The evening world., 1912-12-07
BY SYLVESTER RAWLING.

last few years OF public ap
probation Of the art Of dancing" said
Adeline Genee when I called to con.
gratulate her after her successful ap.
pearance at the Metropolitan Opera
House. Thank you! It's a pre:ty
compliment. But why dwell 80 much
upon the youthful freshness and
spirituality that you md In my work?
Aren't those qualities the very foun.
dation Of the dancers art! or course
you know all about the evolution Of
dancing In modern times? NOT Then
may ! tell your"
OF course ! said I should be do
lighted.
well. Just forget for a moment any
thing you lnow or think you know Of
ancient civilizations and the habits and
practices Of the people who made them.
Up 10 the seventeenth century of tho
Christian era public dancing BY women
was unknown. As In plays. where all
the women characters were acted by
men. 90 IN the matter Of dancing. Men
did Il all.
FRANcoIsG Provost PiRsr OF
WOMEN pANcgRe.
Among the nrst OF women dancers to
attract attention was Mile. FRANCHISE
Provost. who danced before Louis XIV.
Of France. somewhere about 17oo She
wore long skirts and danced only the
stately steps that were considered sdeal
and. osrhAps. the only ones known at
the time. But che was ingenious and
soon became mistress OF many now and
fascinating stsps. She was she teacher
Of Mile. de Camargo, herself the daugh-
ter Of . dancing master. Of whom she
became Jealous after Mile de Camargo
had made m lmpromptu hit. With Mile.
Dc Camargo come into fashion shorter
skarts and new steps. It was she who
introduced the 'entrechat.' the crossing
OF fee, In the air.
~ contemporary OF La CamarGo was
Marie de Sale. who discarded the hoop
skirt for simpie Greek draperies, There
were many successors to ESQ great
dancers and during the French revolu.
tion the waltz came into vogue.
HOW 4 CLEVER MANAGER
| SOlveO ~ OIFFVSOGS
"Coming down to the days OF the
cr!noline ana the Empire. among the
great dancers were Carlotta 0risi, Marie
Tagiioni Lucille Grain and Fanny Cerlto
who danced at Her MaJesty's Theatre
In London. In is;o. And l must tell you
story about them, Each wanted to
appear last on the programme. Not
one would consent to go on nrst But
the genius Of the manager found 4 way
He declared that the proper solution oi
tho dIfficul;y was for the youngest t.
appear first and the Oldest last. Tha
settled It. The matter was smicAbly ar
ranged.
only one Of the four Is living. Fam,
Cerrito. who has home at Passy, neal
Paris. and whom / know well. but som
, years aso. when i was dancing IL
: Munich. ! met Lucille GRAIN. who. lik
, myself. was = Dane.
Z al! these dancers and their specla
! dances with appropriate music. j shal
. illustrate at my next appearance at TIN
Metropolitan.
You Will see then--at least, ! shaI
Q hope to show you-that at every perio
II OF the development OF the dance ther
Q was what you have called splrltualit,
C There was never anything meretr!c!ou
i or improperly suggestive. II was a
: beauty and grace. all poetry and I'M
i aglnauon. or course individual tempe.
ament must disclose itself In dancing, a
= in any other art, and that makes n
n variety In method and variety OF charm
= ! dance as I feel and as ! think.
could dance In no other way"
HAPPY MEMORIES or vAUDE
WILLIE HOUSES.
! ventured TO suggest to Miss Gene
that to dance In such places as n
Metropolitan Opera House. with her ow
company. and accompanied by a syn
phony orchestra. was preferable to al
10 pearinx In vaudeville houses.
ID The change OF atmos ohers has 1,
advantages. ] admit" sad Miss GEM,
but ! have spent many years In vaud,
:. vale houses--happy years and pronta h
= years. II Mr.. Klaw had not found n
) In one In London and brought me
. America. aee what should have misse
Just love America. and 30 does m
husbsn nd. Why. even when ] have q
m engagement here We come over for
. Jolly holiday. and we get II. Ny hu
- hand n on his way here now. He
due 10 arrive on Dec. Il
sGo Il Mr. Tanruoiniv s~xxs ~ 4.