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37-475: The title 'First Position' is taken from one of the five standard positions of the feet in classical ballet . Kargman was a first-time director who had studied dance herself. "I ended up quitting my job to make this film, my first film, and I thought maybe by choosing a topic that was quite dear to me and that I had lived for a number of years growing up—maybe I’d be able to do this story justice." The film features renowned dancers and choreographers from all over

74-466: A ballet company in Italy. French word meaning a ballet performance, a ballet work, a ballet company and possibly the ballet dance genre, although the expression danse classique also exists for the latter meaning, is less equivocal and is more commonly used when referring to the learning of this dance. The foundational principles of body movement and form used in ballet. A ballet fan or enthusiast. The word

111-541: A bell.') Refers to brushing through first position from fourth devant or fourth derrière to the opposite fourth with the upper body held upright. Can be done continuously, as is often done with grands battements and attitudes . Similar to Balançoire , which additionally allows seesaw like upper-body shifting in counterpoint to the legs. The Vaganova system may refer to en cloche as "passé la jambe" or "battement passé la jambe". ( Italian pronunciation: [ˈkoːda] ); literally 'tail'). The concluding segment of

148-454: A confident, accomplished dancer. In dance (particularly ballet), arabesque (French: [aʁabɛsk]; literally, "in Arabic fashion") is a body position in which a dancer stands on one leg (the supporting leg) with the other leg (the working leg) extended, straight, behind the body. The arm positions can vary and are generally allongé. The foot of the supporting leg may be flat on the floor, on the ball of

185-418: A dancer stands on one leg (the supporting leg) while the other leg ( working leg) is raised and turned out with knee bent to form an angle of approximately 90° between the thigh and the lower leg. The height of the knee versus the foot and the angle of the knee flexion will vary depending on the techniques. The working leg can be held behind ( derrière ), in front ( devant ), or to the side ( à la seconde ) of

222-531: A leg and picks it up(the leg in front). Then the bent leg is straighted on the floor and the straight leg is picked off the floor and bent. These steps are repeated over and over again. The dancer looks as if he or she is flying across the floor. ( French pronunciation: [kabʁijɔl] ; 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

259-400: A performance or suite of dances comprising a grand pas (e.g., grand pas de deux ). A particularly large or complex coda may be called a grand coda . If a large group of dancers participate, the terms coda générale or grand coda générale may be used. The ensemble of a ballet company, especially the ensemble apart from the featured dancers. Being a part of the corps means one is neither

296-405: A soloist nor a principal dancer. ( French pronunciation: [kɔʁife] ) In some systems, a dancer of higher rank than a member of the corps de ballet, performing in small ensembles and small solo roles but not ranked as a soloist. ( French pronunciation: [də kote] ; 'sideways.') A movement traveling to the side. ( French pronunciation: [ku də pje] ; 'neck of

333-488: A step is done "à la seconde", it is done to the side. 'Second position'. It can also be a balance extending one foot off the ground in ‘Second Position’. ( French pronunciation: [a la katʁijɛm] ) One of the directions of body, facing the audience ( en face ), arms in second position, with one leg extended either to fourth position in front ( quatrième devant ) or fourth position behind ( quatrième derrière ). ( French pronunciation: [a tɛʁ] ) Touching

370-404: A young age." Manohla Dargis of The New York Times praised the film as creating "pocket portraits of children whose dedication to their art is by turns inspiring, daunting and, at times, a little frightening." Frank Scheck of The Hollywood Reporter wrote that First Position "overcomes its predictable elements thanks to the inherent visual drama of watching children strain their bodies to

407-552: Is a tool, not a necessary item to dance. An alternating side-to-side movement of the working (non-supporting) leg. Typically performed in multiples, quickly and in rapid succession so that the working foot appears to be fluttering or vibrating. ( French pronunciation: [batʁi] ) A general term for jumps in which the legs open slightly sideways and close (crossed in fifth position) multiple times, alternating feet. (See "Battu.) ( French pronunciation: [baty] ; meaning 'beaten') A movement with an extra beating of

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444-438: Is both a step and action. It is commonly executed from cou-de-pied front to cou-de-pied back or vice versa. It may also be done from an extended leg position into fondu or directly through fifth position (as in concluding a jeté ). Coupé can only be performed through a closed leg position. The Vaganova School rarely uses the term coupé except as the preparation for specific allegros. Rather, "tombé through fifth position"

481-457: Is conversely a movement towards the back. For example, a step travelling en avant moves forwards towards the audience, as in sissonne en avant . ( French pronunciation: [ɑ̃n aʁjɛːʁ] ; meaning 'backwards') A movement towards the back, as opposed to en avant. ( French pronunciation: [balɑ̃se] ; "balanced") A rocking sequence of three steps— fondu , relevé , fondu (down, up, down)—executed in three counts. Before

518-688: Is more commonly used. In the United States, "coupé" may be used to denote the position cou-de-pied, not unlike "passé" is used to denote the position retiré in addition to the action of passing through retiré. ( French pronunciation: [kuʁy] ; 'run,' past participle, as in 'making small quick steps.') In most cases, this holds the calves together and the feet in a tight fifth position en pointe or demi-pointe and travels forward, backward, or to either side. E.g. pas de bourrée couru (also called bourrée for short). ( French pronunciation: [kʁwɑze] ; meaning 'crossed.') One of

555-401: Is of Russian origin c. 1930, with the suffix -mane coming from maniya ( mania ). Showing lightness of movement in leaps and jumps. A dancer exhibiting ballon will appear to spring effortlessly, float in mid-air, and land softly like a balloon. In classical ballet, the term ballonné is a step where the leg is extended (can be front, side, or back) at 45 degrees. The knee is then bent and

592-427: Is placed in front of the other so that the heel of the front foot is near the arch of the rear foot. There are two types of fourth position: ouverte and croise. In both cases, one foot is placed approximately 12 inches (30 cm) in front of the other. In open fourth position the heels are aligned, while in closed fourth position the heel of the front foot is aligned with the toe of the back foot. In fifth position,

629-420: 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 the body such as croisé, effacé, écarté, and so on. ( French pronunciation: [kɑ̃bʁe] ; literally 'arched.') A bending at the waist in any direction, forward, backward, or to

666-408: The air and brings the second foot to meet it in the back before switching to the front to land, creating a beating action with the legs. In a brisé en arrière, the process is reversed, with the front leg brushing to the back and beating to land in front. ( French pronunciation: [bʁa kʁwaze] ; literally 'crossed arms') Arm placement in which one arm is extended in second position away from

703-454: The audience while the other is curved in first position (Cecchetti fourth position en avant or RAD/French third position). ( Italian pronunciation: [braˈvuːra] ) A flashy, showy and elaborate style of dance that involves a lot of elaborate steps and style to similar music. Usually during a key solo. Quick movement of the feet, can be performed on pointe or on demi-pointe. The dancer straightens one leg (the leg in back) and bends

740-489: The body. The alignment of the thigh compared to the midline in Attitude derrière will vary depending on the techniques. The foot of the supporting leg may be flat on the floor, en demi-pointe (ball of the foot), or en pointe (tips of the toes). The standing leg can be straight or bent ("fondu"). ( French pronunciation: [ɑ̃n avɑ̃] ; meaning 'forwards') A movement towards the front, as opposed to en arrière , which

777-481: The codification of these five positions to choreographer Pierre Beauchamp . Two additional positions, known as the sixth and seventh positions, were codified by Serge Lifar in the 1930s while serving as Ballet Master at the Paris Opéra Ballet , though their use is limited to Lifar's choreographies. The sixth and seventh positions were not Lifar's inventions, but revivals of positions that already existed in

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814-409: The eighteenth century, when there were ten positions of the feet in classical ballet. The first basic position requires the feet to be flat on the floor and turned out (pointing in opposite directions as a result of rotating the legs at the hips). Heels together, and toes going outwards. The feet point in opposite directions, with heels spaced approximately 12 inches (30 cm) apart One foot

851-399: The feet are parallel, with the heel of the front foot in contact with the big toe of back foot, and the heel of the back foot in contact with the last toe of the front foot. Serge Lifar (1905–1986) codified two additional positions known as the sixth and seventh positions, with the feet turned in, not out like the first five positions. In Lifar's sixth position, the legs are turned in with

888-470: The feet change positions in the air. For example, beginning in fifth position with the right foot front, plié , jump switching the right leg to the back, and land in fifth position with the left foot front. In the Vaganova vocabulary, petit changement de pieds indicates a changement where the feet barely leave the floor. (Literally 'chased.') ( French pronunciation: [ɑ̃ klɔʃ] ; meaning 'like

925-413: The feet included, as in jeté battu . ( French pronunciation: [bʁize] ; literally 'broken') A jump consisting of an assemblé traveling either forward (en avant) or backward (en arrière), with an extra beat that "breaks" the jump in its travel. To execute a brisé en avant, the dancer demi-pliés in fifth position and brushes the back leg (through first position) to the front, then springs into

962-555: The feet side-by-side and parallel. Similar to fourth position, but performed en pointe with heels in center with each other. There are two seventh positions, determined by whether the left or right foot is placed in front. En pointe Because ballet became formalized in France, a significant part of ballet terminology is in the French language . ( French pronunciation: [a la səɡɔ̃d] ) (Literally "to second") If

999-550: The first count, one foot extends in a dégagé to second position ( balancé de côté ) or to the front ( balancé en avant ) or rear ( balancé en arrière ). The second foot in the sequence (in any direction) assembles behind the first to relevé in fifth or fourth position. ( French pronunciation: [balɑ̃swaʁ] ; "swing [children's toy]") Swinging the working leg between front (devant) and back (derrière) through first position , usually in conjunction with grands battements or attitudes and involving seesaw like shifting of

1036-448: The first weekend of May. As of 24 June 2012, the film had grossed $ 894,471 in the United States. Positions of the feet in ballet The positions of the feet in ballet is a fundamental part of classical ballet technique that defines standard placements of feet on the floor. There are five basic positions in modern-day classical ballet , known as the first through fifth positions. In 1725, dancing master Pierre Rameau credited

1073-448: The floor; on the floor. Italian, or French adage , meaning 'slowly, at ease.' ( Italian pronunciation: [alˈleːɡro] ; meaning 'happy') ( French pronunciation: [alɔ̃ʒe] ; meaning 'elongated.') Refers to a foot and leg position when the toes and knees are extended and elongated, rather than forming the usual soft curve. Can also refer to a similar arm position. The apparent elegance and precision exhibited by

1110-437: The foot (demi-pointe/relevé), or on the tips of the toes (en pointe). ( French pronunciation: [aʁɔ̃di] ; meaning 'rounded') A position of the hand. Rounded, in contrast with allongé ('stretched out', as in arabesque). ( French pronunciation: [asɑ̃ble] ; literally 'assembled') Sometimes also pas assemblé . A jump that takes off from one foot and lands on two feet. When initiated with two feet on

1147-559: The foot brought to a sur le cou-de-pied position. This can also be done as a relevé or jump. A ballotté is a jumping step in classical ballet that consists of coupé dessous and small developpés performed with a rocking and swinging movement. The step can be performed with the leg extensions at 45 or 90 degrees. A sturdy horizontal bar, approximately waist height, used during ballet warm-up exercises and training. Fixed barres are typically mounted on -covered walls; portable barres can be relocated as needed. Used for balance, not support. A barre

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1184-483: The foot.') Position of the arched working foot raised to, and resting on, the ankle. This could be in front (["conditional"] devant ), behind ( derrière ), or wrapped ( sur le cou-de-pied : arch of the foot wrapped around the ankle with the heel in front of the ankle and the toes behind, often interchangeable with the devant/conditional position), depending on the activity and the school/method of ballet. ( French pronunciation: [kupe] ; meaning 'cut.') Coupé

1221-417: The ground (e.g. from fifth position) the working leg performs a battement glissé / dégagé , brushing out. The dancer launches into a jump, with the second foot then meeting the first foot before landing. A petit assemblé is when a dancer is standing on one foot with the other extended. The dancer then does a small jump to meet the first foot. ( French pronunciation: [atityd] ) A position in which

1258-813: The limit in obsessive pursuit of their goals." The film was the first runner-up for Best Documentary at the Toronto International Film Festival where it premiered, winning the Jury Prize at the San Francisco Doc Fest , and audience awards for Best Documentary at the Dallas International Film Festival and at the Portland International Film Festival , where Bess Kargman also won Best New Director. The film's takings were $ 48,024 on its opening weekend in

1295-486: The side. ( French pronunciation: [ʃɛne] ; 'chained', plural.) Also known as "chaînés turns", a common abbreviation for tours chaînés déboulés , a series of quick, 360 degree turns that alternate the feet while traveling along a straight line or in a circular path. Each foot performs a half turn, with feet held in a tight first position en pointe or demi-pointe . ( French pronunciation: [ʃɑ̃ʒmɑ̃] ; literally 'change, changing.') A jump in which

1332-441: The upper body in opposition to the legs. Similar to en cloche . (Italian) A principal female ballet dancer in a ballet company. Ballerinas get more lead roles, which are referred to as principal roles as they are generally danced by principal dancers. Soloists also often dance in principal roles, but most of the time not in the first cast of the show (i.e. the cast that performs the most shows) An informal term for male dancers in

1369-426: The world including Nadine Bommer , Denys Ganio, Élisabeth Platel , Raymond Lukens, and Youth America Grand Prix 's founder Larissa Saveliev . The film garnered critical acclaim, receiving a rating of 93% on the website Rotten Tomatoes . The site's critical consensus reads, "An upbeat and visually dramatic documentary of children's ballet, First Position displays the potential of the human spirit when fostered at

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