雖然閻老師說：「看書就有用喔？！看書就會跳了喔？！」
我也是覺得光看書是不可能搞得懂，而且有很多時候是越看書越迷惑‧‧‧‧‧‧
我們不是舞蹈系的學生，沒有人會給我們一階接著一階的書單
而我們又是剛起步的初學者，有的人一星期只能上一堂課，有的人是上下課都很匆忙
有很多問題是下了課回到家才想起來，沒有老師可以問，還好我們有一群熱血的芭蕾同好，雖然很多是土法煉鋼的解答，不曉得科不科學正不正確，但至少大家都是在一齊努力著......
在狂破關的沉迷中突然覺醒，在看到莎娃妹妹過年不忘劈腿及練腳踝時
熊熊想起我答應過要幫她找書！啊~~~~~
關於Elsa所問的：Cou-de-pied與Coupé的分別：
Cou-de-pied.
"Neck" of the foot. The part of the foot between the ankle and the base of the calf is termed the Cou-de-pied. (P.33)
(腳的「頸」部」─也就是「腳脖子」。腳和踝關節之間的部份─這是在解釋Cou-de-pied的位置。)
Cou-de-pied, sur le.
On the Cou-de-pied. The working foot is placed on the part of the leg between the base of the calf and the beginning of the ankle. (P.33)
(放在「腳脖子」上。動作腿放在「腳脖子」的位置─1.放在支撐腿前的，分為包踝與腳尖點兩種；2.放在支撐腿後的；此外，還有1.繃腳尖或2.勾腳背的。)
Coupé.
Cut, cutting. A small intermediary step done at a preparation or impetus for some other step. It takes its name from the fact that one foot cuts the other away and takes its place. Coupé may also be dome in a series from one foot to the other. It may be performed sauté or as a terre à terre step, croisé or effacé. (P.34)
以上資料出自於：【Technical Manual and Dictionary of Classical Ballet】，作者：Grant, Gail (Edition: 3, illustrated, revised)，出版者 Courier Dover Publications(1982)
延伸閱讀：關於此書介紹及預覽此書。
在另一本書中有更詳細的解釋：
Coupé.
This small intermediary temps is a movement facilitating the beginning of some other step. Coupé is dome as a preparation, as an impetus for some other step, and is usually done on the final up-beat of a bar(pick-up).
Suppose you have to do pas ballonné forward, while you are standing on right foot in a pose croisé back.
You must first do a demi-plié on the right leg, and change to a plié on the left leg, with a short movement as if stamping with the left foot. This brings the right foot sur le cou-de-pied forward, and from there continue the step.
Coupé back is done in the same manner.
Coupé can be done in other forms as may be required by the particular movement to be executed. (P.64)
以上資料出自於：【Basic Principles of Classical Ballet】，作者：Agrippina Vaganova，譯者 Anatole Chujoy (Edition: 3, revised, illustrated)，出版者 Courier Dover Publications(1969)
延伸閱讀：關於此書介紹及預覽此書。
在朱立人的那本【芭蕾術語詞典】裡，則只是很簡單地說明：
Coupé：動作腿在支撐腿Cou-de-pied的「切下」成為支撐腿(重心轉換)，而原本的支撐腿變成了動作腿。(P.39)
至於【芭蕾舞及教學論研究】中則說：「pas coupé主要起動作之間的連接與輔助作用，在動作組合中，它可以對連接下一個動作、移動身體位置，變換主力腿等起到積極的作用。」(【芭蕾舞及教學論研究】，李永明著，人民出版社，2007年8月，ISBN 978-7-01-006451-2，P.136)；對於動作的要求：「在做pas coupé時，向地面切下的動力腳和動作的過程要快而有力，身體的重心變換要快而敏捷，為pas coupé以後的下一個動作做好能力上的準備。」
(昨天我才明白：原來Elsa搞不清楚的是petit battement sur le cou-de-pied，那Elsa怎麼不會對battement frappé、battement battu及flic-flac產生疑問呢？)
至於愛咪所問我在書上查到的六套Port de bras：
分別是：
1. Stand in 5th position croisé, right foot in front. From the preparatory position the arms go into 1st position, are raised to 3rd position, open in 2nd position, and are lowered to their starting-point in the preparatory position.(P.46)
(圖片來源：【芭蕾舞及教學論研究】李永明著，人民出版社，2007年8月，ISBN 978-7-01-006451-2，P.210)
2. Stand in 5th position croisé, right foot in front. From the preparatory position the arms go to 1st position, then the left arm goes to 3rd, right arm to 2nd, then left arm to 2nd, right arm to 3rd. Then left arm is lowered to preparatory position, passes it and comes up to 1st, where it meets the descending right arm. From here the entire movement is repeated. (P.47)
(圖片來源：【芭蕾舞及教學論研究】李永明著，人民出版社，2007年8月，ISBN 978-7-01-006451-2，P.211)
3. Stand in 5th position croisé. Opening the arms into 2nd position(head to the right), “breathe” with them, as described in the first port de bras, and lower them into preparatory position, simultaneously bending the body and the head forward and keeping a straight spine all the time. Then begins the unbending which is done in the following manner: first, the body straightens out, i.e. rises to the initial position, during which the head and body are raised simultaneously with the arms; the arms move through 1st position into 3rd, then the body bends back as much as possible, but the head should not be thrown back, and the arms, according to the accepted rules, should be in front of the head and should not escape the eyes which are fixed on them; the body unbends, the whole figure straightens out, the arms open into 2nd position. (P.48)
(圖片來源：【芭蕾舞及教學論研究】李永明著，人民出版社，2007年8月，ISBN 978-7-01-006451-2，P.212)
4. Stand in 5th position croisé, right foot front. The arms go through 1st position, the left into 3rd, the right into 2nd position. Open the left arm into 2nd position, at the same time vigorously expanding the chest, tensing the back and arching the spine, bring left shoulder so far back as to see it well from the back in the mirror, and as you are thus turned to the left, the right shoulder will be in front. The head is turned to the right. In spite of the powerful turn of the body, the feet do not move. Then the right arm is moved into 1st position, where the left arm, rising from below, meets it. The body returns to starting position. (P.48)
(圖片來源：【芭蕾舞及教學論研究】李永明著，人民出版社，2007年8月，ISBN 978-7-01-006451-2，P.213)
5. Stand in 5th position croisé, left arm lifted in 3rd position, right arm extended in 2nd; bend the body and head forward, without losing the straightness of the spine; left arm is lowered to 1st position, right arm, having passed through preparatory position, meets it(also in 1st position), the body bends back with a turn to the left; i.e. the left shoulder moves back. The arms move from 1wt position thus: right arm rises to 3rd position, left extends into 2nd. Then the body returns to its starting position, right arm opens to 2nd position, left arm rises to 3rd. (P.48,49)
(圖片來源：【芭蕾舞及教學論研究】李永明著，人民出版社，2007年8月，ISBN 978-7-01-006451-2，P.214)
6. Grand port de bras. Stand in croisé position, left foot extended behind(left arm already in 3rd position, right arm in 2nd). Plié on right foot sliding the left foot further behind; you may leave it either entirely on the floor, or raising the heel rest on the toes(the first way makes the body bend further and work harder). At the same time the body bends low forwards, with it goes the left arm without losing its position in 3rd position. Bending the body as far forward as possible, you should hold the spine straight, not allowing it to bunch over. In order not to lose this erectness, you have to hold the spine perfectly firm 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 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 head!). 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. (P.49,50)
(圖片來源：【芭蕾舞及教學論研究】李永明著，人民出版社，2007年8月，ISBN 978-7-01-006451-2，P.215-6)
以上資料來源：【Basic Principles of Classical Ballet】，作者：Agrippina Vaganova，譯者 Anatole Chujoy (Edition: 3, revised, illustrated)，出版者 Courier Dover Publications(1969)
延伸閱讀：關於此書介紹及預覽此書。
要特別說明一下：那本書由於是前蘇聯的訓練方式，文中的三位手其實是我們現在學的五位手！而那本書中的圖片因為是用畫的，所以更難理解；所幸，中國大陸雖然手位的稱法另成一體系，但是手位的訓練方法恰與前蘇聯相同，借來用剛好！^^
誠如我在之前的留言中告訴愛咪的：Port de bras練習會根據學派的不同而有所分別，在朱立人的書中也說到：切凱弟體系中有八套手臂練習，俄羅斯學派則有六套(【芭蕾術語詞典】P.101)；那本被魚兒稱為聖經的【Classical Ballet Technique】裡面，則是有Closing the arm from 2nd to 1st position, Lifting the arm from 2nd to 5th position en haut, Opening the arm from 5th en haut to 2nd, Half port de bras, Half port de bras en dehors, full port de bras en dedans(P.31,32,33)，此外還有Cambrés與手位的協調配合(P.54,55,56,57)，及Grand port de bras en round.(P.58,59)
值得一提的，這本書中有一部份是講解Port de bras variations with the directions of the body((P.42,43,44,45,46)，雖然不是手位的練習，卻有各種手位與方位的的講解。(這是我一直搞不清楚的呀！)
至於舞線譜所問的六套Pas de bourrée：
由於我之前在回留言時已經說過了，pas de bourrée有非常多種類，譬如說：換腳(不換腳)並帶sur le cou-de-pied的pas de bourrée、直腿的(不帶sur le cou-de-pied的)pas de bourrée、帶上身傾倒的Pas de bourrée、帶en tournant的pas de bourrée、原地的en dehors的pas de bourrée、原地的en dedans的pas de bourrée、移動位置的en dehors的pas de bourrée、移動位置的en dedans的pas de bourrée‧‧‧‧‧‧(這些，我幾乎都沒有學過，所以完全不曉得怎麼做...XDDDDDD)
所以，小舞問這個動作要怎麼做得好時，就變成很難以回答了。
不過幸好我有書，書上說：「做pas de bourrée時，要抬頭挺胸，上下身協調配合(這些不是廢話嗎？！)，動作的過程何腳離開地面時要迅速，動力腳在sur le cou-de-pied的位置上、主力腳在relevé上多停留。」(【芭蕾舞及教學論研究】李永明著，人民出版社，2007年8月，ISBN 978-7-01-006451-2，P.133)
後記：
從下午寫到晚上八點，寫得還真久的一篇筆記...XD(中間有偷跑去煮飯飯吃啦！)
以上英文的部份是一個字一個字打上來的，由於我一向都直接在PO文的界面寫文字，所以沒有拼字矯正功能，可能有拼字打錯，或者眼花抄錯的情況，敬請見諒！
由於現在的英翻中軟體及網頁資源很多，所以不才我就不再多事翻成中文(以免翻錯...XDDDDDD)
從十二年前做完thesis之後，再也沒有打過這麼多英文
喔~~~天呀~~~~~~~~學芭蕾真的好累喔！
此外，因為想提供書籍的資料給大家而意外發現估狗的圖書搜尋還蠻好用的，這就叫「書中自有黃金屋」嗎？(阿呆呀？！明明就是「估狗甚麼都有甚麼都找得到甚麼都不奇怪！」迫不及待地跑去試用了....咻~)
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