Omaha daily bee., 1909-12-26

q Ut
painter Lenbach who first noted the dane
er's talent and by arranging for her first
appearance az the Kuenstterhaus in Nun
ich, sent her away from Munich with the
Enforcement Of the whole artist colony.
In Vienna she was the pet of such paint
ers as Klimt and HoSmann, who acted as
impressarios when she appeared there first.
My art Is essentially modern Mile.
sacchetto said to the reporter at the Met
ropolitan opera house the other afternoon,
"In the best sense Of the word. / have
tried to revive the dramatic side of dane
ing, to retain always its fundamental
traits. such as they were developed by the
people or in the society Of courts. 1 have
at the same time tried to make them, II
possible, richer in beauty and suggestion.
That is the theoretical formula of my
art"
Mile. sacchetto makes her own costumes
and designs the background against which
she dances. She was even able to do one
of her English dances at the. palace Of
Schonbrunn, and so high does she stand
in the favor of royalty that Schonbrunn
has provided the background for a num-
Der Of her most striking photographs.
Mile. Sacchetto shas danced before the
royal family in Madrid often. She has also
danced for the Empress Auguste Victoria
of Germany, who is known not to possess
any particular fondness for ballet dancers
of any kind.
Dances of the Mystic East.
Ruth st. Denis, with her East Indian
dances stands more properly in line with
Mile. Sacchetto than any of the other new
school dancers, although her repertoire is
limited to a single speciality, which she
J hoe oIaharatn1 and ovtapaad qirrp she Car-
rled 1t successfully through Europe. Miss
st. Denis does little dancing even in the
most literal Interpretation of the term.
Most of that is done In the episode of her
entertainment called The Nautch Girl
In which she is supposed to show her
graces for the delight of a coffee colored
eastern potentate. She has devised q
charming costume for this episode, which
is more appreciated perhaps from the fact
that during the progress OF the other scenes
she reduces clothing to a minimum.
THIS young native of Paterson, N. j.,
who has nobody but herself to thank for
the career that raised her from the humble
part of a dancer toD"Du Barry to her
present prominence, covers her program
with various psychological explanations
and suggestions which may be understood
by persons of vivid imagination. The wrig-
| bAAAhbo esAhA NSAaNS @afAfFa - oNeAh~ NAANN
accompany the Yogi tableau under the in
g~enious lights Stimulating sunrise are sup
posed to mean a great many mighty and
serious religious facts which Miss st. Denis
may feel even II they are not obvious to all
the spectators of her dancing. She has at
least the distinction of being the only one.
OF the new school who tried to dance a
frame of mind.
YET said q blase spectator at Miss st.
Denis first matinee who looked as IL he
would have been more in place staring out
Of a club window on Fifth avenue, Il can
understand that this dancing may mean all
the program says 1t does, just as we'll as I
can realize that to see Isadora Duncan
pick imaginary flies off the curtains with
her back turned to the audience is an in
depreciation Of the third movement Of
Beethovon's seventh symphony
Dancing n Funeral March.
So are all interpretations more or less
subjective. They must be in the mind OF
the spectator who would see in them all
that the dancer intends. At the revelation
Of Loie Fuller and her muses., for instance,
the program announced that Gertrude van
Axon was to dance the Beethoven funeral
march. Then in very ~diaphanous draperies
copied from Miss Duncan's the young
woman mached around and around the
stage with great elaboration and an as
sumption of great dignity,
The lights were low, the music solemn,
of course, and there may have been per-
sons in the audience who found the spirit
of Beethoven's music incarnated in the per-
son OF the comedy young scandinavian, who
was strutting about so splendidly. To less
sensitive persons, however, the dance might
have been called by any other name.
Just how far the idea of Interpretation
may be carried was shown last month by
Michael Elliot. She does not hesitate to
dance an Interpretation Of the death march
from "Gotterdammerung," showing by pose
and gesture such motives as Love and
} Death Her Greek Day" danced to the
music of Max Bruch's "Lauricaa," is also
rather a large order, since the dancer an
nounces that she illustrates in that "a re-
ligious festival, the Joy Of spring, the pro-
; cess!onal with fife and harp and cymbals,
twining Of garlands and the ball game"
1 That certainly seems dancing some when
one young girl undertakes so much.
Comes from California.
She has already gained high praise from
/, all who have seen her, and it is practically
q at the very beginning OF her career. She
a is a native Of California, studied dancing
there ard brought her teacher, Mrs. Fair
a "NHNASit = lhiS city WHEN she uCeileu ina
the time had come to reveal her art to
a wider field. Miss Elliot does not dance
. in her bare feet, which puts her rather
into the class with Mile. Sacchetto and
4 Ruth st. Denis than along with those who
are devoted to the Duncan school,
Il do not consider that to dance with
a bare feet would be in the least in accord
nnce with the spirit Of my work, she
told the reporter. Il am not trying to re-
vive the ancient Greek art, but to carry
n out on modern lines the spirit OF the in.
e terpretatiye dance.
r I'm the 'odysseus' dance, for Instance
am not reproducing figures from GTeel
r vases and freizes. l am aiming to in.
q terpret in bodily motion the spirit Of thu
music.
: appropriate bare feet ma,
have been in the days of Homer, they ar,
, certainly out Of place today. II the ar
\ Of the dance is to play any part in moderI
\ life and hold its own with other arts /
y cannot remain forever in the days of an