What You'll Learn
- The fundamental differences between croisé (crossed) and effacé (open) positions.
- How to properly execute écarté devant and derrière by aligning your hips to the corner.
- How specific body angles affect the visual length and line of your legs.
- The terminology used to navigate the eight directions of the ballet stage.
About This Video
Understanding body directions is one of the most transformative steps a dancer can take to move from basic technique to artistry. In this Broche Ballet crash course, we demystify the complex world of épaulement and body alignment. While many beginners focus solely on what their legs are doing, the direction your body faces relative to the audience—the corners and the walls—dictates the entire aesthetic of a performance.
' In croisé devant (front) or croisé derrière (back), your legs appear crossed from the perspective of the audience, creating a sense of modesty and classical line. ' In an effacé position, the legs are uncrossed and open to the audience, which can make the legs appear longer and the movement more expansive. The lesson also covers the striking écarté position.
Unlike the front or back orientations, écarté places the dancer on a diagonal where the hips face the corner while the leg is extended to the side. Depending on whether you are performing écarté devant or écarté derrière, your focus and the angle of your head change to highlight the diagonal line. Why do these angles matter?
As discussed in the video, ballet body directions were designed to be aesthetically pleasing. Just like in modeling or visual arts, certain angles can create illusions of height or depth. By mastering these directions, you gain control over how your audience perceives your movement.
Whether you are practicing at home or in a studio, understanding where to point your toes and how to angle your shoulders is key to professional-looking ballet. This short tutorial provides the essential vocabulary and visual cues you need to feel confident during center work exercises and choreography.
