"the relatively slow and smooth relevé and piqué transitions would be both impractical and visually inconsistent with the lively pace of movement. The sauté method is more common in Russian ballet. Although age is not necessarily a prerequisite, many ballet students do not begin to dance en pointe earlier than approximately 12–14 years of age because bones in the feet are often too soft prior to that age and, in such cases, serious and permanent foot injuries could result from starting pointe work too early. The long bones in feet begin to harden within the ages of 8 to 14,"
"indicate a step executed jumping, e.g. ""sauté arabesque"" is an ""arabesque"" performed while jumping on the supporting leg. () In RAD and American ballet, ""saut de chat"" refers to a jump similar to a grande jété differing in that the front leg extends through a développé instead of a grand battement. This is called a ""grande jété développé"" in other schools. In the French and Cecchetti schools, ""saut de chat"" refers to what RAD/ABT call a ""pas de chat"". A rise, from flat to demi-pointe (from the balls to the tips of both feet), usually done multiple times in quick"
"""grand jeté"", and ""tour jeté"" (ABT) / ""grand jeté en tournant"" (Fr./Cecc.) / ""jeté entrelacé"" (Rus.), or the common compound step ""coupé jeté (en tournant)"". Manèges is a classical ballet term meaning “circular.” It describes when a dancer does steps in a circular pattern around the stage. Usually, manèges will be a reptetition of one or two steps, but can also be a combination of several. For example, a coupé jeté manèges is typically done by a male dancer in a coda of a classical pas de deux. Ballerinas will often do piqué manèges in a variation or also in"
"or toes (""pointe"") of one or both feet. See also élevé. (; 'lifted slowly.') Abbreviation of ""battement relevé lent"". Term from the Russian school indicating raising the leg slowly from pointe tendue to 45 degrees or higher off the ground. Contrasts with ""(battement) tendu jeté"", aka ""dégagé"", in which the leg brushes out propulsively from a position through tendu to elevated off the ground, and ""(temps) développé"", in which the leg passes through retiré (or petit retiré) to ""à la hauteur"" or ""demi-hauteur"", i.e. elevated off the ground. () A position of the working leg in which the leg is"
"Asnières, within walking distance of Theo's flat in Montmartre, van Gogh painted parks, cafés, restaurants and the river. ""The Seine with the Pont de la Grande Jatte"" (F304) is a painting made by van Gogh of a favored area on the Seine near Asnières. It was made during a period where he explored the use of ""dots"" of paint set alongside contrasting colors, influenced by Georges Seurat. In 1885 Seurat made ""A Sunday Afternoon on the Island of La Grande Jatte"" with a technique of placing colored dots on a work which led a movement called ""Neo-Impressionism"", ""Divisionism"" and ""Pointillism""."
"phrase and the transition from one to another, resulting in an absence of the classical appearance of ""attack"" at the beginning of a phrase, recovery at the end, with energy arrested somewhere in the middle, as in a ""grand jeté"". Another characteristic of this five-minute dance is that the performer never makes eye contact with the spectators, and in the instance in which the movement requires the dancer to face the audience, the eyes are closed or the head is involved in movement. Although Rainer used repetition in earlier works as a device to make movement easier to read, she"
"276, 140. ""Bathers at Asnières"" by Georges-Pierre Seurat depicts a scene of 19th century leisure and developing industry in this suburb of Paris. In 1885 Seurat made ""Sunday Afternoon on the Island of La Grand Jatte"" used a technique of placing colored dots on a work which led a movement called ""Pointillism"". Vincent van Gogh made a series of paintings of Asnières. Influenced by Impressionism and Pointillism, van Gogh modified his traditional style and used vivid color, shorter brushstrokes and perspective to engage the viewer. His views of the banks of the Seine are an important progression for his later"
"and powerful than standard brushstrokes. The use of dots of almost uniform size came in the second year of his work on the painting, 1885–86. To make the experience of the painting even more vivid, he surrounded it with a frame of painted dots, which in turn he enclosed with a pure white, wooden frame, which is how the painting is exhibited today at the Art Institute of Chicago. The Island of la Grande Jatte is located at the very gates of Paris, lying in the Seine between Neuilly and Levallois-Perret, a short distance from where La Défense business district"
"some combinations of these. Various types of ""grand pas"" are found in ballet, including: ""A male dancer's step in which the dancer jumps into the air with the legs drawn up, one in front of the other, then reverses their position [...] several times before landing with the feet apart again."" This step can look akin to swimming in air. (; 'thrown.') A leap in which one leg appears to be thrown in the direction of the movement (en avant, en arrière, or sideways). There are several kinds of ""jetés"", including ""jeté / jeté ordinaire"" (RAD) / ""pas jeté"" (Rus.),"
"step, such as with ""glissade jeté"" or ""glissade assemblé"". (; literally ""big gap"".) Opening the legs to 180°, front or sideways. Known as 'spagat' in German or 'the splits' or 'jump splits' in English. () A full ""plié"" or bending of the knees. Throughout the movement, the pelvis should be kept neutral, the back straight and aligned with the heels, the legs turned out, and the knees over the feet. From standing to bent this should be fluid. A purpose of the grand plié is to warm up the ankles and stretch the calves. () A long horizontal jump, starting"
"Coup d'œil Coup d'œil (or coup d'oeil; ) is a term taken from French, that more or less corresponds to the words ""glimpse"" or ""glance"" in English. The literal meaning is ""stroke of [the] eye"". It is mostly used (in English) in a military context, where the coup d'œil refers to the ability to discern at one glance the tactical advantages and disadvantages of the terrain. For example, the famous king Frederick the Great of Prussia in his 1753 ""Particular Instructions"" devotes special attention to the military coup d'œil, defining it as: [T]he perfection of that art to learn at"
"Pointillism Pointillism () is a technique of painting in which small, distinct dots of color are applied in patterns to form an image. Georges Seurat and Paul Signac developed the technique in 1886, branching from Impressionism. The term ""Pointillism"" was coined by art critics in the late 1880s to ridicule the works of these artists, and is now used without its earlier mocking connotation. The movement Seurat began with this technique is known as Neo-impressionism. The Divisionists, too, used a similar technique of patterns to form images, though with larger cube-like brushstrokes. The technique relies on the ability of the"
"and before that, Puritan America had condemned leisure for all. He cites the 1884 Georges Seurat painting ""A Sunday Afternoon on the Island of La Grande Jatte"" as an immobile, ""static and stratified"" depiction of leisure in ""direct antithesis"" of the relaxed, casual American equivalent. T.J. Clarke notes how ""La Grande Jatte"" illustrates people from the breadth of Paris society taking advantage of their free time by going to the riverside to show off new clothes, but that the act of removing one's jacket or otherwise loosening garments as a signifier of actually being at leisure was almost never done."
"levé sauté"" in the Vaganova vocabulary. (; meaning 'pricked.') A movement in which the raised, pointed foot of the working leg is lowered so that it pricks the floor and then either rebounds upward (as in ""battement piqué"") or becomes a supporting foot. In the latter case, it may be used to transfer a stance from one leg to the other by stepping out directly onto an ""en pointe"" or ""demi-pointe"" foot and often immediately precedes a movement that entails elevating the new working leg, such as a ""piqué arabesque"". In Cecchetti and RAD, the term posé is used instead"
"places down to the French Revolution. The jetons were strictly speaking counters, i.e., they were thin pieces of metal, mostly latten, a sort of brass, stamped on both sides with some device and originally used in conjunction with a ""comptoir"" (i.e., an abacus or counting board) to perform arithmetical computations. The name comes from ""jeter"", through the form ""jectoir"", because they were ""thrown down"" upon this board. It soon became the fashion for every personage of distinction, especially those who had anything to do with finance, to have special jetons bearing his own device, and upon some of these considerable"
"or pointe), extending the second leg to an open position while relevé, and closing the first leg to the second in demi-plié (or optionally with legs straight if performed quickly or as the final step of an enchainement). Variants include: (; 'step of the cat.') A traveling sideways jump where while mid-air the legs are successively bent, brought to retiré, feet as high up as possible, knees apart. The Dance of the Cygnets from Swan Lake involves sixteen ""pas de chat"" performed by four dancers holding hands, arms interlaced. In the Cecchetti and French schools, this may be referred to"
"coast : ""Het Zwin at high tide"" (1887) Because of his growing ties with the Parisian art scene, Octave Maus sent him as a talent scout to Paris to look out for new talent for the next exhibitions of ""Les XX"". He discovered the pointillist technique when he saw Georges Seurat's ""La Grande Jatte"" at the eighth impressionist exhibition in Paris in 1886. Together with Henry Van de Velde, Georges Lemmen, Xavier Mellery, Willy Schlobach and Alfred William Finch and Anna Boch he ""imported"" this style to Belgium. Seurat was invited to the next salon of ""Les XX"" in Brussels"
"en pointe, giving the appearance of gliding. The word originates from an old French dance resembling the gavotte.. (; meaning 'caper.') An allegro step in which the extended legs are beaten in the air. Cabrioles are divided into two categories: petite, which are executed at 45 degrees, and grande, which are executed at 90 degrees. The working leg is thrust into the air, the underneath leg follows and beats against the first leg, sending it higher. The landing is then made on the underneath leg. Cabriole may be done devant, derrière and à la seconde in any given position of"
"Grands motets The grand motet (plural grands motets) was a genre of motet cultivated at the height of the French baroque, although the term dates from later French usage. At the time, due to the stylistic feature of employing two alternating choirs, the works were typically described as ""motet pour deux choeurs"" - motet for double choir. In the context of French baroque music the grand motet primarily contrasted with the petit motet. The first distinction is evident in the name; the ""grand"" form was truly ""grand"" (big) in proportion calling for double choirs and massed orchestral forces, whereas the"
"Neo-impressionism Neo-Impressionism is a term coined by French art critic Félix Fénéon in 1886 to describe an art movement founded by Georges Seurat. Seurat's greatest masterpiece, ""A Sunday Afternoon on the Island of La Grande Jatte"", marked the beginning of this movement when it first made its appearance at an exhibition of the Société des Artistes Indépendants (Salon des Indépendants) in Paris. Around this time, the peak of France's modern era emerged and many painters were in search of new methods. Followers of Neo-Impressionism, in particular, were drawn to modern urban scenes as well as landscapes and seashores. Science-based interpretation"
"the help of an invention by Charles Didelot in 1795. His ""flying machine"" lifted dancers upward, allowing them to stand on their toes before leaving the ground. This lightness and ethereal quality was well received by audiences and, as a result, choreographers began to look for ways to incorporate more pointe work into their pieces. As dance progressed into the 19th century, the emphasis on technical skill increased, as did the desire to dance en pointe without the aid of wires. When Marie Taglioni first danced ""La Sylphide"" en pointe, her shoes were nothing more than modified satin slippers; the"
"classic Châtelet productions. From 1875's ""La Voyage dans la lune"" onward, some ""féerie""s began to show a trend for incorporating scientific and technological themes into their plots, a novelty due in part to the popularity and influence of Jules Verne's works. A related and very popular genre was also derived from Verne: the ""pièce de grand spectacle"", an extravagantly lavish production built on a colorful but not fantasy-based plot. The genre was launched with Verne and d'Ennery's smash-hit 1874 dramatization of ""Around the World in Eighty Days"", quickly followed by two further adaptations from the same team, ""The Children of"
"Le Grand Jeu (1934 film) Le Grand Jeu is a 1934 French film directed by Jacques Feyder. It is a romantic drama set against the background of the French Foreign Legion, and the film was an example of poetic realism in the French cinema. The title ""Le Grand Jeu"" refers to the practice of reading the cards. Blanche asks whether her client wants the 'full works', the whole story: ""Alors... je te fais le grand jeu?"" Pierre Martel (Pierre Richard-Willm), a young Parisian businessman, is brought to financial ruin and disgrace through the extravagant lifestyle that he pursues with his"
"A Sunday Afternoon on the Island of La Grande Jatte A Sunday Afternoon on the Island of La Grande Jatte () painted in 1884, is Georges Seurat's most famous work. It is a leading example of pointillist technique, executed on a large canvas. Seurat's composition includes a number of Parisians at a park on the banks of the River Seine. In 1879 Georges Seurat enlisted as a soldier in the French army and was back home by 1880. Later, he ran a small painter’s studio in Paris, and in 1883 showed his work publicly for the first time. The following"
"as a ""saut de chat"" ('jump of the cat'). A jump where the leading leg extends forward through ""grand battement"" or ""développé"" and the trailing leg remains in ""retiré"" until landing. A jump where the legs are successively brought to attitude derrière instead of retiré. This variant of the pas de chat appears in several Petipa ballets (e.g. the 4th variation in Paquita). (; 'step of the horse.') A movement of the leg (when extended) through first or fifth position, to ""cou-de-pied"" and then energetically out to a ""pointe tendue"" through a petit développé. ('Step of two.') A dance duet,"
"""demi-plié"". In ""échappé sur le pointes/demi-pointes"" a dancer begins with a deep ""plié"", springs onto ""les pointes"" or ""demi-pointes"", ending in either second position (when starting from first position) or fourth (when starting from fifth) with knees straight. The dancer may or may not return to the initial position, depending on the choreography. (; 'raised, lifted.') Rising to ""pointe"" or ""demi-pointe"" from straight legs and flat feet. This term is used in some schools in contrast with relevé (in effect, 'relifted'), which is taken to indicate a rise from plié (bent knees). In other schools (French, Russian, textbook Cecchetti), ""relevé"""
"subtlety, nor are they delighted in hearing it, but in the presence of the educated and of those who are seeking out subtleties in the arts"". In the early 20th century, it was generally believed the name came from the Latin ""movere"", (""to move""), though a derivation from the French ""mot"" (""word"", or ""phrase""), had also been suggested. The Medieval Latin for ""motet"" is ""motectum"", and the Italian ""mottetto"" was also used. If the word is from Latin, the name describes the movement of the different voices against one another. Today, however, the French etymology is favoured by reference books,"
"and circling the stage for several minutes. Critics delivered dire warnings regarding the machines and ballerinas demanded higher wages for being sent into the air, but the delighted Diderot continued to experiment with the appartatus and sent flocks of ballerinas soaring aloft. The most significant artistic and historical contribution made to ballet by ""Flore et Zéphire"", however, was dancing ""sur les pointes"" (on the toes). Speculation suggests this unusual feat was accomplished by the ballerina momentarily posing on the tip of her toe as the flying machine took her weight for suspended flight. Maria Danilova, Geneviève Gosselin and all performed"
"is also known as punctualism or klangfarbenmelodie. and Angles, Tones, and Tints, Portrait of M. Félix Fénéon in 1890"" by Paul Signac Pointillism Pointillism () is a technique of painting in which small, distinct dots of color are applied in patterns to form an image. Georges Seurat and Paul Signac developed the technique in 1886, branching from Impressionism. The term ""Pointillism"" was coined by art critics in the late 1880s to ridicule the works of these artists, and is now used without its earlier mocking connotation. The movement Seurat began with this technique is known as Neo-impressionism. The Divisionists, too,"
"legs, and balance securely in a relevé that is perpendicular to the floor. Preparation for pointe work is a gradual process that begins with barre exercises to develop the requisite strength in ankles, feet, legs, and core often known as pre-pointe classes. These exercises may vary in accordance with a teacher's preferences and, if applicable, the training method's syllabus. The first exercises at the barre are usually ""relevés"" and ""échappés"". When the student is comfortable executing these steps on both feet and sufficiently strong, steps ending on one en pointe foot are introduced, such as ""pas de bourrée"" and ""retiré."""
"a grand jeté, the dancer may appear to hover in the air. Physically, the dancer's center of mass follows a ballistic trajectory, as does any projectile, but observers have limited ability to reckon center of mass when a projectile changes its configuration in flight. By raising the arms and legs while ascending and lowering them while descending, the dancer alters the apparent path of the center of mass and, in so doing, seems to observers to be momentarily floating in the air. Dancers strive to exhibit ballon in large jumps as well as in small, quick jumps such as petite"
"""L'honnête homme"" (""The Honest Man"") and ""Discours de la vraie honnêteté"" (""Discourse on True Honesty""), but he is far better known for his contribution to probability theory. He was an amateur mathematician who became interested in a problem that dates to medieval times, if not earlier, the problem of the points. Suppose two players agree to play a certain number of games, say a best-of-seven series, and are interrupted before they can finish. How should the stake be divided among them if, say, one has won three games and the other has won one? In keeping with his Salon methods,"
"The first tournament was played in La Ciotat in 1910. The first steel boules were introduced in 1927. The object is to throw a ball (boule) as close as possible to a smaller ball, called the cochonnet, (this kind of throw is called to ""faire le point"" or ""pointer""); or to knock away a boules of the opponent that is close to the cochonnet (this is called to ""tirer""). Players compete one-on-one (""tête-à-tête""), in teams of two (""doublettes"") or teams of three (""triplettes""). The object is to accumulate thirteen points. The point belongs to the ball the closest to the"