Staunton vindicator. [volume] (Staunton, Va.) 1860-1896, 1891-05-22
TIE PREMIERE DANSEuSt.
1t Requires Hard Work for Eight or Tel
Years to Reach Her Rank.

ID lSeQu1fcS lfaru WORK 1Or EIGHT Zen
Years to Reach Her Rank.
1t is not the work of year or two years,
but of eight or ten, to make premiere
danseuse. The agility that a first class
dancer displays upon the stage and that
strength of bone and muscle necessary to
enable her to go through her evolutiols, to
pirouette on her toes and bend her body
into the curve of an arch, are the result of
years of earnest work and constant prac-
tice.
''In my own case" said Mile. Adele Cor
nalba to Il reporter, 81 have been a student
Of my art from the age of seven years. l
was sent by my parents to the celebrated
dancing academy at the La Scala, Milan,
and have ever since applied myself assidu-
ously to my studies. At this academy there
are four classes, graded according to the
age and physique of the pupils. For in
stance, the youngest beginners are put
into the first class and one hour day is
given to practice. Their strength will not
stand more. The second class pupils are
required to work two hours day, the
third class from two to three, and the
fourth class three as regularly as the sun
rises.
sit is impossible for any girl to become a
good premiere before the age of sixteen or
seventeen years. She has not the natural
strength to stand the strain upon her sys-
TEN. The labor is difficult and severe be-
cause it requires such constant applica-
ton. A dancer must not neglect her prac-
tice because, if she does, she is sure to get
heavy and stiff. No one can become a
pupil at the Italian dancing academy I'M
less she can pass thorough medical eX-
animation and every year that she contin-
lol,o ,,rfe-r, 1,,,,If fo hi N.
spection When some physical defect mani
tests itself the pupil is at once dropped
from the list. A dancer must be the pos
SCISSOR of a sound constitution, because her
life is one of constant exercise.
''Her work may appear easy to the public
after she has reached the height of her am
bition, but even if the people forget the
trials and exertion necessary before she
can reach that position they cannot real
ize how earnestly she must work after she
has attained success. Every bone must be
strong and kept strong, and every muscle
must be trained to it's best development.
And this training is not confined to any
part of her body. A first class dancer is
able to stand upon her toes without shoes
upon her feet. OF course all the practice
is done in shoes, but by and by the bones
and muscles of the feet become so strong
and firm that without any difficulty she
can stand upon her toes without any sup
port. But | have to practice all the time
to keep myself in the proper condition.
cannot say that one particular build OF
woman is better adapted to the terp
sichorean art than another, but health is
required in every one. AS a general rule
thin women never look well on the stage.
"But the slender women always make
the best dancers. 1t is impossible for a
danseuse to become stout, because her
labors always keep down the accumulation
of avoirdupois Especially is this true in
the United States, where the managers re-
uuire premiere to dance every night and
at two matinees. 1t is also very important
for a premiere to be careful about her feet
She must eat more meat than anything
else to keep her muscles in the best con-
dition, and she must have plenty of
sleep and rest The labor is SO hard that
after every performance | feel it necessary
to sleep at least two hours
"Where do the best dancers come from?
Well, do not want to seem prejudlced in
behalf of my own country, but am forced
to declare that they come from Italy. The
methods there are more thorough, and
dancing is made more of an art than in
| any other country. The American dancers
| find to be very intelligent, and nearly all
| have good figures. But the Italians have
| the school and the constancy to master
| their art, and that counts for everything
| in the pursuit after success. "-Chicago
| Post.