New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1896-09-06

.xclusivelv The effects have been produced 10y
balf q dozen and the means differ a little. though
the principle is Of course. always tho same.
Perhaps a word should be- said first abou' the
dancers own part for thai Is properly mcdaniel
There has perhaps never been = dane" devised b.
fore which was such hard work as these recent de-
vclopncni5 OF the scrpentin" dance with IN" "hor'
nous skirts Though the skirts are mad" oil hlmy
stuff they are so large and wide ana there Is 50
much material Ia Them that they ar" extremely
heavy II t. perfectly clear T. any one WHO sees tho
dance that fhey extend too far to be managed by
the hands Of the dancer directly. and that Ions
rods are introduced into them by means OF when
they are whirled far ont from the dancers body
and high above her head
THE LABOR or THE DANCER
Even with the shorter skirts which were used two
years or more ago the labor OF keeping them IN mo
ton with the arms for the time required WIS ="
great that the dancer at the end OF each portion 81
IN. dance had to fall into the arms of the at
PENDANTS when she came from the stage ana gasp
for breath and be- famed and restored by all the
artificial means at hand 10 make her ready Tor her
next effort. But when skirts thai reach when
they are extended. fifteen feet from the stage ana
a corr.suouding distance To the sides have 10 be
controlled the dance becomes an athletic Labor
comparcd with which the swinging of the heaviest
Indian clubs In common is the mercst chld's
MAY Many good dancer has not The physical
strength 10 do these dances at ALL ana Tor those
- IL, n them a course Of the most complete
and effective physical training IL necessary. SO
much credit. then. Is due to the dancer no matter
what the electrician may deserve
xyton the earliest of these dances the scrp'ntne.
wos introduced the lighting was Of quite an ordi-
nary sort Lime lights of different colors were
,brown on the dancer from In front ana others
from behind and the waving OF the skirts was the
,oto dance This dance had run its course. and
was wearing before the notion of breaking the
,oh,s all 70 pieces and mixing the fragments was
,akon mn The beauty OF the color effects produced
e. mis- way was a surprise and delight; but this
1,oa ton had It's day It was varied by the In
PRODUCTION Of mirrors. which made the one dancer
,oo, mar. or less like a small ballet. Mirrors were
m, an entirely new adjunct Of dances at this time
howevnr They were used before the serpentine
dance WAS ever thought Of Finally. another i'm
nrovement was made by giving the dancer "A glass
nlate IN dance on with the most Of the light shin
inc nm through it, This the fire dance.
WHAT WAS GAINED BY THE NEW LIGHT.
This method Of lighting has two great advantages
+, m. nroduction OF brilliant effects. The first Is
/ that IL IL the best way yet devised 10 hent 'he
egur. of the dancer and nothing else When a
light IL thrown on the dancer from above or In IRON
or the side IT always makes ring OF light on the
floor or the hangings OF stage. in the middle OF
which the dancer appears 1t Is Impossible TO iigh
her alone and keep everything else entirely In the
dark But when the light comes up through the
floor no such ring light Is seen because the rays
that do not 70 TO the actual illumination OF the
figure are thrown up past the flies and do not touch
anything that the audience sees. so that the hgure
stands out brilliantly lighted and surrounded by
complete blackness.
The other advantage is that brighter light can