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272 2.8 Poses Attitude Balanchine seldom used attitude allongé. The preferred position is rather tight with the thigh well back and fully turned out so that there is an unbroken line from hip bone to knee. The foot should always be held lower than the knee. The back must be well arched and the muscles contracted, especially on the side of the working leg. The hip of the working leg should be open, and there should be a strong twist of the upper body to the opposite side, so that the shoulder on the side of the working leg does not swing back toward the leg that is raised in attitude. The foot of the raised leg should be pointed without twisting or flexing and should be aligned with the lower leg, completely straight from knee to toe. Arabesque When the leg is raised en arrière, the back is held as erect as possible and well arched. The arms are usually held to the side. In arabesque, however, the body tilts forward, which permits the leg to be raised higher and allows a more comfortable balance. The body can tilt more or less according to the position desired. Allongé and épaulé require quite a lot of tilt, and penché is an extreme tilt. The arms have almost limitless possibilities. In all positions, the leg must remain straight back behind the center of the body, and the arm that is stretched front must also be in line with the center of the body, so that the leg and arm present one unbroken line. The hip of the raised leg may be lifted (opened) to facilitate turnout. Épaulement In tendu the leg is always straight in front or behind the body and in line with the center of the body. When the body is pivoted slightly so that the legs appear crossed, that position is called croisé. When the body is pivoted so that the legs appear open, that position is called effacé. It is the angle of the legs when viewed from the front that determines the position, and there are many possibilities for the arms and head. The positions should not be considered by the dancer in relationship to the room or stage. Front should be thought of as any one of the sides of an imaginary square around the individual dancer. This will prevent crossing or separating the legs too far. Basic Positions Used by Balanchine Tendu front croisé: The arm opposite the extended leg is en haut, and the head is turned away from the raised arm and slightly tilted back. The arm on the same side as the working leg is extended to the side. The eyes remain directed front to the audience. Tendu back croisé: The arm on the same side as the extended leg is raised en haut, and the head is turned away from the raised arm and tilted slightly back. Croisé in fifth position: Standing in fifth position with the right foot front and revolved slightly to the left so that the right shoulder is angled forward. The head should be turned to the right and tilted slightly back. The accompanying arms can be en haut, or opened side, or the left arm can be raised en haut with the right opened to the side. If the right arm is raised and left opened side, the head must turn to the right and tilt slightly forward to look under the arm. Tendu front effacé: The arm opposite the extended leg is raised en haut, but the head is turned toward the raised arm and tilted slightly back. Tendu back effacé: The arm on the same side as the extended leg is raised, and the head is turned toward the raised arm and tilted slightly back. Balanchine never used the position with the head tilted forward to look under the arm when in tendu back effacé. He rarely used the position with the opposite arm raised, and when it was used, it was more likely to be like arabesque with the arms stretched. Effacé in fifth position: With the right foot front and the body revolved to the right with the left shoulder angled forward, the head should be turned to the left and tilted slightly back. The arms have the same possibilities as in croisé, except that with the right arm up Balanchine never used the “looking under” position, which he considered old-fashioned and outmoded. There is an element of...

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