Omaha daily bee., 1909-12-26
RIVALRY OF The DANCERS
New York the battle-ground Of the
Various Schools.
ANTIQUE AND MODERN THEORIES
Art with Bare Feet In n Contest with
the Classic BaHet-Interpreters
from Paterson, N. j., and
California.

NEW YORK. Dec. 25.-It looks as II
New York were to be the battlefield OF the
dancers this winter, and whether the VIC
tory is to lie with the old school or the
new will probably be decided in this city.
So far honors are easy.
Isadora Duncan as the Exponent OF
pseudo-antlque posing and gesture has had
New York at her bare feet for two seasons.
That circumstance might show that New
Workers. had decided wholly in her favor
we're II not true that Adeline Genee, who
represents the classic art of the ballet
not classic I'm the sense that II is Hellenic.
but because It rests on the principles Of an
art founded several centuries ago-has cap
tured the theater-golng public here and in
the large cities just as completely as Miss
Duncan has.
These two opponents OF differing arts
may contemplate their success with pride.
But how about the small army of their
followers who are to carry on the struggle
during the rest Of the winter? How about
Anna Pavlova, the Russian premiere. whose
success in Berlin and Paris has awakened
a new interest in the old fashioned ballet
and has thrown the so-called interpretative
dancers into the shade?
Some who Have Entered.
How about Michael Elliot, who has APP
peared on the horizon this winter to inter-
pref even the funeral march from Got
terdammerung," Ruth st. Denis, who has
come back to this country after carrying
her Indian dances trlumphantly through
Europe; Rita Sacchetto, who in her one
public appearance has revealed an art more
truly lnterpretative in the aesthetic and
poetic sense of the word than any of the
n.aN41z. 49, go -
trude Van Axen, Thamara de Swirsky and
the rest Of the 1.-THE limbed young women
that Loie Fuller has brought to this coun-
try and called muses. OF the dance? What.
to repeat the question, is to be the fate Of
these dancers Of the new school in combat
ting the Influence of Genee, Pavova and
the new ballet school to teach old prin-
ciples, which has been opened at the Metro
politan? WIN victory lie with the ladies
who pirouette on their bare feet or those
who twirl serenely on stiffened toes en-
cased in silk tricot?
Rita Sacchetto showed at the Metropoll-
tan matinee what an interpretative dance
may really be. Dressed as an Italian
peasant girl she danced the "Tarantelln'
of Chopin. This Is not a tarantella OK
pressing a festal mood nor the clumsy ex-
hiblt now arranged for the edification of
visitors to southern Italy.
italian TaranteIIa.
Mile. Sacchetto dashes on the stage IN
the agony OF terror caused by the bite of
the venomous insect which In the belief OF
the people can be counteracted only by a
frantic dance. She includes this amonr
national and pantomimic dances, and It is
a wonderful expression Of the spirit OF
the music as she conceives it. In few OF
these modern dances is the symbolism So
i~ncisive.
The demoniacal fury with which she
wh'rls through the music of ChopIn
Illustrating the mood poignantIy
revealing her m~usiclanship in her .adher
ence to rhythm and expressing her poetic
Keeling In her steady adherence to beauty
is the strongest plea made IN behalf Of the
new school since Isadora Duncan returned
to this country.
Miss Duncan and this young italian
whose youth was passed in the artist
colony OF Munich have only one point ir
ommon AID that lies in their rebellion
against the canons of the ballet. Mile
Sacchotto never dances in bare feet, non,
OF her arrangements of the music OF tht
master composers goes back 10 the Hell.
lentc period and her Interpretation is muct
more dramatic. 1t is impossible to saz :,
Iar Just how successful all OF them are
although her dancing of the ''TaranteIla
mas been regarded by foreign critics a,
hothing exceptional; so II is fair to pre
sumo that the rest of her reppertojrn il
Just as satisfying.
rms repertoire includes Hungarian
dances to music by Brahms and List
spanish dances by Rublnstein, Aseher an,
MoszKoWski-which she dances in a cos
tune o., the period of v~elasques seen I,
Ben All Haggp's portrait OF her in IN,
lobby of the Metropolitan-Indian dance
arranged from Bizet's "Djamileh," in tv,
EPISODES, dances to Brahms's songs To IN,
'Nove de Premarera" of Johann Strauss
sung by Nine. Sembrich. to the 'Vals
Brillianto" OF Chopin and a series Of wha
she calls dance poems, to the music q
Waldtefuel, Carl Beiners, Ernest Gelet-
yes, 'Loin du Bar OF course, and a seen
In dance and pantomine from Auer's a.
Muette de Portion"
Music Aids Her Dancing.
Mile, Sacchetto's musical intelligence
which makes her dancing so different fror
that OF many others who take up this ar
nouveau Of terpischore. CONES from he
mother, whose family for several genera
tons have been musicians In Austria He
father was born in Venice and IL was m
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