Evening star., 1915-02-07

movements that come under the head of
adagio. The only self-respecting answer to
such rebellion is discipline.
Adagio work is sculptural decoration; har-
monv of line developed to the utmost, mani
tested BY the human body. Adagio eXer-
cises reveal how amazingly beautiful the
human form not-always-divlne may be,
when made to comply with decorative prin-
ciples. As the allegro delights with vivacious
movement, the addgio charms with sus-
tained pictures, flowing from one to another
through movement Creamy and suave:
The occasional employment of a flash OF
lightning in the shape of movement as quick
as muscles can command, helghtens the ef-
feet of poise, and also saves the deliberate
movements from danger of monotony. Paw
lowas triple birouete in an dddgto move
ment is one of the high instances OF contrast
in speed and proof of its esthetlc value Fol
lowing a series of slow drabesqneS, that p1ron-
ette is like the release of an arrow from
slow-drawn bow.
The aYabesqne, like a fundamental form
in architecture, is ever recurrent in dddgio
work. Here is an exercise for drill IN the
poise with which it must be accompanied,
and the suavity with which it must be en-
tered upon and left.
EOR the cultivation of grace of arm there
L are borfe de bras exercises. These are
combined with exercises of the legs and body.
1t is such combination exercise that IS repre-.
sented in the accompanying dry point OF
Madame Genee. Bear in mind that prac-
tice of this sort, though deliberate in speed,
is no mere matter of going through the mo-
tions as one pushes his arms and legs through
the routine of his muscle building or tat
combating calisthenics. The dancer holds
herself to standards of grace as uncompro-
missing as ever a jewelry designer set for his
lines: not the grace that merely avoids awk-
wardness, but positive quality OF line that
reaches out and grips your attention and
your emotion together. Were you ever pres
ent when music master, after student
had produced a sound, seized the violin and
drew forth a living tone, the kind OF tone
that puts prosy reality away from you, and
prepares your mind to accept anything!
The dancers grace can be carried to the
same emotion-commanding point. 1t is
that point at which the dancer is always
aiming.
In the ballet Cobpelid the leading dancer
makes her first appearance at window, IN
the act of opening the shutters there, with
extended arms, the music holds her tor some
seconds. Genee's performance of that action
alone was such that even the hard-headed
and cool-blooded saw it with Tightening
OF the throat. nat, IL you plcdSC, ID IiiC
sort of thing we mean by the chorographic
standard of grace.
A delight in themselves, and of high value
in the composition of dance, is the family
of steps known as the bironettes. Without
tirouettes what would dancing be? The SEN
sa,ion impaired by the sight of revolving
BODY is quite distinct from that which we
receive from any other movement; and the
sensation is shaded in a score OF different
wavs, according to the speed and character
of the turn A true bironette is authorita-
lively defined as revolution or series OF
revolutions executed on the support OF one
foot, or in the air; in distinction from turns
effected by means Of a series of alternating
steps on both feet. The typical bironette is
that performed "on the crossed ankle; but
birouettes @in attitude, in drabeSqae, tonettee
bironsttes, and others, some compounded of
a series of positions through which the body
moves during the course of one revolution,
are all within the definition, and have each
their expression.
Pironette day is perhaps the most inter.
esting of the practice days, from the point OF
view of anyone sufficiently fanatical over
dancing to enjoy steps for their own sake
In performance dancer rarely or never
shows his utmost technical power. Per-
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