Bases techniques

The Turn Out The "plié - tendu" The balance The flexibility The "cambré" Ballet Shoes The floor

Ballet training develops new co-ordinations for moving the centre of gravity especially when balancing on one foot and when lifting a leg.
The dancer maintains trunk axis verticality. The lifting of the leg is accompanied by an inclination of the supporting leg and a counter-rotation of the trunk. This ability is performed by linking two articulations, those of the ankle and hip, which move in opposing directions. The ability comes from a specific change related to ballet. If classical choreography demands that trunk axis verticality be constantly maintained, neo-classical and contemporary choreography also requires the dancers to know how to upset the balance.

1st - Balance with the foot flat on the floor

Balance with the foot flat on the floor is performed in the turn out position. Thus, the sagittal balance muscles become frontal balance muscles. Balance is governed by the stationary balance of the three plantar arches and by the active balance related to the tone of the plantar musculo-tendinous system. For example, the axis of gravity goes between the feet when balancing on both feet in "cinquième" position. The dancer transfers his body weight to the middle of his foot, between the two medial and lateral arches, at the same time as he lifts his fore-leg. He is hence fighting against "forward collapsing" caused by the natural displacement of his body weight onto the medial arch, creating an eversion of the foot compensated by a lumbar hyperlordosis and carrying the whole leg forward.

2nd - "Demi-pointe" balance

When balancing on "demi-pointe", the ankle is in maximum plantar flexion, the body weight resting on the metatarsal heads and the toes. Ligamentary tension is avoided by spreading the pressure equally over all the phalanges. The toes spread open as far as possible on either side of the second toe, to widen the support base. "Demi-pointe" foot stability is also achieved by simultaneous contractions of the tibialis posterior, the lateral fibulae as well as the anterior ankle muscles, especially the tibialis anterior.


Lors des pirouettes sur demi-pointes, les sésamoïdes jouent un rôle de pivotement et représentent la zone d'appui élective ; ils interviennent aussi dans la propulsion et dans l'amortissement des sauts et des relevés.

3° - Equilibre sur pointe


Sur pointe, la force est transmise verticalement au niveau des deux premiers rayons, la flexion plantaire est maximale, le poids du corps n'est plus réparti sur les têtes métatarsiennes et les phalanges mais uniquement sur l'extrémité des trois premiers orteils.


Il existe une hyperpression au niveau des articulations interphalangiennes et métarsophalangiennes. La stabilité est obtenue par une répartition égale de la flexion plantaire sur les différentes articulations du tarse, faible amplitude de flexion de la médiotarsienne et rectitude des métatarsophalangiennes.
Sur pointe, l'axe des forces transmises par le segment jambier passe exactement par le sinus du tarse.
Afin d'acquérir un meilleur équilibre sur pointe ou sur demi-pointe, certains danseurs utilisent les principes de la rééducation proprioceptive sur plateau de Freemann.


Bibliographie :

Bordier G, Anatomie appliquée à la danse. Le corps instrument de la danse. AMPHORA

Massion J, Aurenty R, Mouchino L, Optimisation de la performance chez le danseur : Colloque " Médecine de la danse " festival international de la danse de Cannes 25/3/95.