Knee tracking in demi-plié is kept over the second toe. This alignment helps the leg move in a straight line from hip to ankle even with turnout, keeping the weight centered on the foot and the knee stable. When the knee stays over the second toe, you avoid letting it collapse inward or drift outward, which protects the knee and supports proper turnout from the hips. If the knee shifts toward the big toe or toward the other toes, the line of alignment shifts off the center and the stance becomes unstable, increasing strain. So, the second toe is the correct alignment for knee tracking.

In Cecchetti ballet terminology, to specify where the feet sit in relation to the body you name the position and whether it’s in front or behind. For the fourth position that sits behind, you use the phrase in the form “à la quatrième derrière.” Here, quatrième indicates the fourth position, and derrière shows that it’s behind. The other terms don’t convey a behind placement in the fourth position: à la seconde names the second position; dessous means underneath or below, and dessus means above or over, neither of which pinpoints a specific behind placement in the fourth position.

The structure of a Cecchetti Grade 2 exam is built to test technique in stages, with a practical progression and a possible theory portion. It starts with a barre section, where you demonstrate clean fundamental technique at the barre—turnout, alignment, footwork, and precise port de bras—to show control before moving away from the barre. Next comes the centre section, which removes the support of the barre and focuses on balance, memory, tempo, musicality, and phrasing through adagio and turning or traveling sequences. Finally, the petit allegro section checks quick, light steps, clarity of beats, and accuracy in faster movement and jumps, all performed with control and clean technique. Some exams may include brief theory questions to assess knowledge of terminology or movement names, adding a breath of understanding beyond the physical work. The other options don’t fit the typical Cecchetti Grade 2 format because they either omit the necessary practical components (barre, centre, and petit allegro) or replace the structure with elements not used at this level (such as grand allegro-only routines, rehearsal footage and viva voce, or barre-only without any centre work).

Le point clé est le nombre de glissades et l’élément complémentaire qui suit. Trois glissades sans changé signifie que tu fais trois glissades l’une après l’autre sans changer la position des pieds entre elles. L’élément ajouté est un battement tendu, c’est-à-dire une extension du pied en ligne sur le sol sans battement. Donc l’énoncé décrit trois glissades sans changé suivies d’un battement tendu, ce qui est exactement ce qui est demandé. Les autres options impliqueraient un changement de pied, ou des termes différents comme frappé ou retiré, qui ne correspondent pas à l’indication donnée.

In centre work, the goal is to hold a tall, stable line from crown to pelvis, with the spine lengthened and the core active to support that alignment. This means keeping the pelvis in a neutral position—neither tucked nor dumped—so the hips stay level and the ribcage can stay soft. When the spine is lengthened and the core engaged, you create a steady center that helps you stay vertical and controlled during movements. Relaxing the core reduces the support your spine needs, making balance wobbly and lines less clean. A tucked pelvis with a rounded spine shortens and curls the torso, which disrupts the vertical line you’re aiming for. Hyperextension pushes the lower back into an excessive curve, throwing off neutral alignment and compromising control. The best choice—lengthened spine, engaged core, and neutral pelvis—keeps you upright, balanced, and ready for precise centre work.