The Wichita daily eagle. [volume] (Wichita, Kan.) 1890-1906, 1891-04-30

of my art from the age OF seven years.
was sent by my parents 10 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 a day IS
! given to practice. Their strength Will not
| stand more. The second class pupils are
| required to work two hours a day, the
| third class from two TO three, and the
! fourth class three as regularly as the sun
! rises.
| at is impossible for any girl to become a
| good premiere before the age OK sixteen or
| seventeen years. She has not the natura!
| strength TO stand the strain upon her sys-
! TEN. The labor is difficult and severe be-
cause it requires such constant applica-
ton. \ 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 ut the Italian dancing academy un-
less she can pass a thorough medical ex-
animation, and every year that she contin-
ues as a pupil she must submit 10 this in
spection. When some physical defect mani
tests itself the pupil IS at once dropped
from the list. \ 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
bitiQn, but even if the people forget the
trials and exeTtion 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 20 its best development.
And this training Is not confined 10 any
part of her BODY. 4 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
20 keep myself in the proper condition. ]
cannot say that one particular build OF
woman Is better adapted 10 the terp-
sichoTean 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. u is impossible for
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-
quire premiere 10 dance every night and
at TWO matinees. IL Is also very i'm portans
for premiere 70 be careful abOu: her feet.
She must eat more meat than ANYTHING
Else to keep her muscles in the best con
d.tioa, and she must have plenty Of
sleep and rest The labor Is 50 hard that
after every performance feel It necessary
70 sleep at least two hours
Where do the best dancers come FROM
Well. do not want 10 seem prcjudiced IN
behalf Of my own country, but ] am forced
to declare that they come from italy The
methods there are more thorough, sad /
dancing IS made more Of an art than IN
any other country. The American dancers {
/ find 70 be very intelligent, and nearly ali I
have good figures. But TIE Italians have /
the school and the coHstSncy 70 8Aster /.
their GTt, and that counts for everything !.
in the pursuit after success. "-Catca-o I
F1ra-