是芭蕾的基本造型之一，得名于一种摩尔人装饰风格。在芭蕾中，它是一种身体侧面造型，单腿支撑（可伸直或 demi-plié），另一条腿向后伸展与支撑腿成直角，双臂保持各种和谐的位置，从指尖到脚尖创造出最长的线条。肩膀必须与方向线保持方正。Arabesque 有无数变化形式。Cecchetti 方法使用五种主要 arabesque；俄罗斯学派（Vaganova）使用四种；法国学派使用两种。Arabesque 通常用于结束一组步伐，无论是在 Adagio 的慢板动作还是 Allégro 的轻快动作中。
阿拉伯迎风燕跃姿态
是芭蕾的基本造型之一，得名于一种摩尔人装饰风格。在芭蕾中，它是一种身体侧面造型，单腿支撑（可伸直或 demi-plié），另一条腿向后伸展与支撑腿成直角，双臂保持各种和谐的位置，从指尖到脚尖创造出最长的线条。肩膀必须与方向线保持方正。Arabesque 有无数变化形式。Cecchetti 方法使用五种主要 arabesque；俄罗斯学派（Vaganova）使用四种；法国学派使用两种。Arabesque 通常用于结束一组步伐，无论是在 Adagio 的慢板动作还是 Allégro 的轻快动作中。
One of the basic poses in ballet, arabesque takes its name from a form of Moorish ornament. In ballet it is a position of the body, in profile, supported on one leg, which can be straight or demi-plié, with the other leg extended behind and at right angles to it, and the arms held in various harmonious positions creating the longest possible line from the fingertips to the toes. The shoulders must be held square to the line of direction. The forms of arabesque are varied to infinity. The Cecchetti method uses five principal arabesques; the Russian School (Vaganova), four; and the French School, two. Arabesques are generally used to conclude a phrase of steps, both in the slow movements of adagio and the brisk, gay movements of allégro. THE CECCHETTI ARABESQUES. First arabesque: The body is held upright from the waist and is supported on a straight leg with the other leg extended and at right angles to the supporting leg. The shoulders are held square to the line of direction with the arms extended, palms down, so that the extended fingertips of the forward arm (which is the one on the same side as the supporting leg) are in a line with the centre of the space between the eyes, and the extended back arm slightly lowered so that the arms are in one straight line. The forward hand should be slightly turned outward. Second arabesque: The arms are reversed so that the forward arm is the opposite to the supporting leg. The head is slightly inclined and turned toward the audience. Third arabesque: Both arms are extended forward to the side of the supporting leg. The fingertips of the arm farther from the audience are in a line with the centre of the space between the eyes while the arm nearer the audience is in a line with the shoulder. Fourth arabesque: The supporting leg is nearer the audience and is in demi-plié. The arms and head are held as in the first arabesque with the arm on the side of the raised leg being forward. Fifth arabesque: The arms and head are held as in the third arabesque with the arm farther from the audience being the higher. The supporting leg is the leg nearer the audience and is in demi-plié. The fourth and fifth arabesques are usually taken facing the right front corner of the room or stage if the supporting leg is the left, or facing the left front corner if the supporting leg is the right. In the illustrations the position is shown sideways for the sake of clearness. THE FRENCH ARABESQUES. Arabesque ouverte: The body is supported on a straight leg with the other extended and at right angles to the supporting leg, the extended leg being nearer the audience. The body leans forward with the arm on the side of the supporting leg held in front and the other taken well back and held parallel to the extended leg. Arabesque croisée: The position is the same as the above but the supporting leg is the leg nearer to the audience, the arm on the side of the supporting leg held forward. THE RUSSIAN ARABESQUES (VAGANOVA). First arabesque: The body is supported on one leg with the other lifted at a right or greater angle to the supporting leg. The body is inclined forward from the waist with a strongly arched back. The arm on the side of the supporting leg is extended forward and the other taken out to the side a little behind the second position. Second arabesque: The body and legs are the same as in the first arabesque but the arms are reversed. That is, the arm on the side of the supporting leg is taken back far enough to be seen behind the body while the other arm is extended forward. The head is turned toward the audience. Third arabesque: This arabesque faces diagonally toward the audience. The supporting leg is nearer the audience with the other raised in croisé derrière at right angles to the supporting leg. The body is inclined forward with the arm opposite the supporting leg extended forward on a level with the shoulder and the other arm extended to the side. The head is turned toward the forward arm. Fourth arabesque: The legs are in the same position as in the third arabesque but the arms are reversed and held at shoulder level. The arm on the side of the supporting leg is brought forward and the other arm taken back far enough to be seen behind the back. The body is half turned away from the audience by the strong arching of the back, with the head turned toward the audience.
Arabesque