Free Basic Principles of Classical Ballet by Agrippina Vaganova

and straight, thus avoiding any hint of round shoulders. In the meantime the right arm is lowered and meets the left in 1st position without losing its position directly in front of the diaphragm. While you take as wide a 1st position as is possible within your particular structure, straighten the body, shift the weight on to left foot, raise the right arm into 3rd position and the left arm into 2nd (right arm always remains in front of the headl). Bend back, tensing well the muscles of the back. The head is thrown back over the left shoulder and the pose is analogous to the pose in the 3rd port de bras; i.e. the left shoulder is brought well back. Then the right arm opens into 2nd position, head turns right, body straightens to upright position, left arm moves to 3rd position, and with a plié you return to the starting croisé position.

    30. Port de bras (fifth)

    31. Grand port de bras (sixth)
    This port de bras is often done in adagio as a preparation for a grande pirouette. In that case you do not bring the movement to its conclusion, but remain on the bent right leg in a widened 4th position, with right arm in 3rd and left arm in 2nd.
    Then, for a pirouette en dehors the left arm is brought forward from 2nd position through 3rd into the pose préparation à la pirouette, while the right arm opens to 2nd position.
    For a pirouette en dedans, having reached the same position of the arms, bring the rounded right arm into 1st position with a wide circling movement, leaving the left arm extended in 2nd position. That is the start of the pirouette.
    The two last kinds of port de bras are very important in our training. A dancer who has mastered them can consider that she has found co-ordination of body, head and arms, and is well on the way to acquiring the play of the body.
    I shall not cite any further examples of port de bras. They can be varied to infinity by combining their basic elements.
    Just a few words about the work of the arms.
    If, having done a développé, for example, you are standing with the leg extended in 2nd position at 90° and the arms are also in the 2nd position, you should lower the arms first, not moving the extended leg until the arms have begun to move. The lowering of the leg ends, however, simultaneously with the arms. This gives a firm control to the leg, and the entire movement acquires a calm, unhurried aspect.
    When executing small movements allegro or adagio, i.e. in small poses, the arms should not be raised high. Only in large poses do the arms rise to full height. This has to be considered during small adagio and allegro, so that the play of the arms does not overshadow the movement of the feet.

    EXAMPLES OF PARTICIPATION OF ARMS IN EXERCISES
    When a complicated exercise combining various figures and steps is given, the arms are brought into the general movement, and play a significant part. For instance, there are many figures for développé and in all of them the arms take part in the movement.

    EXAMPLE OF EXERCISE AT THE BARRE
    Three ronds de jambe en l’air en dehors forbeats with a rest on the fourth half-beat in plié on left foot and right foot in effacé forward on the floor; bending entire body, bring it and the arm to the extended foot. Open palm as if pointing to the toe. Then do three battements frappés forbeats and rest on the fourth half-beat in 2nd position. Three ronds de jambe en l’air en dedans, rest in effacé back on the floor, plié on left foot. Bend body back, head over shoulder, glance at the toe. The arm is extended in front of the chest, palm down, hand outstretched and lifted. Finish with three battements frappés in the same tempo as in the first case, i.e. rest on the fourth half-beat in 2nd position.
    Six petits battements for 3 beats of the bar, on the fourth beat fall in plié on right foot (changing the foot on which you were standing) and assume a small pose croisé with the right arm bent, left foot sur le cou-de-pied back; then change back to