oan Lawson

inning

'/

/
V
V

J^
R
»;,/'>'
-* ..,-»'
88

^
BOSTON
PUBLIC
UBl^RY
Beginning
BALLET
 Digitized by the Internet Archive
in 2011

http://www.archive.org/details/beginningballetfOOIaws
Joan Lawson

Beginning
BALLE T
from the classroom to the stage

A & C Black London

Theatre Arts Books/Routledge •
New York
Paperback edition 1994 CIP catalogue records for this book arc avialable from
First published 1977 the British Librar)- and the Librar>' of Congress.
A&C Black (Publishers) Limited
35 Bedford Row, London WCl R 4JH All rights reserved.
No part of this publication may be reproduced, stored in
ISBN 0-7136-3947-4 a retrieval system, or transmitted, in any form or by any
means, electronic, mechanical, photocopying, recording
© 1994, 1958, 1972, 1977 A & C Black (Publishers) or otherwise, without the prior permission in writing of
Limited the publishers.

Published simultaneously in U.S.A. by Typeset in 10 on 12pt Linotron Galliard by

Theatre Arts Books/Routledge Wy\'crn Typesetting Limited
29 West 35 th Street Printed in Great Britain by Butler & Tanner Ltd,
New York Cit\, NY 10001 Frome and London

ISBN 0-87830-056-2

Beginning Ballet comprises Begfinners, Please! by the late

Kay Ambrose and Dressing for the Ballet by the late Peter
Revitt and Joan Lawson who has reworked some of the
material from both books. The original introduction by
Kjv Ambrose has been slightly modified to take account
of prevailing practice.
 1 5

Contents

Introduction 7 Adage 48
ballet •
for the beginner to the teacher Allegro and steps of elevation 50
for parents and guardians saute', changement and glissades pas de
boiirree •
echappes sautes changes •
jetes
BASIC COSTUME 12 derricre and devant •
assembles •
soubresaut
Ballet shoes 12 grands jetes, en aidant and en toumant
Hair-dressing 1 Sur les pointes 60
Dress for classroom and stage 16
notes on requirements •
materials colours STAGE COSTUME 62
Making patterns 17 Classical female dress 62
Knitwear 2 tutu Les Sylphides and Swan Lake dresses

footless tights crossor>ers Classical male dress 69

basic shirt and variations tunics •

CLASS 25 Leotard and additions 77

Preliminan,' notes 25 National costume 79
the baire itself five basic positions offeet
• skirts •
blouses

dcpoitment Demi-caractere female dress 84

Barre 27 jackets •
corset •
corselet overskirts bolero
basic plies •
battements tendus •
grands carnival ribbons
battements •
ronds de jambe d terre and en Demi-caractere male dress 90
Pair battements frappcs and sur le cou de tunics •
boots
pied developpes •
battements en cloche •
Draperies 93
releves from two feet an to one Curtsev and bow 94
'
Centre practice 37 Index 95
general notes seven movements of dance •

five basic positimjs of arms exercises in port

de bras •
eight directimis of the body •

pirouettes first arabesques attitudes

Introduction
Dancing something more than one of the
is element which can lead to a generation of
arts - basically it is one of the instincts, and brilliant dancers - namely, the cultivation of
its historx' started long before there \\'ere any an artistic standard, which can live, grow and
historians to write about it. Probably in its develop for ever.
most ancient form it was ritualistic, but even wonder if diere is anybody who has not
I

then it must have been performed with con- at one time or another wondered what it
scious decorati\'e intent. Real dancing is 'that would be like to float through the air like the
dance u'hich is as the very heartbeats of uni- immortal Pavlova, grip the imagination, like
versal life' and, in the form of ballet, it is sub- Nijinskv, dazzle like Fonteyn, with flawless
ject to all the rules \\'hich govern the great technique, and plav with the audience, like
classical arts. Nureye\'? Indeed, to skim oxer the stage with
For instance, you cannot reasonablv expect sparkling footwork like a Collier, spin off-
to become a great composer unless you study centre like a Bar}^shnikov or balance like a
how to handle an orchestra, the various Guillem.^
instruments, musical notation and the works Some might comment 'What ///«!' - dis-
of the great composers who have gone before regarding the years of toil attached to these
\'ou. To become a great painter you must delightful powers.
study perspective, anatomy and architecture. Some might answer with a sigh, 'That
A prospective poet must have a complete would be and here, indeed, we have
a dream',
master\' of his language, an impeccable sense the more realistic approach of the two. The

of rhvthm and great visionar\' gifts. To secret of the realisation of the dream is that
become a great dancervou must have some, it must be a vision which can also be perceived by

at least, of all these qualities, and the greatest an audience. Most of us have dreamed that
dancers are the ones that ha\^e the most . . . we were flying, and sighed to remember the
Dancing, music and painting are the three delicious and unearthly sensation the follow-
main components which make up ballet. ing morning, but Pavlova, who managed to
Although to studv music and painting is keep her poetic interpretative powers
desirable for the prospective dancer, it is the unbruised by the drudgen' of theatrical tours
first element, that of the basic technique of and the hard technical work of the classroom,
the classical ballet itself, \\'hich it is the hard- was able to project the illusion of flying to
est to establish. It is comparatixely easy to lay those who saw her dance. Galina Ulanova
down laws and precepts concerning musi- achieved the same almost hypnotic power in
cians and painters, for we can always refer to Russia in her day.
great paintings and musical works to bear out So the first conscious realisation of ballet is

what we want to say; but it is harder in the in full accordance with the ancient belief that
case of dancing! WTien the dancer has danced, dancing must be a wholly unselfish art. A sen-
the only thing which remains of the perform- timental journey is no good in the theatre
ance is the length of time it will li\'e in the unless you can take your audience with you
minds of those who saw it, unless, today, it (after all, they have paid for their seats), and
is caught on film or video. to watch a dancer who is enjoying herself in
Luckily, however, a school of dancing is her own
way, without reference to theatrical
another matter, for it is concerned with an interpretation, is like watching a sleeper who
8 INTRODUCTION

has a smile on her face, and wondering what hour - you will certainlv have achieved a
she dreaming about.
is good deal. As any dancer will tell vou, doing
The first steps towards a sensiti\'e and pro- a class on your own is difficult work even if

fessional stage performance of ballet are the you are already familiar with all the steps;
first steps of the student in the classroom, and however, do your best (working out the
it is with these preliminary movements that tempo will probably be the most awkward if
this httle book is concerned. you have no one to help you, although there
are many good recordings of ballet class
music available now), and when you do \'isit
FOR THE BEGINNER a ballet class you will not find vourself entirely
lost.

My aim in writing has been to assemble the

bare bones of elementar\' ballet (there is not
room for any frills), and, of course, the diffi- TO THE TEACHER
cult}' has been to decide what material might

safelv be omitted. A more advanced book on Observe the average and then
ballet class
ballet might well have been an easier task, as glance at the pictures of immortal dancers
in that case one addresses students who one which usually decorate the studio walls. You
assumes are already acquainted with posture, are the person who has undertaken the mir-
and what to wear under their tights. It is not acleof turning one into the other, and this
intended as a preparation for any particular metamorphosis can take place onlv under
examination in ballet, but is designed to be your direct super\ision, never from the pages
of practical assistance to boys and girls who of a book.
wish to experiment gendy at home before You will be the first to recognise the diffi-

deciding to attend a ballet school, and for culties presented in compiling this small
those who are attending classes, it may well volume, where I have found mvself thor-
serve them as a reference book and help them oughly hedged in by a number of limitations,
towards a better understanding of how their including lack of space. You must have found
teacher is trying to train them. However, I in the course of dance-training, part of which
hope sincerelv that the number of ballet features the correction of faults in natural
beginners who are unable to reach a class of figure construction, that by a thousand it is

any description will be few indeed. subtle methods diat you accustom the differ-
In other words, although this book is not ent dancers to master the difficult ballet tech-
intended to take the place of a teacher of nique and to recognise and respond to the
dancing it is an abbreviated primer. It gives different moods and timing of music, bearing
a general idea of the sequence and purpose in mind that some fiiture choreographer may
of a normal, preliminar\' ballet class, and be using those same smdents to express his
it is also freely addressed to that army of ballets. How can such subtleties be included
ballet-lovers which forms the backbone of any in any book, let alone one of this size? The
audience, including photographers, artists, answer is, of course, that the subtleties of the
columnists and general connoisseurs. dancer's training are entirely up to you.
The exercises shown here may seem rather The selection of steps, exercises and the
dull, but as you will find they are surprisingiv drawings of basic poses shown here are
and if you master all the movements
difficult; adapted from a system which has proved to
and poses and then perform them in the cor- be a successful one, and which includes steps
rect order the right number of times - i.e. if and information from various well-known
you 'do a class' lasting approximately an methods of dancing.
 INTRODUCriOK 9

For the information of the general reader, the seriousness and talent of the student; and
it must be strongly emphasised that a good anyway, the hard training for a ballet dancer
teacher is always one who obtains excellent will soon grow monotonous to any but the
results from anv system he or she has devised serious student, and will cure in record time
or adopted. A good system of dance- someone who is merely stage-struck.
training - Cecchetti, Royal Academy of If the young dancer is firmly set on a train-
Dancing, Russian, etc. - is a good system no ing for a professional career, then there are
longer if indifterendy taught. three forms of funding involved. Scholarships
are available which alleviate the high cost of
a specialised training; in theory discretionan,^
FOR PARENTS AND GUARDIANS grants may be obtained from the student's
local authority^ although in practice this is

For the parents of a reall)' determined would- becoming and less likely as local councils
less

be dancer, ballet can be a grim subject. Most struggle to meet their budgets; or the fees
parents have no objection to a child taking must be found privately.
ballet lessons as a part of a general education;
but when the young person in question
Choice of teacher
shows in no uncertain manner that he or she
is absolutely resolved to take up professional This is a ver\^ serious matter indeed, as a mis-
ballet as a career, in ver)^ many cases some take can be as far-reaching in its results as a
alarming problems present themselves. For wrong choice of medical advice. The best way
instance, there is the awilil uncertainty of of ensuring that a teacher is a reputable one is

height: for a girl, five foot six inches (1.68 to communicate with one of the best known
metres) is the danger line. She must be pre- Teachers' Associations, which will be allied
pared to start work seriously from the age of to one or more of the most famous and
ten, or at the latest, twelve. Will she study approved methods of dancing, some of which
ballet at the expense of some of her general are referred to in these pages.
education, and then grow too tall to make Parents should also bear in mind that end-
a first-rate dancer; or perhaps, suddenly lose less displays and recitals by young students
interest? are not necessarily indicative of good ballet
At the very outset of this discussion one training. It may be suitable for those who
thing must be made clear. All uncertainties, wish to pursue die more commercial side of
including height, talent, strength and oppor- stage entertainment, but perpetual displays
tunities, are offset by one significant by tiny and young students should be
tots
certaint\^ - that whereas the serious study of regarded rather as an advertising campaign by
ballet will bring increased poise and self- a commercially minded teacher than as good
possession to the student, there is ample evi- experience for the pupils. One recital a vear
dence that refijsing to allow a determined is enough for any teacher, mother or
quite
child to study dancing will result in a very student: remember that the greatest teachers
real frustration in later vears, when it will be of dancing give a students' recital once in a
too late to cure. blue moon, if ever. Once again, tradition has
As to the always vexed question, whether shown that premature stage appearances
a child is really serious over a career in ballet merely tend to make ballet pupils unduly con-
or merely dazzled by films and star perform- ceited, and encourage the teacher to believe
ances: an excellent test is to deliver a strong in his or her perfections as a 'choreo-
dose of ballet classes with a good teacher. As grapher' - a much misunderstood word, now
a rule, the teacher will be able to diagnose used to describe the efforts of anyone who
10 I\m{ODUC:TI()N

attempts to arrange dances of any kind. So General information

remember - although a ballet dancer must be
good to be commercially successful, it does Age and height
not work the other way round. In the case of children who
under seven are
The danger ofscndinjj a child to a bad teacher years of age, 'dancing classes' composed of
cannot be overstressed. It is mv painfiil dut\' to little steps accompanied by nurser\' rhymes

place on record that there are \'er\' many cases and other simple tunes are more suitable than
of children who, showing remarkable talent, ballet classes. Children under se\'en are not
ha\'e been allowed to study for some time usually physically or mentally ready for rigor-
with a bad teacher; the parents, at last dis- ous ballet training, except in the most extra-
covering that the teacher was not bmia fide^ ordinar}^ cases.
have taken the child awav and sent it to a At the age of twelv^e or thirteen a girl is

qualified teacher, but often too late. The usually considered too old to commence
second teacher has had the heartbreaking task training and become a really excellent dancer.
of telling the parents that the child has been Nevertheless girls have beenknown who have
physically ruined, and can never be cured of started at fourteen and haxe made successftil
the effects of a really shocking start. careers.
Allowing a child to rise on her pointes Boys are fiindamentally stronger physically
before she is ready is one of the most out- than girls and can start their training later,
standing examples of bad training; but there but they should not be older than fourteen if

are a thousand physical maladjustments they are to make However,

excellent dancers.
which may take place as a result of improper it must be placed on record that one very

instruction - none of which would be noticed famous dancer started his training at the age
by any but an expert in its early stages. So be of twenty-two.
warned! As to height: for girls, fi\'e foot six inches
A qualified teacher is a person who can and (1.68 metres) is the usual limit, but taller dan-
should be approached on eyer\' matter con- cers have been known who ha\'e made
cerning the serious student's welfare, includ- extremely successftil careers. In a \'oung child,
ing what sports and recreations may be long hands and feet are danger signals, usu-
studied without spoiling the ideal dancer's ally indicating height to come, but not invari-
physique, and also upon the important ques- ably so.
tion of shoes. There are a number of ballet
shoe manufacturers producing /7amf^ and soft Preliminary study
shoes which have been developed for many (The following information is exclusive of
years to help protect and strengthen the feet tiny tots and infant prodigies.)
in the right way. a For a preliminaiT student, two one-hour
Whereas no trouble should be spared to classes aweek constitute the a\'erage.
find the right teacher for the prospccti\'e b During this class, all the exercises given in
ballet student, many parents and guardians this book for the banr should be performed.
may be glad to have certain information (Naturally, a beginner would take some
before starting the search. I will therefore weeks at least to learn the movements, quite
include a few basic facts which should be a time to grow accustomed to them and - in
taken in the same spirit as the drawings of keeping with ballet as a whole - the rest of
which follow: they are
technical ballet steps his life trying to perfect them!)
addressed to those people who want to c Still in the course of that hour, in the
obtain a general idea of the subject before second part of the class known as centre pi'oc-

approaching an expert. tice^ separate attention should be given to the

 1

INTRODUCTION 1

exercises listed under that heading. It should depends gready upon the amount of the
be borne in mind that it is better to impro\'e child's homework and the travel entailed.
two through too many
exercises than to rush Most children, however, find that even this is
steps imperfectly. Time should always be left too much, particularly between the ages of
for at least one adajje and some alletjro before fifteen to sixteen when they are working
the hour is over. towards their G.C.S.E. exams. At sixteen it is
It should be noted that no student is a little late to begin serious study.
expected to master all the steps shown in this f Technical terms in ballet are mosdy in
book in his or her first few visits to the class- French, and as part of ever\' student's training
room. All the material shown is basic, and it naturally of ballet 'theory', these
consists
may be mastered in the time specified by the terms may present a stumbling block to some
teacher. The poijite-work shown is prelimin- \'oung people. There is litde space in this
ary, but can only be attempted after training book to pursue the derivations of the French
in soft practice shoes is complete and terms, and none to arrange a system of phon-
approxed by the teacher. In fact - etic pronunciation: so I have indicated the
d No pointe-work should be attempted until at approximate meanings only. For exact trans-
least two years of study are complete. lationsand pronunciation the best course
It should then only take place under the would be to secure a small French dictionary,
guidance of a qualified teacher. which usually gives some general system for
No child should be permitted to rise on phonetic pronunciation in the introductory
her pointes until she has passed her tenth year. matter, and a ballet dictionary in which ballet
If she takes her first class when she is ten, she terms can be found and identified.
must under no circumstances tr\' pointe-work The value of learning these French terms
until she is twelve, and so on. at the outset of one's ballet education is ob\i-
e For parents who wish to know how much ous. Their use in training is international; so
time is necessar)' to de\'ote to ballet training with their help one may study ballet coher-
often years who is to become
for a child, sav, endy with a teacher in any country^ in the
a serious student with a view to a professional world — e\'en if one does not understand the

career, the approximate time of study would language used, outside the classroom.
depend upon the t\'pe of school attended. g There are many uses for each step, position
Some professional schools for children from and movement, but pardy from lack of space
the age of eight up\\'ards ha\'e already been and partly to retain simplicity the main uses
set up and of necessity, have their own
these, only are indicated.
special time-tables in which a daily class in No single method of dancing has been
classical dance lasting from fort\' minutes to adhered to. The exercises are elementary, are
one hour finds a place together with the aver- an aggregate of various methods, and if care-

age school syllabus. However, not all children ftiUv followed will not impart to the students
can attend such schools. Instead thev go to any tricks or habits which will render them
the numerous kinds of state-supported or unsuitable to continue training with any
independent schools and usually have to find good teacher of ballet.
time for dancing lessons elsewhere. If the The technical terms used are those of the
child intends studying seriously then he or Cecchetti method, the system used by Miss
she should take at least two lessons a week, Ambrose when she worked with Ballet Ram-
one after school and one on Saturday morn- bert and the National Ballet of Canada, both
ing. It sometimes possible to increase the
is of which at that time used this firm basis for
number of lessons to three a week, but this training their dancers.
 BASIC_COSTUME
Ballet shoes
As the ballet shoemost important tool
is the slices.But if the satin at the side of the toe
for all dancers in the classroom and in Clas- and under big and little toe joints shows signs
sical and Romantic ballet, its proper prepara- of wear, these points should be darned as
tion and maintenance are vital. well.

Damingi Sewing on ribbons

Materials required Materials required
Large darning needles: the cur\^ed ones are Amount of ribbon required depends on size
most useful. Carpet thread or stranded of ankle. It should be no less than 2 in.
cotton, the same colour as the shoe. (1.5cm) wide and long enough to cross tu'ice

in front and behind ankle, as well

t\\ice as
Method allowing some for knot. 2-2? yd (2m) is

The shoe, which is best made of satin, must usually enough. Tape to same length if
A method of darning
be correctly fitted and, whether blocked or required.
unblocked, should be darned before use to
strengthen and prolong its life. There are
it Method
several methods of darning: the following is 1 Fit shoe on foot and adjust drawstring,
simple and effective. knotting tliis securely when it is suflficiently

1 Place shoe on foot and slightlv soil the sur- tight to hold shoe comfortably on foot (C).
face by turning the toe either on half-point 2 Fold back seam straight forwards towards
(unblocked shoe) or full point (blocked inside sole. Ribbons must be sewn where fold
shoe). This will indicate how far the darning of shoe comes at either side. They should be
must come up the satin. It should not be vis- sewn with raw edge well turned in on inside
ible when the dancer is on her toes.
2 Starting as near as possible to die end of
the leather sole, stitch a series of bars of three-
stranded thread to and fro across the toe until
tiiey reach as far as indicated by soiling.
Thrust needle well into satin: this is easier
with a curx^ed needle.
3 Again starting near the leather sole, blan-
ket stitch over each set of three strands, liiik-

ing these rows together by pushing needle

through loops of rows below (A). Continue
until all bars are covered (B).

Some dancers (usuallv those with narrow

B darning completed feet) require no flirther darning on their C adjust drawstring
 BALLET SHOES 13

of shoe and must tilt slightly foru'ards so that

diey will fit flat over instep. Ribbons must
be hemmed on securely and no knot should
be used as this irritates and bruises the flesh
(D, E).
3 If a strong ribbon with non-slippery back
is used (which is usually the case in the USA)
itneed not be strengthened. But if a thin or
yery slippery ribbon is used it must be
strengthened with tape or it will not grip.
Tape is a little narrower than ribbon. It is
sewn on after ribbon has been attached and
is lightly caught on ribbon itself.

G second cross
Some dancers prefer tape to be as long as
D fold back seam flat ribbon. Others prefer a short piece stretching
as far as first crossing of both ribbons at back
of ankle. They then add another short piece
of tape where knot is tied.

Tyin0 the shoe

The shoe must be tied with foot flat on floor,
and the leg leaning slighdy backyvards. It
must neyer be tied with toe on fiill or half-
point as this allows no flexibility' of the ankle
and pre\'ents a full movement of the foot in
demi- and full plies.
1 Bring both ribbons forwards, cross them
and allow them to lie flat on centre front of
E tilt ribbons forwards foot roughly at level of ankle bones (F).
2 Take both ribbons round to back of ankle.
H third cross

They must lie above ankle bones and cross

one on top of the other at centre back of
leg (G).
3 Bring both ribbons foru^ards, crossing
them one on top of the other so that they lie
flat at centre front of leg and a little higher

than first crossing (H).

4 Take both ribbons to back and knot them
on outside of between ankle bone and
leg
Achilles tencion. They must be knotted twice
and the loose ends pushed down this slight
hollow and underneath the ribbons so that
no ends are visible (I).
If the knot is tied on the outside of the leg
F first cross diere is less danger of the knot being rubbed I tuck in loose ends

BflP
14 BASIC COSTUME

undone against the opposite leg in battcnc^ To reinforce the back

etc.
1 Raise inner sole, being careful not to break
Some dancers ha\'C difficiilt\' in keeping on
it. If it is tacked down, remove tacks first
their shoes, inwhich case a piece of elastic
before levering it upwards with table knife.
long enough to go round the ankle mav be
2 Remove all superfluous matter from old
sewn with both ends to the back seam of the
back (e.g. old glue). If it seems thick, pare off
shoe. The elastic is drawn round the ankle
some of the leather at the top end. Cover
before ribbons are tied. If, however, the shoe
with glue or suitable brand adhesix e and stick
is properly fitted when bought, this should
directlv on top of back still on shoe. Press
not be necessary.
firmlv, being carcfiil not to press it further
into toe than indicated by back still in shoe.
It is never advisable to use a loop of elastic at
3 Glue in inner sole, pressing this firmlv and
the back seam and to slip the ribbons through
again not allowing it to slip upwards into toe.
this as the action of the foot is impeded
4 Stuff toe with soft cloth, place a weight
because the ribbons do not hold the shoe
inside shoe and allow to harden before
properly.
wearing.

The same process can be used if instep piece

Maintenance
or inner sole weakens. When these pieces
Ne\'er throw old shoes awav without preser\'- crack or break thev should be remoxed and
ing the inner sole (J), the leather piece rein- replaced by whole pieces. It is rarely ad\'isable

forcing the instep (K), and the dolly (L), i.e. to ha\'e more than one of these pieces in the
the piece reinforcing the block, if these are shoe at a time, unless thev are very thin, and
unbroken. They can all be used to reinforce never when thev are broken.
shoes when they soften. The most important
piece is that reinforcing the block, as this part
Re-blocking the toe
of the shoe deteriorates more rapidly than any
otlier. This is best done by pouring some liquid
shellac into the toepiece and rolling it care-
fullyround inside the block until it soaks the
canvas. Be carefiil to leaxe no superfluous
drops anN^vhere as these harden and press
iJ into the foot. Once shellac has soaked in,

lea\'e shoe to harden for at least twelxe hours.

. \

Liquid shellac is easilv made by shaking

powdered shellac with meth\'lated spirits

until it dissolves. But it can usuallv be bought

ready mixed from paint and hardware stores.

Cleaning shoes

Shoes must be kept clean and this is best done

with benzine or surgical spirit. Dip an old
toothbrush into the benzine and brush soiled
parts of shoes. If this is done frequently the
dirt will not grind into the satin.

K
 HAIR-DRESSING 15

Hair-dressififf
The hair for all Classical and Romantic ballet For and professionals some
students
should be parted in the centre so that the licence can be taken and the band worn tied
movements of the head may appear to be as behind, and the hair perhaps lower. {Top
equally balanced as those of the limbs. It must centre)

be worn close to the head. This practice For boys it is quite usefial to wear a sweat
should be started in the classroom. It is usual band. {Top riqht)
to dress the hair as tightly as possible. If it is For Romantic ballet there is a clearly rec-
short, it should be securely pinned into a net. ognised st\'le. The hair is pulled over the
If long, it should be braided and worn over ears and drawn backwards into a low coil or
the top of the head or twisted into a bun and bun. {Bottom left)

pinned into a net. Over the net is worn a For National dance the hair is worn more
band of net or ribbon. freely - oft:en in plaits laced with ribbon.
For pupils and young students it is advis- {Bottom right)
able to wear the hair u'ell abo\'e the nape of
the neck to ensure freedom for all head move-
ments, with band tied in front. {Top left)
16 BASIC COSTUME

Dress for the elassroom and stage

It is essential that the dancer at all times Armholes and sleeves
appears neat and appropriately dressed, par- Allow the armholes of anv garment with
ticLiIarlv so in the classroom where everv sleeves to fit as high into the armpit and
mo\'ement must be seen by the teacher and shoulder as possible. The sleeve is therefore
not hidden bv bunches of material, untidy always set higher on bodice or shirt than in
hair or bagg}' tights. It is in the classroom normal dress. The bodice must be tighdv fit-
that pupil and student first learn the need for ting and if the design requires that the bodice
discipline in dress. Garments must be simple should look loose or be draped it is better to
and easy to keep clean. The traditional wear set the sleeve on a tight-fitting lining.
for girls is tunic or leotard with footless knit-
ted tights, cotton socks and crossover; for Backing material
bovs footless tights, cotton socks and singlet It is always better to back material radier than
or shirt.* line it, garment is to be
particularly if the
Stage costumes ha\'e to be made for the tight-fitting.** Never skimp material as tur-
end of the year and other shows and the first nings must always be firm.
essential of any costume is that it should fit Use stiff material with care as it is rarely
exacdv and be comfortable. For this reason suitable for anything but certain period cos-
every garment must be made to fit the indi- tumes; the court robes in The Sleepimj Beauty
vidual for whom it is intended. The measur- could well be made of heavy brocade or
ing chart (pages 18-19) meant as a guide
is veh'et.
to be followed when cutting and making any
garment drawn in this book. If the measure- Fitti}i0
ments (indicated bv figures) and points Alwavs fit anv off-the-shoulder garment care-
(indicated bv letters) are carefiilly taken and fully so that it will not impede the dancer's
marked, it is simple to draw the outline of movement. It is often best in such cases to
each garment for the paper pattern which make a firm tutu-like bodice which fits
should always be made before cutting the exacdy, and then set another bodice cut to
material. the necessar\' shape over this. Or make the
There are certain peculiarities to be off-the-shoulder effect with soft draperies
obsen'ed when making costumes for dancing, caught on a high, tight-fitting bodice of net.

particularly those for Classical, Romantic and Always test the hang of draperies and set

demi-caractcrc ballet. of sleeves, collars, skirts, etc., by watching the

dancer in movement. Dance movement
Leii0th should never be impeded or hidden by cos-
Extra length should always be allowed at the tume, or by additions to costume, except in
waist for the and fall of the chest when
rise those cases where historical fashion has to be
the dancer stretches and raises the arms. This followed exactly.
is particularlv important in male costumes

when lifts are to be performed.

Bolton sheeting and calico are still used by profes-
*Thc.sc garments have been largely superseded by com- sional makers of dance costumes but both arc difficult to
merciallv prcxluced leotards and tights but they arc obtain. They can be replaced by firm, closely woven
seldom all-conon and will not always fit well. cotton doth such as heavy poplin.
 7

MAKING PA TTERNS 1

atterns
Colour When making use of the pattern diagrams
Colour in stage costume must always be con- given, readers are advised to make out their
sidered. It often loses effectiveness the own patterns according to measurements
moment stage lightingbrought into play.
is given by the dotted lines. The thick inner line
Whites, creams, pinks, reds, and all kinds of marks the actual place for machining or
yellow and black are usually safe in any stitching hem or seam. This has been done so
circumstances. Blues, greens, mauves or that allowance can be made for turnings and
purples, and browns can easily become grev for adjustments that may be necessary to suit
unJess the producer ftilly understands how to an individual.
use the correct lighting to maintain the ori-
Always allow at least f in. (2cm) for
ginal tints.
turnings as seams in dancing costumes must
be firm and properly finished.
Unless otherwise stated, width of materials
used is 35-36 in. (90cm).

In order to making of an outline

facilitate the
each pattern has been drawn on squared
paper. For bust measurements from 30-32 in.,
each square should represent f in. (2cm);
from 32-34 in., the square should measure
i in. (2.25cm); and from 34—36 in. the
square should measure 1 in. (2.5cm). But it

cannot be emphasised strongly enough that

each garment must be fitted to the individual
before it is finally sewn together.

Note The measurements in this book are

first given in inches. One inch is 2.54 centi-
metres. So to convert the inches to centi-
metres, multiply them by 2.54.

For example,
15 inches = 15 x 2.54 centimetres
= 38.1 centimetres.

^^v^^:^ .A^^iiy
A rough and ready conversion for small num-
bers of inches is to multiply them by 5 and
divide by 2.
For example,
12 inches =12x5 = 30 centimetres
 COSTUME
18 BASIC
\
MEASURING CHART FOR POTSTTS TO BE MARKED
CUTTING A PATTERN
a shoulder point
Note Front and back markings are similar b centre neck
but measurements are not identical; these c crutch
parts must therefore be marked and cut out d underarm
separately. e where bust line ends at side seam
f hip joint
g knee
h ankle
j centre waist front
k centre waist back
1 top of leg back

MEASUREMENTS

underarm to elbow or wrist Bust (widest part)

Waist
Hips (widest part)
Shoulder to crutch
Shoulder to waist
Centre underarm to waist
Underarm from d to elbow or wrist
Crutch to knee and ankle
 MAKING PATTERNS 19

HOW TO CUT A PATTERN

1 Mark a line down centre of material. This
will represent centre body line either front or
back. It must run parallel to selvedges unless
otherwise indicated in drawings.
2 On this line measure from c
length
(crutch) to b (centre neck) marking these
points and point j
(centre waist at the front)
or point k (centre waist at the back) . Point b
must be at least llin. (6.5cm) from edge of
material.
3 Measure and mark waistline, being careful
that this lies at right angles to centre line. It
will be subject to adjustment, particularly if

tucks are to be made underarm. In the case

of a garment diis line must end exactly
fitted
wrist or elbow to underarm
under point d where the side seam will be.
(Do not mark d yet.)
4 Measure and mark from waist to
a line
shoukier parallel to centre line and mark
point a on both sides of centre line. Test die
accuracy of this line by measuring a diagonal
line from point a to c (crutch). Point a must

be vertically above fullest point of bust.

In the case of fitted garments both these
lines help to indicate the shaping at the waist
both upwards and downwards, as darts can
be made on either line.
5 Measure widest part of bust or torso and
mark this line, being careftil that measure-
ments from points a and b are correct. Also
measure from this line upwarcis to point d
and mark this. It should indicate proper
depth of armhole.
Bust line must end under d at point
exactly
e which will indicate position of seam. In a
feminine fitted garment this point and line
will indicate shaping of bodice on bust line.

6 Measure length of shoulder line from a

towards arm. This should slope at an angle
of 80 degrees to line drawn from a to waist.
But this slope must be adjusted to individual
requirements. Similarly length of shoulder
seam will be determined by shape of garment,
e.g. a sleeved blouse may require 5 in.

(12. 5cm), whilst a practice timic may only

20 RASIC COSTUME

4
need to continue downwards for 3 in. 10 For garments suspended from waist, such
(7.5cm) from a. as short knickers or leotards, it is most \'alu-

7 If sleeves are measurements

required, able to mark point f at hip joint. This is best
should be taken from point d to elbow or found if die dancer raises the bodv well
wrist, or to point required bv design. It is upwards from the waist and bends straight
also useful to measure from end of shoulder forwards. A cur\'ed line drawn from c to f
seam down the top of the arm to length and slightly downwards again seam
to side
required. will gi\'e contour of front of garment. For
8 Measure round widest part of hips. Mark back of garment, a measurement should be
this line carcfliUy, noting its correct distance made from waist downwards o\'er broadest
from waistline downwards and from crutch part of hip to top of leg whilst dancer is
upwards to where this line crosses centre of bending. A curve is then drawn from c down-
material. wards to point I and then upwards to side
For all fitted garments this line should end seams.
directly under point d, in the same way as 11 For tights and long trousers, measure
bust and waistlines. from crutch to knee (point g) and on to ankle
9 To determine length of tunic, shirt or bone (point h). This measurement should be
blouse, and anv t\pe of garment falling from made without any turning-out of the legs. li

shoulders, measure carefviily through line 12 Tights will also require measurements of
commencing at a straight downwards and ankle, calf and thigh.
from b to crutch and downwards, continuing
until requisite length is reached.
 KNITWEAR 21

Knitwear
Abbre\'iations for all knitting instructions Inc. at beg. of first and in last but one st of
St- stitch(es) - number K - knit
no. 3rd needle in the 14th and even' fol. 14th
P - purl st.st - stocking (US stockinette) row until work measures length from ankle
stitch (K row, P row) inc. - increase to knee (i.e. increase ever\' I2 in.).
dec. - decrease tog. - together fol. - Continue as above but inc. at beg. of first
following beg. - beginning cast off = US and in last but one st of 3rd needle in the 9th
bind off and everv fol. 9th row (i.e. every I in.) until
work measures Igin. longer than measure-
ment from crutch to ankle measured on
THE FOOTLESS TIGHTS straight of knitting.

Tights knitted on four needles are more com- Divide for crutch mid top ofnjjht le^ K quarter
fortable as the shaping appears in the correct total no. of st (e.g. if there are 96 st on
place at the back of the leg and there no
is needles, K24), turn and P to end (i.e. across
side seam to rub the ankle. They are also more all 96 st).

economical in wool. (The patterns can how- Continue in st.st, increasing at each end of
ever be knittedon two needles if preferred.) needles for next 6 rows (hips below 30 in.);
Individual measurements must be carefullv 8 rows (hips 30-34 in.); 10 rows (hips 34—
taken. (See pages 18-19.) 36 in.); 12 rows (hips over 36 in.).

Work 4 rows without shaping.

Materials required K2 tog. at each end of next and every fol.

Amount of wool depends and

entirelv on size 4 rows 6 Continue knitting 2 tog.
times.
ranges from 5oz (125g) for a child to 8oz every 4th row at back of tights only, until
(225g) for larger sizes. A set or pair of 2 mm front measures length from waist to crutch
(old UK 12; US 2) needles and a set or pair measured on straight of knitting.
of 3 mm (old UK 9; US 5) needles. Use 3-ply
wool. Shape for back 1st row -P to last 14 st (small
sizes); 16 st (hips 30-34 in.); 18 st (hips over
Tensimi (US: ^atige) 34 in.). Turn and K back.
7 St and 9 rows to 1 in. using 3 mm needles. 2nd row - P to last 28 st. Turn and K back.
Continue in this wav purling 10 st less each
Method row until none remains. Change to 2 mm
Measure ankle and multiplv no. of inches by needles and rib Kl PI across all st for 2 in.,
7, adding 2 st for ever\' extra \ in., e.g. for or until leg is sufficient length from waist to
8 in. 56 st are required; for 84 in., 58
ankle, crutch to allo\\' it to be turned over belt. Cast
St; 82 in., 60 st, etc. Using set of 2 mm off.

needles, cast on loosely requisite no. of st, Knit left leg in same manner until dividing
dividing them equally over 3 needles. Work for crutch. Here K across I amount of st
in Kl, PI rib for 11 in. (small sizes) or 2 (e.g. if 96 st on needles, K 72, turn and P

in. (larger sizes). back). Then continue as above. Dec. at one

Change to set of 3 mm needles and \\'ork end of needle for back shaping, and at other
in st.st (NB if using 4 needles K each round). end of needle for waist shaping.
22 HASIC COSTUME

Gusset Using a pair of 3 mm needles, cast on

2 P back. Continue in st.st, increasing at
St,

each end ot needle every other row until there

are 14 st on needle (hips below 30 in.); 18
st (hips 30-34 in.); 22 st (hips 34-36 in.);

26 st (hips over 36 in.). Work 2 rows, then

dec. at each end of needle exerv other row
until 2 remain. Cast off.

Stitch up back and front seams and insert

gusset as in drawing, taking care to stitch the
cast-on and cast-off st at lower end of front B with elastic and tape C with jock-strap
and back seams. Press lighdy.

Fov girls
1 Pieces of wide elastic to fit waist on which
Methods for keeping up tights
are sewn four pieces of tape with double
There are se\'eral wavs for keeping up tights. ends. Four loops of elastic or elastic and tape
Footless tights are ofiien kept up with a belt are sewn on tights at points 1 in. abo\'e f (see
(A) by both and boy. Or a piece of elastic
girl page 18) at back and front of tights. These
can be run through top. Other methods for arc lined and tied (B).
woven tights of silk, nylon or cotton are: 2 By a jock-strap (C), which should be
opened at one side, bound with tape aft:er
which strong hooks and eves must be sewn
on as for a tutu basque (see page 63).

Tov boys
1 By bands worn o\'er shoulders at
elastic
point a (see page 19). These cross each other
and are caught at centre back - no higher

2 By turning tights o\'er a belt and securing

firmly.

A knitted tights with belt D with clastic bands

 KNITWEAR 23

THE CROSSOVER (ADULT)

Materials required
Amount of wool depends entirely on and
size

ranges from 4oz (125g) for a child to 6oz

(175g) for large sizes. Pair of 2 mm (old UK

12; US 2) needles and of 3 a pair mm (old
UK 9; US 5) needles. Use 3-ply wool.
Tension (US: gauge)
7 St and 9 rows to 1 in. on 3 mm needles.

Back
3 sizes (larger sizes in brackets)
Using 2 mm needles cast on 94 st (32—34
in. bust); (34—36 in. bust);
100 st 106 st Adult crossover
(36-38 in. bust). Rib Kl PI for 1\ in.
(small size) and 3 in. (larger sizes). Aimhole Continue to K2 tog. inside rib on
Change to 3 mm
needles and st.st. Inc. at ever}' 3rd row, but cast off 7 (8, 9) st on next
each end of 9th and ever\' fol. 9th row until 2 rows, then K2 tog. at armhole end of every
there are 108 (114, 120) st on needle. Con- other row 6 (7, 8) times.
tinue until work measures requisite length Continue knitting 2 tog. inside ribbing
from armhole to waist, allowing at least 1 in. until there are 36 (39, 42) st on needle and
extra if the dancer wishes her crossover to fit work measures same as back from armhole to
snugly round the waisdine whilst in shoulder.
moxement.
Fm' shoiddcr Cast off 9 (10, 11) st at beg. of
Armhole Cast off 6 (7, 8) st at beg. of next next and ever\' alternate row 3 times. On next
2 rows. K2 tog. at both ends of e\'en' other row K2 tog. then continue in Kl PI rib on
row until 84 (90, 96) st remain. Continue in remaining 9 st for 1 in. for strip round back
st.st until work measures 65 in. (6f in., of neck.
7 in.) from beg. of armhole.
Left frmit
Fm- shoulder Cast off 9 (10, 11) st at beg. of
Knit as for right front reversing the shapings.
next 2 rows 3 times in all. Cast off remaining
stitches.
Sleeve

Right front
Using 2 mmneedles cast on 66 (70, 74) st.
Rib Kl PI for U in. Change to 3 mm
Using 2 mm needles cast on 87 (93, 96) st.
needles and st.st. Inc. 1 st at each end of ever\'
Rib Kl PI for 21 in. (small size) and 3 in.
3rd row until there are 84 (90, 94) st on
(larger sizes).
needle and work measures 5 in. (51 in., 6
Change to 3 mm needles and lea\ing a
in.) measured on straight.
border of 9 st in Kl PI
change to st.st,
rib,
knitting 2 tog. inside ribbing on 3rd and Shaping top of sleeve K2 tog. at each end of
every fol. 3rd row. At same time, inc. 1 st at every alternate row until there are 56 (60, 64)
other end of e\'ery 9th row until there are 72 St. Now K2 tog. at each end of even' row
(78, 84) st on needle and work measures until there are 16 (20, 24) st. Cast off.
same as back as far as armhole. Knit another slee\'e to match.
24 BASIC COSTUME

Tie st at beg. of next 2 rows, 3 times in all. Cast

Using 3 mm needles cast on 16 st and knit a off.

strip in Kl PI rib measuring at least 15 in.

Knit another strip in same way. Eronts

Cast on 75 (80, 86) st; rib 2 in. Change to
Make-up st.stand leaving rib of 9 st, K2 tog. inside
Press all pieces lightly, avoiding ribbing. ribbing on every 3rd row right up to shoul-
Stitch seams together leaxing right
side
der. K straight at side until armhole is
side open |in. from lower edge to top of
reached. Cast off 5 st (all sizes) on next row.
rib. (This opening is for tie.) Seam shoukiers
Then K2 tog. armhole end on cxcrv altern-
at
and strap at back of neck. Seam sleeves and ate row 4 (5, 5) times. Knit till work meas-
set in armhole. Sew ties to fronts. ures same as back. Cast off 7 (8, 8) st at arm-
hole end on the next alternate 3 rows. Rib at
least 9 st for 1 in. (U in., U in.). Cast off.
CHILDREN'S CROSSOVERS
(THREE SIZES) Sleeves
Using 2 mm needles, cast on 56 (60, 64) st.
These are knitted as those for adult but with-
Rib Kl PI for 1 in. Change to 3 mm needles
out side shapings. Use same needles: 2 mm and st.st. Increase at each end of even' 3rd
for ribbing at waist and bottom edge of
row until there are 70 (74, 78) st and work
sleeve, 3 mm for st.st.
measures 4 in. (4i in., 4f in.). K2 tog. at
each end of needle on ever\' alternate row
Back
until 40 (44, 48) st remain. Then K2 tog. at
Cast on 78 (26 in. bust), 84 (28 in. bust),
each end of every row until 16 (18, 20) st
90 (30 in. bust), rib for 2 in., then change to
remain. Cast off.
st.st and continue straight until armhole is

reached.
Tie
Annhole Cast off 4 (5, 5) st on next 2 rows Knit same as for adults.
then K2 tog. at each end of e\'ery alternate
row 4 (5, 5) times. Continue till work meas- Make-up
ures 5t in. (6 in., 6t in.). Cast off 7 (8, 8) As for adults.
CLASS
Freliminary notes
Before the pupil and student enter the class-
room they will have understood the need for
discipline in dress and simple hair-dos which
are easy to keep clean. Since few alterations
are made to classroom dress throughout their
career, ballet students can forget their clothes
on entering the classroom and learn the more
difficult art of self-discipline and the basic
mles of classical dance. At all times they must
hold their bodies correctly and respond to the
barrc\ if you place too much pressure on it it
will simply overbalance, and you with it.
Exercises for the barre^ performed in the
order given on page 28, are the correct and
scientific way of warming up the body,
loosening the joints and setting the circula-
tion in motion before centre practice takes
place. Each exercise should be performed the
number of times indicated.
'Limbering' — stretching, kicking, etc. — is

call of the music so that their movements are very dangerous until the body is 'warmed up'
fully co-ordinated. by barre exercises. Warmth in this sense has
nothing to do with the weather.
The basic rules can be roughly summarised Careful study of the drawings will show
thus: that thebanr exercises contain bits of the
1 The best results are obtained when the more sho\\y and glamorous exercises given
spine is stretched to its straightest but not later for centre practice.
stiffened. The instructions given with each series of
2 The weight must always be carried for- drawings have been kept to an absolute min-
wards and a straight line be seen to run imum on account of space.
through each leg, when it is turned out, from
the hip joint through the centre of each knee
and foot.
3 The arms must never cross the centre line
of the body nor go behind the shoulders.
4 The head must be helci erect and freelv
poised with the eyes correcdy focused at all

times.

THE BARRE
The banr is found round the
usually to be
walls of a classroom, and is about 3 ft 6 in.
(105 cm) from the floor. There are some-
times other barres of various heights under-
neath, suitable for younger performers. At
home, a chair back is a good substitute for a
cv^4.s;v

4th

(opposite 1st) (opposite 5th)

Plan of five basic positions of the feet

THE FIVE BASIC POSITIONS OF

THE FEET
The five basic positions should be memorised
in the first instanceby the prospective dancer
as training cannot begin without them. In ail
positions the feet should be turned out from
the hip as this gives greater freedom for all

t\'pes of movement. Beginners should not

force their legs to turn out too greativ at first,
as this usuallv results in rolling ankles. All the
toes should be flat on the floor. If, for
example, too much weight is taken on the big
of the foot will be seen to flatten,
toe, the arch
which weakens the instep. In all positions
when the heels are flat on the ground, the
weight of the body should be shared equally
by both legs.
Ifyou have not paid attention to the cor-
rect placing of the feet on the floor, drawings
A well-placed feet and ankles.
B ankles are rolling and weight is on big toe. B and C show how vou ma\' damage \'our
C back view of B, showing how toes are cramped. feet.

I
 BARRE 27

Barre
BASIC DEPORTMENT
The correct distribution of the weight of the Before attempting any exercise care should
body is dependent on right posture at the be taken to ensure that the posture is correct
baire. (according to instructions on this page). The
1 shows the ideal posture - straight knees, free arm one) should
(in this case, the right
all muscles pulled upwards so that the bodv have the elbow and not be allowed to
lifted

has a slim line, and the hand resting lightlv hug the side of the waist. The outside of the
on the Care should be taken not to
barre. little finger should not be allowed to touch

place the hand too far back on the barre as the front of the thigh but be about two to
this twists the shoulder. four inches (5-10 cm) away.
2 is an example of the way height distribu- During the time devoted to assuming the
tion is controlled when shifting from one correct posture the mind should also be
position to another. schooled so that the exercise is performed
3a shows a foot half stretched, 3b three intelligentlv and consciously. In other
quarters stretched, 3c fully stretched, 3d sur words - think what you are doing.
la pointe.

I
' f»

3 a
 28 CIASS

Start here
Plies at the barre in all positions of of the whole leg). Illustrations show erect
the feet figures in the basic positions of the feet and
a full plic in each one. Sinking to the lowest
1 nz premiere (1st position) ''Pile' isfrom the French \'crb plin\ to bend. point in a plic the smdent should pass
2 plic en pirmiere One of the main purposes of the exercise is through the quarter and dcmi-plic positions
3 en premiere repeat 1
(
flexibility' of the knees. If these are held well indicated in the sequence shown. As an exer-
4 tettdu a la seconde
back, the hip joints are loosened and the cise, two plies should be executed in each posi-
5 en seconde (2nd position)
6 /7//V f« seconde muscles of the groin stretched (which is tion, using two bars of slow waltz time to go
7 en seconde already an aid to achieving a good 'turn out' down, and two to come up. The change from
8 f^nrfw a la seconde
9 f« troisieme (3rd position)
1 /j//f en troisieme
11 £•;/ troisieme (repeat 9)
1st tendu to the second 2nd tendu to the second 3rd

V o
 BARRE 29

repeat exercise facing other way

always turn towards the barre

one foot position to another is accomplished

by means of a {battcment) tendu^ as also
shown by the sequence of pin-men below.
The tendvi to the next position is taken 12 tendu a la quatrieme: ouveite
quickly so that the student can start the next 13 en quatrieme: miverte (4di position:
open)
pile on the first beat of the bar. \Vlien the
14 plie en quatrieme: ouvei'te
exercise is finished with the right leg, turn
15 en quatneme: ouverte (repeat 13)
round and repeat it the other way. 16 tendu d la quatneme: ouxmte
At all times the back must be held erect. 17 en cinquieme (5th position)
18 plie en cinquieme
19 en cinquieme (repeat 17)

tendu to the tendu to the tendu to the 20 tendu d la quatneme devant: croisee
4th open 4th open 4th open 4th crossed 4th crossed 21 en quatneme: croisee (4th position:
crossed)
o G 22 plie en quatrieme: croisee
23 e7r quatrieme: croisee (repeat 21)

''
'<,' \ ^ f 4^
'i 'i
13 14 15 16 20 21 22 23
30 C7.4.S.S

^En croix^: battements tendus and

£frands battements
The sequence A here shows a man doing bat-
tements tendus en a'oix. '£« croix' means 'in the
shape of a cross' and the term can applv to
manv exercises. An exercise en croix is always
performed thus: to the front, closing front; to
the side, closing behind; to the back, closing
behind; to the side, closing front (see also
sequence at top effacing page).
2 (below) shows the front view of the stu-
dent standing in 5th position at the baire^

the preliminan' for manv exercises. 3 shows

a quarter plie\ 4 a demi- (or half) plie^ 5 a full

plie\ all in the first position of the feet.

Battements tendus. The main purpose of the

exercise (B) is to stretch and strengthen the
insteps. In the execution, the whole leg
should be turned outwards from the thigh so
that when the working foot is in 4th front
(2), the heel is forced upwards; to the side in
2nd (4), the heel is forced forwards; in 4th,
at the back (6), the heel is pushed down
towards the ground.

Battements tendus can also be performed with

a demi-plie in the closed positions.
 BARRE 31

Battements tendus

Battements tendus with a demi-plie

preparation: arm

Grands battements. The instructions (C) for

battements tendiis also apply to errands batte-
ments, which are the throwing up of a straight
leg, beginning and ending witli a tendu as
sketched.They are performed en croLx, and
can be done four times in each direction to
begin with, and eight times as the pupil pro-
gresses. The purpose is to promote a general
circulation of blood through the legs and to
loosen the hip joints.

Battements tendus are usually performed to

crisp 4/4 time, en croix 4 times with each leg
(i.e. facing each way). 4/4 time also goes for
grands battements, but played a litde more
slowly than for the tendus. Grands battements

1
32 CIASS

X '

A 1-4: preparation for rmids de jnmbe a tare en dehors

Ronds de jambe, d terre and en Pair;

battements frappes and suv le cou de
pied

\
Ronds de jambc d terre ('rounds with the leg
en on the ground'), en dehors (outwards) and en
dehors dedans (inwards) are exercises to loosen the
n/- hip joint. They are always done outwards
sy first

front (A5 and and are performed in a slow 3/4

8)
-^-^ time. On the first beat of the bar the heels are
always together in 1st position. The working
leg should moye smoothly and continuously
when the exercise has been learned, but a
good method for the absolute beginner is to
do the 'round' in four stages, i.e. in slow
motion, using a w hole bar for each moye-
ment. Do eight rmids de jambe each way with
each leg.

Battements fi-appes ('knocked beats') are for

strengthening and deyeloping the instep, and
also ser\'e to increase the ultimate cleyation
of the student. When the heel of the working
leg placed on either side of the ankle of the
is

supporting leg (B2 and 4) the foot should be

relaxed as shown. 3 and 5 show the working
foot extending sharply to the 2nd position,

hitting the floor as it goes (hence the 'knock').

 BARRF 33

1 &2: preparation count:

When thus extended (3) the toe should not Practise for 32 counts with each leg, and
be more than two inches (5 cm) off the increase after the first few months.
ground. Exercise: 16 counts with each leg.
Battements sur le cou de pied sur la demi-pointe
Battcmcnts sur le con de pied ('beats on the ('on half poinf). This movement is exactly
neck of the foof). This exercise is a prepara- the same as the previous one but the instep
tion for future hatterie (part of adx'anced steps of the working foot is fully stretched, as
such as hrises and entrechats). At first the shown in illustration C5, and the supporting
movement (C2 to 4) should be practised \^xy foot on half point throughout. Do not allow
slowly with equal accent both when the feet the bod\' to sway and wobble, and do not
are together and apart; then it should be prac- attempt this exercise until you have mastered
tised in double time and the speed should be the previous one.
gradually increased as the pupil becomes 16 counts for each leg.

more adept.

preparation as in b
preliminarv' position for
battements sur-le-cou-de-
pied
34 CLASS

Ronds dcjambc en I'air ('in the air'). This helps Developpes; battements en cloche
flexibilit\' of the knee joint and aids the turn-

out of the thigh, which should be held motion- From the verb developper, to de\'elop or
less and well back during the exercise. D2, 3 unfold, developpes are an exercise to impro\'e
and 4 constitute the preparation before music control of the legs. This will help in the exe-
begins which is a moderate waltz tempo. Each cution o^ adaqe^ which will be found farther
"round' is accompanied by one bar of music, on under Centre Practice. Developpes are per-
the first beat of which always finds the working formed to music of slow 3/4 time.
leg extended a la seconde, the third when it is Sequence A: 1, the preliminary' position; 2
touching the calf of the supporting leg. Study to Bl, inclusive, the acuial unfokling move-
the plans of all ronds dcjambe carefully (page ment known as a dcveloppc. Thev are both
32, A7 and A8; abo\'e, D6) : neither should be done en croix here. Take four bars of music for
a complete circle. Above also : D4 shows en each one. A good method for the beginner, to
dedans^ D5 eit dehors. a\'oid undue strain, is to do one sequence en

^ close 5th
A-C in front

Developpes n In bmre (en o'oix)

prciiminar)' nictliod
 BARRE 35

D developpe a la secoiide: example of

advanced method

croix with one leg, turn and repeat with the Battements en swing of a bell')
cloche ('like the

other, and so on. It should be borne in mind are shown in E. The purpose of this move-
that full control of the legs takes many years ment is to produce freedom of the hip socket
to accomplish, so do not tr\^ to raise the thigh and to encourage circulation. The prepara-
abo\'e the levelof the hip, as this is in the tion is with the working leg poifite teiidue at
province of the more advanced student (D). the back and the first mo\'ement is forward.
A low but well-placed leg is more desirable Take care that both legs are perfectly straight
than one placed ver\^ high but turned in, throughout. It is done to a quick 3/4 or slow
accompanied bv contortions of the rest of the 6/8 rhvthm. If 3/4 time is used, continue
bodv, and too much on the hmrc.
pressure swinging the leg back and front until 16 bars
Notice that in sequence C, the leg shown ha\'e elapsed, or 8 bars of 6/8, using three
in position 4 is passing through attitude (see beats to swing the leg to the front, three to
pages 46-7). Note also that only in a the back.
pass through
devcloppc to the back is the body allowed to
tilt slightly forward. E battements en cloche
36 CIASS

Releves from two fret on to one passe en arricre (passed to the back), raising
the front foot sharply to the front of the sup-
From the \'erb relever^ to rise. Releves arc very
porting knee, closing 5 th at the back; j-k,
much used in ballet by both male and female
releve passe en avant (passed to the front), rais-
dancers. Here they serxe to strengthen the
ing the back foot quickly to the back, side
arch of the supporting foot when on demi-
and front of the supporting knee before clos-
poiiite^ which makes it an important exercise
ing 5th in front.
for general balance. It also accustoms the
dancer to pull up the knee and leg muscles The term releve really relates to the sup-
after the comparative relaxation of the demi- porting foot which rises sharph' to the demi-
plie. This stands the dancer in good stead pointe by means of a slight spring, in the
when in actual movement. Releves are also a manner shown in the first drawing. After each
preparation for pointe-wov)^. releve^ both feet return to their original posi-
Sequence F: b-e, releve devant (in front); tions simultaneously, again with a slight
f-g, releve derriere (at the back); h-i, releve spring.

the supponing fcx)t

in releves a la barre

1 2 1 2 12
 CENTRE PILACTICE 37

Centre praetiee (exereices au milieu)

Having completed the preceding work at the But because the language of classical dance
barre^ which should take the axerage student is French, they are not always used in these
about half an hour, the bodv should be suffi- forms although the words used may sound
ciently 'warmed up' to start \\'ork \\'ithout the similar. The student studying for examina-
aid of the bmre. For when die circulation is tions would do \\'ell to study the follow ing
running properly one can feel and control the chart and examples of how the terms can xzry.
muscles with comparative ease.
VERB ^ADJEUllVE NOUN
For the two months, in order that the
first
-
1 to bend plier plie
student may become thoroughly acquainted
2 to stretch etendre tendu or —
with banr exercises, the latter of them should
tendue
be repeated in the centre of the room without
3 to rise relever releve releve
the aid of the bmrc (but beginners should
4 to jump sauter saute saut
except battcmcnts sur Ic cou depied^ sur la demi-
ALSO Jeter jete jete
pointe and battements en cloche). When
5 to glide jflisser £llisse £ilissade
working in the centre the arm which rested
ALSO chasser chasse chasse
on the barre should make exacdy the same
6 to dart elanccr elance —
mo\'ements as the working arm.
7 to turn toumer toume tour
After two months, the student may begin
to combine these barre exercises in various
ways, e.g. 8 counts oi battements fi'appcs fol- Examples
lowed b\' 8 counts of battements sur le cou de 1 two demi- and one = two half bends
pied with the same foot, and the same the fiill plies and one full bend
other side. After this, the barre exercises may 2 two battements = two knocks with
be used in conjunction with other movements tendus the leg stretched
of the arms and body, in the same way that 3 one battement releve = one knock with
battements tendus and grands battements are the leg raised
used with the eight directions of the bodv two releves sur les = two rises on
describedon pages 42—3. pointes pointes
As time goes on and the student becomes 4 retire saute = a jumped retire
thoroughly familiar with the barre work, two sauts in 1st — two jumps in 1st
some of the repetition in the centre may be position
omitted, thus lea\'ing more time for practis- 5 two battements = two glided knocks
ing adage ^ allejjro and other centre practice. ^lisses

jjlissade devant = pjlissade (glided

step) to the front
THE SEVEN MOVEMENTS 6 glissade =
elance a glided step not
OF DANCE
along the floor
There are seven moxements of dance which but darted over
are usually named: plier to bend jjlisser to the surface
glide toumer to uirn ctendre to stretch 7 two tours en Pair = two turns in the air
sauter to jump relever to raise clancer to one detoume = a turned closing
dart of the feet
38 ClJiSS

THE FIVE BASIC POSITIONS OF her fingers never touch the edge of her tutu.
THE ARMS In all these positions the shoulders should
be kept down, particularly in 5th en haiit
To show the basic positions of the arms, the (high) when it is yer)^ easy to hunch them.
Cccchetti system has been adopted. These The elbows should nexer be allowed to caxe
positions remain more or less the same as in and should always be supported (which
taught bv other methods, but the order mav will make them ache, but never mind). The
differ. The student should memorise these wrist should also be supported in all positions
positions immediately because, like the five and never be allowed to flap either up or
positions of the feet, dancing cannot take down. The fingers are held closely together
place without them. with the thumb pulled slightly towards the
Attention is drawn to the 1st position in palm of the hand. A soft, clear line should be
w hich the of each hand should be
little finger practised from shoulder to fingertips, con-
about 2 in. (5 cm) away from the sides of the trolled but never strained in appearance. All
boy's thighs (about 4 in. (10 cm) away for disagreeable angles such as 'broken' wrists,
The same applies to 5th position en has
girls). pointed elbows and crooked little fingers
(low). The girl should always imagine that should be avoided with \'en' great care.

elbow lower than shoulder

wrist still lower

5th position of the feet

1st

demi-seconde
',/
(lit: half second)

2nd

(imagine you are

hugging a gasometer)

2nd (bird's eve view) 3rd

 CENTRE PRACTICE 39

5th e}^ haut 5th en bos

4th en avant 5th en avant 5th en avant

Miscarriage of the arms!
In the days w'hen ballet dancers did not show
their legs, the arms received a great deal more
attention than they do todav. The same thing
applied to young people in ordinar\' life, so
that anyone taking 'dancing class' had a head
start, having been trained to sit up straight,
(bird's eye view)
in addition to the arm positions to underline
the fact that you will never succeed in control-
ling your arms if vou do not stand properly.
Although the mirror will help vou to work
on vour arms, watch out also for vour facial
expression: take awav the mirror and the face
is apt to register a lost and vacuous look. It

take their elbows off the table, etc., from earlv is a good idea to practise your arm positions

childhood. with your eyes closed. Then open them and

Now the legs tend to receive almost undi- compare what vou thought you were doing
vided attention, which is deeply regrettable. with what you really look like.
Quite tiny girls can perform thirt\'-two It is something else again to move from
fouettes- but usually fail to attract admiration, one position to another, but the exercises in
or employment, with arms that whack them pmt de bi'as which follow are designed to help
round and round two broken propellers.
like vou.
And ballets like Les Sylphides, in which the Although choreographers may ask you to
legs are covered, become increasingh' hard to use your arms in many different ways, you
watch. will not be able to follow instructions if you
On this spread, the whole figure is drawn cannot control your arms in the first place.
40 CIASS

watch right hand

A first exercise in port ck bras descending K^

count: one two . . three four

Exercises in port de bras (carriage of rounded, supported elbows and simple

the arms) hands.
Pay careful attention to the illustrations
Generally speaking, tJie word 'expression' is and note whether the head is inclined, turned,
applied to the face alone; but die exercises in raised or lowered.
pmt de bras shown here are a first study in In relation to the established positions of
the expressive use of the arms. Moreo\'er, the the arms: in the second exercise (B), the arms
ballet dancer is not confined to the expression start in 5th en bas (Bl); right arm brushes
of anger, pleasure, fear, etc., but the whole through 1st position into an arabesque posi-
body is constantly called upon to interpret tion (see page 45, left arm of b); at the same
many shades of poetic emotion to accompany time the left arm passes through 5th en avant
the various kinds of music. The arms are the into a variation of the position known as atti-
most expressixe part of the body, apart from tude (B2). From there, both arms (travelling
the face, for showing these delicate nuances. different ways) pass into 2nd (B3), into arab-
In the four exercises illustrated, the body esque (B5) and to 5th en bas again (B6) and
faces a o'oisc direction (see position termed so on.
croise dcvant on page 42). A slow 3/4 time These exercises are more difficult than they
music should be used; 4 bars should accom- appear at first glance, as they feature inde-
pany each sequence and each sequence should pendent control of the arms at the same time,
be performed four times facing the two e.g. BI— 2. Here it is obvious that the left

opposite corners of the room. The arms and arm has a considerable distance to travel, the
head should nicnc together smoothly and right arm only a short distance, but both arms
continuously, avoiding jcrkiness and pauses. must reach the position shown in 2 simultan-
Here is the first opportunit\' of applying in eously, neither of them pausing en route. Do
centre practice you have learned at the
all not be discouraged if it is difficult at first:

barrc concerning posture: knees must be dancers take years to perfect their arms. If you
pulled up, bodv must be straight and slim; look at anv action photograph you will see

and remember, alst), all you ha\'e been told proof of this.

about the use of the arms: shoulders down,

 CENTRE PRACTICE 41

1 right arm passes

jl^s. through
I* ^v 1st position

B second exercise j) L
^ count: prep ara tion
in pott de bras Vr I

/
-A
2 & 3
arms in 5th
position
en haul

C third exercise
count and one two . three . . and four
in pmt de bras

D fourth exercise
in port de bras
 42 CLASS

croise devant \
2 a la quatrieme devant

/2>-

count: and one and four and five and six

epaule

7 a la quatrieme derriere 8 croise •

you are now ready to repeat entire THE EIGHT DIRECTIONS OF
derriere ^
exercise with other foot
THE BODY
I
The eight directions of the body are as

follows:
1 croise devant (crossed front)
2 d la quatrieme devant (to the fourth front)
3 ecanc (separated, or thrown wide apart)
4 efface (shaded)
5 d la sccondc (to the second)
6 epaule (shouldered)
7 a la quatrieme deiricrc (to the fourth back)
and fourteen and fifteen and sixteen .and one, etc 8 avisc denicre (crossed back)
 CENTRE PRACTICE 43

Like the five positions and arms,

of the feet

the eight directions of the body govern many

of the movements in dancing. They should
therefore be memorised by the student as
quickly as possible.

An exercise with battements tendus and

£[rands battements
The illustrations show the eight directions
linked bv battements tendus^ with ajjrand bat-
tement performed in each of the main pos-
tures. The legs and body change direction
at the same time that the battement tendu
is being performed. As in the preceding
exercises in port de bras, the arms should move
smoothly and continuously, avoiding
jerkiness.

Pirouettes

From the French verb pirouetter, 'to whirl', in

ballet 2. pirouette denotes spinning on one leg.

Here we have chosen a pirouette en dehors and

in demi-pointe because this is usual for the
beginner, but there are many other kinds.
The four sequences A, B, C and D show
an exercise in pirouettes en dehors in quarter
turns.

A Stand facing front, feet 5th position with

left foot front. With the front or working
foot, execute tendu to the side, taking the
arms to 2nd position. Working foot now
traces a demi rond dc jambe en dehors, ending
in 4th croise with a demi-plie. At the same time
the left arm moves forward to 5th en avant.
Bring the arms sharply down to 5th en bas,
releve raising the working foot in front, at the
same time making a quarter turn towards
raised foot. Then close feet together with a
slight spring into demi-plie, working foot in
front (see relevcs on page 36), opening die
arms slightly forward as shown in illustration.
This completes the first quarter turn.
Follow the same instructions for B, C and
D, as illustrated; then put the odier foot in
front and repeat the other way. A, B, C and D four quarter turns as preliminary exercise for pirouettes en dehors

{Continued overleaf)
44 CIASS

focus on point straight ahead turn head sharply

E use of head during complete

pirouettes (here en dehors)

After practising the quarter turns and The first step towards performing a good
before attempting the complete pirouette^ half arabesque is to dispense completelv \N'ith the
turns should be practised with the same head idea that the essence of this pose is to stand
principles applied as in E. on one and then kick the back one as high
leg
Sequence E illustrates a single complete as possible. The qualit)' of an arabesque will
pirouette. The rules are the same as for the improve only as the qualit\' of vour technique
quarter turns except that the use of the head improves. A good arabesque will be the
comes into play, in order to prevent giddi- re\\'ard of the student who has worked hard
ness, to gain impetus and to give a brilliant at the rather boring aspects of ballet tech-
effect. The idea is to focus the eyes on a spot nique at the baire: general posture, which
directly in front, to look at it for as long as includes well-controlled feet, pulled-up knee
possible whilst the body is turning, then to muscles and straight bod v. If the student has
bring the head sharplv round to the front not bothered to attend to these important
again before the body has finished turning. details the result will be ungainlv poses. The
correct execution otjjrands battcments at the
Music should be 4/4 time for all these exer-
back (see page 31) is \qv\ important, with
cises; the tendu is done to the first beat, demi-
the upper part of the bodv tilted slightlv for-
plie in fourth to the second beat, relcve to the
ward, the chest raised, and the supporting leg
third beat and closing of the feet to die fourth
straight. An arabesque is a pose of qualit\'
bear in the bar.
rather than an acrobatic feat - this is why it is

in an arabesque that the characters of various

First arabesque
students show most stronglv; whether they
An arabesque is a beautiflil pose which has are lazy, flashv, conceited or have good taste.

now become a household word and hardh' There arc manv different kinds o^ arabesque
needs introduction to die general reader. but the first arabesque., as shown, is the most
From the point of view of execution, hcnv- familiar of all and also the one which is
ever, it is not such a simple matter. learned first b)' the beginner. A shows di first
 CENTRE PRACTICE 45

A(i) chasse a la quatrieme en avant

A(ii) first arabesque (a terre)

A(m) first arabesque

B first arabesque (allon£fee)

C first arabesque penchee

arabesque preceded by a chasse from a demi-plie mox'ing the body. When you feel you have
in the 5th position. {Chasser, here 'to slide') lifted your leg in this way as high as physically
In this case: slide the front foot forward until possible, allow die body to tilt slightly for-
the weight of the bodv is distributed equally ward, raising the back leg same time
at the
between the legs; straighten both knees, at ( Aiii) After a few months' study you may tilt
.

the same time transferring the weight of the the body further and attempt an arabesque
body on to the front leg, stretching the back allongee (lengthened) as in B.
foot into pointe tendue and using die arms as C shows 2l penchee (pitched) position as the
shown in Aii. This pose is known us first arab- final aspect of the first arabesque^ but this pose
esque a terre (on the ground). Slowly raise the should not be attempted bv first-vear
back leg a few inches from the ground without students.
 46 CIASS

c basse a la quatrieme en avant

ft

attitude croisee a terre

(on the ground)

body turned towards

downstage left

bird'seye view of leg

correctly raised en attitude

Attitude croisee

Attitudes, croisee and ejfacee

The pose known as attitude is based on a

famous figure of Mereun' by Gian Bologna

beginners
(or Jean de Bologne). It has much in

croisee do not try to common with the arabesque: not only is it a

effac6e
raise your beautiful pose in itself, but also it is much
leg higher
used in the course of actual dance mo\'e-
than this
ment - jumps and turns are performed en
attitude and en arabesque^ and both figure
 CENTRE PRACTICE 47

c basse a la quatrieme en avant

body turned towards downstage right

attitude effacee a terre

(on the ground)

Attitude effacee
largeh' in tJie execution of adage. One of the arm. Raise the back leg eti Vair bv lifting the
most lo\'ely and efifecti\'e mo\'ements in ballet thigh, into attitude avisee, as shown in the
is the tnjrn en attitude., but this is for the more illustration. In all basic attitudes the knee
advanced student. should be higher from the ground than the
Attitude croisee: for a preparation, stand foot. (See page 35, C4, at the baire)
facing a cyoisc direction (see page 42), right To perform attitude effacee^ stand in an
foot front. Execute a chassc as sho\\'n (2 and efface position (see page 42). Follow the
3) into attitude d teire., with the widdi of the drawing, using the same method as for atti-
body well o\'er the front foot. Note the tude croisee.

inclination of the head tow^ards the raised

48 CIASS

chasse a la quatrieme attitude croisee attitude croisee

en ay ant a terre l en I' air

Adagfe

Valse, op. 69, no. 1, Chopin

p con espressione

Notes on adage attitude {fondue from fofidre^ 'to sink', sig-

nifying a bend on one leg with the other
Adage is the French version of ad agio^ an
raised)
Italian musical term for 'at ease' which usually
9—12 pas de boun-ee dessus (see page 53, C)
means 'slow-moving'. In ballet it describes a
13—15 developpe into second arabesque {second
slow dance in which all parts of the body are
arabesque is the same as first but with the
used simultaneously to give a harmonious
other leg raised); and so through 16—20
effect. The onlooker mav find such an exercise
INTO
soothing to watch, but it is an\thing but 'leis-
21 arabesque fmidue allojigee
urelv' for die dancer.
22—24 pas de bourree dessous into 4th position
When the teacher says, 'Let us do some
of the feet
adage\ means that several steps are to
this
25—28 pirouette en dehors
be combined together to make a slow poetic
When a pi\'ot is made on one leg (as in 5,
dance. Usually a different combination is
6 and 7 and later in 16—20) the moxement
gi\'en each time, and this gixes the student
is termed a promenade.
practice at rapidlv picking up and memorising
The music chosen for this adage is Chopin's
sequences of steps, and mastering the \'arious
Valse, op. 69, which has been arranged here
of execution which usually occur
difficulties
so that the bars coincide with the dancer's
when passing from one step to another. This
movements in order to give die idea of
is another occasion when the character and
accompaniment. Note also that the music is
musical sense of the student begin to take
headed con espressione, 'with expression',
shape and ev^olvc.
which is the kind of music vou should always
choose for adage. Some of Chopin's Nocturnes
Exercises in adage - an example
are also suitable.
An example of an clcmentar)' adage is given Until this point, the music accompanying
here. Taking the moxements one by one, they the exercises has been indicated mereh' as 6/8,
are as follows: 4/4, etc., because main purpose has been
its

1—3 chasse to pro\'ide a rh\thmic accompaniment for the

4 attitude croisee a terre steps. Arranging an adage to music, however,
5 attitude avisee en Vair is a far more subtle matter. A technical knowl-
6 attitude en face edge of music, as well as a natural musical
7 attitude effacee INTO sense, is of the greatest possible value to bailer
8 arahcscjue fondue alUmgcc with the arms en teachers, students and critics.
 ADAGE 49

attitude en face attitude effacee

movementsl of heel

pirouette
en dehors m\ \
side
arabesque
thdue allong^e
21

. i
50 CLASS

Allegro and steps of elevation

General observations
Musically, the term alleffvo indicates 'quick hea\y; but when he mo\'es fast - whew! he
and lively. In ballet die term embraces many flashes about like a shrimp in a puddle!'
steps, among them the gliding movements In steps of allejfro it is \'er\' important to
calleci pflissadcs^ the brilliant, intricate pas dc pay heed to neatness, xitalirv' of expression,
bourree^ the little jumps called sautes and the and control of the arms.* Also, do not make
long smooth leaps icnown as jfrands jetcs. the mistake of thinking that because the steps
Sometimes there is a distinction between are small they are insignificant, for small steps
steps of the same name when performed in should flash like quicksilver.
different ways, e.g. echappes sautes (page 54) Strongly made t\'pes often experience ini-

which mo\'ement compared with

are a large tial difficult\' with the small, neat but impor-
the pizzicato effect of echappes releves sur les tant steps. Often, howexer, they are gifted
pointes (page 61). with a remarkable power of ele\'ation and
Steps of allegro are NEVER attempted till leap much higher than their classmates. Now
the body is perfecdy 'warmed up'. Many acci- it is more usual to see a beginner jumping
dents are due to failure to note this classic too high than a finished performer, but die
regulation. uncontrolled leaper will lose his power of ('

hi the course of the graceful arabesques and elevation, due to physical injuries - unless he
attitudes and the slow elegance of ada^e^ a is willing to study the science of leaping in
certain type of dancer shows to adxantage - ballet.

the loose-limbed, supple indi\'idual with high Although a great ele\'ation can be a tre-
insteps. With the introduction ofpas d^allefjro^ mendous asset, it can also be dangerous in its

howe\'er, the opposite t\pe scores - the stock- Jumping in ballet is not a sport,
early stages.
ier, broader person who usually has strong, and height is b\' no means the sole object.
flat feet and clearh' ciefined muscles. Briefly, Positioning in the air and a graceftil landing
the first t)pe tends towards a knock-knee and are equalh' important.
usually has an inborn facilitv' for slow, grace- To describe how to control and increase
ful movement; the second has a tendency ele\'ation would be a lengthy subject. Here,
tovyards bandiness and at die same time a nat- therefore, I shall give only the main essentials
ural dexterit\' in sharp, brilliant moyement, an governing the first steps of elexation in ballet.

excellent sense of timing and good elevation. They should be carefully studied.
Both these physical defects can be greatly
minimised (in many cases, cured) by exercises 1 A good preparation ensures a good
at the bajTe and care in basic deportment. jump. Whether the spring comes from both
Each t)'pe should work particularh' hard at feet, as in echappes sautes chanjjes on page 54

those steps which are the hardest for him or or from one foot, as shown in jetes demere
her to master. on page 55, a good 'bend' of the knees with
A well-known dancer of the second, less the heels firmly on the ground is essential.
graceful t\'pe, was described thus by a spec- (Tn' a jump \\ ithout bending the knees and
* A small movement looks ridiculous if
tator: 'You onh' notice his face when he is see what happens!) Without bending the
accompanied by flapping arms. doing slow moNcments, and he must be quite knees, the heels — which are responsible for
 ALLEGRO AND STEPS OF ELE VA TION 5

all ele\'ation - cannot gi\'e you a good push 1 saute

upwards.
2 Once in the air, it is essential that the knees
and feet are as straight, i.e. as fullv stretched,
as possible - not only for appearances' sake,
but to ensure a soft, correct and safe landing.
3 Taking die landing from a jump in slow
motion: the toes should be the first to touch

the ground, and passing rapidly through the

intermediate foot positions (see page 27, 3c,
b and a) the heels should follow, the move-
ment being completed with a dcmi-plic of the
knees.
3(i) glissade derriere
A jump which is not followed by a demi-plie
is liable to break your knees for vou - no less.

If you do bend your knees on landing, but

insufificiendy, you will make a noise like a
house falling down.
Failure to bring the heels down to the
ground after each step of elevation tends to
thicken the Achilles tendon. As this is a
common fault amongst ballet dancers, it has
given rise to the popular behef that the study "^^^rA^ V
of ballet leads to thick ankles. Improperly
performed, it does. 3(ii) glissade devant

SauteJ changement and glissades

(as shown on pages 51 and 52)

1 Saute is from sauter^ 'to jump'. It is advis-

able to execute sixteen of these little jumps
continuously to warm and strengthen the feet
as a prelude to steps of allcjjro. They are per-
formed in the 1st position of the feet.
2 Chmiqenient from changer^ 'to change',
is

so called because the feet change position in

mid-air, on the way down each time. Per- 3(m) glissade dessus
form sixteen. In these two exercises do not
tilt the body backwards or forwards.
either
3 Glissade is from /j/mrr, 'to glide'. WTien fol-
lowing the illustrations be careful not to give
a jerky effect: the five figures in
each sequence
are part of one complete movement. At first
the glissades should be practised slowly and
smoothly to a 3/4 time, with the last figure
of each sequence coinciding with the first beat
of the bar. Gradually increase the speed until
 .

52 CIASS

3(iv) qlissade dcssmts the movement becomes sharp and neat. Care-
fully memorise the different placing of the
feet and the special head movement which
goes with each.
4 An example ofjjlissades as they may be used
one after another to make a little exercise.

Note dcrriere behind dcvant in front

dcssus over dessous under en avant coming
forward en anicrc going backwards.
When using these terms to describe an
assemble it is useful to remember that the

3(v)
assemble can either be en place without moving
jjlissndi' en nvmit
from the spot it began, or parte travelling.

Pas de bourree
Musically speaking, a bourree denotes a dance
in 2/4 time starting with an up-beat. In ballet
there are countless \'arieties of bourree. They
are not only used as steps bv themsehes but
slide
\ forward are also used to mo\'e from one position to
another: when a dancer crosses the stage with
tiny twinkling steps sur les pointes, this is a
species of bourree. The examples below are
the first ones you will learn in class.
Study the illustrations carefiillv. Note that
in E and F* the body on both occasions faces
an ejfacee direction. Pas de bourree en avant
and en arriere are often performed together
as an exercise going forwards and backwards,
so the last drawing in each sequence shows
the figure ready to move in the opposite dir-
slide
backwards ection. For a single example of each of these
rsvo steps, close the foot in 5th p(^sition, as
in die pre\'ious pas de bourree (A to D)
4 three (glissades (deniere) with chanjjements as an exercise (note use of arms)
* sec page 54

M±4if ^e^e»-

ii
 ALLEGRO AND STEPS OF ELEVATION 53

A pas de bourree derriere

count and one

(head and arms as A above)

B pas de bourree devant ~;

C pas de bouyree dessus

D pas de bourree dessous =;

54 ClJiSS

{efface direction)
E pas de bourree en avatit

ly^ , - -^
F pas de bourre'e en aniere

Echappes sautes changes that vou will learn in class. This is the first

time that you spring from one leg to land on

Echappe is from echapper^ 'to escape' the other. You must not tra\'el sideways: ^Vf/^
Perform the sequence four times (2—10), dcrrierc - travel forward the width of one ot
jumping as high as possible with a big dcmi- vour feet with each step; jetes devmit - back-
plie. Get your breatli; then repeat in a smaller, wards. It is best to try them in a small way
quicker manner. at first: eight denierc and eight devant with
alternate feet. Repeat the exercise more
slowlv and with higher elexation as you pro-
Jetes derrieve and devant
gress. The working foot brushes the grcuind

Jete is ^vovn jctn\ 'to throw' and this pushes vou upwards. Make sure that
There are manv different kinds oijetc^ but for a second both the legs are straight in

the examples shown to the right are die first the air.
 ALLEGRO AND STEPS OF ELEVATION 55

Echappes sautes changes __£?ii!lL and one and two, etc.

Jete deniere Jete devant

56 CIASS

fetes ciaTine wirli temps leves ]etes derriere

Here th^jetes are arranged as an exercise with

temps leves ('lifted' steps, or hops).

Assembles; soubresauts
Assemble from assembler^ 'to put together'; sott-

bresaut^ 'a jump' - a straight jump with the

feet in 5th position
The feet are put together in the air, before
landing. In the sequences A and B, stage 4 is
where the most common mistake occurs. You
must assemble your feet before landing.
Again, as in you gain impetus for your
jetes^

jump by brushing the working foot along die

ground before taking off. It takes quite a
while to learn this mo\'ement, but once
learned, it will be possible to tr\' the little

exercise shown in E, composed of jjlissades,

assembles and a soubresaut. Pay special atten-
A assemble deniere
tion to the use of die head - there are a few
catches.

C assemble dessus

B assemble devant
count and one

D assemble dessous

i
 ALLEGRO AND STEPS OF ELE VA TION 57

E exercise with glissades, assembles and soubresaut

assemble derriere

glissade

count and one and two and

assemble devant assemble dessous

devant

and one and two and one

assemble dessous assemble dessus soubresaut

repeat exercise
with other foot

and two and one and two

58 C7-4.S,S

Grands jetes, en avant and en touvn-

ant (Huming^)

Pas de bourree counts (preparatory

running steps) and jjrand jete en avant

slide foot through 1st

The illustrations show two oi jjrands

sorts the ground at first in the leap itself Ele\'ation
jetcs practised by a girl familiar with the can be increased directiv the student has mas-
movements. Some beginners, however, find tered the actual method. The drawings also
it difficult to master the basic 'mechanics' of show the 'preparator\' runs' for both t\'pes
these beautiful and effecti\'e leaps. The best oijetc\ from which the dancer should gain
way of learning to perform them is to follow impetus for both the height and the length
the illustrations cioselv - but hardly to leave of the leap.

nos 1-f

cover distanc
equal to two pace
Grand jete en toumant
 ALLEGRO AND STEPS OF ELE VA TION 59

to continue exercise
repeat movement
as from no. 3

to continue exercise:
repeat movement
as from no. 2

" t
careful how you land

'-^- —-^ nos 7-10:

travel as high and as far as you can leap.
60 CIASS

Sur les pointes

Preliminary notes
The girls shown in the illustrations on these
irwo pages are all o\'er ten years of age and
have been regularly stuci\'ing for two xears
the other exercises described in this bc^ok.
They therefore ha\'e a right to be on tiieir

pointes. Even so, all these exercises are per-

formed with aid of the barre.
Some girls rise on their pointes easih' and
naturally and others need to fit and adjust
their shoes \cvf carefull\'. As the foot or feet
rise through quarter, half, three-quarter to

full pointe the weight must be centred cor-

rectly dirough the bones of the leg and foot.

B Ideallv a dancer stands on three toes. But few-

1st Wd!i\^Af> feet are so made, thus ankles, insteps and toes
must be strengthened before anv attempt is
made 2.1 poi7ite-\\'ox\i.

shoes should always be

The first

by an expert. In
fitted
pair ot pointe

general the shoe must never allow for grow-

ing but must fit snugly.

^)X^ m\ ^^
II

and one and two and one and two (etc.)

D echappes en croix
 SCrR LES PODJTES 61

First exercises (turn other way

and repeat
Al The correct stance for exercises facing the hand slides with other^
barre^ i.e. A—D inclusive. along barre leg)

Beginners should not hesitate to place a lot

-_>
of weight on the barre at first, to protect the
these repeat movements
feet from strain until thev grow stronger. two 8 times
A2 For s\o\\ releves the knees should be per- oveme
take plac
fectly straight throughout. ion one be
The same releves should then be performed 'and' 1
to brisk tempo, several in each position.
B Releves should then be repeated in basic and
positions with demi-plies. El pose coupe en avant a terre
C The releves on \\2\^-pointe (from two feet to
one foot) shown on page 36 mav be per-
formed now on full pointe.
D This exercise in echappcs en croi\\ shown
here on fiiU pointe^ should be included after
the releves on full pointe, among the more
advanced barre exercises.
E Poses mean 'steady!' The movement with
the white leg (2-4) should be as quick as
possible. Practise these poses slowlv and care-
ftiUy at first, gradually increasing speed.

and one

n two and etc.

E2 pose coupe en Vair

poses coupes with developpes
 :: '

STAGE COSTUME
Classical female dress
Use flame-proof fabrics Wearing a tutu marks the final stage in a stature will realise the importance of these
whenever possible female dancer's training, for nothing reveals costumes. They should also realise the infinite
so clearh' the perfection of Classical technique careand patience with which each detail has
as the brief, full skirt and tightlv fitting sleeve- been designed and perfected.
less bodice. Similarlv, the longer Romantic
ballet skirt shows a dancer's abilit\' to create
from the cold academic formulae of the class- THE TUTU
room a flowing pattern of lyrical mo\'ement.
Bv kind permission of Dame Ninette de A tutu should be earned by hard work -
Valois we reproduce here the two patterns nothing looks more ludicrous than untrained
for tutu and longer ballet skirt made by tlie legs and bodies under this highh' professional
late Miss Olivia Cranmer of the Royal Opera skirt which rexeals e\'er\' leg mo\'ement.
House, Co vent Garden. All those who have Tutus should be used for practice as well as
seen the Ro\'al Ballet and companies of its performance so that vou get accustomed to

^'''•v^

^
^ y i> N
^
_^' n;^' \

^'''

\
^^
^ \ \
\

\\j\
A Y^
\
^i \
:

o
z
I
-i-

V- <
\
^
o
K
\
\ K
w
: i

;>-.

^ \
.1
\
\ V^
-V
<°x- o . 1

^ ^ .':-
I
'
UTU Ba2>uiJE
l>^=^r

••• <
i

['•

'^,
\ S^'„ ,\ UJ

% < '._

'^^\^^
..V "s^\^^ o
^^4'^^ .
I \
o
o
^^
T^N vN
*•.

1
"^

. '*'*

^-v
t •*
^« •^
1^
"**.
•*.^_^
1

Partem of rutu basque (sec note about 1

size of grid squares on page 15) .1 1 J

Jk
 CIASSICAL 63

the fact that you cannot see the feet and that in. (90cm) tarlatan or nylon net; narrow
a tight bociice needs a well-controlled body. petersham for waist-belt; narrow elastic for
Moreox'er the arms ha\'e to be held very care- knicker legs; 141 in. (37cm) of elastic 1-li
fully so that they at no time spoil the line of in. (3cm) wide to be stitched through legs;

the skirt. k yd (45cm) material for bodice; f yd

should be noted that for ciouble-work
It (70cm) firm cotton fabric for backing bodice;
(dance with a partner) it is not advisable to flat hooks and eyes; shoulder straps of ribbon

applv any form of decoration between bust or material; small piece of elastic for shoulder
and hip. Any decoration embracing the whole straps.

dress, or covering the waisdine and basque narrow petersham, l-f in.
Waist-belt of Petersham waist-belt
(such as swan's wings with an Odette dress (l-2cm) wide is made to fit tightly round
in Swan Lake) should be added when the tutu waist. Large flat hook and eye are sewn on
is complete. petersham wrong wav round so that they lie
Decorations added to bodice only, or skirt flat on dancer's back and do not stick into her

onlv, should be completed before bodice and spine.

skirt are joined. Basque is made of three or four layers of
Sequins and other decorations to top layer net. These are machined together (see dotted
of skirt should be added before it is gathered. lines on pattern, page 62) to give stability.
Centre of basque must be placed on centre Large hook and eye sewn wrong \\'a\'

Materials required fold of material when cutting. round

Approximately 9 (8.25m) of 54 in.

yd Knickers^ made of two layers of net. Cut
(140cm) nylon net or 13 yd (11.75m) of 36 two pieces. It is essential that the straight of

x:i::r:i.:.i.zi.:]:.x.
.^ ^-..4_._J.___J
WAISTLINE -
;

L WAISTLINE ELASTIC THROUGH THIS EDGE

^„__L_.„._-i_-_4
IF PATTERN
-I— -^
:l..j..j..-.l..l.
IS
— J— — I—
USED FOR ORDINARY KNICKERS
H (
1 ' ^ • 1
f

Pattern of mm knickers
(see note about size of
grid squares on page 15)
64 STAGE COSTUME

the material is at side of knickers, and that

Width of Width of Widths of material required
this is sewn at side of basque when joining
No. offrill frill (in.) frill (cm) 54 in. 140cm)
( 36 in. (90cm)
knicker to basque.
Silk net top 121 32.5 4 6 Tutvi skirt consists of 12 frills and 1 leg frill,
12 12i 32 4 6 and if required a top frill of silk net. These
11 12 30.5 4 6 are cut as shown on the table (left).

10 10^ 27 4 6 The 8th frill usually has a strip of net 2 in.

9 9k 24 3i 5 (5cm) wide sewn the length of it, half\\'av

8 (wire friU) 8i
7 7
6 6
5 5
4 4
3 3
2 2
1 \h
Leg frill U 3
4 3
21.5 3i 5 across. This allows for a hoop of crinoline
18 3 4^ wire to be inserted. This is a light steel band
15.5 3 4^ approximately \-\ in. (l-2cm) wide. Size
13 2\ 4 of hoop varies from 56 to 58 in. (142-
10 2\ 4 147cm) long. The ends of the wire that make
7.5 2 3 the hoop must be properly bound and 4 in.
5 2 3 (10cm) extra wire allowed so diat there is a
4 l\ 2 proper overlap and that the hoop will not sag
1 width for each leg (C).
3 3 3 The frills must be pinked before gathering.
Traditionally Odette-Odile's frills {Swan
Lake) have outer edges cut in points, while
Aurora's {The Sleeping Beauty) are cut in
scallops. Either edging can be used for other
tutus.

Showing 2 (5cm) strip of net

in. Method - skirt
and wire, along 8th frill which 1 Prepare petersham waist-belt and basque,
here has scalloped edge
which must be fitted to dancer's figure. Stitch
basque to lower edge of petersham.
2 Sew centre front seam of knickers and
leave flat.

3 Stitch piece of bias binding round each leg

and machine two rows of stitching round top
of knickers (A).
4 Gather and stitch leg frill round legs,

taking care to stitch frill on so that gathered

edge faces lower edge of knicker (B).
5 Continue gathering and sewing on frills

A preparing knickers facing wrong wav up working from no. 1 to

no. 12. Frills are attached 2 in. (1 cm) apart.

It is essential that the gathers are absolutely

r- evenly spaced out. Therefore knickers and
y should be marked out into 8
each frill sec-

tions before stitching (C).

6 Ha\'ing stitched on all frills to knickers,
stitch up back seam of knickers as far as

placket opening. Prepare usual placket

B frill sewn on wrong way up opening.
 CIASSICAL 65

9 Thread hoop through 8th frill and secure

firmly. Sew on small flat hooks and eyes, as
on petersham.
10 Frills are now
caught together with long
stitches (about Z-Z\ in. (8cm) long) at 8 in.
(20cm) interxals. These stitches are usually
made both upwards and dow^nwards from the
8th or 'wire' layer and must be inside skirt,
C spacing layers away from the outer edge (D).
11 Take a piece of elastic 1-li in. (3cm)
wide and 142 in. (37cm) long and stitch
one end firmly to lower edge of basque centre
front and the other end to lower edge of
i
' /' / basque centre back on same side as the eves
have been sewn (E).

^
Method - bodice
1 Cut out bodice in calico or strong cotton,
t "•<" v-^ "/' lit Ul:.-. •• •

pin, tack and fit on dancer making sure that

A A F side seam is direcdv centred under the arm,

back seam falls straight down spine and front
seams fall directly over bust. Mark fitted

D catch skirts together bodice with tailor's tacks, place cotton back-
ing on bodice material, pin and mark out.
Tack backing and bodice material together,
then cut out.
2 Stitch bodice seams together, matching
marks as indicated and stitching through four
thicknesses of material at each seam. Calico
or strong cotton backs the bodice material
and keeps it firm. Do not line bodice.
3 Stitch bias binding on outside bodice top
and lower edge, turn, press and hem on
Turn
inside. in hem allowance at centre back.
4 Sew on flat hooks and e\'es as on
petersham.
5 Bmiing a bodice is optional and according
to individual requirements. Bones should be
E elastic between legs covered and well padded at each end. They
are sewn in separately and should be placed
on top of seams. They can be used under
7 Stitch knicker legs together at crutch and bust, at side seams, at front of bodice and at
run narrow elastic through hem of legs. centre back. (See drawing o\'erleaf.)
8 Stitch skirt to basque, gathering top of Some ballerinas useno boning at all, but
knickers a and allowing most gathers to
little have \'eh'et ribbon sewn as indicated in the
fall towards the back of skirt. illustration to prevent bodice slipping.
66 STACF. COSTUME

B(xiicc partem and how it is placed on

material (see note about size of grid
squares on page 15). Bodice must be cut
very carefulK' so that straight of material
Joinin£i bodice to skirt THE LES STLPHIDES AND THE
on diagram
cornes exacdy as marked
Bodice should be sewn to lower edge of SHORTER SWAN LAKE DRESSES
petersham from centre back to side only. made to an identical
Both these dresses are
Front of bodice will then fall properly over
pattern, the only ditTerence being the length
the basque and it may be caught
one or in
of the skirt (A) and the cutting of their edges.
two places to the basque. However, this
catching must be done when the dancer is For a demi-caractcre dress, such as worn by
wearing the finished costume. Swanilda in Coppelia, use the same patterns
waist-belt, basque, skirt, knickers and
Shoulder straps, too, must be fitted to suit for

the dancer. The front ends are attached to top bodice as for Lcs Sylphidcs or Swan Lake,
of bodice front seams, the back ends to some shortening the length of skirt to suit the par-
point between back and side seams - wher- ticular dancer.

ever the dancer finds it most comfortable. Lcs Sylphidcs skirt is 1 1 in. (28cm) from the
Some dancers like a small piece of elastic floor, the edge cut in scallops.
added to the front ends of shoulder strap (a). Swan Lake skirt is 13 in. (33cm) from the
This allows for rise and tall of torso from floor, the edge cut in points.

waist upwards, a movement which is so A dcmi-caracterc skirt is usually 15 in.

Shoulder straps and position of liones;
marked in some dancers. It also prevents the (38cm) from the floor, or just below the
veUet ribbon can be used instead of
bones bodice from slipping down or out of place. dancer's knees.
 CLASSICAL 67

Materials required for skirt, knickers, sleeves

and win^s
The best material for both Les Sylphides and
Swan Lake skirts is nylon net, but a soft net
top skirt is used to adxantage on each. Never
use n\'lon net for either top skirt as it does not
fall softh' when the dancer is in mo\'ement. It

tends to fold into hard lines, particularly in

pirouettes, and spoils the pattern of the dance.
Each skirt requires layers cut as follows:
Underskin four widths of 54 in. (140cm) or
six widths of 36 (90cm) material
in.

2nd skirt four widths of 54 in. or sLx widths

of 36 in. material
Top skirt four widths of 54 in. or six widths
of 36 in. material
The depth of each depends upon the
skirt
height of the dancer. If top skirt measures 3
in. (79cm) in depth from waist to 11 in.

(28cm) from floor for a Sylphides skirt, then

second skirt will be 292 in. (75cm) deep and
underskirt 28 in. (71cm) deep.
\)
The skirts would thus require about 10 vd
(9.2m) of 54 in. (140cm) material, plus suf-
ficient tarlatan or nvlon net to make basque, Swan Lake
a pair of frilled knickers and wing-like sleeves.
Skirt: method
As in the tutu, the bottom edges of the skirts
must be prepared before sewing. In order
that the gathers of each skirt be evenly spaced
round die basque, both skirts and basque
should be marked in equal divisions before
TOPSKIRT
2ND SKIRT the skirts are gathered and attached.
UNDERSKIRT The skirts are sewn on to a basque and
waist-belt cut and made up as shown on
pages 62-5. The basque is however onlv 31
in. (9cm) deep and it is usual to cut this to

the tutu pant line shown on page 62. The

underskirt is sewn on to the basque 3 in.
QEMJ-CARACT.ERE
(8cm) below bottom of petersham waist-belt.
5WAN LAttE ___:,J _!_
LESS.YjkaiOEi The second skirt is put on \\ in. (4cm)
15"
above this.
13"
11"
Top skirt is stitched to bottom of peter-
t -1 1 sham. (See B)
If more skirts are required then the space
A Lengths of skirt and position of the three layers between the layers should be graduated B Where skirts must be sewn to the
on the basque accordingly. basque
68 STAGE COSTUME

Knickers: method
Knickers areworn separately with long skirts
which are made on a shorter basque.
Cut them to full dimensions of pattern on
page 63. Stitch up according to instructions
for tutu knickers, using as many frills as felt
necessarv and spacing these out e\'enly
between the marks for the 1st and 12th frills.
Stitch back seam together from lower to
upper edges and run elastic through
waist-line.

Bodice: materials and method Sylphides sleeve

Amounts of material are the same as for the

tutu bociice; dull satin is usually used for Les
and Swan Lake. The bodice is made
Sylphides
and sewn onto the basque in exactly the same
way as for the tutu (see pages 65-6).

Sylphides wings

Sleeves and win£is for Les Sylphides: method

The wing-like sleexes of nylon or soft net are
stitched on to the shoulder straps of the
bodice. Thev are sometimes edged with
ribbon i (2cm) wide.
in.

The wings should be lightly wired and

fixed to centre back of waist-line.

Les Sylphides
 CLASSICAL 69

Classical male dress

THE MALE SHIRT Materials required
3i-32 yd (3m) soft linen, lawn, cotton
Pattern - see overleaf.
Method
The male dancer's shirt has many shapes, 1 Having measured and cut seam back
shirt,
including the simply-cut magyar sweat shirt. and front together at sides. Use run and fell
The shirt illustrated is that used by the Roval seams. Turn in hem allowance on fronts.
Danish Ballet in Napoli^ when it is worn with 2 Run two rows of gathering along top of
soft ribbon bow tied and caught at level of back and along both fronts.
top buttonhole. It ser\^es as the basis for the 3 Set gathers on to underside of yoke, taking
shirt worn in the classroom and also many care to fit yoke carefiilly on shoulder so that
other ballets. For example: the addition of a shoulder line lies directly on top of shoulder.
deeper collar with pointed ends, and fuller Set back gathers first.

sleeves, turns it into Harlequin's shirt or the 4 Turn in hem allowance on upper side of
male shirt of Les Svlphides; with die addition voke, set and machine this over underside of
of a yoke cut slightlv wider in front so that yoke.
the collar buttons right up to the neck, it 5 Seam sleeves together, taking care to fit

serves with tie, cravat or lace jabot for more extra piece exactly asmarked in pattern. Use
formal wear. We are grateful to Neils Bjorn run and fell seams. Turn in hem allowance
Larsen of the Danish Royal Theatre for per- below mark where seam ends.
mission to use this pattern. 6 Set sleeves into armhole, taking care to
match imderarm seam to side seam. In the
normal shirt it should not be necessary to
gather top of sleeve. Run and fell seams are
usuallv used.
7 Fold and seam ends. Turn
collar in half
right side out and set collar on to yoke.
Centre back of collar meets centre back of
yoke. Edge of collar front meets edge of yoke
front.
8 Fold cuff in half, seam ends and turn right
side out. Gather lower edge of sleeve and set
into cuff, taking care that place for button-
hole falls to outside.
9 Make two buttonholes as indicated on left

front, and one buttonhole on outside of each

cuff. Sew on buttons to fit buttonholes.

10 Turn in hem allowance round lower

The male shirt edge.
 1 . J - — ' —— —f
r

70 STAGE COSTUME

r'
/, ^
"^

'
1

'
h—
'
-1
<

V— , i
' * 1
'
t
'
1

'
r

'
— '

v^- —
1
1

— / UNDERARM SEAM REACHES THIS SEAM

1 1 1 1
'

— 1
1-

.'-'
;>
."''
^
^
^ 1 1 1
1

—
1

k-''
r""
1
-^ 0.^ i

>.
/
'

uLl
1c
V o \
t
h
C
1 r - f—

2?5 \ '

- -i
SHIRT
FRONT
ALLOWANCE

1
—

1 1
r
—
1
L LU u.
A/ 1

1
f
1

1
<
C
% --
1
'
HEM —

1
1
=
1
1 1

— UNDER
—

1
>.
>
-
h- — 11

FOLD
f—i

X ^ t
—
1
MAKE 2 BUTTONHOLES
1

N.
N
till
ON LEFT FRONT
1

— 1

\ 1

L -
1
""1 I 1
r— I

FOLD UNDER HEM ALLOWANCE

+
'1 r — 1
1
___/
1

r~" 4
—— —— —
1

1
. K— 1
— —
1

^1

«
T
r

CE NTR EB/\CK -US^Y ON FOLD 1

1
J,

\ 1

1
- >>A 1

1 :%.
C'\
1 1
'^>f

s
1
1 I

1
-
^ LU 1 !

2 <
— n
1

1
1- CD
n
1

OWANC

-\-
1
ATHER
NOTCH
NYOKE
_i
_i
L 1 1

c>HIFT
1
^ 1
1

c ElAC K
LU
'I 1 i

^ ^ o
> z 1

o
z
I 1
3
Q
1

1
O
u.
i

1
1

1 1

f——^ {

l. .z "^ X
"-V
N\
1.

1
I

1
1

\
1 1

\
Partem formale shirr: fronr and back 1
1

fscc norc abour size of grid squares on

page 15j
— \

——— h
— —
A
— —
J
_ _ Y
 CI^SSICAL 71

-
r
1
— .... — .... --- " — .... ~- n
-— — • ••<

/
STRAIGHTOF MATERIAL
~^' ~~ir~ A
!
1 1 1 J . ,

1
1

1
!t
/
7
/
/
i

11
' u."
(

SHIRT SLEEVE QC
O
1
1
_ < O
!-
1

Z
1

cr
r UJ
f
~ . I
4> 1-
>
\ c
<
\ \ J —
u
\

\
\ 4
Q

LJ

k\ 1
cL
c
u
\ >
\

\ <t
u

^ —
L
J -
J
1—
\\ -— —— — ^"•"^ ~ ~^^ ~
V
1
1

-•—
s.
"^ ^f ^__^ K- r— —
1

1
\
N
'
>\
V- ---
'

.^ SHIRT
CUFF
\

j
-<
cc
A.-
-2^ - LU
H
1 <
/
0' ^ k
__ L_ -
5 o
^^^ A LU u. _l
-->.
^^_ SHIRT _l O n
^"».j
-•»^. UNDERARM PIEC E
o '
1-LL
I z

-/
4
- -

V ^ "^'fc^
— -H --*
— _ . .
z-
o u
>
*"*•»««
D J
1 STRAIGHT OF MATERIAL
1
"*-,
1
A. ^ C/3

1 1 1
-1 1

Lh
J^
1
1
1

* i *^^,
^_ ^,- '1
1 /
1
1

1 SHIRT COLLAR 1
1
1 ^X- —T 1

T
1

(CUT 2) 1 /
/ / C
1
1

1
1
3
1 1
SHIRT
1
1 ,.... '
-— 1

1
YOKE <
'
U. .'

[
FOLD IN HALF ALONG THIS LIN b
1
1
O
0^' 1

1 1 1 : 1 1 1

^^ /A
/ ^^^ 1/
1! 1 1
I
1 1

-^V \
-w
.,.
MEETS CENTRE OF YOKE BACK
jk. .111.1 1
< —1

J
1

\\
\CENTREY0KE
_J Pattern for male shirt: sleeve and other
LA YO NFC)LD pieces. Yoke must measure width from
shoulder to shoulder
72 STACF. COSTUME

r-i'-^r
1"
_J -:^ MALE TUNICS
.,
~" -^r >s v^- A

/ 1 i ,
--^ •^^ <; ^
The male dancer has great need of a properlv-
"'"'•-.^

—
T
4

> 1

1
r? fitting garment if he is to partner the female
1

1
1
I

1
1 I
i

i
•
L adec]uatelv.
1

/'^
/
r /
/
'

'
1 i
-J
SHORT
TUNIC
1

1
— J Male tunics
difficult
for ballet are perhaps the
garments to fit, because the dancer
most
FRONT 1
i
/
'
1 i
1/
<
1

2 ! requires much freedom of mo\'ement in the

i J
CUT 2 OF THIS
\\
k
U.
1
torso, particularly if he has lifts to perform.
A.
1
1
I i

'"fc-
^"Sfc
// 3
o
<
1 .4_ Moreover, it is essential that neither tunic nor
1
'

\>'-^. { /Vt i I
E tn
il
\ \ sleev'e ride up. For this reason it is often wise
:
"-^isV^W s il
1 i ) to set the sleeves on a firm calico or cotton
WIDEST PART OF TORSO ^^ ^ ^
^ i* <
j-^o, «.^
VWinrcT
r«M| OF TORSO /
1
1
1

vest. This is cut to the same pattern as the

""—
'

1 °c
'
l-.^._._i ,
/ 1
c
•
tunic, but reaches only to the waist. The
1
LJ
1
i i ' 1 >
1

1 1 -
1
1
slee\'e is then cut a little wider and higher at
J
J
1 '
• t the top than indicated in the pattern and is
'
1 '
set as high as possible over the armhole of
'
s the vest. The tunic is then cut normallv and
•
z i
'
il / ,
o f 1
/ /

-3. V,
1
[ 1
•
1
'
worn sleeveless, or an epaulette can be added.
.'/ 1
1
1
°7 / The short and long tunics shown here can
\N I 1
/ 1

^.—
MSTLt NE \ V —
1

1
1
WWSTLINE
^ f-'—^-.J
/
r be easily adapted to a \'ariet\'

Wlien cutting the short tunic at least 1 in.

of designs.

\v 1
1
i

^ —— "" 1
b. -- 1- )

9
'

— ——
(2.5cm) must be added below normal waist-
line and lower edge of slee\'e to allow for

y^
..-^ I'-ii -...

^--^
movement. Front darts slope slightlv towards

'
y r"' the side seams and not straight down the
front as in the long tunic. Front of short tunic
is wider than front of long tunic because side
Partem for short tunic: place pieces on material as shown on chart. Sec note about size
seams fall to back of armhole, therefore
of grid squares on page 15.
always cut short tunic armlioles more deeply
STRAIGHT OF MATERIAL in front.

sCb;
LAY ON FOLD 1 / ^ '
—\ ...
^
If a longer pointed front
short tunic, the whole lower edge from waist
is required to

/
1
/
/
.^1
r
must be firmly faced with cotton fabric in
/ V 1
1
addition to calico backing as it is essential that

MALEC DA
ti A
BAouuc
1 r*^\t 1^
x
/
f
—/ -
4 \
n j
1
•

the point remains firm.

FRONT /
/ 1 !
1
1
If a basque or kilted piece is required, this
/
/
/_ 1
should be stitched on to shoit tunic I in.
\

(Icm) below nc:)rmal waistline. Kilted piece is

MALE BASQUE ]

merely a straight piece of material, not too

i

\\ BACK
fullv pleated, which is stitched to the lower
\\ \j ill. I

edge of tunic.
\ '^ "-.
1 1

Three sleexes are gi\'en here. The full sleeve

V1
L-
- -- •"T".
'

1
, _
-1 — — 1—
,

1
1

H—
1
i

is interchangeable between short and long

\
1
k^^^
^-•^ .
— .,»-
' - An II iCT uc^/l Trv in mix /ir\ 1 A timic, but the others are not because the arm-

+-4 holes var\' in cut. Note ncit carefully the cut

(
1 1 t -f--4--l--4--
Pattern for basque of the straight sleeve in one piece as this is
 CLASSICAL 73

..-^- .~
^ * ^ -.— -^
t
1 p I
1
1
^^'
'-f-^
L^^^^ A

\
1

1
1 '' ^-y
1 LONGTU^lie /
1
.'' .^
i Ir ^^
\\ BACK 1

i
/ r >\'
t 1 i
1

\\ n
1
/ 1
1 L
LONG TU^lie
i

V \
\ FRONT
1
\
\
\
/VAIS TLINE
^\ *
1
1 \
V- .__
I

L
1
_. \
\
\
,

T \

/
y
•
\
"
! 1
1- 1
/
1

1
<
Q - 1/

1/
ID

z
oc
!

t
»—
1
L c
^ ) 1 1

WIDEST PART OF TORSO

il 1

?
il sl\ !

1
1
1 7 i

!
U-

^1
5i
1 4

i
\
\
1 \ \
1

/ ^
L
!

i
I
'

' E
./IDES TPA ^TOF TOR so
•
1
H
^L
!

1
—- li
1 .
1
1
\
\
1
t
1
1

^
\
u
i
1

1
1
1

L
Short tunic

\ 1
•^N

N -1
H i
\
1

1
\
« \
1

1
1
1
t
<
UJ
H
< 1
1 1
\
1

i\ AIST LINE !
1
1
t '-1 " 1 . O i

' 1 1-
I
1

1
I 1
^
1 1
o 1

1
<!
J
7 1
1
<
oc
1-
1

'

1 1 S
1 / il
^
r /i 1
]

1
*«
1

L ** • ^ -^ ^
1
1
1
1

s^ ^^
\ ""^*
— - 4-

-y
,<»^

F(DLDC)FM/!kTERI AL
/

._
" .

-Il — ...1.1
1

1 .
1

Pattern for long tunic: place pieces on material as shown on chart

designed to give the maximum amount of in Pad these pieces slightly and
pattern.
movement and must on no account be pared machine them to cut-out material before
down at the top. seaming sleeves. This method is often better,
The flill sleeve and tunic can be properly for slashed sleeves and tunic can catch on the
slashed and the former set over either of the girl's dress or hands in double-work.
two But the slashing can be
tighter sleeves. Male tunics are usually fastened at the back,
simulated if you cut pieces of contrasting particularly if double-work is to be per-
material shghdy larger than shapes indicated formed. Short tunic with basque and epaulettes
 74 STAGE COSTUME

r 1

_.
^^*
*
^-.
^ /^ ATl_l
oP n 1
CD
1
''^
«

.-^ c-
y y 1a X \

<^'k'-
'<K<d>- k.

.,' ^'^
/
/\ \\
/ :> /f
^

V
":\ ^

4
/u^-^ f >,
\
>
1
\ .''^
/ ^; >, '••^,
—
r''
r 1
1
\

1
1

1 /
\
1
1
^ 1
1

1
1
1 \\ 1
1
1
1
/
1
1 1

!
1
1

\ 1 I 1
1
1

1
\
\
1
\\ /
/
1
1 L
\ r
/ 1
1
1
N 1 /
1
v w^ 1
i
1
> r^^ I 1
1
1 *v 1 Pattern for sleeve in two pieces (see page 73)
1
1
cut two
1
1

1
I 1 I I
i

—1
h 1

1
1 1

"-^ L^-v
«
,'''
\
FULL SLEEVE < 1 ..'

^^
^
\
-N
1

oc i }
t

\1
f
1 UJ
t-
<
J
/
I
I

'^
LAYTHISMARKON
f
^
s
'i
\ \;x
N
o 1
\
\\
\ \ t-
7 II '
i

...
SHOULDER SEAM V
',

I
1
. I
C3
/
/
1 1

\
'
< i /
/
1
1
ac I 1
1 \ 1- 1
* V 1
1 ' to / t
1 /
f
1 1

\
t
I
/ 1

y / 1
f

/, f
1
\ t

\ \ ,
?,
r
1

Al

\
i
^ 1 I
1 «
/
1
1
i
\
\
\
1

J
^/
\
\ ?;
i

<, '•
/
/
f

r
/
i
SLEEVE
t <
//
1/
\ £J
/
\ Q /
\
/ /
\1
I
1
1
\
1 / 1

\
1
-- 1

1
\ \
L
1
I
/
\
\
\
\
\

\.'
\
•-'"' ^" ^™ ™' l^^« »••-
^— \

.— — »
1
•

•""* ~~-
\
-*— J
•"»»,
/
(
\>
'
f
- - —
oc
1-
!

— —
J
H — '
<
u.

Pattern for full sleeve (see page 73) - cut uvo. See \\ C )

- t-
^ (

note about size of grid squares on page 15. \ I 4 '1

_ C
<
\V a.
1',

w
1;
\ 1
\i
> \ 1

A '
\ 1

^ \ 1

V
-'
^ t
«

\ -^ ^ ^*
k'"'

\^ ::::
 CLASSICAL 75

---^^- ^ '"--~
--"'" --.^
1

•
.''
r 1 - '^rf^if/^^'^^^'^sf^^
^^f
:::;
-
---

-^/ ^ 1
t

K1

^
—
FIT

TO THIS MARK
JACKET SEAM INTO
ntS£2
A r.

po/^ rs
°^0F

-1 u
t
t

\ 1
\

-L —
1

:
\
\ i /
}

——
1

^
7 1 1 \ i_ i 1 1

NARROW SLEEVE FOR

~ 1

!
\
1
\
\
— SHORT JACKET
— -I 1
1
—
. 1

1 '
1
1
1
»
1
I
\
\
\
\
1
1
1
1
1
t

1
f
*—
f
1
$
1

— '
•

1 f
i
1

r-^ < t
t !

/
(r / I
1
UJ
t
1 \
'

1 1 •rf J 1

l2" DAki

**
.—
---
^^«

^
\
1
1 1
1
!

1
i

//
-
u.
O
\-
1
1

1
1
f
/
/

!
1
1

i
—
\ !
,
X 1

\
\
/;
^

j \ [ <i /
-
1
I

* 1 \ 1-

\\
\ L
\
\
\
\
\
I

CUFF
>

:
1
1
>

y / -r
1

1 \ \ i j

I \ 1
1 1 \ 1
\
1 \ 1
1 i
1
1
"
- -

——
1
;
1
1 1

1 \ 1 \
1
1 1
\
\
1 [ - - -
*
1

1 '

1
!
_i
\
[ !

1
\

It

1
cc
UJ
\
1
\

1
t \ 1

\
1

- ^ —
^ —
1
^ 1- \

< vV
•
-— _ -
.^.^
- +
•
— i
1
\V
\
'
'
^^rf^—""'t^'-^
,-' ~"~
--.
1

1
1
1

1 -
u.
o
t-
1
1 — \

r- 'l-
1--
--- — 1
-o
1
1

I 1
1
1
5 .
o 1
1
J. !
__. i

1
1
< < 1
UJ 1

1
1

k
(/)
UJ
- 1-
co
— - -
\ Pattern for narrow sleeve with cufF (see page 73) -
j 1
1

O 1

cut two
1
1
1
f
W 1

1 1 z 1
1

1 1 o- 1

>-
1 1

1 1
^- 1

f
1
SLEEVE <
< 1
1

1 «0 1

^- ^ I
1 1
i I
t-
C^ i
1
1

^
^"^
-aJ
1

"-fe
Epaulette - cut two
76 STAGF. COSTUME

Suitable materials Where sleeve is set on vest, it should be

35-85 vd (3m) of Bolton sheeting or pulled about f in. (2cm) higher than shoul-
strong cotton, xcK'ct, velveteen, heaw satin, der edge and below armpit. It is dien stitched
sateen, brocade (the tunic must be backed by ver\' firmlv over vest.
firm calico or cotton in the same way as 7 Adjust hem of long tunic and sleeves on
women's jackets, tutu bodices, etc.); strong indix'idual. Face both and also the neckline

hooks and eves for fastening. with piece of same material cut on cross.
Or adjust hem and sleeves of short tunic.
Method Back piece of same material as tunic with firm
1 Ha\'ing measured and cut tunic, fit body calico and then face lower edge. Face sleeves
firmlv, allowing armhole to come as high up and neck as in long tunic.
armpit and as low on shoulder as possible, If cuff is required, cut as indicated in

but with arm swinging freely. double material and back one side with
2 If sleeve is to be worn separately, cut tailor's canvas. Leave opening for fastening.

another tunic (waist-length) in firm calico or 8 Turn in hem allowance, allowing good
cotton and hollow out neck. Fit firmly. overlap at back. Stitch on strong hooks and
3 Machine darts at front and back. Press eyes for fastening.
towards side seams.
4 Seam shoulders and side seams. Press. Where an epaulette is needed, cut in double
5 If fiill and tunic are to appear
slee\'es material and back one side with tailor's

slashed, stitch on pieces of material as indi- canvas. Epaulette is then sewn on top of arm-
cated, padding and gathering these very hole of sleeveless tunic. Or it is finished off
Lx)ng tunic
slighdy. neady and stitched firmly on to tunic after
6 Seam sleeves. Gather full sleeve, or ease sleeves have been set. Similarly basque, or
sleeve in two pieces. Set sleeve into armhole kilted piece, is sewn on after rest of tunic has
taking care that it rests exacdy on edge of been finished.
shoulder and well up into armhole.
 BASIC LEOTARD 77

The basic leotard and additions

A large majority of costumes worn in the
modern musical and in modern dance and
:Tft'
ballet are based on a firm leotard made of silk ,^--' ;>
or woollen jersey cloth, which is admirable
^'
f-
^
\
and showing off every
for fitting the figure / r V l\ s.

^^l^
./j

fine. On this base innumerable designs are / /

^% ^ ^-
\

^ /
\ \
made, some of which are indicated here.
1 \
It is important in cutting jersey cloth never 1
/ \

to pull the materialand always to cut the pat-

tern 1 in. (2.5cm) less than the desired width
.^

\\
1

'

\ ^~-\
A \
\

when fitted as the jersey cloth stretches. Leo- ^

1
i

- BUST —— — \
1 i
I
1
\._., ^ 1
I
E
tard will then fit closely to the figure. Also
1 u
alwavs use a loose tension when stitching.
V 1
1
',
1

1
r C
^\
—1
<
The same pattern can be used for leotards
in silks, satin, sateen, etc. These are never so
\ z 1
1
/

/ 5
k
z V
\
1
i

I
p.\ u.
a O
successfijl as jersey, however. 2 O
<
2
!

1
1 o
1
i VMi
-I
o
WAIST ADJUSTS ITSELF CC \
i I
IP ,
_ o
I la
1- DARTS ARE MADE
i
1

. o j 1
>
z
k j
+
1
'
o
IT
X !
L \ 1-
z
o
cc
1 U-
1 u.

/ /
/
\i
1 prkXAon
1

1 K 1 A lU
CC
1-
z
/

— % — V
Ui
\
UJ
CJ

i IS
1,- /

ih — — %—
i
\ V
I- "" ""

h-h HI PS ^T SI
1
^^
/ /
/
/ F
N
/
\
/
i
"4 ^ iiV
j

!
V/
<i
\

/
I

/ "-^
\
^
Leotard
/
/'
^ ——A
1
1 i
».« ._ /
1
'v
1

Materials required
Leotard only can be made out of f vd crutch (see page 18). yd (70cm) can also i Pattern for leotard. See note about size

(70cm) of silk, woollen or nylon jersey cloth
which is usually 54 in. (140cm) wide and
tubular. This length ample for any size
is
measuring 27in. (70cm) and less from a to
be used for longer crutch measurements if an of grid squares on page 15.
extra piece is sewn on crutch line as indicated.
But this is not so satisfactory as the pattern
cut in one piece.
78 STACF. COSTUME

Method Never machine a skirt to a leotard as the

1 Measure, cut and fit material. Dait
under stitching quickly cieteriorates.
bust to roughly 3 in. (7.5cm) above lower Circular skirt attached to either waist or
edge front, and at back from bustline to hipline. This is best made from some other
roughly 4 in. (10cm) above lower edge back. soft material than jersey, which is inclined to
(If leotard is topless make another dart dir- drop and get out of shape when cut in this
ectly under arm.) fashion. Make up as indicated. If an even
2 Seam back from lower edge for 5—6 in. fuller skirt is desired, add gores in places

(12.5-15cm) depending on individual and indicated by dotted lines. Or cut three pieces
insert zip. If this is not self-fastening a hook as indicated without hollowing out the waist
and eye must be added after top has been segment so much. Then join three pieces
bounci. together to make an extremely full skirt.

3 Seam crutch and shoulder seams. (If Short fidl skirt with or without basque. Cut
required.) short skirt as indicated in pattern and attach
4 Cut of jersey cloth 11 in. (4cm)
strips this to waist or hipline.
wide on cross and bias bind all round neck- Or cut the basque on same lines as that for

line, armholes and leg (or if without shoulder tutu, allowing this to come to point in front.
pieces, all round top). Take care to pull this Attach ftiU circular skirt to this basque and
binding fairly tight as it holds the garment in then to waistline of leotard. Or it is often best
place. (Cotton binding can also be used.) to fasten such a skirt independently.
Short full skirt Sleeves cut to I or f length can also be
added. These are cut 1 in. (2.5cm) narrower
ADDITIONS
than those in pattern for tight-sleeved jacket.
Lmijj straifjht skirt attached either to waist or They are set normally into armhole.
hipline. This is merely two widths of jersey Soft draperies of the jersey cloth can be
cloth seamed together and of requisite length drawn oxer one shoulder or draped round
from either waist to ankle or hip to ankle. hips. Similar draperies of net can be made.
These are hemmed at lower edge, turned o\'er Short gathered net skirts can be added.
and gathered at top edge and sewn eidier at Cuffs, loiiff jjloves, bolero jackets and larjje col-

waist or hiphne. Sew \cvy firmly by hand. lars can be worn for a Modern costume.

CUT TO SIZE OF WAIST OR HIPS AS DESIRED

SELVEDGE

SELVEDGE

Circular skirt Partem for circular skirt

 NATIONAL 79

National costume
National dancing is taking an increasing place mid-calf plus 3 in. (8cm) for turnings, i.e. a
in the svUabus of many schools and plays a 2-in. (5cm) hem is weight to
essential to give
and competitions.
large part in yearly displays the skirt and 1(3cm) for double row of
in.

The following give some ideas of costumes gathering and to set into waistband; piece of
which can be used, and with careful re- same material 3 in. (8cm) wide and long
arrangements several different styles can be enough to go round waist of dancer for band.
worked out bv interchanging the patterns Strong hooks and eyes.
given.
In the making of National costume, aim Method
first at giving the dancer the correct silhouette 1 Seam all four pieces together, leaving one
and shape of the garments. A good choice of seam open 7 in. (18cm) at top for placket.
material will then help thesehang
to 2 Turn up hem allowance of 2 in. (5cm).
properlv. Most peasant costume is made of 3 Make placket in ordinary way with false
hea\T materials with the exception of the vet}' piece and hem.
fine lawn blouses of the Balkans. 4 Run two rows of gathering round top and
Coloar in National costume is very impor- set into waistband, arranging gathers evenly.
tant. The most usual colours are whites and Sew on hooks and eyes for fastening.
creams, reds, oranges and blacks. Blues and
greens in bulk are unusual and mauves and Fully gathered skirt

purples practicallv non-existent, and all these

Pleated
should only be used after careful reference to
authentic costumes. It should be noted that Traditionally used inHungary,
Poland,
most European countries are now issuing Byelorussia, Czechoslovakia and Romania.
excellent series of postcards of authentic cos-
tumes which are correcdy coloured. But care Materials required
must be taken to distinguish between those At least four widths of suitable material as
postcards drawn with an eye to the fashion above, 36 in. (90cm) wide, measuring from
market, and those of the genuine folk cos- waist to bottom of calf plus 3 in. (8cm) for
MsssL.
tumes found in folk museums and art turnings; piece of material 3 in. (8cm) wide
collections. and long enough to go round waist of dancer,
or sufficient material to make short corselet
(see page 86). Strong hooks and eyes.
NATIONAL SKIRTS
Method
Fully gathered
1 Seam all four pieces together leaving one
Traditionally used in Scandinavia, Holland, seam open 7 in. (18cm) at top for placket.
Italy, France and parts of central Europe. 2 Turn up hem allowance of 2 in. (5cm).
Make placket in usual wav.
Materials required 3 Pleat material from top to hem, making
At least four widths of suitable material such pleats no more than 2 in. (5cm) wide, but
as furnishing cotton, linen, heavy cotton, 36 adjusting these according to amount of mat-
in. (90cm) wide, measuring from waist to erial used. The more material used the more Pleated skirt
80 STAGE COSTUME

deeply will the pleats fall under each other; Method

in a Byelorussian skirt each pleat falls at least 1 Cut material according to pattern and
halt\\ay under the next. Tack pleats, press and seam side of skirt, lea\'ing this open 7 in.

secure firmly together at the top. (18cm) at top for placket. Or, if desired,
4 Set top into vyaistband and sew on hooks waistline can be cut a little deeper, the top of
and eyes for fastening. the skirt set straight into a band and elastic
Both gathered and pleated skirts in peasant threaded through.
costume are often set into the short corselet 2 Make usual placket at side-opening, set
(page 86). This eliminates the untidy gaps into waistband and sew on strong hooks and
between blouse and skirt vyhich often occur eyes.
when the dancer is in moyement and is there- 3 Seam widths of frill together and hem
fore admirable for classwork. lovyer edge.
4 Turn and run two rows of gathering
in
along top edge of frill. Adjust gathering
Circular skirt with frill
evenly round lower edge of skirt and secure
This was traditionally v\'orn in urban areas firmly. It is best to use rv\'o rows of
round Moscow, Warsaw, Budapest, Prague, machining.
etc., and occasionally in Austria.

Materials required NATIONAL BLOUSES

At least 21 yd (2.25m) of suitable material,
as above, also satin or sateen. In this case, The true peasant blouse is actually part of the
however, length dependent upon length of
is traditional basic shirt, which was at one time
skirt and amount of frill required. a knee-length dress. The following pattern
If 36 in. (90cm) material is used, at least with its four varieties of neckline and three
four widths are needed for frills. But five types of sleeve isand is therefore of
also used
widths are the usual degree of fullness. value for both classwork and shows.

SEAM

CUT FRILLS IN STRIPS OF

DESIREDWIDTH

Partem for skirt with frill Circular skirt with frill

 NATIONAL 81

Short pufF slee\'es Elbow-length sleeves Full-length bishop sleeves

Short puffsleeves with a frilled edge and with Method

a frilled and gathered neckline on a blouse 1 Having measured and cut material, seam
traditionally worn in southern German\', sides and shoulders.
Austria, Switzerland and Italy. (Drawing is 2 For high or low frilled neckline, cut piece
from the Black Forest.) of material 3 in. (8cm) wide to same shape
Elbow-lenjth sleeves gathered into bands and as neckline and face this. Run two rows of
with a gathered high neckline without frill machining { in. (5mm) apart round lower
on a blouse traditionally worn in Holland, edge and thread in drawstring or elastic. For
Portugal (often with lace frills), Switzerland, high or low neckline without frill, finish neck
Italy,Hungarv^ Russia, Czechoslovakia. with bias binding and thread in drawstring.
(Drawing from Holland.) 3 Gather lower edge of sleeve and set into
Full-lenpfth bishop sleeves gathered at wrist band which fits either upper arm for short
with a frill and with a high neckline without sleeve; or just below elbow for ^-lerigth\ or

frill on a blouse worn in Salzburg, Finland, wrist for lon£i sleeve. If sleeve is to be loose,
Portugal, Spain, Sweden, Romania (sleeves turn up hem to length required. Gather upper
also worn loose), Byelorussia, Italy, Ger- end of sleeve and set into armhole.
many, France. (Drawing from Spain.) 4 3 in. (8cm) above lower edge, stitch on
piece of bias binding for drawstring as blouse
Materials required must be held firmly at waist. It is best to use
2\ yd (2.3m) of fine linen, linen lawn, lawn, tape for drawstrings as this does not perish
muslin or light cotton; 2 lengths of tape or with washing and makes the blouse easier to
elastic for neck and waist. iron.
82 SX4G£ COSTUME

See note about size of grid squares on I

LAY ON FOLD
1

page 15. STRAIGHT OF MATERIAL 1

1
i
\
1
1
1

1
CUTTO HERE FOR HIGH - L. 1
i

>
J
*\
1

1
NECKWITH FRILL \
\
\
\
\
FACETOi" BELOW THIS LINE- t"
\ \
^ fci

1
FOR HIGH NECK WITH FRILL \ \ \

1 .-
\

-N
CUTTOTHIS LINE FOR \
'' >
k.

1
LOW NECK WITH FRILL \V
L

.
\
'
r \
1 t
>
1

i
i
\\ \
V

-.-- FACETOI" BELOW THIS LINE- 'K

\
\

V
1

BLOUSE FRONT ',

1
1 1 1
FOR LOW NECKWITH FRILL w \
\

1
1 , CUTTOTHIS LINE FOR LOW NECK >. \ \
>

1
WITHOUT FRILL AND USE BIAS BINDIf^G\ \ 1
1

1 1 \

r
1
1 \
1
s. \ \
1 / \
/
1
AAA. \ \ i

i/ N \
1

1
>-.« ---. .— -— .-.. .«— ---. .—- .-.- .... /
\ \
\
1
1

1 \ \ 1
\ \ 1 1

i
1

1
__s I 1
t

x 1

'•.;

^'
1 " n r

j ^ "'
U PUT H FRF FOR HIGH LAY ON FOLD 1

1 1
j. .

1
NECKWITH FRILL
1
1

/ ,
-i --J 1

J
1
1
/ 1
^ FACETOI" BELOW THIS LINE 1
' 1
f

FOR HIGH NECKWITH FRILL 1

/£
1

1 r 1 1.. i
1

/
/ M /
CUTTOTHIS LINE FOR HIGH NECK 1

1
/
/
f
WITHOUT FRILL OR LOWNECKWITH FRILL
1

—
1 / 1
/ 1
/

n\ / /
t
— FACE TO 1" BELOW THIS LINE
BLOUSE BACK
1

FOR LOW NECKWITH FRILL

\
<-. / 1 \ 1 « 1 ' -4
1
1

\ CUTTO THIS LINE FOR LOW NECK STRAIGHT OF MATERIAL 1

\
1

WITHOUT FRILL AND USE BIASBINDI NG 1

\
\
\
1 ^ ^, .--- — \
-I-
1

\
^ ^^,-'
\
1

L
I VA. \
.... — . " "— """- —"" """ ' "" .i
1

Pattern for blouse.

 XATIOXAI. 83

"

^^
f V^ Ill"" >

;// 1
1

I \
9 \

1
*
/ \ \

/
f
f /
0) CD
K l^
\
\

i*"
!

—
,

\'- ^ -J
/
r
i

I r- i

/
\
\
'^'^ATH :r
1 ORT
^\
*
^"c- .

^
OUSE

1
1

7 -
\
A
V
/
i\

K-- \
/

SLEEVE
\
\ ''/ \
> \

i\\ /
Yx
yI
i

t
1 /. - \ 1

n
1

/ :i5
•
\\^
y
f
t

>
1
4
7 2
1

ROUND
Ntc^--.'
1

i
; r^ 1 1
1 1 1 1 r 1 1 ' ' I

t
1 (/)
m
H
STRAIGHT OF MATERIAL
re 1
if Di r\\ ICC 1 rtKi/^ r»Q ' i cm<^tu ci cc\/c
1

i z i
T3
n
1
1 I 1 1 1 1 1 . 1 < 1 ! 1 i 1

i I
1
J

o
1

•
! 1 1
1 1
i

\ CD
t
< '

-I
t
r
n
1
1
< i i!

_1 r^
^f.
E li

2 1
<

1 ' 1 UJ UJ
il
1 t i IS 11'
LI
< 1

\\ // t

u.

\\ / 1 FULLNESS ALLOW
OFTHIS
O )
y1 1
t-
X 1
1

'\
\ *
1

/ i

1
I
'
SIDE < I

.J
\
1

cc ! . _
»

\
1 / 1

— 1
f
1
MORE REQUIRED h-
1

jl 1
1
IF
EACH

\ j^ \
1

1
1 1

.' .uctOHEB?.
1

_,.» 1
\
"-
'
'
\
^^, ^,0' 1 „
\ 1
LUT| LENGTH LOOSt '^)-^X-'.^^-y- qUT TO i
1
"I \
1 r "1 1 „^.^MD-1
or:'.
1
r^5F '

!
^-•J fi?LLEEVE IS TO BE GATHERE D_LNjy., 1ll !i
'

i
1

1
1

1
1
_ UJ ^
1
1
t
O <r
1
UJ -J

— /
1 >
<
0-
q:
!^
1 !

/L ^ o
T 1
1
1

-^f^ ^^r- G/ikTHE:R iNTO^ANii

.—
**^
-., 1

Pattern for sleeves 1

1
84 STAGE COSTUME

Demi- caractere male dress

Numerous interesting costumes for the demi- The pattern allows for three x-ariations, but
caraaerc ballet can be made by designing others could be made.
appropriate additions to the longer-length
ballet skirts. The following
patterns and
drawings are capable of other variations in Materials required
addition to those suggested. It will be noted 3i yd (3m) \'eh'et, veh^eteen, hea\T silk or
that many additions are based on items found rayon, which must be backed by calico or firm
in National costume, as the demi-caracterc cotton as in tutu bodice.
ballet is often a mixture of classical and char-
acter styles.
Method
Ha\ing measured and cut pattern and mat-
JACKETS WITH 1

TIGHT-FITTTNG SLEEVES erial, fit jacket ver\^ carefully. It should be firm

with freedom allowed in the armholes, which
Amongst the most attractive additions which should be cut as high into the armpits as
can be made to the ballet skirt for demi- possible.
caractere work are tight-sleeved jackets with 2 Machine diagonal darts on fronts and
interesting necklines. These are based on tra- straight darts at waist and shoulder back.
Diagram showing different neck, sleeve ditional jackets worn by Greek, Bulgarian and 3 Seam fronts and back together at sides and
and waistlines Turk. shoulders. Seam sleeves together.

The square-necked, short-sleeved and

short-waisted jacket of Holland, tradi-
tionally worn in V'olendam

See note about size of grid squares on

page 15
 DEMI-CARACTERE 85

The V-necked pointed jacket with long

or three-quarter length sleeves as worn
in the Greek Amalia costume. If an epaul-
ette were added, the suggestion would
be made of a military costume.

4 Set sleeves into armholes and adjust to THE CORSET OR CORSELET

requisite length. Hem lower edge and, if slit

is used,hem each side. The corset is amost important item of many

5 Turn in hem allowance at centre fronts for demi-caractere and National costumes.
fastening. The pattern allows four variations, but
6 Turn in hem allowance round neckline and others are possible. It is designed to be
lower edge. Face ver\' firmly with piece of fastened at the front, but if it is to be used
same material cut on cross. The wide round-necked, short-slee\'ed
for demi-caractere work it is often better to
and straight- waisted jacket of Bulgaria
7 Add whatever decoration is suitable for cut make a back fastening, particularly if it is to and Turkev. If a draperv' were allowed to
of jacket. Sew on strong hooks and eyes at become one with the rest of the costume. In fall from it, the suggestion would be

front fastening. this case, place centre front of pattern on fold made of an Oriental cosmme.
86 STAGE COSTUME

3:r±::i:-rci"T~ ~:
-
POLO AND HEM HERE FOR LACING

A Full corset used in

See note about size of grid squares on page 15.
France, Non\'a\', Austria,
Finland, Germany, Spain,
Czechosloxakia, Switzer-
land, Sweden, Italv. Draw-
ing is from Poland.

B Hcart-shajDed corset used in Switzerland, C High-fronted corselet used in France, Italy, D Straight narrow corselet used in France,
Austria,Hungary, Czechoslovakia, Norway. Switzerland, Austria, Germany. Drawing is Italy and elsewhere. Drawing is from Sweden,
Drawing is from Spain. from Bavaria.
 DEMI-CARACTERE 87

of material and centre back on selvedges,

allowing at least 1 in. (2.5cm) extra for hem
at centre back and fastening.

Materials required
1 yd (90cm) for flill and heart-shaped corsets;

2 yd (45cm) for high-fronted and straight

narrow corselets; velvet, velveteen, firm wool-
len cloth, which must be backed by calico or
firm cotton as in tutu bodice.

Method
1 Ha\ing measured and cut material, fit

corselet so that it clings firmly to the body.

2 Machine darts on side fronts. (These are
not used in C and D.)
3 Seam side fronts and centre fronts
together, being careful to keep material abso-
lutelv smooth. Snip raw edges before
machining.
4 Seam side fronts and side backs together.
5 Turn in hem allowance round top and
lower edge, mitring points when these occur.
Face ver\' firmlv with piece of same material
cuton cross. A low-necked, short-siee\ed National
6 Turn in hem allowance at centre fronts (or blouse with heart-shaped corset, tiny
backs), allowing overlap if corselet is to be apron and shorter ballet skirt

fastened bv hooks or buttons; or a gap of I2

in. (3.5cm) if corset is to be laced.
7 Sew on shoulder straps if required, to suit
individual. Sew on strong hooks and eyes,
OTHER DEMI-CARACTERE
or make buttonholes and sew on buttons for ADDITIONS
fastening. If corset is to be laced sew on larg-
est eyes obtainable on both sides of opening.
Overskirt
(Tinv curtain rings can also be used.) Use An of ribbon or rug wool with
o\'erskirt
ver\^ strong narrow ribbon, braid or dyed cotton bobbles to suggest a Spanish (Goya
string for lacing. period) or gipsy costume. Make a firm waist-
beltof ribbon and attach about sixteen pieces
All corsets and corselets must be boned. With of ribbon or thick rug wool from 10—12 in.

centre front opening, bones should be placed
at each side of front and along side-back
seams. With back opening, along
seams and side- back seams. Bones must fit to
within 2 in. ( 1cm) of top and lower edge,
and must be well padded at each end.
(25-30cm) long. Catch these together lattice
fashion as indicated and finish each end with
/^
side-front bobbles of wool or cotton. These are easily
made by winding wool round a circular card
with a hole in the centre. The ends are then
Decorative o\erskirt
cut and tied securelv.
88 STAGE COSTUME

Upper arm sleeve

An upper arm sleeve of organdie or muslin.

Make from a strip of material at least 16 in.
(40cm) long and from 6-8 in. (15-20cm)
wide. Join ends and hem on both sides. Run
elastic through both hems. Such sleeves can

gi\'e a peasant look when added to the longer

skirt with a corset top.

Bolero

A bolero is often worn to suggest some Span-

ish, gipsy or Oriental costume. This requires
careftil fitting if it is to remain in place. A
firmly fitting back, cut high in the neck,
darted above the waist and with a shallow
armliole is essential. The
seam then falls
side Bolero with decorative border
to the back of the armhole and allows the
front of the bolero to fit and shape easily. seam with right sides of material facing. Turn
fronts right side out, tack round ail edges and
Upper arm sleeve Materials required Machine rw'o rows down front edges.
press.

f yd (70cm) veh'et, felt, velveteen, Bolton 2 Machine darts at back. Seam sides and
sheeting, satin, sateen, firm linen shoulders.
3 Face back of neck and lower edge of bolero
Method with piece of same material 2 in. (5cm) wide
1 Having measured and cut pattern and mat- cut on cross. Face armhole.
erial, fit bolero and adjust length to Or if fronts have not been lined as above,

requirements. cut a long strip of material on cross 3 in.

If material is thin it is often better at this (8cm) wide and face outside edge of bolero:
point to cut another set of fronts and to take care not to stretch front edges and ease
machine front edges from shoulder to side facing inside at rounded corners of front.

See note about size of

grid squares on page
15.
 DEMI-CARACTERE 89

Bolero and ribbon attachment worn over shorter Carnival dress

ballet skirt with lace head-dress

Carnival ribbons
A Swan Luke length dress designed for a Mas- of bodice and catch on opposite hip. Add
querade or Carnival. Catch together on one some wool bobbles sewn on to varied lengths
shoulder five or six lengths of ribbon from of wool or ribbon. Wire and cluster together
I-I2 in. wide and \-\\ yd
(2. 5-3. 5cm) a few short lengths of ribbon and mount on
(70-140cm) long. Drape these across front comb or net for a head-dress.
 90 STAGE COSTUME

Demi- caractere male dress

The male cicmi-caractcre costume can often be THE SHORT TUNIC WITH FULL
made bv adding some item to either tv'pe of SLEEVES
classical timic. The illustrations suggest what

can be done. The design suggested for the tunic can be

made from odd pieces of material and
stitched on with contrasting or self-coloured
SHIRT AND BREECHES
thread. Or the design can be outlined widi
The male basic shirt with loose sleeves and Rig wool stitched on with self-coloured
softly knotted tie is worn under a sash and thread.
knee breeches. This isworn with a half cape and s\\'ord
Breeches are made by cutting off" the legs belt. Cape is cut according to pattern and
of tights below the knees. A design is then given a collar with pointed ends. This cape
made from thick rug wool, stitched on as can be worn in \'arious ways. If it is worn
indicated. across the back do not use shoulder darts.

< STRAIGHT OF MATERIAL LAY ON FOLD .

Pattern tor half cape Shirr and breeches Short tunic with full slee\es
 DEMI-CARACTERE 91

THE SHORT TUNIC

WITH TIGHT SLEEVES THE LONGER TUNIC
This is given a long basque slightly shaped to The longer tunic with tight sleeves and centre
fit pointed front. Cuffs are added to the tight fronts rounded at lower edge is gi\'en a
sleeves. A ruff for the neck and a sash are border of ftir and frogging. The ftir edge is
made from ribbon or material 12-18 in. (30- easilv simulated by using a strip of coarse
45cm) wide and 1-1^ yd (1-1. 4m) long. can\'as knotted with rug wool. It is not neces-
The sash is draped over left shoulder and sar\' to knot the wool as closely as in rug-
knotted on right hip. making. (A knot through e\'er\^ other hole is

ample.) The frogging can similarly be imi-

tated cither with rug wool or cord, pinned
to desired pattern and secured with strong
thread. Similar frogging can be stitched to
tights.

o
1-
^\\
-- £ ^ X/
VV
-y.

O/X
°- -1

t^9i
3 > 3
;? Q °
Q 3;- tu
if

//
//
-^"^ Xeave
^\XOPEN HERE
^<r FOR FASTENING

Pattern for cuff on short tunic widi tight

Short tunic with tight sleeves Longer tunic with tight sleeves slcexes
92 STAGE COSTUME

To knot wool Method

If a proper rug hcx)k is not available, use a 1 Cut pieces to pattern, taking care to
coarse crochet hook. Cut wool into 3 in. rcN'erse pattern when cutting right foot, as
(8cm) lengths, fold one strand in
half, thrust boot shaped to fit.
is

hook through can\'as and pull doubled end 2 Stitch side seams of foot piece and seam at
through hole. Slip hook through loop dius back of boot.
made and pull lo<:)se ends through. Tighten 3 Snip edge of foot piece careftiUv round
knot. upper edge and mrn in hem allowance. Stitch
this edge over upper part of boot. Take care
that centre front of foot piece meets centre
front of upper, and centre back meets seam.
BOOTS
4 Stitch a strip of felt 2 in. (1.5cm) wide at

edge of inner side seam. (Strip must be long

3 4 These are often required in demi-caractere and
enough to pass under instep to outer seam.)
character work. As thev are extremely expens-
Diagram showing how to use rug wool Slip completed upper on leg and then fit slip-
ive to buy it is useful to make replicas of the
per (never tn^ to push felt over slipper). Catch
upper part in felt. The following pattern only
felt strip firmly on to outer seam. Strap must
gives a basis for cutting an upper. The
hold upper firmly.
making of a shoe has to be far more precise
5 Snip careftillv all round lower edge of felt
than a costume, therefore ideal results can
and glue to shoe. 0\'erlap snips where
onlv be obtained after a certain amount of
necessary.
trial and error.

For high Polish or Hungarian boots, upper

Materials required should be reinforced widi tailor's canvas so
h yd (50cm) felt (if 60 in. (150cm) wide or that they stay up when in movement. For
over) shorter boots the felt is usually stiff^ enough.

Pattern for bcx)t (see note about

size of grid .squares on page 15)

Diagram of boot in making

 DRAPERIES 93

Draperies
The fluttering draperies, so characteristic of ous lengths. Do not be beguiled into thinking
manv Russian productions, and which con- they are 'easier to get away with' than a tutu,
tribute such brio to their dancers' inimitable because thev ha\'e a similar trick of showing
leaps, runsand turns, have become almost a up vour faults rather than concealing them.
fundamental badge of office comparable to Thev are usuallv based on the circular skirt,
the tutu. No doubt this costume was origi- split to the top of the thigh and made of soft

by the numerous concerts gi\'en

nally inspired voile, chiffon or man-made fibres which do

in Russia by Isadora Duncan and her neo- not stick to the body. A well-fitted cotton
Greek dance recitals. bodice lines the top, on which the sheer mat-
These costumes are usually deceptively erial isdraped in different ways. The edges
simple and even casual in appearance. They are sealed with shellac rather than hemmed,
are adapted with slee\'es for Juliet, \'ine leaves to preser\'e maximum lightness.
for WeUpurtjis Nijjht, etc., and appear in vari-
Curtsey cmd how
At tJic end of even' class, just as at the end efforts of the teacher who has given them a
of even' performance, pupils, students, corps lesson. On stage, the dancers must acknowl-
dc ballet and even the ballerina herself, edge the applause of the audience, who ha\'e
together with her partner, the dattseur noble^ paid to see them dance and who are now
must curtsey or bow. In the classroom the rewarding the dancers for tlieir efforts.

pupils and students should acknowledge the

CURTAIN
Index
This index has been organised with particular reference to the elucidation of French terms. If the reader encounters a term and
wishes to knoA\' its meaning, a page number in bold gi\'en in this index will refer him to the place where he will find an explanation
in English and the French verb relative to the term. For this purpose, the reader may also turn to page 37.

ada0e, 11, 34, 37, 47, 48-9, 50 battements fjlisses,37 and devant, 40, 42
croise derriere

age and height, 10 battements relevcs, 37 croix, en,30, 31, 34, 35, 61
air, en l\ 37, 47 battements sur la demi-pointe, 33, 37 crossovers, 16
dle^ro, 11, 37, 50, 51 battements sur le 37
cou de pied, 33, knitting, 23^
allorigee, arabesque^ 45 battements tendus, 30, 31, 37, 43 cuffs, 78, 91
ankles, rolling, 26 en croix, 30 curtsey, for female dancer, 94
arabesque, 40, 41, 44, 46, 48, 49, 50 batterie, 33
allojiffee,45 blouses. National, 80-3, 87 darning shoes, 12
first, 44—5 body, the eight directions of the, 42-3 dedans, en, 32, 34
fondue allongee, 48, 49 bolero, 78, 88-9 dehors, en, 32, 34, 43^, 48, 49
penchee, 45 boots, 92 demi-caractere dress
arms, carriage of {port de bras), 39, 40-1, bourree, pas de, see pas de bourree female, 66, 84-9
43 bow, for male dancer, 94 male, 90-2
arms, five basic positions of the arms, breeches, demi-caractere, 90 demt-plics, 28, 30, 36, 37, 43, 44, 45,
38-9 brises, 33 51,54
1st position, 38, 40, 41 demi-pointe, 43
2nd position, 38 cape, demi-caractere, 90 releve sur la, 36
demi-seconde, 38 carnival ribbons, 89 demi-rond de jambe en dehors, 43
3rti position,38 Cecchetti system, 9, 11, 38 dcmi-seconde (position of arms), 38
4th position, 39 centre practice {exercices au milieu), 10- deportment, basic, 27
5th position, 38, 39, 40, 41 11,34,37-61 derriere, 36, 50, 51, 52, 53, 54
arriere, en, 52 chanjjement, 51, 52 dessous, 48, 49, 52, 53, 56
assembles, 52, 56—7 chasse, 37, 45, 47, 48 dessus, 48, 51, 52, 53, 56
57
derricre, 56, a la quatrieme en aidant, 45, 46, 47, 48 detoume, 37
dessous, 56, 57 Chopin, Frederic, 48 devant, 36, 51, 52, 53, 54
dessus 56, 57
, con espressione (musical term), 48 developpes, 34-5, 48, 49
en place, 52 corset or corselet, 85-7 a la seconde (advanced), 34, 35
porte, 52 costume (dress), 12—24 draperies, 78, 93
attitudes, 35, 40, 46-7 backing material, 16 8ai
croisee, 46, 47, 48 Classical female, 62-8 ecarte, 42
ejfacee, 47, 48, 49 Classical male, 69-76 echappes en croix, 61
avant, en, 40, 43, 52, 58 colour, 7 echappes releves sur les pointes, 50
demi-caractere, 16, 84—92 echappes sautes, 50
barre, barre exercises, 10, 25, 27-36, 37, dress for classroom, 16 changes, 50, 54, 55
40, 44, 50, 60 hair-dressing, 15 efface, 42, 47, 52
plies in all positions, 28-9 knitwear, 21-^ elance, 37
position at the, 27 making patterns, 17-20 elevation, steps of, 50-1
bas, en,40, 43 National, 79-92 entrechats, 33
battements en cloche, 35, 37 shoes, 12-14 epaule, 42
battements Jrappes, 32—S, 37 stage, 62-94 exercices au milieu see centre practice
 96 rSDEX

feet, fi\c basic positions of, 26, 38 pas d'nllcjjro^ 50 devant, 36

1st, 26, 28 pas de botirree^ 50, 52—4 passe en arriere et en avant, 36
2nd, 26, 28 en atriere, 52, 54 sur la demi-pointe, 36, 61
28
3rd, 26, en avant^ 52, 54 sur les pointes, 37, 60-1
4th, 26, 29 counts, 58 retire saute, 37
5th, 26, 29, 38 derrim\ 53 rmids de jambe en Pair, 34
fmidu^ 48 /^55OT/.^ 48, 49, 53 ronds de jambe a terre, 32, 43
fotuttcs, 39 dcssus, 48, 53 rug, wool, knotting, 91-2
French terms in ballet, 11, 37 dcvant, 53
/^fltw^', ^w arriere et en avant, 36 sautes, 37, 50, 51
patterns, making, 17-20
jflissa4i'(sK 37, 50, 51-2, 56, 57 seconde, d la, 42
34, 35,
bolero, 88
cfi 52
arricrt\ shirt, male, 16, 69-71
boots, 92 demi-caractere, 90
en avant^ 52
cape, 90 shoes, ballet, 12-14, 60
dmihw 51, 52, 57
corset or corselet, 86 boots
(kssons, 52 see also
cuff, 91 skirts, 64, 66-7, 78
drssiis, 51
demi-caraaere jackets, 84—5 National, 79-80
devnnt^ 37, 51
leotard, 77 57
clance, 37 soubresauts, 56,
male shirt, 70-1 Swan Lake 66—8, 89
jp-mids battcmcuts, 31, 37, 43, 44 dress,
58-9 male tunics, 72-5 Les Sylpbides, 39
£frands jctcs, 50,
National blouses, 82-3 66-8, 69
en avant^ 58-9 dress,
skirts, 78, 80
en tinniiant^ 58-9
tutu, 62, 63, 66
teacher, choice of, 9-10
penchee^ arabesque, 45
hair-dressing, 15 temps leves, 56
pirouettes, 43—4
hniit, en^ 41 tendus, 28, 29, 31,37,43,44
en dehors, 43-4, 48, 49
head, use of, in pirouettes, 44 battements, 29, 30, 31, 37, 43
plies, 28, 37
in pmt dc bras^ 40 terre, a, 45, 46, 47
in all positions, at banr, 28-9, 30
tights, 16 Sell, 20
see also dcmi-plies; quarter plies
jackets, demi-caractere, 84—5 knitting footless, 21-2
pointe shoes, 10, 12-14, 60
jete(s)^ 37, 54-5, 56 mediods of keeping up, 22
45
pointe tendue, 35,
dciriar^ 50, 54, 56 tours en Pair, 37
pointe-work, 11,36
dcvant^ 54, 55 tunics, male, 72-6
pointes, sur les^ 10, 37, 52, 60—1
demi-caractere, 90-1
port de bras, exercises in, 39, 40—1, 43
knitwear, 2 tutu, to make, 62-6
poses, 61
crossover, 23-4 tutu. Romantic, 62, 66-8
positions of the arms see arms
footless tights, 2 1 -2
positions of the feet see feet
posture, correct, at the barre, 27 upper arm sleeve, 88
leotards, 16 n, 20, 77-8
preliminar\' study, 10-11
limbering, 25
Varming up' the body, 25, 50
quarter /7//V, 28, 30 warnings
mo\emcnts of dance, the seven, 37 quatricme derriere, a la, 42 on bad teachers, 10
quatrieme devant, a la, 42 on fire, 62
National costume, 79-92 on jump landings, 5
releves, 36, 37, 43, 44, 60, 61 on pointe-work, 10, 11
ovcrskirt, dcmi-caractcre^ 87 derriere, 36 on posture, 27
 BOSTON PUBLIC LIBRARY

3 9999 02668 747 3

Boston Public Library

UPHAMS C
BRANCH l] IIZ
.L34
1994

The Date Due Card in the pocket indi-

cates the date on or before which this
book should be returned to the Library.
Please do not remove cards from this
pocket.
Beginning BALLET
from the classroom to the stage
For students of all ages, this handbook is a guide to technique, vocabulary
and practice in class. Also covered are the costumes required for class and
stage (what to wear and how to make it), with advice to parents who seek
ballet training for their child. The book is illustrated throughout with the
remarkable drawings of technique by Kay Ambrose and of costume -
with many pattern charts - by Peter Revitt.

Joan Lawson's training in England and Russia led to her career as a writer

of ballet history, technique and criticism, as a teacher at the Royal Ballet

Schools and Companies and as an adviser and examiner at the Royal
Academy of Dancing.
She was co-founder of the Remedial Dance Clinic, London, and is a

friend of many leading dancers.

Cover photoj^raph of Alice Crawford by Angela Taylor

29 West 35tli Street

New York NY 10001

ISBN 0-87830-056-2
90000>

9 780878"300563