Wheeling Sunday register. [volume] (Wheeling, W. Va.) 1882-1934, 1893-11-12

EOOF POSIIlONs tllS' CAS
begin very young in order to obtain the
proper lexibility and strength required
in ballet dancing. After the eighth
year the limbs become too fixed to yield
to training.
began, as l said, at 5, and for two
years did nothing except what would
stretch the cords ia order to get the
fullest, freest movement OF the limbs.
These exercises consisted Of swinging
the leg in front and to the side and rear,
care being taken that it was always held
perfectly straight and that each limb
should become perfectly independent
of the rest Of the body. The high
kicker shoots her foot up suddenly in
the air, maintaining an equili brium by
bending the back and head.
None OF the movements OF a
ballet dancer is sudden. In the school
We are taught TO be deliberate. DELHI
GRAFTON means grace, but 1t is attained
only by constant practice, for the strain
is intense. The exercises In the school
make the muscles Of the leg and lower
trunk very strong and hard, but the
muscles OF the upper part or the BODY
are subjected to an entirely different
course OF training. 1t is not strength,
but absolute ease, that is desired.
Hands, arms and shoulders are sub
iected to what the Delsarte people call
the devitaiizing process.
It is this that gives to the ballet dan
GERS, whose lower limbs are being SUBJ
jected to the most intense strain, the
appearance of airy lightness that makes
them seem to be floating about the stage
as though blown by a breath OF wind.
There is a constant upward motion
in the efforts of the ballet dancer, which
may be better appreciated by coppar-
ing her efforts with those OF a jig
dancer, who employs a constant down
ward motion.
1t requires long practice before n Is
able 10 take up the art of toeing. it is
of course the most difficult task OF all
And let me say a word right now to the
Young women with the small, dellcately
arched feet, who imagine they could
piroutte like q premiere assoluta Just
because they happen to DO light on
their feet and are tireless dancers Ia
the ballroom. The woman who possesses
q high inStep cannot become 8
good ballet dancer because she can
never toe properly. When l began TO
toe. nv feet were almost fiat, the instep
being very low. This flatneSs meant
strong muscular development n a was
absolutely necessary for the fearful
strain Of nv solo dancing. Constant
practice in toeing rounds out this Hat
ness into considerable OF an arch, but II
Is an arch Of much more than ordinary
streueth-one that has been forced by
the persistent tension OF the muscles
aud that will sustain one 10 exercises
that would break down the natural and
much priced arch Of the society girls
delicate foot.
After 1 had spent five years in the
German school I studied for a year IN
der q master Of the French school OF
posing. Then came a year under an
Italian master, who taught me toeing
and turning. Then l had mastered the
rudiments OF the art. Since then |
have practiced every day Of my life ex-
cept Sunday.
The minute / leave my bed in the
morning, and before | have had any
thing to eat, / don a loose garment, like
a modern bathing suit, With tights aud
blouse and an old pair of ballet shoes.
Then for nearly an hour ! go through
the old exercises of my schooldays in
order TO loosen the knees, hips and
shoulders, and lend strength, grace and
frmness TO the limbs.
Frequently after breakfast /
20 over TO the stage and
nraetice my solo dances in
the ballet OF "Versaries," particularly
the adagio movement which is the most
irving Of all. keep pretty quiet for
the rest Of the day, for my work at