Wheeling Sunday register. [volume] (Wheeling, W. Va.) 1882-1934, 1886-10-31
EXPRESSION IN DANCING.
The Contortions of Sayages, the chorus OF
the Greeks and the Rythmical Move
ments OF the Modern Ballet.

ments Oh inc NubucFh bh''e
The Stag.
In n primitive state of civilization, when
the only faculties developed are sense and
emotion. 1t is easy TO see how dancing
would become a usual means Of commuui-
eating and expressing tho Joys and sorrows
Of a savage tribe. Phe almost habitual
state of warfare would naturally suggest
an excited dance as the best means for
stirring up the young braves to courage
md actiOn-a custom, indeed, existing
still in a modified form in the loud chorus
ed patriotic songs of Engladd.
From the frantic dances Of tho North
American Indian, with its weird aisocia-
ton, to the modern ballet there seems but
little natural sequence, and yet 1t Will be
f0nnd that one and the same essential Is, or
should be, characteristics of both.
In both the central idea is a suitable ex-
preston Of emotion, and hence dancing be-
came in process Of Development a distinct
adjunct of the worship Of the gods.
The origidal Greek chorus signifed q
company of singers dancing in q ring about
the altar Of Dionysius. Plato. too, declar-
ed that all dancing should be an act Of re-
ligion, whiist among the Romans 1t was
considered an indeeency to dance in private.
All this goes to prove that n III in
tention was always understood, m that
dancing was not regarded rs mere postum
ing or posing, hut that it had an Ineligible
language OF its own.
Adam Smith tells us that dancing Is
much more expressive than music, and that
the minuet, where the woman, after pass
ing and repassing the man, gives him hrst
one hand and then the other, and then
both, was originally q Moorish dance, rep
resenting the passion of love.
The Pyrric dance of Sparta represented
real warfare, and the dance Of abe Eumen-
ides is said to be so fearful us to terribly all
the spectators.
The Roman funeral dances would natur-
ally arise from the religious sentiments AS
sociated, though it is hard now to realize
the appropriateness Of having a bufoon In
attendance to dance an imitation OF the
character of the deceased.
In the reign af Augustus two remarka-
BILE men brought about a complete revolu-
ton in dancing. Their names were
Pylades and Bathyllus, and to them must
be ascribed the pantomime ballet. From
the accounts of the time their performances
TEEN to have been wonderful, the specta-
tors being able with difficulty TO follow the
most elaborate plot, and even to understand
the most minute illusions. A writer OF the
day says: ''Their very nod speaks, their
hands talk, and their tingers have a voice"
A memorable trial Of strength took place
between Pylades and q rival by the name
Of Hylas. The latter, dancing o hymn
which closed with the words. THE great
Agamennon," to express that idea stood
Arect, ar if measuring his size. Pylades
exclaimed: 'Ah, you make him tall, not
great" The audience begged Pylades TO
dance the same hymn, and when he came
TO the words he collected himself in o pos
ture Of deep meditation. The silent pam
tomime language We are told, was perfect.
So highly were these pantOInimes es-
teemed that many Of them were children OF
the Graces and the Virtues, and such an in.
huence had they over the Roman people
that when a quarrel occurred between
Pylades and Bathyllus the Emperor him
self interfered TO bring about q renewal OF
friendship.
For a considerable period, owing prob
ably TO Gothic and Vandal invasiOns, PAN
tOmimic became almost extinct in Italy,
hut in the fifteenth century 1t revived, and
has maintained vitality ever since.
Female dancers were first introduced 10
the ballet at an ENTERTAINMENT gwen At the
Court Of Louis XIV, in 1851, and at
length the art was brought to its greatest
perfection by the celebrated Noverre, who
was connected with several of the royal
courts Of Europe as maitre de ballet during
latter part at the last century. According
to him the qualifications of a ballet master
were terribly exacting. A right knowledge
Of mythology is absolutely necessary; an
Gent poetry, chronology and painting are
also requisite, not to mention the trifiing
addition Of geometry, anatomy and music,
a pretty good sense not to mention the
trifing addition Of geometery, anatomy and
music, a pretty good dose for the modern
terpsichorean digestion.
But Nouverre had the right principle ut
heart. and we cannot do better in closing
this brief in INJURY than by quoting his own
words rsSeeting the true aim Of what was,
to him, the highest art. He says: THE
ballet shonld be complete pautOmime, and,
though the eyes, speak, as it were TO the
very soul Of the spectator"