The Cambria freeman. [volume] (Ebensburg, Pa.) 1867-1938, 1888-06-29

! = Sc-pcrItino female Tells How She Ac.
CURED aad Eictaius Her SuppIeness.
The ether day 7 called on bender, saws
n writer iu the PuU H4U Gascttc, "A lady.
not a gentleman, Who is well known as a
most serpeutiue coutortionist. / wished
TO ask Mile Nonare p few questions about
her art, with a view Of throwing some
light on the training Of little boys and
! girls for the profession. =
The ladywas sitting before the fire with
! her sister, who has abandoned bending
! herself and exhibits a troupe OF highly
! educated poodles. \ huge wicker basket
! contained her dress and other stage hab-
] its. From its depths she produced u
! bundle Of photographs Of herself tied and
| knotted into all manner of curious folds
That is the business of a bender The
! body is thrown into q score Of unnatural
postUres, which appear to the audience to
be achieved by dislocating every Joint in
the human frame, and to be Effected at
great risk TO limb and life. Artists
are generally enthusiastic about their
callings, and I must say that Miss Vouarc
declared that she would rather be a ben
der than n queen, or something to that
elect. She began at /; at b. she was be
fore the public, and remains o bender
still
Ny father saw n coutortionist one
night on the stage, and asked himself why
he should not teach me, aged 4. Twas put
into training at once, and enjoyed the fun
as 4 child viii enjoy anything new. Was
/ beaten Was IstaEved2 No. Isee1ned to
take TO DC lake a little duck takes to water.
You see, we were familyo or athletes. and.
besides, was a daughter and not an ap-
prentice. II the father is the trainer he
may not spare the rod, but he Is cruel only
TO be kind. Ny experience is that less rod
and more kindness Is the best plan.
rather used to bribc US into doing the
different tricks.
TO be successful means years of hard
work, practice aud performance. I am
nineteen now, and my performance keeps
me in capital training.
IN the business Of cOutOrtion the first
lesson is the backward bend first with tb.
arms, then without. You stand on a long
mattress, 50 that there is no danger. and
ut nrsU your teacher controls your move
ments with n belt.
1T is much the same wi TIA other forms OF
ucroba'ic work, and the cruelty often
takes the form Of taking away the mat
tre7S, which creates d sort Of panic in the
pupils mind.
IF he has really tried his best and
failed, Ee Is 50 terrified that lie is almost
certain TO fail unless h. has great deal
u PIitlN- II lie has only been sui King it
may bring him TO his bearings. OF course
children are often stubborn, and try the
patience OF the teacher 10 its utmost
limit
The art OF contortion," " continued Miss
Nonars, lis learned by degrees. Fir-tt the
backward bend, then the 'dislocatior.5
then the splits and so on. What we call
-cioseuess' distinguishes the best beuGfng.
To the audience lending seems most diff
cult. But experience no discomfort or
inconvenience. was puny child. You
see me now"
The lady bender was certainly most
ne1Ithy and cheerful, slouo in BODY and
ruddy in complexion, and she strongly
.n4lutalus that all women would be l-rea+-
y benefited il they took TO be.Giuas.
II Is quite mistake to think that we
put our limbs out Of Joint or thai we sl1f-
Ter from the curious nature Of OR Der
Lormance. OF course, after one or moro
IilhcuIt positions one may suffer a little
pam, but It goes IN no time. IA some ar-
-ILudes L can only remain for twenty
seconds az the breathing becomes difficult.
Sut these are triliing Inconvenience.
L practice few minutes every day+o
leep myself loose here in my room, and
hat Is about all need do"