 The
Barre
This article will focus on the qualities of the barre
such as:
distinguishing levels - what is
beginner, intermediate and advanced
basic progression of exercises through
the barre
- pre-barre exercises and post-barre exercises
Distinguishing Levels of Technique
Typically the levels of beginner, intermediate, and
advanced are used to describe the student's skill level and the complexity of the training
material. These common three levels can hold many shades - beginner-intermediate,
intermediate-beginner, intermediate-advanced, etc.
You can describe technique levels any way you please. I
tend to use six, rather than three levels, and I refer to them numerically as levels 1
through 6. I'm encouraging you to use whatever is most effective - the primary purpose in
establishing these levels is to establish a reference point and a structure to help you
develop your dancers.
The first step in distinguishing levels of technique
is to consider accomplished dancers and the balletic movements they can make. Work
backwards from each of these movements and decompose them into increasingly simpler
exercises. The final, polished movement that you start with might well fit into my level
6. Decompose it once and you might wind up with a few level 5 skills. This continues until
the most basic elements are isolated as exercises for the most basic levels.
Example: to master a ballonné a dancer must be
able to perform many component steps naturally and without much concentration. Working
backwards as mentioned above, you would look to see what basic movement makes up a ballonné.
The obvious choice is battement fondu. Then you would look to see if there are
other basic components that assist the dancer in mastering the ballonné. The
next obvious choice would be battement frappé. These two steps, when combined
with more basic movements like plié and sauté, create the movement ballonné.
To develop this idea further you would look at what
component steps allow the dancer to master battement fondu and battement
frappé: battement frappé’s basic training step is the battement
jeté and battement fondu’s basic building step is the battement
soutenu.
Look backwards from finished dancer to their
first steps and you'll better understand the logical progression the training
must take. This exercise should also reinforce the importance of having your students
perform even the simplest of steps effortlessly and with artistry. The students really are
establishing their dance foundation with these simple steps!
The second step in distinguishing levels is to
consider how the exercises are composed. This includes the tempo, length, and complication
of the exercise. In the intermediate levels certain exercises are combined to form one
long exercise and in the more advanced levels combined exercises can become quite
intricate.
Example: in the more basic levels ronds de jambes à
terre and en l’air, petits battements sur le cou de pieds, and
tours (I use the term tours in place of what most call pirouettes)
are executed separately. At the intermediate level you would begin to combine ronds de
jambes à terre and en l’air. Also, petits battements and tours
are combined. Advancing further, tours and petits battements are
combined with ronds de jambes en l’air.
As the student gains mastery over each of these levels
the exercises become more complicated and tempos are increased. Further advancement of the
dancer’s technique comes when the duration of each exercise is lengthened and both
sides of the barre exercise is done without pause. As these advancements are added the
barre takes half the time to accomplish than a beginning level barre. This allows more
time in the centre, where the advanced dancer must excel.
The Progression of Barre Exercises
The barre is a very special type of organizational
training tool. It should be a well designed step-by-step process which brings out the best
in the dancer’s muscular and mental receptivity, and supports the dancer in all
aspects of the post-barre class. You will notice that each type of exercise, such as tendus,
ronds de jambes, fondu, etc., are set in a progressive manner. This coincides
with which areas of the body are worked first. Typically speaking, you should begin
working the feet then moving up the body to the legs, hips, upper back and torso. As the
barre advances and each type of exercise encountered, a new part of the body is asked
either to become engaged or to extend its engagement with greater endurance, control and
artistry.
Don't consider the barre as just a warm-up for centre
work. It is the only place the dancer can really work hard one leg at a time. In the
beginning to intermediate years, the student should expend at least half their full energy
working the barre. In the more advanced years the student should learn to work the barre
efficiently, though not with reduced power or concentration.
It is also not wise to insist that the barre be grasped
in a light-touch manner. Insure that the correct placement is maintained at all times, but
consider the firmness of the attached rail to be an isometric tool that can be used to
strengthen your dancers. Used correctly, it will help your students realize the full
benefit of the barre exercises - primarily strength and control.
In the following paragraphs the barre is dissected into
its component movements, from pliés to grand battements jetés. For
each component a brief overview is given, as well as discussion of how the component
relates to the beginning, intermediate and advanced levels. You may read section in its
entirety or click on the links below to go to the exercises that interest you the most.
Components
1. Pliés
Recommended musical measure - 4/4; supplemental musical
measure - 3/4
This begins the process, warming up the legs, especially
the achilles tendon, and sets the placement for the dancer to build on. Also, port de
bras should be included to work the upper back and torso.
Beginning level - pliés should be
conducted only in 1st, 2nd, 3rd and 5th
positions. 4th position should not be attempted until the student has gained
some mastery in 5th position. When legs are crossed and turned out, as in 4th
and 5th positions, the hips have a tendency to tilt in favor of one side or the
other. In 5th position this tendency is lessened due to the fact that the legs
are close together. In 4 position the tendency of the hips to tilt becomes greater because
the legs are separated from each other. When beginning to introduce 4th
position it is preferable to allow the student to stand in an open, or wide, stance as
opposed to the more correct heel-to-toe alignment. Port de bras should be kept simple.
This is where the beginning student begins to master their hands, shoulders, forearms and
biceps, and close attention should be paid to these areas.
Intermediate level - plies are done
in 1st, 2nd, 4th and 5th positions. ( 3rd
position is discarded by the first year in training. It is an archaic position largely
unused). Musical tempos are varied, as well as port de bras. Balance is also an aspect of
pliés, though not to strenuous but more for positioning of the body.
Advanced level - pliés are executed
in the positions as in the intermediate level. However, grande pliés can be executed in
half measures (2 beats of 4/4) instead of the even whole measures of 4/4 or 3/4. Port de
bras become much larger and executed with greater speed and fluidity.
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Components
2. Battements tendus
Recommended musical measure - 2/4;
This is the first instance where the dancer begins to
move their lower limbs repetitively and generates a rise in inner body temperature. That
is why it is placed second on the barre’s list. In the intermediate to advanced years
the dancer should begin to break out in a sweat by the end of this part of the barre. This
action begins to accelerate the body’s metabolism and allows the muscles to be more
receptive to the next exercises.
Beginning level - tendus should be
broken down in a four step process; 1 - from 1st position battement the leg
until the ball of the foot is reached but before the foot is completely pointed (keeping
the heel forward and the arch of the foot as extreme as possible), 2 - stretch the foot
completely, 3 - return the foot to the ball (as in step #1), 4 - return the leg to
original starting position. It cannot be stressed enough that this is where the quality of
artistry and technique is determined - the first beginnings learning battement tendu.
Repetitive exercises is a must - as much as the student can handle. Exercises are kept
simple.
Intermediate level - tendus should be
done almost exclusively in 5th position. As the dancer becomes more adept at
advance work there will be only a small amount of allegro or adagio work done in 1st
position. The exercise should begin to combine both the battement tendus with the
battements tendus jetés. These movements are brother and sister and should be used in
concert. The musical tempo (2/4) should be increased and the introduction of the
épaulement positions (effacé, croisé, and écarté) should become an integral part of
the combination. Using the épaulement position regularly and with great emphasis will
develop the upper body strength the dancer will need when attempting advanced allegros and
adagios. Tendus should also be execute on whole measures, half measures and, in very
tightly controlled ways, quarter measures. (Quarter measures are usually reserved for
advanced dancers where speed and accuracy becomes the hallmark).
Advanced level - all the instructions
for the intermediate level should be followed. New materials are introduced, such as
flic-flac en tournant (both en dehors and en dedans) and tours. Tendus and jetés should
also be done with greater occurrence using half and quarter measure movements. Example: 2
tendus each on 1 beat (1 full measure of 2/4); 3 jetés each on a 1/2 beat, pause 1/2 beat
(1 full measure of 2/4); 5 jetés each on 1/4 beat, pause 3 1/4 beats (1 full measure of
2/4); demi-plie on 1 measure. Exercises should grow in complication, switching from
épaulement to en face position frequently.
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Components
3. Battements
tendus jetés
Recommended musical measure - 2/4;
Battements tendus jetés in the intermediate to
advanced years should be always combined with the tendus. This is the first
instance where the leg leaves the floor in an extended manner and requires more of the
upper leg and hip area. That is why this exercise is place third on the barre’s list.
Beginning level - jetés should be
executed in the manner described in the tendu section above. The difference, though, is
the breakdown. Where the tendu in the 2cd movement is stretched, the jeté is lifted
sharply off the floor just a few inches from the ball of the foot and stretched fully like
the tendu mentioned above.
Intermediate level - jetés should
always be accompanied with the tendus as mention above in the intermediate tendu section.
Advanced level - same directions as
the intermediate instructions.
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Components
4. Ronds de
Jambes à Terre
Recommended musical measure - 4/4; supplemental musical
measure - 3/4, 6/8
This is the first instance where the full rotation of the
hip is used repeatedly. That is why it is placed 4th on the barre’s list.
In the intermediate to advanced years this exercise can be combined with ronds de
jambes en l’air.
Beginning level - the exercise should
be broken down into quarter movements then gradually to half and whole movements. Example:
from 1st position tendu the leg to the front, from pointe tendu devant demi
ronds de jambe en dehors to the side (de coté), then hold 1 count, then close 1st
position. This should be done from side to back, back to side, and side to front. This is
another exercise where it is more important for the beginner to concentrate on the quality
of the movement as opposed to complicated exercises or speed.
Intermediate level - the exercises
should begin to increase in complexity and speed. Half beats (musical measure 4/4) should
be introduced. Also, the student should begin to combine ronds de jambes à terre with
ronds de jambes en l’air. In this period of training other movements are added such
as, at the end of the exercise, a port de bras and small and large poses. Also, larger leg
movements can be incorporated such as balançoire and balançoire en cloche (90° ),
grands ronds de jambes jetés (90° ), and grand battement passé (90° ).
Advanced level - the exercises should
begin to grow in complexity and speed - half beats and quarter beats are relied upon with
greater emphasis. All the added movements listed in the intermediate section should be
done between 90° and 120° .
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Components
5.
Battement Fondu / Battement Soutenu
Recommended musical measure - 4/4; supplemental musical
measure - 3/4, 6/8
This exercise is performed 5th in the barre
hierarchy. It is the first instance where both legs are required to perform movement in
concert with each other. It requires exact coordination between both legs. Battement
soutenu should be the first beginning exercise taught for beginners instead of the
more complicated battement fondu movement. Battement soutenu is executed
thus: from 1st or 5th position battement the working leg in
the given direction (either en avant, de coté or en arrièrre
- also in the épaulement positions) as the supporting leg executes demi-plié,
return to original position. This exercise can be done à terre, 45° , 90° or
120°. Battement soutenu is also done en tournant. This movement is
simpler in regards to coordination than battement fondu and develops the
coordination to perform fondu.
Battement fondu is executed thus: extend the
working leg in the given direction, then the working leg bends at the knee while returning
to the supporting leg sur le cou de pieds as the supporting executes demi-plié;
fondu executed from sur le cou de pieds - supporting leg is in demi-plié;
the working leg moves to a small attitude position as the supporting leg executes a deeper
demi-plié, then both legs straighten at the same time.
Beginning level - battement soutenu
should be done in both 1st and 5th positions on 1 full measure of
4/4. Later, as the coordination becomes more natural, battements fondu can be introduce.
Intermediate level - at this stage
fondu and soutenu should be alternated from class to class. Both of these exercise should
be done on whole foot and relevé and in combination with fouetté and battements
frappés. At this level the teacher should begin to introduce double fondu and tours.
Advanced level - at this level both
exercises should include all the techniques developed in the intermediate level with
increased tempos and fouetté en tournant, as well as executing everything on relevé.
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Components
6. Battements
Frappés
Recommended musical measure - 2/4; supplemental musical
measure - 4/4
This exercise is performed 6th in the barre
hierarchy. Using the coordination developed from fondu it is the first instance
where the lower leg from the knee is used with sharpness and great repetition similarly to
battements tendus jetés.
Beginning level - this exercise
should be with great care as it is a movement that will determine how well many allegro
steps are performed. Most of the combination should only be done on the whole measure or
whole beat
Intermediate level - at this level
frappés are done more frequently in combination with fondu and soutenu, and is done
always on relevé. At this level half beats are introduced. The exercise works well with
flic-flac and is frequently combined with tours from 5th position.
Advanced level - all material
suggested in the intermediate level with more frequency of half beats movements and tours.
Also, quarter beats should be introduced.
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Components
7. Ronds de
Jambes En L’air
Recommended musical measure - 4/4; supplemental musical
measure - 3/4, 6/8
This exercise is performed 6th in the barre
hierarchy. It is the first instance where the leg is require to perform a specialized
isolation of the hip while the leg is maintained off the floor for an extended period of
time. This exercise begins the basic coordination technique of isolating the lower leg
from the upper leg while maintaining tight control over the hips. This ability is integral
when perform advanced adagios and allegros, especially when leaving the
floor - both for jumps and for women when performing with a partner. As a rule, ronds
de jambes en l’air should be performed at 45° rather than 90° . If you’ll
look at the different steps that need this specialized movement, such as sissone ronds
de jambes en l’air, you will see that when the leg is at 90° the angle of the
hip defeats the ballon needed to perform this step well. (I will devote an
article with greater detail to this special movement, ronds de jambes en l’air,
as well as other very specialized movements).
Beginning level - this exercise, at
the very beginning level, is omitted from the barre until the student has gained some
mastery over the hips in ronds d e jambes à terre. When introducing this exercise it
needs to be broken down thus: for the movement en dehors - at an angle between 45° and
the floor, have the student slowly bring their lower leg in towards their supporting leg
and pause; then, with careful observation, have them move their lower leg forward slightly
without moving their hip; then have them take their lower leg towards the effacé position
and then fully extend it to the side and pause. For en dedans it is exactly the reverse.
From the fully extend leg to the side, have the student move their lower leg forward (in
an exact reversal of en dehors); the bring the lower leg to the supporting leg and pause;
from there extend the leg fully, in a straight line, to the side. At no time does the
lower leg ever extend or rotate back behind the upper leg - always, in both en dedans and
en dehors, the lower leg stays in front, or even with, the upper leg. The tendency of the
student when executing the en dedans movement is to move the lower leg slightly backwards
behind the upper leg. If you’ll notice when they do this you will see the hip must
tip forward in order to accomplish this. At no time should the hips move forward, but must
always remain square and open.
Intermediate level - this exercise
should be done with great repetition. Also, in this level the student begins to learns how
to execute the movement on half beats. Eventually the speed of this movement must become
natural to perform the many steps needed in the advanced level. As a conclusion to this
exercise a long and fully developed port de bras and balance should always be included.
This exercise should be combined infrequently with ronds de jambes à terre. Remember,
though, that more often than not these two exercises should be done separately in order to
complete the development of each exercise specialized movement.
Advanced level - this exercise should
become quite complicated at this level. It should be combined frequently with ronds de
jambes à terre, large port de bras, tours and fouettés, flic-flac en tournant, and
petits battements. Also, the exercise should include not only half beats but also quarter
beats.
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Components
8.
Petits Battements Sur le Cou de Pieds
Recommended musical measure - 2/4;
This exercise in placed 8th in the barre
hierarchy. After the extended movement of ronds de jambes en l’air the body
should have reached a point where it is completely warmed and the muscles fully engaged.
Now it is the time for very fast, precise and controlled movements. Petits battements
are the only exercise that is designed to impact beats such as entrechat
movements (royale, quatres, six, etc.), cabriole, battus
such as jeté, ballonné, and sissone. When done properly petits
battements works the upper inside leg, (abductor longus), which is the muscle that
contracts to make beats possible. The placement of the foot is at the ankle. I used a more
intricate form for placing the foot than is traditionally used. Traditionally the foot is
"wrapped" around the ankle (heel forward - toes back) and then beat back of the
ankle (heel behind ankle). I use the three basic positions, devant (front), de coté
(side), and derrière (back) to develop the inside of the upper leg more fully than the
traditional method can achieve. Devant - foot is in front of the ankle; de
coté - foot is "wrapped" around the ankle; derrière - foot is
behind the ankle.
Petits battements devant - foot is placed de
coté then the accent of the beat is done with the foot in front of the ankle. Derrière
- foot is placed de coté then the accent of the beat is done with the foot in
back of the ankle. This also the same when beating with the foot beginning in the front
and is beat de coté, and from back to side as well.
Beginning level - this exercise is
done, as is most of the barre exercises, with great care where the foot is placed. Each
movement should be done on one beat with a one beat pause between. It cannot be stressed
enough theta this movement in all its aspects must be mastered thoroughly. It will
determine how well all battu movements will be executed.
Intermediate level - this exercise is
done on whole beats and half beats. Also, more often than not, it is done on relevé.
Additional movements combined with this exercise are tours and battements battus.
Advanced level - this exercise should
be done at great length and with increased speed. At this level it is always done on
relevé.
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Components
9. Adagio
Recommended musical measure - 4/4 or 3/4; supplemental
musical measure - 6/8, 9/8
This exercise in placed 9th in the barre
hierarchy. This exercise will require greater control and strength than any other exercise
than grands battements jetés. This is where the dancer develops and masters the
upper body control needed for all allegro and centre work. It also entails using
all the coordination developed in earlier barre exercises and should be matched in tone
and dynamics that reflects the earlier barre exercises.
Beginning level - simple exercises
should be used, the most basic being battement lent. Battement lent is the even and slow
movement of the whole leg, from 1st or 5th positions, to the 45° ,
90° or 120° off the floor extensions. Introducing the développé should be done when
the student has gained mastery over the battement lent in every position, including the
épaulement positions.
Intermediate level - at this level
exercises should be distributed equally between whole foot and relevé. Fouettés,
battement balançoire fouetté, ballotté, slow tours, penché, and tours lent (promenade)
are also added.
Advanced level - the movements
mentioned in the intermediate level are expanded on. The entire exercise should always be
done between demi-plié and relevé, fore going the whole foot. Large movements should be
done that travels away from the barre such as développé tombée.
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Components
10. Grands
Battements Jetés
Recommended musical measure - 2/4 or 4/4; supplemental
musical measure - 3/4, 6/8
Grands battements jetés are placed 10th
in the barre hierarchy. This is the largest and by far the most physically demanding of
the barre exercises. It requires supreme control over the hips and upper torso while the
legs are forcefully executing large kicks. This exercise develops all the technique needed
for large jumps and sustained adagio movements.
Beginning level - this exercise
should only be done to 90° either from 1st or 5th positions. Great
care should be taken to incorporate the quality of the movement as mention in the tendus
section, especially of the return to 5th position. Upper body should be slight
arched just below the shoulder blades, keeping the lower torso erect. The lower buttocks
should press together and upward to help stabilize the body against the forceful movement
of the battement.
Intermediate level - this exercise
should begin to incorporate whole beats as well as half beats. The student should be
attempting to reach on a consistent basis the 120° profile. Also relevé should be
introduced when doing the exercise as well as in all the épaulement positions. Grands
battements développé, grands ronds de jambes jetés, and half turns soutenus should also
be included.
Advanced level - all the material
mentioned in the intermediate level should be expanded on. Also, grands battements from
whole foot to relevé back to whole foot should be added.
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Components
Pre-Barre and Post-Barre Exercises
Pre-Barre Exercise
I use a tendu flex type of exercise before barre
begins in order to warm up the achilles tendon and calf muscles. I have listed it below.
Musical measure 2/4. Face the barre in first position.
The directions given below are done alternating the right leg and the left leg.
Battements tendu on 1 beat, flex the foot on 1
beat, pointe tendu on 1 beat, close 1st position on 1 beat. (Execute
the same with the left foot). This is done, alternating right foot then left foot, en
avant, de coté and en arrière.
Battements tendu on 2 beats, close 1st
position on 1 beat. Execute this en avant, de coté and en arrière,
remembering to do this alternating right then left foot.
Battement tendu jeté on 1 beat. Execute this en
avant, de coté and en arrière, remembering to do this alternating
right then left foot, then repeat once again.
8 battements tendus jetés de coté (alternating
right then left leg) each on 1 beat, and 16 jetés de coté (alternating right
then left leg) each on a half beat.
Post-Barre Exercises
This part of the barre is allocated for stretching and
warming down. Stretching should not be done for just flexibility, let the student do their
own between barre and centre barre, but also for upper body control. Exercises should
reflect the movements needed to accomplish when doing sustained adagios. Also, at this
time, you may add such things a sharp battu exercises in preparation for beats
and a small jump exercises supported by the barre to prepare the dancer for the allegro.
Anthony answers some of your
questions in this special section. You may email him at coach@danceart.com
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