The Morning Tulsa daily world. [volume] (Tulsa, Okla.) 1919-1927, 1922-05-21
BY AN INTERPRETER.

BY AN INTERPRETER.
with the elusiveness of all spirits
and of SOME women, Anna Pavlowa
leads her pursuers a bit OF a chase.
Finding Pavlowa, the woman, seems
to be as different as trying TO take
hold OF the spirit which is, after
all Pavlowa. The truthful-looking
old man at the door OF the Metro
politan opera house shook his head.
81 don't think she's here" he said.
But MI see." And he scrambled
through the Fortieth street inner
stage door closely followed by the
caller.
where's Nine. Paviowa." TO q
young girl coming through the hall,
Find her."
No one had seen he cone into the
opera house, although She was sup.
posed to be there. And she was not
rehearsing. There was much running
about, up and down, in and out.
Finally. Pavlowa was discovered.
quite alone, in small dressing room
Just a few steps from the stage
door. A bare little room with a
couch and IA mirror and two straight
chairs--aud shoes. Shoes every
where; shoes by the dozens: In fact
shoes by tho dozen pairs.
She stood in the center OF the
room in a soft pink satin robe built
ON modest Grecian lines. Later ges-
lures proved II 10 have amazing and
artistiCally placed slits that enabled
the wearer to practice the most COM
plicated gymnastic dances with per-
feet ease. over her shoulders she
wore a. white wooden shawl. On her
feet were pink ballet slippers. Paw
Iowa knows the value or the art OF
quietness. She stood without NOV
ing or speaking until the caller had
been several minutes at her side.
Then she. said:
please sit down."
The frail dancer with her black
hair, pale face and intelligent brown
eyes, gives one the feeling of great
hidden power. She apparently has no
subterfuges, no mannerisms. She is
direct, serious and looks very much
off-stage as she does in the famous
Pavlowa gavotte, with her smooth
hair parted in the middle and
brought down over her ears. She
may be a woman or tempera ment
and tantrums, or have any OF the
| other qualities unusually attributed
to popular stage idols. but to the
casual observer she Is a person OF
high purpose, ideals, tremendous
dignity.
1T is terrible--terrible~ II is not
dancing-the jazz. when / was here,
| ten years ago, | knew the ungraceful
| dancing would not last. What | said
then--I will show you" And she
rummaged in various books on her
dressing table for clippings. But they
| could not be found, mo matter
.asI hot 4 ar.tI laa
is true today. Music must be- beau
| tlful TO inspire dancing. You must
| feel the rhythm. m the great mas
| terpieces IL is easy to dance. 1t Il
not music what they do the jazz by
| 1t hurts the ears" and she covered
| her ears with her hands, shutting
out imaginary strains OF brasses and
| drums.
Against Jazz Nine. Pavlowa can
not say too much. To her 1t is moi
| dancing at all. Just violent con-
| tortions. She was as vehement about
1t as her soft voice and limited Eng
lish would permit. !
| "Is 1t beautiful. to throw yourself
around this way?" and the graceful
| dancer sprang from her chair and
! gave a writing ehouIder-and-aru
| dance in imitation OF. the Jorklnl
|
Gone was the spirit OF the dance
Conc the Pavlowa OF exquisite grace
and inspired motion. The sou
seemed suddenly to shrink. Poetry
siung into a corner. The modern
dance. as analysed by Pavlowa, be
came O. sacridege.
"Music must make you think
| must make you want to dance
without ideals there can be n,
dances. Without good music ther,
are no ideals--no inspiration. IL i
not enough TO just throw yoursel
around. Good dancing takes train
ing. Americans are too quick. The.
do not want to spend much time oi
anything. And they think always o
money. Your women are wonderful
They can do anything. II they would
they could be great dancers. We Il
Russia work so hard to make