The Ballet Bible

Ballet Lesson 3 of 7: Plie en Premiere

The position in this photograph is a deviation of first position and is again a basic movement. For this movement to be executed properly, the free arm (that which is not resting on the barre for support) should be held gracefully in front of the body. The elbow must be lifted, and not allowed to cling to the waist of the dancer. The little finger should at no time touch the outside of the thigh, rather it should ideally be held 2-4 inches away. The arm should be held in a way that looks graceful to the observer, and not as if the dancer is applying a great deal of thought to its positioning. It is important that during a plie the dancer is completely conscious of what they are doing at all times.

The main problems with the Plie en Premiere are as illustrated by the dancer in the photograph above, the rolling forward of the ankles, and the protrusion of the derriere. The remedies for these faults are similar to those which are outlined in the above section. The even and educated distribution of weight across the dancer’s toes has also been discussed within the guide. The exercises used to correct these faults within this guide can generally be applied to most movements.

A plie must be performed in a controlled manner. Many dancers develop problems with their plies when they endeavour to dance in a manner to match the ability of another dancer within their class or school or if they attempt to match their skill level to that of their dancing idol, and not to their own. It is important that a dancer follows the music rather than follows any other member of the class, or any diagram. The body knows how far it is capable of moving down in a plie, and there is no need to force it. A demi plie which is controlled, and not in anyway forced looks much smoother and more aesthetically pleasing to an audience than a Grande plie in which the derriere, knees, ankles, and the top of the body aren’t closely kept in check.

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