Ballet Pantomime From Pose by Mlle. Louise La Gai[Frontispiece]
Tanagra Figure[Page 3]
Greek Vase Decoration [“ 3]
Tanagra Figure[“ 3]
Tanagra Figures[Facing Page 4]
Greek Ceramics [““ 5]
Greek Vase Decoration[Page 8]
Greek Comedy Dancing[“ 9]
Statuettes[“ 10]
Tanagra (A)—Myrina (B)—Tanagra (C).
Greek Relief Decorations[Facing Page 12]
Greek Ceramic Decorations[““ 13]
Statuettes[Page 13]
Myrina (A)—Tanagra (B)—Myrina (C).
Dance of Nymphs[“ 17]
Tanagra Figures[Facing Page 20]
Greek Comedy Dancing[Page 21]
Dance of Peasants[“ 36]
Ballet of the Four Parts of the World: Entrance of the Grand Khan[“ 41]
A Fourteenth Century Ball[“ 46]
Seventeenth Century Court Dances[Facing Page 48]
The Tordion (1, 2)—The Pavane (3, 4, 5).
Louis XIV and A Courtier in the Ballet of Night[Page 50]
Seventeenth Century Court Dances[Facing Page 54]
The Saraband (1)—The Allemand (3)—The Minuet (2, 4,5, 6, 7).
The Gavotte[““ 55]
Mme. Adeline Genée and M. Alexander Volinine[““ 64]
Ballet Robert le Diable (1)—Butterfly Dance (2)—Pierrotand Columbine (3).
Mme. Genée in Historical Re-Creations and M. Volinine[““ 65]
Sallé (1)—The Waltz (2)—Camargo (3)—Guimard (4).
Fundamental Positions of the Feet[Page 66]
Positions of the Arms[“ 67]
“Glissade”[“ 68]
“Assemblé”[“ 69]
“Assemblé” and Changement (Floor Plan Diagram)[“ 69]
“Jeté”[“ 70]
“Jeté” to the Side[“ 71]
“Battements”[“ 72]
Steps of the “Battement” Type[“ 74]
“Fouetté”[“ 75]
Start of A “Fouetté Pirouette”[“ 76]
“Fouetté Pirouette” (Continued)[“ 77]
Optional Finish of a “Fouetté Pirouette”[“ 78]
The “Pirouette Sur le Cou-de-Pied”[“ 79]
Various “Pirouettes”[“ 80]
Beginning of the “Renversé”[“ 82]
The “Renversé” (Concluded)[“ 83]
Two Forms of “Attitude”[“ 84]
Mechanism of Broad Jump[“ 86]
Classic Ballet Positions[Facing Page 88]
Typical moments in a renversé (1, 2, 3, 4, 5,)—Starting adeveloppé (6)—Progress of a rond de jambe (7, 8, 9).
Classic Ballet Positions (Continued)[““ 89]
Rond de jambe (10)—Jeté tour (11)—Pas de bourrée (12)—Preparationfor a pirouette (13)—Position sur la pointe(14)—A fouetté tour, inward (14)—A cabriole à derrière(16)—Descent from an entrechat (17)—An arabesque (18).
“La Malagueña y el Torero”[““ 122]
Typical “Flamenco” Poses[Page 129]
“Flamenco” Poses[“ 133]
“Las Sevillanas”[“ 137]
“El Bolero”[Facing Page 138]
Typical moment in first copla (1)—Finish of a phrase (2).
“La Jota Aragonesa”[““ 139]
Type of movement (1)—Finish of a turn (2)—A pirouette(3)—Kneeling position (4)—Woman’s sitting position (5).
Two Groups in “Las Sevillanas”[Page 140]
Groups in “La Malagueña y el Torero”[“ 145]
Miscellaneous Spanish Notes[“ 147]
Two Groups in “Los Panaderos”[“ 149]
Part of the “Jota” of Aragon[“ 152]
“La Tarantella”[Facing Page 156]
Opening of the dance (1)—A poor collection (2)—Theygamble for it (la Morra) (3)—She wins (4)—He wins (5).
“La Tarantella”[““ 157]
An arabesque (1)—Finish of a phrase (2)—Typical moment(3)—Finish of a phrase (4).
“La Tarantella”[““ 158]
Opening of the dance (1)—A turn back-to-back (2)—Apause after rapid foot-work (3)—Characteristic finishes ofphrases (4, 5).
“La Forlana”[““ 159]
Doctor Pantalone patronized (1)—Defied (2)—Pleads (3)—Acceptsthe inevitable (4)—Is ridiculed (5).
“La Ciociara”[““ 160]
Opening promenade (1, 2)—End of promenade (3)—Hehas “made eyes” at a spectator (4)—Opening of dance(second movement) (5).
“La Ciociara”[““ 161]
Rustic affection (1)—Again caught in perfidy (2)—Triesto make amends (3)—Without success (4)—Removed fromtemptation (5).
The Scotch Sword Dance[““ 164]
A step over the swords (1, 2)—A jump over the swords (3)—Stepsbetween the swords (4, 5).
The “Scotch Reel”[““ 165]
Use of the Battement (1)—A pirouette (2)—Characteristicstyle (3, 4)—A turn (5).
The “Shean Treuse”[““ 168]
The promenade (1, 2)—The thematic step (3)—Finish ofa phrase (4).
The “Sailor’s Hornpipe”[““ 169]
Look-out (1)—Hoisting sail (2)—Hauling in rope (3)—Rowing(4)—Type of step (5)—Type of step (6)—Hoistingsail (7).
Irish Dances[““ 174]
The Jig (1, 3, 4)—The Hornpipe (2, 5)—The Reel (6, 7,8).
A “Four-Hand Reel”[““ 175]
Preparation for woman’s turn under arms (1)—Characteristicstyle (2)—A turning group figure (3).
The “Irish Jig” and Portrait of Patrick J. Long[““ 178]
From Various Folk-Dances[Page 185]
The “Schuhplatteltanz”[Facing Page 186]
A swing (1)—A turn (2)—A turn, man passing underwoman’s arms (3)—A swing, back-to-back (4)—TheMirror (5).
The “Schuhplatteltanz” of Bavaria[““ 187]
Preparing a turn (1)—A lift (2)—Starting woman’s seriesof turns (3)—Start of woman’s turns (4)—Man fans heralong with hands (5)—Finish of dance (6).
The “Kolo” of Servia[““ 190]
Start of a turn (1)—Progress of a turn (2)—A bridge ofarms (3)—An emphasis (4)—A lift (5).
Poses from Slavonic Dances[““ 191]
Coquetry (1)—Petulance (2)—Indifference (3)—Emphasis(4)—Jocular defiance (5).
Poses from Slavonic Dances[““ 192]
Negation (1)—Fear (2)—Supplication (3)—An emphasis(4).
Poses from Slavonic Dances[““ 193]
Characteristic gesture (1)—Characteristic step (2)—Characteristicgesture (3)—Characteristic step (4)—Same, anotherview (5)—Ecstasy (6)—The claim of beauty (7).
Arabian “Dance of Greeting”[““ 196]
Called upon to dance, she reveals herself (1)—Salutation (2)—Profileview of same (3).
Arabian “Dance of Greeting” (Continued)[““ 197]
“For you I will dance” (4)—“From here you will put awaycare” (5, 8)—“Here you may sleep” (6)—“Here am I”(7).
Arabian “Dance of Greeting” (Continued)[““ 198]
“And should you go afar” (9)—“May you enjoy Allah’sblessing of rain” (10)—“And the earth’s fullness” (11).
Arabian “Dance of Greeting” (Continued)[““ 199]
“May winds refresh you” (12)—“Wherever you go” (13)—“Hereis your house” (14)—“Here is peace” (15)—“Andyour slave” (16).
Arabian “Dance of Mourning”[““ 200]
The body approaches (1)—The body passes (2)—“I holdmy sorrow to myself” (3).
Arabian “Dance of Mourning” (Continued)[““ 201]
“He has gone out of the house and up to Heaven” (4)—“Farewell”(5).
Arabian “Dance of Mourning” (Continued)[““ 202]
“He slept in my arms” (6)—“The house is empty” (7)—“Woeis in my heart” (8).
Arab Slave Girl’s Dance[““ 203]
“Handkerchief Dance” of the Cafés[““ 206]
The handkerchiefs symbolizing the lovers are animated withthe breath of life, but kept dissociated (1)—Brought intosemi-association (2)—Separated and dropped (3).
“Handkerchief Dance” (Continued)[““ 207]
She can dance about, between or away from them, indifferently(4)—Made into panniers, the panniers express herwillingness to receive; turned inside out, her willingness togive (5)—One of the two handkerchiefs is thrown to the selectedlover (6).
“Dance of the Soul’s Journey”[““ 210]
The soulless body (1)—Asks for the light of life (2)—Visiondawns (3)—Inexpert in life, she walks gropingly (4).
“Dance of the Soul’s Journey” (Continued)[““ 211]
She draws aside the veil of the future (5)—Life is seen fulland plenteous (6).
“Dance of the Soul’s Journey” (Continued)[““ 212]
But old age will come (7)—Grief will visit (8)—She shallwalk with her nose close to the camel’s foot (9).
“Dance of the Soul’s Journey” (Continued)[““ 213]
Yet now, from the crown of her head (10)—To the soles of herfeet she is perfect (11).
Miscellaneous Oriental Notes[Page 215]
“Dance of the Soul’s Journey” (Continued)[Facing Page 216]
Rejoices in the perfect body (12)—And in all good things(13)—Runs from the scene (14).
Characteristic Pantomime in Dancing of ModernEgypt[““ 217]
Express sorrow (1, 3)—Represents a prayer directed downwardand back: i. e., to spirits of evil (2).
“Dance of the Falcon” (Egyptian)[““ 218]
Shock as the bird strikes his quarry (1)—Rejoicing as heovercomes it (2).
Dancing Girls of Algiers[““ 219]
Reliefs on Tower of the Temple of Madura (India)[Page 219]
Persian Dance. Princess Chirinski-Chichmatoff[Facing Page 220]
Oriental Poses[““ 221]
Votive offering (3 poses)—Decorative motives (3 poses)—Disclosureof person (1 pose).
Javanese Dancer, Modern[““ 222]
Relief Carvings, Temple of Borobodul, Java[““ 223]
Dance of Greeting (1)—Dance of Worship (2)—An ArrowDance (3).
“Nautch Dance”[““ 226]
Japanese Dance[““ 227]
Isadora Duncan[““ 242]
Greek Interpretative Dance[““ 243]
Impressions of Isadora Duncan[Page 244]
Mlle. Lopoukowa, Mlle. Pavlowa, Mlle. Nijinska, withSr. E. Ceccetti[Facing Page 246]
Mlle. Lydia Kyasht and M. Lytazkin[““ 247]
“Arabesque”[““ 248]
“Arrow Dance”[““ 249]
Bacchanal[““ 252]
Mlle. Lydia Lopoukowa[““ 253]
Mlle. Pavlowa in a Bacchanal[““ 257]
Mlle. Lopoukowa, in Boudoir[““ 258]
Mlle. Lopoukowa, Interpretative Dance[““ 259]
Mlle. Lopoukowa, In “Le Lac Des Cygnes”[““ 262]
M. Alexander Volinine[““ 263]
Representative Russian Ballet Poses and Groups[Page 265]
Representative Russian Ballet Poses and Groups[“ 267]
The “Waltz Minuet”[Facing Page 272]
Characteristic style (1)—Variation, position of hands (2)—Preparationfor a turn (3)—The Mirror figure (4).
The “Gavotte” Showing Present Tendencies[““ 273]
Characteristic style (1)—Characteristic style (2)—A curtsy(3)—Arabesque to finish a phrase (4).
Social Dancing; Position of Feet (Diagram)[Page 276]
The One-Step: The Turn (Diagram)[“ 277]
The One-Step: Grape-Vine (Diagram)[“ 278]
The One-Step: Eight (Diagram)[“ 279]
The One-Step: Square (Diagram)[“ 279]
The One-Step: A Figure Occupying Three Measures(Diagram)[“ 280]
The One-Step: The Murray Anderson Turn (Diagram)[“ 281]
The One-Step: A Cross-Over (Diagram)[“ 282]
Development of an Arch “À La Pirouette”[Facing Page 282]
Cross to right (1)—Cross to left (2)—Start of turn (3).
The One-Step[““ 283]
The “Kitchen Sink” (1)—Position of couple (2).
The “Brazilian Maxixe”[““ 283]
Characteristic position of advanced foot (3).
The “Boston,” Essential Step (Diagram)[Page 284]
The Waltz[Facing Page 284]
A position of the couple in the Waltz-Minuet (1)—Correctposition of man’s hand on woman’s back (2)—A positionalso assumed in the One-step Eight (3)—A Dip (4).
The Waltz[““ 285]
Correct position of couple (1)—Of feet, in short steps (2)—Offeet, in Dip (3)—Another view of the Dip (4).
The Boston, Step Backward (Diagram)[Page 285]
The Boston, The Dip (Diagram)[“ 286]
The Boston, The Dip Simplified (Diagram)[Page 287]
The Boston, An Embellishment (Diagram)[“ 288]
The Boston, An Embellishment (Diagram)[“ 288]
The Boston, Same, with Turns (Diagram)[“ 289]
The “Hesitation Waltz,” Theme (Diagram)[“ 289]
The “Hesitation Waltz” Variation on Theme (Diagram)[“ 290]
The “Tango”[Facing Page 290]
Characteristic style (1, 2, 4)—Woman circles man (3).
The “Tango”[““ 291]
Characteristic style.
The “Hesitation Waltz,” the “Lyon Chassé” (Diagram). [Page 291]
The “Tango”[Facing Page 294]
The “Tango”[““ 295]
The reverse (1)—The regular Tango walking step (2)—Styleof movement (3)—Position of hands sometimes assumedto emphasize the end of a phrase (4).
The “Tango,” The “Corte” (Diagram)[Page 295]
The “Tango,” The Scissors (Diagram)[“ 295]
The “Tango,” The Scissors Variation (Diagram)[“ 296]
The “Tango,” The Media Luna (Diagram)[“ 296]
The “Tango”[Facing Page 296]
The corte (1)—Characteristic style (2)—A variation (3)—Startof a turn (4).
A “Tango” Step[““ 297]
Man’s foot displaces woman’s (1)—Woman’s foot displacesman’s (2)—Each displaces the other’s foot (3).
The “Tango,” The Eight (Diagram)[Page 297]
The “Tango,” A Waltz Turn (Diagram)[“ 297]
The “Tango,” An Easy Step (Diagram)[“ 298]
A North American Figure in the “Tango”[Facing Page 298]
Preparation (1)—After the twist (2)—Finishing with aDip (3).
The “Tango,” Executed to the Rear (Diagram)[Page 299]
The “Tango,” A North American Figure (Diagram)[“ 299]
The “Brazilian Maxixe,” First Figure (Diagram)[“ 300]
The “Brazilian Maxixe,” Third Figure (Diagram)[“ 301]
The “Brazilian Maxixe” [Facing Page 302]
Characteristic style (1)—A dip (2)—Variations (3, 4).
The “Brazilian Maxixe”[““ 303]
Preparation for a turn (1)—Finish of a turn (2)—Characteristicstyle (3)—A dip (4).

THE DANCE



The Dance