answer.

_____1. Plie is a bending movement of the …

a. Ankles b. Elbows c. Knees
_____2. What does ‘tendu’ mean?
a. Stretched b. Slide c. Glide
_____3. A raising of the body on pointes or demi-pointes is called a
a. Pirouette b. Jete c. Releve
_____4. En de hors means
a. Inward b. Outward c. Sideward
_____5. En de dans means
a. Backward b. Inward c. Outward
_____6. What is a jete?
a. Gliding on the floor
b. To throw, a step in which the dancer springs from
c. Bouncing step with a broad leap with a battement
to front, side, or back.
_____7. A pirouette is a ____.
a. Twirl or spin b. On the ground c. To glide
____ 8. A ballonne is a bouncing step with a broad leap with a battement
to front, side, or back.
a. Front, side, or back b. side only c. front only
____9. Carriage of arms means
a. Arms Bras Bas b. Port de bras c. Facing the audience
____10. A succession of slow and graceful movements is
a. Arabesque b. Pas de chat c. Adagio

What I Can Do

Direction: Perform the activity below using the terms. Video yourself while
performing the activity.

BARRE WORK EXERCISE:

I. PLIES (facing the barre)

BRAS BAS (brah-bah) preparatory position
PLIE (pleeay) to bend
DEMI (demee) half
TENDU (tondoo) to stretch
DE COTE (de kohtay) sideways
DEVANT (devon) in front
 DEGAGE (degazhay) disengage

Arms Bras bas and feet in 6th position

Preparation: 4/4 count 2 (breath of arms)

1 – 2 Demi plie
3 – 4 recover to stretch legs
5 – 8 Repeat
1 – 2 Rise
3 – 4 lower the heels
5 – 6 open to 1st position of the feet
7 – 8 hold
1 – 8 Repeat 2 demi plies in 1st position
1 – 4 Rise and lower the heels
5 – 6 tendu de cote or degage
7 – 8 lower to 2nd position of the feet
1 – 8 Repeat 2 demi plies in 2nd position
1 – 4 Rise and lower the heels

5 – 6 tendu
7 – 8 close in 3rdposition of the feet R foot in front
1 – 8 Repeat demi plies in 3rd position
1 – 4 Rise and lower the heels
5 – 6 Tendu devant
7 – 8 lower to 4th position of the feet
1 – 2 Tendu devant
3 – 4 Close to 5th position of the feet
5 – 6 release the arms from the arm
7 – 8 arms bras bas

What I Have Learned

What is unique about ballet?

________________________________________________________________________________
________________________________________________________________________________
________________________________________________________________________________
________________________________________________________________________________
________________________________________________________________________________
_______________

 What are the two exercises consisted in center work exercises.

1.
2.
The five (5) masters who have big contributions on Russian ballet.
1.
2.
3.
4.
5.
 Assessment

Direction: Read each statement or question below carefully and fill in the blank(s)
with the correct answer. Use a separate sheet for your answer.

Jean-Baptiste LullyPierre Beauchamp

King Louis VI 19th Century

18th Century
FabritioCaroso

_____________1. An Italian violinist, dancer, choreographer, and composer who

establishing the general direction of ballet.
____________2. Founded the Academied’Opera with Pierre Perrin as director.
_____________3. The man who codified the five positions of the feet and arms in
ballet.
_____________4. In what century was a period of advance in technical standards
of ballet and became a serious dramatic art form on par of opera.
____________5. In what century was the ballerina became the most popular
dance performer in Europe in the first half of the 19th century.

Direction: Match the Column A with Column Write the letter of your answers on a
separate sheet.

Column A Column B

_____1. Demi-plies a. to melt

_____2. Port de bras b. escaping or slipping
movement
_____3. Battement fondu c. Carriage of the arm
_____4. Encroix d. in the shape of the cross
_____5. Battement e. shaded
_____6. Echappe i. twirl or spin
_____7. Pirouette j. Half Bend
_____8. Ballone k. to develop or unfold
_____9. En face l. Slide
_____10. Efface n. Stretch
o. facing the audience

Direction: Read each statement carefully and choose the best answer. Write your
Answers on a separate sheet.

1. Helped to establish Italy as the centre of technical ballet development.

a. Catherine De’ Medici b. FabritioCaroso c. Marie Taglioni
2. The first ballet de cour founded by Catherine De’ Medici?
a. Ballet de Polonais b. Academied’Opera c. Academie Royale de danse
3. An Italian aristocrat with an interest in the arts and brought her enthusiasm for
dance in France.
a. Genevie Gosselin b. Fanny Elssler c. Catherine De Medici

4. Became a famous landmark largely due to the ballets performed in Venice as the
centre of dance inEurope.
a.Russia b. United State c. Teatro San Benedetto
5. In what movement does the long tutu used?
a. Romantic movement b. Court dance movement c. Renaissance movement
6. In what period did pointe shoes originate?
a. Ballet in America b. The Russian Classics c. Renaissance
7. Pointe shoes are made of wood, plaster, and cardboard.
a. True b. False
8. An adagio is a
a. Quick and lively performance
b. A slow dance movement
c. A short entertaining dance
9. He used his music for is choreography of the Nutcracker, the Sleeping Beauty
and of Swan Lake
a. Jules Perrot b. Marius Petipa c. Enrico Cecchetti
10. He bbrought ballet full-circle back to Paris when he opened his company,
Ballets
Russes
a. George Balanchine b. Anna Pavlova c. Sergie Diaghilev
 Answer Key

What I Know

1. a
2. c
3. b
4. a
5. d
6. Medici
7. Henry II
8. Caroso
9. Louise XIV
1. Noverre

LESSON 1

What’s In

(Answer may vary.)

What’s New

(Answer may vary.)

What’s More

First:
Tutus ballet and pointe work were not yet used. Ballet was further shaped by the
French ballet de cour, which consisted of social dances performed by the nobility.
Second:
Ballet developed as a performance-focused art form in France during the reign of
Louis XIV.
Third:
A period in the technical standards of ballet and the period when became a serious
dramatic art form on par with the opera. Reforms were made in ballet composition
by composers such as Christoph Gluck.
Fourth:
The professionalism of ballet companies became a focus for a new generation of
ballet masters and dancers. Carlo Blasis codified ballet technique in the basic form
that is still used today. The ballet boxed toe shoe was invented to support the
pointe work.
Fifth:
Ballerinas began to wear costumes with pastel, flowing skirts that bared the shins.
The female dancers’ classical tutu as it is recognized today began to appear at this
time.
Sixth:
Sergie Diaghilev brought ballet full-circle back to Paris when he opened his
company, Ballets Russes.

What I Can Do

1. The etymology of the word “ballet” reflects its history. The word ballet comes
from France and was barrowed into English around the 17th century. The French
word in turns has its origins in Italian balleto, a diminutive of ballo (dance). Ballet
ultimately traces back to Italian ballare, meaning “to dance”.

2. Ballet is a formalized form of dance with its origins in the Italian Renaissance
courts of dance with its origins in the Italian Renaissance courts of the 15 th and
16th centuries. Ballet spread from Italy to France with the help of Catherine Medici,
where ballet developed even further under her aristocratic influence.

3.
Catherine de’ Medici, an Italian aristocrat with an interest in the arts, married
the French crown heir Henry II, she brought her enthusiasm for dance to
France and provided financial support.

Balthazar de Beaaujoyeulxchoreographed the first ballet de cour the “Ballet de

Polonaise”

Fabritio Caroso’s II Ballerino, a technical manual on court dancing, both

performance and social, helped to established Italy as a centre of technical
ballet development.

Louis XIV, who was determined to reverse a decline in dance standards that
began in the 17th century, established the Academie Royale de Danse.
Hefounded the Academie d’Opera with Pierre Perrin as director.In 1661 he had
founded a school, the Academie Royale de Dance.

Pierre Beauchamp, the man who codified the five positions of the feet and
arms, was the king’s personal dance teacher and favorite partner in ballet in
ballet de cour in 1650’s

Jean-Baptise Lully, an Italian violinist, dancer, choreographer, and composer,

who joined the court of Louis XIV in 1652. He brought together music and
drama with Italian and French dance elements. His work created a legacy which
would define the future of ballet.

Jean-George Noverre, Lettres sur la danse et les ballets (1760), which focused
on developing the ballet d’action, in which the movements of the dancers are
designed to express character and assist in the narrative.

Christoph GluckReforms were madereforms in ballet Finally, ballet was divided

into three formal techniques serieux, demi-caractere and comique.

Genevieve Gosselin, Marie Taglionie and Fanny Elssler experimented with

new techniques such as pointework that gave the ballerina prominence as the
ideal stage figure.
 Carlo Blasis codified ballet technique in the basic form that is still used today.
The ballet boxed toe shoe was invented to support the pointe work.

Auguste Bournonville, Jules Perrot, Arthur Saint-Leon, Enrico Cecchetti

and Marius Petipa.After 1850, ballet began to wane in Paris, but it flourished
in Denmark and Russia with the help of five masters.

Sergie Diaghilev brought ballet full-circle back to Paris when he opened his
company, Ballets Russes.

LESSON 2

What’s In

Barre is a form of physical exercise, usually conducted in group classes in gyms or

specialty studios. ... Barre classes focus on the lower body and core, developing
strength and flexibility from the ankles up though the calves, knees, thighs, glutes
and abdominals.

Ballet center exercises, or center-work, is the portion of the class that takes
place away from the barre. It is a series of combinations of steps designed to
increase strength, flexibility, and balance. It also teaches dancers how to put steps
together fluidly.

What’s New

1. CW
2. CW
3. BW
4. CW
5. BW
6. CW
7. CW
8. BW
9. BW
10. CW

What’s More

1. c
2. a
3. c
4. b
5. b
6. b
7. a
8. a
9. b
10. c
What I Can Do

Video Recording

What I Have Learned

1. Ballet requires discipline not found in many other forms of dance.

It enjoys a history not found in many more modern genres of movement.
Ballet encompasses the "dancer dream", and continues to resonate in the hearts
and minds of little girls like no other style of dance.
Ballet can fit into almost any social setting, making it ideal for either a casual
performance with friends or a formal evening date.

2. Port de bras
Grand battement

3. August Bournonville
Jules Perrot
Arthur Saint-Leon
Enrico Cecchetti

Assessment
1. Jean-Baptise Lully
2. Louise XIV
3. Pierre Beauchamp
4. 18th century
5. 19th century
6. b
7. a
8. c
9. c
10. a
11. b
12. a
13. b
14. b
15. c
References

BOOKS

Government of the Philippines, National Commission for Culture and the

Arts SANAYGURO Dance Module 2016

ONLINE AND ELECTRONIC SOURCES

1. History and Development of Classical Ballet, www. Britannica.com
2. Liveabout.com/top-classical ballets
3. www.pbt.org.resources-audience-members brief - history of ballet
4. Livehealthy.chrom.com/ballet-center-exercises
For inquiries or feedback, please write or call:

Department of Education - Bureau of Learning Resources (DepEd-BLR)

Ground Floor, Bonifacio Bldg., DepEd Complex

Meralco Avenue, Pasig City, Philippines 1600

Telefax: (632) 8634-1072; 8634-1054; 8631-4985

Email Address: [email protected] * [email protected]