Wichita eagle. [volume] (Wichita, Kan.) 1886-1890, 1888-10-17
-sssSs>ALIM
9aily - eagle
TRAINING BALLET DANCERS.
A Premiere Danseuse Recalls Her On
Bitter Experience.

A Premiere Danseuse Recalls Her Own
Bitter Experience.
Nile. Dorst, the premiere, SIT in the
parlor of the Laelede the other 6ay recall
ing the trials she had to undergo as an
unhedged ballet dancer and prospective
premiere. People little know" she said.
how much labor and misery 90 to make
up the piroEette of dancing girl 3
child should not begin to study dancing
after she is 10; IS the best age. The
limbs then are at the right degree of sup
pleness TO take pupil over the first diff
iculties and help her on to the lower
'Q1adrIle, which she NAV not hope TO
win before she IS Is. The form then has
gained the roundness and the flesh and
muscles the hTmness requisite TO the
artistic poses which create such fu-
rore. In my case the daily torture com
menced at s o'clock. Every morning my
feet were imprisoned in a groove box, heel
against heel and knees turned outwards.
BY this process NY feet accustomed them
selves naturally at last to fall into par
allel line. This is what is called Sc
tourner. After half al hour of the
groove 1 was subjected to another variety
of torment. This time had to raise my
foot and place 1t on a bar level with my
head. which bar | was obliged to hold in
horizontal line with the hand opposite
the foot. l was exercising This they
term Sc casser. After these preliminary
labors we were obliged TO go through a
variety OF steps and movements.
The teaching is necessarily long and
painful, the primary object being to bring
by sheer exercise extreme agility and
strength to the joints of the limbs and
feet. Even in the education of the two
great toes, 50 as to make US capable OF
standing and pirouetting on them, vast
amount Of care and time is expended.
And not only must the power be acquired,
bat it must be kept up, for which pur-
pose constant exercise is required. Other
wise the joints become stiff and relapse
to an ordinary degree of strength 4
week Of repose must be redeemed by
two months Of redoabled, incessant toll.
On this condition only can the dancer pre-
serve her suppleness and hehtness. To
acquire, later, skill and grace in the
movements of the dance is a subordinate
object. One of the most difficult parts
of dancing girls education is, for in
stance, TO make her smile with the rest
of her companions and look gracefully at
the public
any time of her career have seen the
time when, after d four hours lesson, l
have fallen exhausted on the carpet OF nv
room, where | was undressed, sponged
and resuseitated, totally unconscious of
my Situation. The agility and marvel
GUS bounds Of the evening were obtained
only at q price like this. But there are,
nevertheless, some dancers who, having
by nature greater difficulties TO surrnount,
martyrize themselves with a willingness
scarcely credible. Nathalie Fitzjanes was
an example Of this. She invented a new
method, de Sc tourner ct de SO casser. at
one and the same time. The art of dane
ing has two branches-en balloune and en-
tacquette. The bailoune is the school of
Taglioni; it is the lghtness combined
with grace, the dance which seems to de-
Night in and float in the air. The tee
quette is vIvacity and rapidity; it is the
little sparkling steps and measures on the
point of the feet; in a word, it is what
Fanny EIlsler made it."-St. Louis Re
public