Waterbury evening Democrat., 1893-11-10

CORRECT FOOT POSITION. ity and strength
required in ballet dancing. Afrerth eighth
year the limbs become too fixed to yield to
training.
began, As 1 said, at ). and for TWO years
did nothing except what would stretch the
cords in order to get the fullest, freest
movement of the limbs. The exercises con-
sisted 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 indie
pendent of the rest OF the body. The high
kicker shoots her foot up suddenly in the
air maintaining an equilibrium by bending
the back and head. None Of the movements
of a ballet dancer is sudden. In the school
we are taught to he deliberate. Delibera-
tion means grace, but it is attained only by
constant practice, for the strain is intense
The exercises in the school make the mus
Giles of the leg and lower trunk very strong
and hard, but the muscles of the upper part
of the body are subjected to an entirely diff
ferent course of training. 1t is not strength.
but absolute ease. that is desired. Hands,
arms and shoulders are subjected to what
the Delsarte people call the devitalizing
process.
1t is this that gives to the ballet dancers,
whose lower limbs are being subjected to
the most intense strain, the appearance of
airy lightneSs that makes them seem to be
floating about the stage as though blown
by breath of wind.
There is a constant upward motion in
the efforts of the ballet dancer, which may
be better appreciated by comparing her eff
forts with those of jig dancer, who en-
ploys a constant downward motion.
1t requires long practice before one is
able to take up the art of toeing. 1t is of
course the most difficult task of all. And
let me say word right now to the young
women with the small, delicately arched
feet, who imagine they could pirouette like
a premiere assoluta just because they hap
pen to be light on their feet and are tireleSs
dancers in the ballroom. The woman who
possesses high instep cannot become
good ballet dancer because she can never
toe properly. When began to toe. my feet
were almost fiat, the instep being very low.
This fatness meant strong muscular devel-
opment that was absolutely necessary for
the fearful strain of my solo dancing. Con
slant practice in toeing rounds out this fat
ness into considerable arch. but it is an
arch of much more than ordinary strength
one that has been forced by the persistent
tension of the muscles and that will sustain
one in exercises that would utterly break
down the natural and much priced arch of
the society girls delicate foot.
After l had spent five years in the Ger
man school l studied for a year under a
master of the French school of posing.
Then came a year under an Italian master,
who taught me toeing and turning. Then
/ had mastered the rudiments of the art.
Since then l have practiced every day Of
my life except Sunday.
The minute leave my bed in the morn
ing, and before have had anything to eat,
don a loose garment, like modern bath
ing suit. with tights and 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
hrmneSs to the limbs.
Frequently after breakfast l go over to
the stage and practice my solo dances in