This step furnishes an interesting example of the changes wrought by the Russians. The classic turn-out of the foot confines the movement of the active leg to a plane cutting the performer laterally; i. e., as the classic performer advances en relevant toward the spectator, the legs’ movements are seen to have their extension out to the sides. Whereas the Russian “toes out” (with exceptions) at a much smaller angle. His knees therefore may rise in front of him; in which case the step, as seen by the spectator, is most effective while the performer crosses the stage from side to side. It is made the thematic step of some of the new Russian dance-poems of Greek nature. It is executed sharply, lightly.
An échappé moves the feet from closed to second position by means of moving both feet simultaneously outward.
The jeté is a step that is simple in principle, at the same time subject to so wide a range of use that it creates the most varied effects. Essentially, it is the step that is used in running.
The jeté also may be executed to the side—à côté. From its use in that manner it is easy to understand its employment as a means of turning in the air: i. e., with both feet off the floor. The jeté en tournant is one of the much-used means of producing an effect of big, easy sweep; it lends itself to the embellishment of any one of several beating steps—pas battus; or others, yet to be described.