Beyond the foundational vocabulary that every ballet student learns lies a repertoire of sophisticated movements that separate accomplished dancers from true technicians. These advanced techniques demand not only physical prowess—explosive power, sustained control, and exceptional flexibility—but also nuanced understanding of coordination, musicality, and artistic intention.
Whether you're preparing for a professional audition or refining your performance quality, mastering these ten techniques will significantly expand your technical and expressive capabilities.
Turning Techniques
Fouetté rond de jambe en tournant
"Whipped circle of the leg turning"
The signature 32-count turn sequence immortalized in Swan Lake's Black Swan pas de deux remains the ultimate test of sustained turning ability. Each rotation requires a fouetté (whip) of the working leg from à la seconde to retiré while the supporting leg relevés and turns.
Physical demands: Hip rotator endurance, precise demi-plié depth control, and the coordination to maintain consistent arm placement in à la seconde without disrupting momentum.
Critical correction: The rond de jambe must originate from the hip socket, not the knee, with the working foot tracing a precise arc to generate consistent turning speed. Dancers often collapse in the supporting hip or allow the working leg to drop below 90 degrees—both fatal to completing the full sequence.
Performance note: Vaganova-trained dancers typically emphasize the rond de jambe's circular sweep, while Balanchine technique prioritizes speed and the sharp accent of the whip.
Italian Fouetté
"Italian whipped turn"
Distinct from the Russian fouetté, this turn travels in a diagonal while executing a fouetté action with the arms opening and closing in opposition to the legs. The working leg brushes through first position to à la seconde rather than remaining extended.
Physical demands: Spatial awareness for diagonal trajectory, split-second timing between arm and leg coordination, and the ability to spot while moving through space.
Artistic consideration: Often used in Petipa variations for its regal, expansive quality—think of the Sleeping Beauty Bluebird variation where the turn covers significant stage space.
Pirouette à la seconde
"Turn to the side"
While single pirouettes mark intermediate training, sustained turns in à la seconde with the working leg held at 90 degrees or higher represent advanced mastery. The position eliminates the stability of retiré, demanding pure alignment and core engagement.
Physical demands: Adductor strength to maintain leg height, exceptional turnout integrity of the supporting leg, and the psychological discipline to resist pulling the working leg in when fatigue sets in.
School variations: Cecchetti technique emphasizes a lower, more controlled leg position with precise musical phrasing, whereas Vaganova permits higher extensions with sustained relevé.
Jumping Techniques
Entrechat six
"Six crossings"
The pinnacle of beaten jumps, the entrechat six requires the legs to cross and uncross three times in a single jump—appearing to flutter beneath the body. Unlike the entrechat quatre (two crossings), the six demands that the feet change position in the air (fifth front to fifth back or vice versa).
Physical demands: Fast-twitch muscle fiber recruitment in the inner thighs, precise fifth position alignment, and the ability to coordinate the beat with the jump's apex rather than during takeoff or landing.
Common pitfall: Dancers often "cheat" by bending the knees excessively or beating too early, resulting in a visible preparation. The beat must occur at the height of the jump with straight legs.
Double tour en l'air en ouvert
"Double turn in the air opening"
This advanced variation of the standard double tour adds an opening of the body to arabesque during the second rotation, requiring the dancer to complete the turn while simultaneously changing position.
Physical demands: Exceptional air sense (sens de l'air), the ability to "see" your landing while rotating, and the core strength to control the torso's opening without collapsing the supporting side.
Preparatory focus: Master the standard double tour with consistent landing in fifth before attempting the opening. Many dancers practice the en ouvert variation from a lower jump initially, gradually increasing height as coordination develops.
Cabriole
"Caper"
A large, traveling jump where one leg beats against the other in the air before opening to a split position. In the cabriole fermée, the legs come together in fifth before landing; in ouverte, they remain separated.
Physical demands: Explosive elevation, hamstring flexibility for the
