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First Arabesque: (a) Cecchetti; (b) Russian. The forward arm is on the same side of the body as the supporting leg. It may be either at shoulder height (Russian) or at eye level (Cecchetti). The other arm opens either to second position (Russian) or behind second position (Cecchetti). The dancer either looks forward at eye level (Russian) or gazes over the forward hand (Cecchetti).

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Fourth Arabesque: (a) Cecchetti; (b) Russian. In the Cecchetti method, the supporting leg is turned out and in fondu. The upstage arm is forward of the body and extends at the height of the top of the forehead. The downstage arm is slightly behind second position. The head tilts toward the upstage arm and eyes focus to the downstage corner. In the Russian method, the supporting leg is straight and turned out. The downstage arm extends forward. The upstage arm extends behind. The back arches to turn the body upstage. The head looks over the forward arm and tilts toward the downstage shoulder.

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Second Arabesque: (a) Cecchetti; (b) Russian. The forward arm is on the same side of the body as the leg that extends behind. The other arm extends either in second position (Russian) or behind second position (Cecchetti). The eyes focus over the fingertips of the forward hand (Cecchetti), or the head turns toward the audience (Russian).

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Third Arabesque: (a) Cecchetti; (b) Russian. In the Cecchetti method, the body is in profile to the audience. Both arms are forward; the upper arm is away from the audience and extends to the level of the top of the forehead. The lower arm is nearest the audience and at shoulder height. The eyes focus straight ahead as if looking through a window created by the arms. In the Russian method, the body faces a downstage corner, and the supporting leg is the downstage leg. The upstage arm is forward of the body and extends at eye level. The downstage arm is in second position. The eyes focus over the fingertips of the front hand.