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Chassé in ballet. The chassé (French:, French for 'chased'; sometimes anglicized to chasse / ʃ æ ˈ s eɪ, ʃ æ s /) is a dance step used in many dances in many variations. All variations are triple-step patterns of gliding character in a "step-together-step" pattern. The word came from ballet terminology.
The Ballet Companion: A Dancer's Guide to the Technique, Traditions, and Joys of Ballet. New York: Simon and Schuster. ISBN 0-7432-6407-X. OCLC 58831597. Glossary of Dance Terms. New York: New York City Ballet. 2010. Ryman, Rhonda S. (1998). Dictionary of Classical Ballet Terminology (2nd ed.). London (Hightstown, NJ): Royal Academy of Dancing ...
As later formalised in classical ballet the skipping step of the bourrée became a quick, gliding step, often en pointe or demi-pointe, one of the most-used step sequences of ballet. A pas de bourrée , more commonly known as the "behind side front" or "back side front", is a quick sequence of movements often taken in preparation for a larger step.
The long reaching step can be danced on either the 1 or the 2 of each bar of music, depending on what feels best with the tune that is playing. Cellarius (1849) [ 5 ] describes a three-part redowa consisting of a pursuit part ( "la poursuite" ), followed by the style of waltz commonly described as the redowa, and ending with a particular type ...
Chassé (French, "to chase") is a dance step with a triple step pattern used in many forms of dance. [1] It is a gliding, flowing [citation needed] step with the feet essentially following a step–together–step pattern. Timing and length of steps vary from dance to dance.
Some terms that are similar or equivalent in some contexts are slide, sweep bend, smear, rip (for a loud, violent glissando to the beginning of a note), [1] lip (in jazz terminology, when executed by changing one's embouchure on a wind instrument), [2] plop, or falling hail (a glissando on a harp using the back of the fingernails). [3]
[1] The following year Rambert founded the Ballet Club, forerunner of the Ballet Rambert, with Alicia Markova as prima ballerina and Ashton as the main choreographer and one of the leading dancers. [1] Ashton's ballets of the early 1930s included La péri (1931), The Lady of Shalott (1931), Façade (1931), Foyer de danse (1932) and Les Masques ...
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