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With quick turns in �������é, they drifted across the floor like pieces of slender grass caught in bursts of wind.

A woman emerges from the floor — as if it were soil, Sánchez Ruíz said — while another dancer stands in �������é.

We’re not up on �������é, we’re not straight legged; we’re plié, pelvis low, using our glutes and quads to get that strength from the floor and exude power together.

“I thought it would be easier,” Roberts said, “but there is actually a time of execution that I had never had to consider before. It takes a certain amount of time for somebody to go from plié,” in which the body goes down onto bent legs, “to passé �������é,” in which the body rises up onto one pointe with the other foot raised to the knee.

“I was showing everybody how to do �������é,” she said, the ballet term for rising on the toes.