There is what is called the Universal Ballet Technique. It is the standard of the dancing world, recognized and observed everywhere that the ballet is taught or danced. My method follows this Universal Technique closely, and is identical in many of the essentials. The chief difference between the old way and my new method is in the preparatory work. Now, this will never become a world full of ballet dancers, because not everyone could learn this graceful undulation if they wanted to. (All the more reason, I say, why those who have the talent should profit by it.) Not all of my pupils, nor all of my best pupils in other forms of the art, can hope to become solo artistes in ballet work. I can glance over a class at work in any of my studios, and select the few who may hope to perfect themselves in the ballet. I have had to discourage and no doubt disappoint some of my ambitious ones who have aspired to master the great art of ballet dancing; but I know I did what was best for them in advising them as I did. These same girls will be topnotchers in other fields of stage dancing, and I would rather direct their pathway to sure success than to let them wander into byways where their feet might stumble. So first of all, the candidate for ballet dancing must have my approval, she must be qualified according to my high standards, and when I say "Yes," and the student enters faithfully upon the work as I lay it out, she is going to make good.
And the first instruction she will receive in my courses is in the nature of a muscle culture, a foundation technique that consists of exercises, on the felt floorpad, in limbering and stretching. It is very beneficial to everyone in every way, and unqualifiedly essential to the beginner in stage dancing in any of its forms. The prospective ballet dancer, by going through these exercises in the studio for a series of twenty lessons or so, and practicing three hours or more at home daily during the same period, develops strength in the muscles of the back, legs, ankles and feet that fits her for the ballet technique; and it is this foundation work that enables her to eliminate the antiquated exercises and some combinations of steps, and the unduly long, tedious and once necessary trials that fell to the lot of the old-country ballerina. So the secret is out; it is our special foundation work in limbering and stretching combined with my Americanized Ballet Technique that builds our American pupil into a strong, healthy, flexible, graceful person, well prepared for advancement into the beautiful art of the ballet.
This does not mean that the entrant for ballet honors has nothing to do but go at once upon the stage, a completed artiste. If this statement of my easier plan suggests such a thing, let me hasten to correct so erroneous an impression. There is work, and hard work, too, and lots of it, before our pupil becomes a ballet dancer, even under our less strenuous and much shortened course of training.
Grace of the entire body is sought and taught, graceful movements of the head, arms, legs and torso. In addition to grace and poise, there is need of great muscular strength, and this we are able to develop in our pupils without bunching the muscles of their calves, thighs or arms into unsightly knots. And this fact is not one of the least of the recommendations of our system. We insist upon symmetry and beauty of figure. This is really more important to the professional dancer than beauty of face. To possess both, a beautiful face and form, is the ideal condition, of course, but the figure is susceptible of being made attractive by our development technique, and any imperfections of the facial contour or features, and any defects in the complexion, are easily disguised or corrected by my method of teaching stage-makeup.
MARION CHAMBERS
It must be considered that in the ballet the movement of the arms is very important, and to perform it properly requires long study and extreme accuracy. Just as the art of painting blends and composes colors, and by the composition of scenes and figures makes a whole that is pleasant to the eye, so the movements of the arms in dancing add many and diverse forms of grace to the body, guiding and regulating its movements so as to result in a harmonious whole. One authority has styled dancing "the music of the eye." The dancer who neglects the difficult study which the arms require because she believes that the only necessity is brilliant execution in the legs, will be an imperfect artist. It is not enough to know how to dance with one's legs; the ballet must also be executed with the trunk of the body and the arms. Their movements must be graceful and in harmony with those of the legs, since they constitute a weight for the equilibrium of the body when it rests on one leg. The arms must accompany the trunk, making a frame for it.
The movements of the head, of the eyes, the expression of the face, all are of tremendous importance in perfecting the ballet. It is because of the necessity of bearing constantly in mind the various attitudes of head, torso, arms and legs that I believe that the ballet contributes more than any other type of dancing to the general development of grace and poise of the whole body.
In addition to teaching what we call the legitimate American Ballet, we add to the students' repertoire what are known as "tricks," which earn applause for the dancer. Many of our pupils go directly from our courses to the professional stage, since it would be difficult for them to earn a supporting salary in the musical comedy field doing straight ballet work alone. We teach straight toe dances, and also eccentric toe dances, as will be demonstrated in another chapter.