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In classical ballet, aplomb ((:aplɔ̃)) is . The word is of French origin, coming from ''à plomb'', "according to the plummet".〔('aplomb. (n.d.)' ) Dictionary.com Unabridged, (Retrieved August 23, 2015) 〕 French ballet master Jean-Étienne Despréaux used the term in 1806 to refer to the dynamic balancing that is fundamental to all well-executed ballet positions and movements.〔Bernard Taper (1996) "Balanchine: A Biography", ISBN 0-520-20639-8〕 In 1887, German dance theorist Friedrich Albert Zorn analogized aplomb in dancers as "the sureness of touch of the pianist".〔''(Grammar of the Art of Dancing, Theoretical and Practical )'', a translation of an 1887 book by Friedrich Zorn〕 Friedrich Zorn described aplomb in terms of both its outward appearance and its underlying technique, saying that "()plomb is the absolute safety in rising and falling back which results from the perpendicular attitude of the upper body and the artistic placing of the feet. By means of aplomb the dancer acquires a precision and an elegance which ensure the successful execution of every foot-movement, however artistic and difficult, and thereby creates a pleasing and a satisfactory impression upon the observer."〔 According to Agrippina Vaganova, aplomb relies on balance and on feeling and controlling the muscular sensations within the spine.〔Agrippina Vaganova (1969) "Basic Principles of Classical Ballet: Russian Ballet Technique" ISBN 0-486-22036-2〕 The , and the perfection of the aplomb requires years of training. Exercises at the barre begin the training of the stability and balance. 〔 ==References== 〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Aplomb」の詳細全文を読む スポンサード リンク
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