What an Attitude Is in Ballet
An attitude in ballet is a classic pose where one leg is lifted and bent while the standing leg supports the body.
Knowing how to do an attitude in ballet requires more than simply bending the knee; the shape must show clear line, stable alignment, and controlled placement from the hips through the torso.
The position appears in both classical variations and classroom exercises, which is why dancers are expected to understand its technical details early.
Small differences in leg direction, torso carriage, and arm coordination can change the quality of the pose dramatically.
Basic Shape of an Attitude
The defining feature of the attitude is a lifted leg that is bent at the knee instead of fully extended.
The working thigh usually stays open to the side or slightly forward or back, depending on whether the attitude is devant, à la seconde, or derrière.
- Standing leg: Straight, lifted through the spine, and grounded through the foot.
- Working leg: Bent with the knee clearly shaped and the lower leg relaxed but active.
- Hip placement: Rotated enough to show turnout without twisting or collapsing.
- Upper body: Tall and quiet, with the ribs stacked over the pelvis.
A strong attitude looks lifted and suspended, not forced.
The bent leg should seem placed into the air with control, not cranked upward by tension.
How to Do an Attitude in Ballet Step by Step
1. Establish your standing position
Begin in a clean ballet stance, usually fifth position or a similar preparatory placement used by your teacher.
Engage the turnout from the hips, lengthen the spine, and distribute your weight evenly over the standing foot.
2. Transfer weight with control
Shift your weight onto the supporting leg without sinking into the hip or locking the knee.
The supporting side must feel stable before the working leg leaves the floor.
3. Lift the working leg with turnout
Move the working leg to the chosen direction while keeping the thigh rotated outward.
Whether you are lifting devant, à la seconde, or derrière, the leg should travel from the hip rather than from the knee.
4. Bend the knee to form the attitude
Once the leg is lifted, bend the knee so the shape reads clearly.
Keep the foot alive and the knee open enough to preserve the line, but avoid pulling it so far that the hip twists or the lower back arches excessively.
5. Set the arms and upper body
Coordinate the arms with the pose so the body looks finished, not segmented.
The chest stays lifted, the shoulders remain relaxed, and the head follows the line of the choreography or teacher’s direction.
Key Alignment Points
Alignment is what separates a polished attitude from a pose that only resembles one.
If the pelvis tips, the lower back compresses, or the torso leans too far, the line becomes unstable and less classical.
- Lengthen upward: Think of energy traveling through the crown of the head.
- Keep the pelvis level: Avoid hiking one side or gripping the glute.
- Maintain turnout: Rotation should originate in the hips, not the knees or ankles.
- Support the standing side: A strong ankle and lifted arch improve balance.
Teachers often remind dancers that the attitude should be placed, not pushed.
That means the shape comes from coordinated muscles and precise timing rather than brute flexibility.
Attitude Devant, À la Seconde, and Derrière
Attitude devant
In attitude devant, the working leg is lifted to the front with the knee bent and the thigh turned outward.
The torso usually stays upright or slightly inclined depending on the choreography, and the shape should not collapse into the hip flexor.
Attitude à la seconde
In attitude à la seconde, the leg is lifted to the side with a bent knee, creating a broad, open silhouette.
This version often requires excellent turnout and strong control in the supporting leg because the line can easily drift forward or back.
Attitude derrière
In attitude derrière, the working leg is lifted behind the body and bent at the knee.
Dancers often need careful back support here, since the pose can tempt the ribs to flare or the lumbar spine to overarch.
Common Mistakes to Avoid
Most issues in attitude stem from forcing height instead of preserving line.
Even flexible dancers can lose clarity if they lift too high without enough support.
- Overarching the lower back: This creates strain and usually means the leg is being lifted with the spine instead of the hip.
- Dropping the working knee: A weak bend can make the pose look unfinished.
- Clenching the standing hip: This reduces balance and makes transitions heavy.
- Forcing turnout from the feet: Turnout should be organized from the upper leg and hip sockets.
- Holding the breath: Breath control helps the pose look calm and musical.
If the attitude feels unstable, reduce the height slightly and rebuild the line from the supporting leg upward.
A smaller, cleaner position is usually more professional than a larger one with distortion.
How Flexibility and Strength Work Together
Flexibility helps the working leg open, but strength makes the position readable and safe.
Dancers need hip stability, glute support, deep core engagement, and a responsive standing foot to hold the attitude without wobbling.
Useful preparation can include développés, développés à la seconde, arabesque holds, retiré balance work, and core exercises that train pelvic control.
Ballet training also benefits from hamstring mobility and hip rotator strength, since both influence how smoothly the leg bends and lifts.
How Teachers Look at Attitude Quality
In class and rehearsal, teachers usually judge the attitude by several visible factors, including clarity of shape, turnout, balance, musicality, and ease.
A good attitude should look like part of the phrasing, not a forced technical checkpoint.
They may also look for whether the dancer can sustain the pose while moving the head, adjusting the arms, or transitioning to another step.
This is important in variations from classical ballets such as Swan Lake, Giselle, and The Sleeping Beauty, where attitude often appears as a refined transitional shape.
Practice Tips for Cleaner Attitudes
If you are learning how to do an attitude in ballet, practice in front of a mirror first, then gradually reduce visual dependence.
Focus on feeling the weight over the supporting foot, the lift through the spine, and the open rotation of the working thigh.
- Hold the pose for a few counts before moving out of it.
- Practice both sides to identify asymmetries in turnout or balance.
- Use a barre or light support before attempting center work.
- Coordinate the head and arms once the leg shape is secure.
- Record yourself to check pelvis level, knee placement, and torso line.
Consistency matters more than height.
A smaller attitude with clear placement will usually improve faster than repeated attempts to force the leg higher.
When to Ask for Corrections
If the pose causes pain, pinching, or repeated loss of balance, ask your teacher for corrections before reinforcing a bad habit.
Dancers should never use the knee joint as the main source of the bend or push into the lower back to create the illusion of shape.
Professional feedback can help identify whether the problem is turnout, core support, hip mobility, or simply a misunderstanding of where the line should be placed.
That kind of correction often makes the difference between a basic pose and a convincing classical attitude.