Free Basic Principles of Classical Ballet by Agrippina Vaganova Page A

left foot and do four petits battements for 2 beats of the bar, and for 2 beats do a turn en dehors sur le cou-de-pied from préparation temps relevé.
    All movements are repeated in the same tempo, but after the first six petits battements, fall on right foot in plié back, substituting left foot, which will come out sur le cou-de-pied front in a small pose croisé, right arm is half-open in 2nd position at 45°, then, after the subsequent four petits battements—temps relevé is done back and the turn—en dedans.

    TEMPS LIÉ (IN THE CENTRE)
    This is a widely used combination which starts in beginners’ classes and gradually increases in difficulty.
    The simplest temps lié is done as follows:
    Stand in 5th position croisé, right foot front. Do a demi-plié, both arms in 1st position. Right foot glides forward into croisé, left remains in demi-plié. Shift weight on to right foot, point left foot behind. Bring left arm up, right arm out to side. Bring left foot from behind into 5th position en face in demi-plié, shifting left arm into 1st position, right arm remains in 2nd position. Slide the toe of right foot to side, leaving left in demi-plié, shift weight on to outstretched right leg (opening left arm into 2nd position), with pointed toe slide left leg into 5th position front in demi-plié. Drop arms into preparatory position. Repeat whole movement on left foot. The same movements are also done to the back.
    I recommend beginners to study temps lié intime, doing the entire movement in two bars. First bar: one —demi-plié in 5th position; two —extend the toes forward in croisé, the passing plié falling between the second and third count; three —pose croisé behind; four —close in 5th position. Second bar: one —demi-plié in 5th position; two —leg carried out with extended toes into 2nd position; three —extend the toes of the left foot, changing weight to right leg; four —close in 5th position.
    In advanced classes, temps lié can be done lifting the legs to 90° when moving forward and back, and into 2nd position. From 5th position demi-plie on the left foot, do a développé forward into croisé; change weight to right leg into attitude croisée behind, fall onto left leg into demi-plié, bringing it close to the right leg, which bends at the knee at 90°; développé with right leg into 2nd and step onto it on half-toe, lifting left leg into 2nd position at 90°, demi-plié on right leg, bending left into the right knee; bring it out forward and continue the movement to the other side. Arms are the same as in the movement on the floor.
    Temps lié sauté consists of successive small sissonnes tombées, but it belongs to allegro.

    32. Temps lié

    33. Temps lié (at 90°)

    V
    POSES OF THE BODY

    ATTITUDES
    THE WORD attitude indicates a pose on one leg with the other lifted at an angle of 90° and carried back, bent at the knee. Therefore a pose with a développé forward cannot be called an attitude, as the leg in it is extended straight.

    34.
    These poses I do not call otherwise than développé croisé or effacé. In an attitude the corresponding arm and leg are lifted, the other arm is in 2nd position.
    The knee of the lifted leg must be taken well back, and should never be dropped. The bent knee allows the body to bend as well. In doing turns, the movement is free and beautiful, whereas the straight leg in an arabesque does not allow the body to bend and impedes turns. To familiarize ourselves more closely with the attitude, we shall examine its execution by the French, Italian, and Russian schools, in croisé and effacé.

    ATTITUDE CROISÉE
    Attitude croisée in the French school is taken with the body bent toward the leg on which you stand, thereby raising the shoulder of the lifted arm much higher than the other.
    In the Italian school the body is straight, the back is also straight, the design of the pose is determined by the turn of the head, or the lifting of one or the other