CHAPTER XIV
A LAYMAN’S ESTIMATE OF CONDITIONS
That great dancing is a useful and desirable addition to human happiness needs no argument. Its power to delight the vision and expand the imagination; its value as an example and incentive to an exercise unsurpassed as an ally of health--these and other virtues are obvious. More completely, perhaps, than any of its tributary arts, dancing has the power to impart that indefinable mental well-being that great art aims to give its auditor or spectator. As music is refreshment for one, pictures for another, so the contemplation of dancing is the means of ordering and energising the mind of a third. We of the United States are a beauty-loving people in the main, and almost unanimously attuned to the message of action--so long as we understand its meaning. Once really established among such a people, dancing would take a position of importance second to no other source of national inspiration. In the meantime, there are unorganised cohorts of us to whom good dancing, like good reading, is something of a necessity; and we should like to know what we have a right to expect from the near future.
“The public gets what it wants,” is the sophisticated comment almost invariably drawn forth by any discussion along these lines. Which comment exposes its own superficiality; the suggestion of the existence of any one public, in relation to the arts, is absurd. Patronising dancing there appear, at the very first glance, two publics as widely separated as inhabitants of different planets; each public possessed of appreciations inconceivable to the other, and even contemptible. These are the public that applauds the buxom laziness which substitutes for dancing in the so-called “amusement” known as burlesque, as distinguished from the public that responds to the pure beauty of opera ballet or well-performed ballet pantomime.
Between these two extremes is an intermediate public that is the more or less innocent cause of endless confusion, and whose good nature is an obstacle to the betterment of standards. In the theatre, even when the chaff outweighs the wheat, it applauds everything. The next day Mr. and Mrs. Intermediate Public advise their friends that the production is stupid. Decreasing attendance may warn the manager that something is lacking: but what? As a criticism, absence is not very illuminating. Acts are changed, cablegrams written and lines rewritten, this man discharged, a woman rushed over from Paris. And when all is said and done, the performance perhaps continues to emphasise features that were the cause of bad impressions. For this confusion, the audiences are at least equally to blame with the manager. They owe it to themselves as well as to others to express themselves frankly.
Exactly what grade of dancing this intermediate public really wants is an unsettled question--and one of paramount importance, since it involves a good part of the potential support of good things. Managers infer, each according to his own disposition; and there is rarely material for the formation of inferences in any way exact. For one reason or another, no undertaking serves the purpose of exact experiment; experience does not lead to any unavoidable conclusion. A few wholly good ballet productions have been given in the Untied States during the past few years; they have not been tremendously successful, up to the present, from the point of view of profits. The optimist, however, counts even small profits a success, in the circumstances. Here is an art that employs a language practically unknown to this country; yet it has not failed to impress. But the men who risked the money take another view of it. They consider that they have had a narrow escape from disaster, that the profits are not commensurate with the risks, and that they are well out of a bad affair. Augustin Daly, at the time of his death, was engaged in a course of instructing the public in the appreciation of pantomime, expecting to lose money on it for two or three consecutive years. But the present moment reveals no Augustin Daly among the potential managers of dancing in America. Few are willing to plant seed for a harvest long deferred. And in justice be it added that the equipment and maintenance of _Pygmalion and Galatea_ or _L’Enfant Prodigue_, the vehicles of Mr. Daly’s missionary efforts in the interests of pantomime, would be a small fraction of the expenses attaching to a first-class production of any of the great mimetic ballets.
The situation is, in all essentials, the same as that through which operatic and orchestral music passed a few years ago. Music lovers put their favoured art on a substantial basis by means of endowments. Any other course in relation to the ballet results in a matter of probabilities and possibilities, but not of certainties. The present interest in dancing, left to itself, may lead to great things. Or it may lead to nothing at all. The renaissance of interest that followed the Kiralfy successes in the sixties and seventies was killed by counterfeits. The same hostile possibilities exist at present.
The above-indicated dependence of the dance on its ability to show immediate profits is only the first of its handicaps. That difficulty would not be light, even though every manager viewed conditions clearly and fairly, as some of them do. Unfortunately, however, there is in the profession a class that has succeeded because of, or in spite of, a belief that good taste does not exist in America. To prove this, they shape every occurrence into an argument. In gathering “names” for the interest of their advertising, they engage a certain number of capable artists. If the productions employing these artists succeed, the cynical manager will construe such success as proof of American worship of reputation, and its power to blind him to a mess of accompanying mediocrity. If, on the contrary, failure attend the enterprise, it proves American inability to appreciate good work. For the success of a really good work of art, these pessimists will find any explanation except that of good work duly appreciated. Skilful publicity, novelty, a public affectation of good taste, the employment of Oriental motifs, any theory, so long as it acknowledges no taste superior to their own. These are the people who, if Madame Pavlowa’s present tour, for instance, makes a striking financial success, will inundate the country with pseudo-Russian ballets, perverting everything, unable to see the need of beauty and artistry, bringing all dancing into disrepute.
Let it be clearly understood: these people by no means represent the manager’s profession. But they are to an extent in control of the situation, and the person who wants to see dancing is more or less dependent on them as the source of supply. In the absence of any endowed institution, no ballet can be seen except under commercial management--and, as noted, commercial management that cannot or will not knowingly invest in an enterprise that is going to require time to be understood.
The manager desirous of staging a work of genuine choreographic quality finds himself confronted by a discouraging scarcity of even semicompetent material for his ballet--that is, here in America. To bring a _corps de ballet_ from Europe, with guarantees covering a minimum number of weeks of work, transportation both ways, and other proper and just requirements, is commercially dangerous. No reasonable blame can be attached to the usual course of engaging such girls as are easily available, fitting steps to their limitations, insisting on the girls and evading the dance, and making much of draperies and coloured lights.
As a direct result of the scarcity of capable ballet people, dance-lovers not infrequently lose the services of a rare artist. No one artist can give a satisfying two-hour public performance of dancing. Saying nothing of variety as a _desideratum_ in a programme, the question of physical endurance enters. To rest the _première_ between her flights, a _corps de ballet_ is indispensable. Without the latter, the former is to be compared to a commander without an army. But the
## particular case illustrates, where general statement only explains.
On the face of things, Miss Lydia Lopoukowa’s determination to take up residence in the United States would seem to mean that American dance-lovers might count on her art as a definite acquisition. After her season with Mordkin, the young woman accepted a position as _première_ of a ballet, as good as can be made from native material. A _divertissement_ is composed that pleases public and management, and all concerned except the _première_ herself. She finds her work circumscribed by the necessity of keeping down to a pitch beyond which the support cannot rise. That the public is pleased is not sufficient; with unrestricted self-expression, and freedom of flight, she could bring that public to a point of enthusiasm. Her art is belittled, and she finds herself in a false position. As soon as contracts permit, she withdraws her energies from the effort to accomplish good in that direction. So, for the lack of a competent ballet, the dance-loving portion of the population is robbed. As to Miss Lopoukowa, she has a taste for and demonstrated ability in the drama. Dancing will give her extraordinary distinction in plays that admit its union with the dramatic action. But under better conditions, her dancing need not have been subordinated to another art.
At this point a question might justly be raised as to whether the interests of the ballet are not being adequately cared for by some of the great opera companies. To such possible question the only answer is negative. Nor are the companies chargeable with any neglect or shortcoming in not giving their ballet departments the relative importance of ballet in European opera organisations. The task of popularising great music alone has been somewhat more than a labour of Hercules. Opera as music now has a supporting patronage; to change the ballet’s relative importance would be disturbing, in all probability. Moreover, the Metropolitan (if not the others) has done all that is humanly possible under present conditions, with the principal result of demonstrating that those conditions are to be met by a ballet institution, and nothing less.
At the time of the Metropolitan’s organisation, it will be remembered, the world’s interest in ballet dancing was at a lower pitch than it ever had been since the dissolution of the Roman Empire; that is, about the middle of the Victorian period. Had the undertaking been no more than that of producing opera in a land already friendly to it, it would have been no more than natural if the Metropolitan directors had accepted the ballet’s status as they found it in England. Their task being, however, the production of opera in a country almost hostile to it, a failure to simplify the problem in every possible way would have been bad generalship.
Not finding itself expected to take rank with the ballets of other great opera organisations, the Metropolitan’s department of dancing has gone its comfortable gait. It has been under the direction of excellent ballet-masters; but they become easy-going, especially after proving to themselves that girls cannot successfully be asked to perform steps for which they lack the foundation of training. To other mollifying influences is added that of a slippery floor in the room dedicated to ballet rehearsal; a room so beautiful and a floor so perfect that to resin it would be a desecration. The dancers, in fear for the intactness of their bones, walk through their numbers as best they can, and ultimately perform them in a manner consistent with rehearsals.
As a step toward relieving the scarcity of ballet people, the Metropolitan founded, about five years ago, a ballet school--an enterprise from which, up to the present, the pupils have rather monopolised the material profits. The arrangement between management and pupil is, in brief, that the pupil shall remain under the school’s (free) tuition four years, at the end of which period the Opera has an option on her services for three years, at a salary of twenty dollars a week, a little more or less. If she appears in the _corps de ballet_ during her period of study, she is paid proportionately. The school work occupies two hours per day, about nine months of the year. The atmosphere of both school and Opera is wholesome and good; no fault can be found with the arrangement on a basis of fairness; but the number of individuals the school has added to the Opera’s ballet is shockingly small. Every _revue_, musical comedy, and other light musical production includes a collection of young women called a ballet; and each year of increased general intelligence in dancing matters adds to the desirability that these ballets should justify the name. The pretty girl, plus coloured lights, drapery, and lively cavorting, no longer constitutes a perfectly secure grip on public approval (except always in burlesque, with which we are not concerned). The result is an insatiable demand for girls who can even half dance. And that demand, in its turn, is a steady drain on the Opera’s school. Before she has studied two years, a girl can qualify for a position in an outside concern--a condition of which she never remains in ignorance very long. She thinks it over. Two years more work in the school would insure her a position in the Opera, at weekly pay no greater than the present offer, for a comparatively short season each year. Now, if the Metropolitan ballet had great prestige as a choreographic organisation--a prestige like that of the Russian ballet, for instance--its more capable members would be sought after as teachers. A connection with it would confer artistic honour and material profit. Unfortunately, such prestige is one of the elements that are lacking. In résumé: continuance with the school insures employment for about half of every year, beginning at a later time, with the chances of advancement almost zero. Whereas, musical comedy and the like offer the probability of employment the year round, minus the time of rehearsing new productions. Present profits are more attractive than the deferred kind; and, a consideration by no means unimportant, a pretty face and a pleasing manner are reasonable grounds on which to hope for a “part.” Her contract? The young girl of the present generation has had her own way about everything since the hour of her birth. Experience teaches her that the worst penalty reasonably to be expected is a harmless reproof, soon ended. And her experience is a true guide in this case. As a matter of sentiment, no one likes to oppose the wishes of a girl. As a matter of business, it would be of doubtful advantage for the opera company to take legal steps to enjoin its contract-breaking pupils from appearing in other concerns. Happenings connected with opera and the theatres have a high value in the newspapers; no motive is more popular than that of the persecution of the poor but beautiful girl; the publicity force of the musical comedy employing said girl would busy itself creating for her the rôle of victim. The opera management would find difficulty in securing a true and therefore comparatively uninteresting public statement of its case; indeed, it would be likely to be made to appear, in the eyes of the multitude, as a sort of ogre.
The Metropolitan school furnishes a complete and conclusive test of the possibilities of an opera organisation, as such, in the province of dancing. But even if the Metropolitan ballet were right now at the highest conceivable pitch of perfection, a radical change of policy would be necessary as a preliminary to giving the school its proper power to hold its pupils’ allegiance. That is to say, the opportunity to appear in an occasional _divertissement_ is not sufficient to hold an ambitious and capable young man or woman through long years of study. In St. Petersburg, the Imperial Opera House dedicates two nights a week to mimetic ballet. The dancers’ art on those occasions is subordinate to none. The dance is the thing; and the dancers, according to ability, are given the opportunity to interpret character and motive. In short, they are given the opportunity to express their art as individuals.
Now, one or another of the American opera companies might be willing and able to duplicate the above conditions--conditions without whose aid no ballet reaches a high plane of development. The undertaking, however, would have at least twice the weight of the administration of either ballet or opera alone; it would be accompanied, too, by a risk that the twofold interest would result in confusing or displeasing a portion of the music-lovers who constitute opera’s support. The creation, development and maintenance of standards of a great ballet is a combined task and opportunity for dance-lovers themselves, and an end to be reached through the medium of a ballet institution. It may be added that the Russian régime puts music and ballet under the charge of two distinct and separate institutions.
Opera companies whose traditions have been formed during recent years have naturally felt the force of the renaissance of dancing; they have invested their ballets with an importance that would have been considered disproportionate if their formative period had coincided with the mid-Victorian period. The Philadelphia-Chicago company has had a better _corps de ballet_ than could logically be expected in view of the limitations of American material; credit is due Sr. Luigi Albertieri, the ballet-master. As _première danseuse_ the same company for some years has had Signorina Rosina Galli, a delightful little product of la Scala. In 1913 Sr. Albertieri took the post of ballet-master of the new Century Opera Company, with Miss Albertina Rasch, formerly of the Vienna opera, as _première_. The public’s readiness to recognise good work was demonstrated during the Century’s first presentation of _The Jewels of the Madonna_. After the act in which the _Tarantella_ is danced, the audience demanded that Miss Rasch respond, with the two principal singers, to the curtain-calls.
In Canada, the influence of the times may be noted in the Canadian Royal Opera Company’s engagement of Madame Pavlowa and her company to provide the ballet portion of eight performances. Of present interest in the dance throughout North America, there is no manner of doubt. It is perfectly clear that appreciation of choreographic beauty and discernment of skill are rapidly advancing. London has shown its capacity to support four great ballet attractions through the same season, and that a long one; the United States is influenced by England’s taste in entertainment. Dancing exhibitions and pageants are now a part of the entertainments of smart society. A masque produced by Mrs. Hawkesworth, in one of the private gardens of Newport, was of a nature to recall the historic festivals of Catherine de Medici. And the nation’s taste in entertainment is influenced by smart society. All signs point to a continued and even growing interest in dancing. And it is possible, without other aid or guidance than that interest in dancing in general, that dancing as a great art, an art of deep emotional interpretation, will take its proper place in this land. But, with the multitude of forces of vulgarity, get-rich-quick commercialism, and heedlessness opposed to it, it is doubtful. At the present moment, the high art of dancing is pleasing, and its emotional message partly comprehended. If it were fully comprehended, that art would be an indispensable source of refreshment to the American mind. Consistently repeated for a few years, its idiom would be familiar to a large part of the population. The conditions which this chapter has analysed show, however, that the sufficient and adequate repetition of ballet drama is by no means certain. And this chapter’s motive is to emphasise two things: first, if American lovers of dancing wish to insure for themselves the continuous opportunity to see fine representations of that art, they must found a ballet, and an academy upon which it may depend for its artists; second, for such a step no time can be more propitious than the present.
If the vision of an endowed ballet institution in the United States seems lacking on the practical side, it is not amiss to recall a few facts of American history in its relation to music--than whose ambitions of yesterday nothing was thought to be less practical. Thirty years ago the attitude of the United States (particularly the West) toward classical music was less indifferent than scornful. To confess a liking for orchestral or operatic compositions was to brand oneself as queer. Anything connected with music or musicians was deemed a fair mark for newspaper jokers; and they knew their readers. Inevitably, organisations that ventured a tour did so at their financial peril.
Individual singers and performers were protected somewhat by their lesser expenses and their preparedness to render popular ballads; but they too knew well the look of empty benches.
Theodore Thomas pointed out to a group of Chicago people that never, under such conditions, would the adequate performance of great works be other than at rare and uncertain times; that, without fairly frequent hearing of those great works, public taste never would improve. Obviously, the programmes that Mr. Thomas proposed to give, and the manner and frequency with which he proposed to give them, brought up the prophetic vision of considerable money loss; but the funds were subscribed. The result is the Chicago Orchestra: a source of unending happiness to lovers of good music, just pride to the city, and material benefit in no slight degree. Chicago finds itself the place of residence of several thousand music students, and a centre of attraction for many more thousands of occasional pilgrims to the Orchestra’s concerts. Lastly, as though to show that idealism is not the idle dissipation that it seems, the Orchestra was reported several years ago to have reached a basis of self-support.
The same history has been virtually duplicated in perhaps a score of cities, needless to enumerate. Even “practical” people admit that most of the orchestras so endowed, though they may have passed through a period of begging people to accept passes to concerts, are now paying their own expenses. The general history of the Metropolitan Opera has already been outlined. Opera in other cities has gone through much the same train of events, slowly changing indifference to interest, and having now arrived at the stage of independence made possible by a demand that grows steadily in volume and intelligence. The number of performances in each city shows a consistent annual growth.
Certainly the taste for dancing of a high class is no less worthy of indulgence and cultivation than the taste for the sister art of music. If music’s dependence upon endowment was once more evident than is that of dancing now, then so much less is the difficulty of financing a ballet institution; proportionately less, too, are the hazards and delays to be undergone before the institution arrives at a paying basis.
For the organisation and conduct of such an institution, the Russian ballet and Academy supplies a model that could be followed in most details. American sentiment probably would rebel at so complete a separation of children from parents as the Imperial Academy requires; but a less complete separation would not necessarily be detrimental to results. For actual technical work in dancing, plastic gymnastics, pantomime, music and other courses more than a few hours a day would be beyond the strength of very young pupils, leaving half of each day to attend common school. As the pupil advances, his hours per day in the academy could increase; he could acquire general education after his technical education is accomplished with just as good results as accompany the present reversal of that sequence.
The weak spot that appears in the plan is the possible interference of parents with the school’s discipline. The training of a dancer involves hard work and a great deal of it. Although the work be demonstrably beneficial in all ways, the American parents’ attitude toward that work and the accompanying discipline would be the question to be settled. Boys, to be sure, are sent sometimes at an early age to military schools, and there brought up under a more or less exact régime. But public sentiment favours the indulgence of the girl in all her wishes. It would be a matter requiring adjustment, and probably susceptible of adjustment. Far greater difficulties have been overcome.
Against the prevailing tendency to abandon the training in order to accept outside engagements, by which the Metropolitan Opera School of Ballet has been too often victimised, the academy could protect itself by requiring each pupil to file a bond as a condition of entrance, the amount to be forfeited if the pupil violates his agreement. Questions of payment, ranking of performers, amount of pensions and the like are details needless to consider in the general plan.
Proper equipment would represent a considerable expenditure: a modern theatre, or the liberal use of one; drill halls, music rooms, gymnasium, baths, etc. As to instructors, the right kind are available. At the outset, ballet-master and most of the dancers would have to be engaged from outside, their number decreasing as the school’s products reached the proficiency to take their places. The employment, at the beginning, of finished dancers, would be of advantage in establishing standards for students. Scenery, costumes and orchestra are to be had at the cost of thought and money. Medical and other expenses, taxes, etc., are minor considerations. Now to returns. In considering which, it is understood that such an undertaking may not make expenses at first. But it is not impossible that good management should reduce the losing years to a very small number.
Assuming (say) thirty performances in the home city during the first year: the prestige of that number of performances, kept up to a consistent pitch of excellence, would be nation-wide. As a result of that prestige, a long tour and several short ones would undoubtedly return an excess over salaries and costs. Bear in mind that a commercial undertaking of the sort must figure on recouping a heavy initial expense, and transportation of a company from Europe and return.
Special engagements of artists, in groups or individually, would net the institution a greater or less part of the receipts, according to the terms of individual contracts.
Considering conditions as they are, and looking at the history of music as a fair analogy, it would be safe to assume that local interest in dancing and the mimetic ballet would increase steadily after the institution’s first year, increasing income proportionately. On the other side of the account, expenses should begin to decrease after the third year. A wardrobe and a stock of scenery would have been accumulated, their cost reduced to upkeep and occasional additions. More important, pupils by that time would begin to qualify for the ballet, decreasing the pay-roll of European dancers. In eight years, if the institution has been reasonably fortunate, it should have a ballet recruited principally from its own school. These alumni, of whatever grade, it would have at low salaries; salaries at the same time satisfactory to the recipients, whose popularity as private teachers would be about in ratio to the quality of work with which they identified themselves in performances. Stated hours of exemption from duties connected with the ballet and the school would open the way to such extra revenue. The pay of the _première danseuse_ of l’Opéra of Paris is small, in relation to the requirements of her position; but teaching and outside performances are said to yield her a comfortable income.
Pension payments would represent a loss more apparent than real, since many pensioners could, with adjustments, serve as teachers and aides in various capacities.
So far as can be learned, the foregoing covers the principal elements of expense and possibilities of revenue. The difficulties would be heavy, but less so than those that have been met and overcome. The ballet institution, achieved, would be a contribution to the fine arts no less glorious than any this country has yet received, an organism whose service to broad æsthetic cultivation has been equalled by few.
On the score of both public education and its correlative, the steady increase of the ballet’s earnings, too much emphasis cannot be laid on the advantage the institution would have in its facilities for repeating great works at frequent intervals. We have seen how ground gained by the first Russian season in America was partly lost, through conditions that made it impossible to follow up victories. The choreographic idiom once understood in its fulness, and its public having found itself, the changes of fashion in popular taste would be powerless to affect the dignified status of the art. Under commercial conditions, let the general level of taste sag, or appear to sag, and fine expression is no more. The thousands who have half learned to love the good give it up, and revert to the mediocre; while those who are wholly in sympathy with the good say nothing, stay away from the theatre, and are supposed, by managers, not to exist. Good taste never dies out; it only appears to. The amalgamation of the aristocracy of taste that would be effected by the proposed institution would, in itself, have a tremendous importance. Any basis for computing the potential support for good and honest attractions would be of the utmost advantage to their proprietors. Disclosures of a substantial demand would encourage tours of the best in Europe, while a reliable measure of the limitations of such demand would be no less valuable as a warning against reckless expense. Certainly it is to the interest of the art that good attractions shall be materially profitable.
As to the thought of any tendency of such an institution to take the practice of dancing away from the laity, and confine it to paid exhibitions, the effect would be to the contrary. It would, however, make for a rise of standards. Dancing clubs and pantomime clubs that a little fertilisation would bring to light would find in a quasi-public ballet an inspiration and a guide; and the good to public health and spirits, in the way of such clubs alone, would be pronounced. Also, prevalent impressions concerning the relationship between cleverness, “individuality” and genuine workmanship would be modified, to the betterment of what is known as the American spirit.
Greek poets found metre for their verses in the tapping of feet on the floor. Since the days of Gluck and Gretry, the ballet has been among the foremost stimuli and guides in musical composition. Of late years, the Russian ballet’s lift to romantic music is a matter of almost common knowledge. Is it a ballet that is awaited as the inspiration of an American school of music? It is not impossible. But that, and a thousand other questions, are not for present consideration. The present issue is the institution itself.
BIBLIOGRAPHY
LA DANSE GRECQUE ANTIQUE: _Maurice Emmanuel_.--Traces the origin of a number of steps to ancient Greece, by analysis of poses of dancing, figures on ceramics, etc. Good explanation of ballet steps. (French.)
A GRAMMAR OF THE ART OF DANCING: _Friedrich Albert Zorn_.--Explains a system of choreographic writing by means of symbols to indicate positions and movements. By means (partly) of symbols explains ballet steps, also several ballroom dances. Exact and complete. (Written in German; translated into English and other languages.)
L’ACADEMIE IMPERIALE DE MUSIQUE: _Castil-Blaze_.--“Histoire litteraire, musicale, choréographique, pittoresque, morale, critique, facétieuse, politique et galante de ce théâtre.” (From 1645 to 1855.) Contains much history and anecdote of Roman Empire and Middle Ages, with descriptions of mediæval ambulatory ballets, etc. (French.)
LES PENSÉES: _J.-J. Rousseau_.--Defends the dance against attacks of English. Rare; frequently missing from (supposedly) complete editions of the author. (French.)
MEMOIRS ET JOURNAUX: _Pierre de l’Estoile_.--A collection of anecdotes of the court of Henry III. A mine of information and gossip in relation to masques, etc., in the period described. (French.)
DES BALLETS ANCIENS ET MODERNES, SELON LES RÉGLES DU THÉÂTRE: _Claude François Ménestrier_. 1682.--Author was a Jesuit priest.
## Book includes extensive list of ballets produced in France up to
year of its publication.
ORCHESOGRAPHIE: _Thoinet-Arbeau_ (anagram of _Jean Tabourot_). 1589.--Author was Canon of Langres and Maître de Chapelle of Henry III. The first book devoted to the dance. Comments on all aspects of dancing in France of his time. (French)
THE CODE OF TERPSICHORE.--LE CODE COMPLET DE LA DANSE.--TRAITÉ HISTORIQUE THÉORIQUE ET PRATIQUE DE L’ART DE LA DANSE, DE LA PANTOMIME, DES BALLETS: _Carlo Blasis_.--Of the three books named, the first is in English; its material is more or less repeated in the other two, which are in French. A standard for the use of ballet-masters especially. Authoritative on matters pertaining to ballet technique, questionable on character dances, wholly untrustworthy on Spanish.
LETTRES SUR LA DANSE ET LES BALLETS: _M. Noverre_, ballet-master of the Duke of Würtemburg, l’Opéra of Paris, and other operas. 1760.--Classic. Author was the prophet of and leader to the modern ballet. A broad and comprehensive work on art, as well as authoritative on stage direction, ballet technique, and history. (French.)
DE LA SALTATION THÉÂTRALE: _M. de l’Aulnaye_. 1790.--Dancing and pantomime in antiquity. Contains a catalogue (thought by some authorities to be complete) of dances of ancient Greece. (French.)
DANCING AND DANCERS OF TODAY: _Caroline and Charles Caffin_. 1912.--Special attention to biographies of contemporary dancers. (English.)
LETTRES À SOPHIE SUR LA DANSE: _A. Baron_. 1825.--History, folk-dances and balls of Middle Ages. A chapter is devoted to dancing of Hebrews. (French.)
LA DICTIONNAIRE DE LA DANSE: _G. Desrat_.--Recent. Extremely useful. In dictionary form presents wide range of information.
A HISTORY OF DANCING: _G. Vuillier_. 1898.--Translated from original French into English and Italian. Readable history of the art from antiquity to latter 19th century; many descriptions of early ballets and masques are quoted from Ménestrier, De l’Estoile and others.
MODERN DANCING AND DANCERS: _J. E. Crawford Flitch_. 1912.--History of ballet in England, biographical-analytical sketches of individuals of latter 19th century, details of Russian ballet in London. Delightfully written. (English.)
TRATADO DE BAILES: _Jose Otero_, famous master in Seville. 1912.--Expression of the spirit of Spanish dancing. Much amusing reminiscence. (Spanish.)
DICTIONNAIRE DE DANSE: _Charles Compan_. 1802.--Detailed instructions in social dances of the period. (French.)
NOTE.--The above-named works are not arranged in order either of chronology or importance.
INDEX
ADAGIO, 95.
Albert, dancer, 109.
Albertieri, Luigi, ballet-master; definition _balloné_, 74; Century Opera Company, 314.
_Alegrias_, Spanish dance, 134.
Alexander VI, see Pope.
Allard, Mlle., dancer, 107.
_Allemande_, the, court dance, 52.
_Almées_, the, tribe of dancers, 210.
Anacreon, 8.
Anderson, John Murray, dancer; old court dances, 52; modern ball-room dances, 272-303.
Animals, danced representations of, 19.
Anisfeldt, Boris, designer stage decorations, 264.
Anne of Austria, 49.
Antoinette, Marie, 53.
Arabesque (posture), 78.
Arabs, dancing of, 196 _et seq._
Arbeau, Thoinet (anagram of Jehan Tabourot), Canon of Langres, choreographic historian. Ridicules opposition to dancing, 31. Hints on deportment, 55. See also Church.
Ariosto, _Suppositi_, performance in Vatican, 44.
Aristides, 8.
Aristodemus, dancer as ambassador, 8.
Ark of Covenant; see David.
Arms, positions of, ballet, 67. See also _Flamenco_, Arabs.
Artificiality, charge of against ballet, 62, 63.
_Assemblé_ (step), 69.
_Attitude_, 84.
_Awakening of the Soul_, dance, Egyptian, 210, 211.
BACCHU-BER, Savoyard observance, 186.
Bacon, Francis, composer of masques, 48.
Bakst, Léon; designer stage decorations, costumes, choreographer. Compared to Noverre, 105.
## Part in Romantic movement, 248.
Ballet Academy, French National. Founded, 49; Influence, 100.
Ballet Academy, Metropolitan Opera, see Metropolitan Opera.
Ballet Academy, Russian Imperial, see Russian.
Ballet, Classic, its artistic function, 60, 61; 89-91, 96. See also Expression.
Ballet dancers, effects of scarcity in America, 308-312.
Ballet Theater, American, outline for conduct of, 317-322.
_Ballet (le) Comique de la Reine_, 46.
Ballet technique, ballet steps, 65-97.
Ballet, Russian, see Russian Ballet.
Bolm, dancer, 247.
_Balloné_, 60, 73.
Baltarazini. See Beaujoyeulx.
Bathyllus, 25 et seq.
_Battement_, 71, 72.
Beaujoyeulx, ballet-master, (ex. see Blasis below) 45.
Belgium, dances of, 182 et seq.
Bible, The; references to dancing, 5.
_Black Crook, The_, 231 _et seq._
Blasis, Carlo, ballet-master, writer on dancing, 110.
_Bolero_, the, Spanish dance, 146, 148.
Bolm, Adolf, dancer, 248.
Bonfanti, Marie, dancer, teacher, 232.
_Boston, The_, social dance; relation to other social dances, 272. Execution, 284-288 incl.
Boston Dip, see _Dip_.
_Boston Waltz._ See _Boston_.
Boucher, designed stage decorations, 104.
_Bourrée, la_, French dance, 52, 54, 183.
_Branle_, family of dances; _B. du Haut Barrois_, _B. des Lavandières_, _B. des Ermites_, _B._ des Flambeaux, 55.
_Brisé_ (step), 73.
Brunelleschi, stage decorations, 44.
_Bulerias_, Spanish dance, 134.
Burlesque, 229.
CABRIOLE, 72.
_Cachucha_, the, Spanish dance, 111, 140.
Canadian Royal Opera Company, ballet, 314.
Camargo, dancer, 50 _et seq._ Place in art, 59 _et seq._ Influence on costume, 100. Quality of work, 107.
_Can-Can, The_, dance of Montmartre, 229.
Cansino, Antonio, teacher, 124.
Cansino, Elisa, dancer, 135.
Cansino, Eduardo, dancer, observer of work of Gipsies, 126, 134.
Carmencita, dancer, 139. Influence in America, 239.
_Carnaval, le_, ballet drama, 268.
_Caryatis, dance._ Sacred to Diana, 13.
Castanets, Spanish use of, 131, 147, 148, 151, 152.
Castle, Mr. and Mrs. Vernon, dancers, 277.
Castle Walk, see Castle.
Caucasus, The, dancing in, 217.
Cavallazi, Malvina, preface.
Cecca, stage decorations, 44.
Ceccetti, E., ballet-master, teacher, 74, 89.
Cerezo, teacher, 146.
Cerito, Fanny, dancer, 118.
_Chaconne_, the, court dance, 52, 55.
_Changement_ (step), 69.
Chaplin, Nellie, reviver of old English dances, teacher, 173. Opinion concerning ball-room dancing of to-day, 303.
Characteristic dancing, contribution to ballet, 53.
Charles I, King of England, 48.
_Chassé_, 68.
China, dancing in, 224.
Chirinski-Chichmatoff, Princess, dancer; defines characteristic dancing, 193. Russian Court Dance, 195. Dancing in the Caucasus, 217.
Church, the Christian, St. Basil attributes dancing to angels, Emperor Julian reproved by St. Gregory, 30. Canon of Langres ridicules opposition to dancing, 31. Mozarabic mass, St. Isidore, 32. Abuses complained of, 33. Anecdote of the _Fandango_, 141. Lerida Cathedral, Seville Cathedral, 142. Scotland, 167.
Church, the Christian, relation to dancing, see also _Pope_.
Cicero, 27.
_Ciociara_, the, Italian dance, 162.
Clayton, Bessie, dancer, 93.
_Cleopatre_, ballet drama, 266.
_Cobblers’ Dance_, the, Swedish, 182.
_Cobra Dance_ (India), 220.
Coles, Miss Cowper, reviver of old English dances, teacher, 173.
Collins, Lottie, dancer, 230.
Columbina, 157.
Composition (choreographic, general principles), 89, 90, 91. Noverre’s influences, 105. Arabic, 196 _et seq._, 204. Fokine (hypothetical example), 264. See also Expression.
_Contredanse_, type of dance, 184.
Coopers, Munich’s dance of, 186.
_Cordax_, Ancient Greek dance, 20.
Corybantes, taught mankind, to dance, 7.
Coppini, Ettore, dancer, ballet-master, 233.
_Corte_, the, figure of _Argentine Tango_, 295.
_Cossack Dance_, the, Russian, 190.
_Cou-de-pied, sur le_, see _Pirouette_.
Counter-time, Spanish use of, 126, 130.
_Country dance_, see Contredanse.
_Coupé_, 68.
_Courante_, the, court dance, 52, 56.
Court Dances, seventeenth century, 52 _et seq._ Influence on modern ball-room dances, 303.
Crawford, Margaret, 53, 169.
Cybele. See Corybantes.
_Czardas_, the, Hungarian dance, 190, 192.
DALDANS, the, Swedish dance, 182.
_Danse caracteristique, la._ See characteristic dancing.
Dauberval, dancer, 108.
da Vinci, Leonardo, stage decorations, 44.
David, danced before Ark of Covenant, 5.
de Botta, Bergonzio, ballet masque, 37 _et seq._
de Medici, Catherine. Place in history of ballet, 44; organizer of, performer in, grand ballet, 46.
de Medici, Lorenzo, 45.
Decoration, analogy to dance, p. 2 of preface, 96, 97, 98. Arabic, 196 _et seq._ Egyptian, 209, 212. See also Composition; Bakst.
de Staël, Madame, appreciation of _Tarantella_, 160.
de Valois, Marguerite, 54.
del Sarto, Andrea, stage decorations, 44.
Dervishes (Whirling), 90, 216. See also _Religions_, non-Christian.
_Developpé_, 84.
Diagilew, Sergius, manager, 251, 252.
_Dieu (le) Bleu_, ballet drama, 268.
_Dionysia_, dances, sacred to Bacchus, 13.
Dip: the; of _One-Step_, 278; of Boston, 285, 286, 287.
Duncan, Isadora, dancer. Source of inspiration, 11. Her artistic beliefs, 241 _et seq._; early career, 243 _et seq._; influence on ballet, 246. See also _Russian Ballet_; _Expression_.
ÉCHAPPÉ, 70.
Egypt, Ancient, dancing in, 4.
Egypt, latter-day, dancing in, 209 _et seq._
_Eggs, Dance of_ (India), 220.
Eight, the, figure of _One-Step_, 279.
Elevation, defined, 75.
Elizabeth, Queen of England, 48.
Ellsler, Fanny, dancer, 110 _et seq._ In America, 116. Episode leading to retirement, 117. Influence, 228. See also Taglioni.
_Emmeleia_, group of ancient Greek dances, 11.
_Enchainement_, defined, its function in composition, 61.
_Endymatia_, group of ancient Greek dances, 11, 12.
_Entrechat_, step, used by Camargo, 60. Execution, 72, 73. Relation to ballet costume, 100. Question of origin, 146.
Ethologues, school of pantomimists, 16.
Expression, abstract, 60, 61. In ballet composition, 89, 90, 91. Noverre’s ideals, 105. Spanish Gipsy, 124 _et seq._ Sevillanas, 138, 139. See also _Decoration_, _Composition_. St. Denis, 221. Duncan, 243-246. Bakst, 248, 249. Russian re-creation of best Greek dramatic form, 251.
Extravaganza, 229.
FANDANGO, the, Spanish dance, 141, 142, 154.
_Fantaisie_, _Fantasia_ (Arab), 207.
_Farandole_, the, French dance, 183.
_Farruca_, the, Spanish dance, 127 _et seq._
Fatma, dancer, 199.
Feet, positions of. Ballet, 66. Social dancing, 276.
_Feis_, Irish festival, 177-179.
_Feu, la Danse de_, see Fuller.
_Fight with Shadow._ Ancient Greek dance, 19.
_Flamenco_, type of Spanish dance, 124 _et seq._
_Fling_, see _Highland Fling_.
_Flour Dance, The_ (Arab), 205.
Fokine, Mikail, choreographer, teacher, dancer, ballet-master, 246. Heads Romantic movement, 247. Hypothetical instance of composition, 264.
Folk-dancing, influences upon it. Place in dancing, etc., 164 _et seq._ See also Characteristic Dancing.
_Forlana_, the, Italian dance, 156 _et seq._
_Fouetté_, 75, 76.
France, folk-dances of, 183 _et seq._
Fuller, Loïe, dancer, 235 _et seq._
GADITANAE: see Spanish dancing.
Gaelic League, the, attitude toward dancing, 178.
_Gaillarde_, the, court dance, 43, 52, 55.
Galeazzo, Duke of Milan. See de Botta.
Galli, Rosina, dancer, 314.
Gardel, Maximilian, dancer. Rebelled against mask, 102. Example of effect of French Revolution, 108.
_Garrotin_, the, Spanish dance, 127, 134.
Gautier, Theophile, appreciation of Ellsler, 110.
_Gavotte_, the, court dance, 52, 53.
Geltzer, Katarina, dancer, 254.
Genée, Adeline, instance of virtuosity, 84. Influence, 239.
Genée, Adeline, re-creations of art of historic dancers, 59.
Germany, dancing in, 184.
Geisha, 225.
_Gigue_, the, Italian dance, 43, 162. See also Jig.
Ginsberg, Baron, 252.
Gipsy, Spanish, type of dancing, 124. Pantomime, 125, 126. Relation to Spanish dancing, 128 _et seq._
_Gitanita, La_, dancer, 94 _et seq._
Glazounow, musical composer, 248.
_Glissade_, _Glissé_, 68.
Gluck, musical composer, 105.
Grahn, Lucille, dancer, 118.
Grape-Vine, the, figure of _One-Step_, 278.
Greece, ancient, dancing in, 6 _et seq._ Present day, 189, 190.
Grisi, Carlotta, dancer, 118.
Guimard, Madeleine, Dancer, 107.
Guerrero, Rosario, dancer, influence, 239.
Guerrero, Rosario, dancer, 139.
Gustavus III, King of Sweden, influence on dancing, 181.
_Greeting_, Dance of (Arab), 202.
_Gymnopædia_, group of ancient Greek dances, 11, 12.
HAMADSHA, Mohammedan observance, 208 _et seq._ See also Religions.
_Handkerchief Dance, The_ (Arab), 205.
Harlequin, 157.
Hazélius, Dr., 180.
Hebrews, dancing of, 5, 45.
Henry IV, King of France, 48.
Henry VIII, King of England, 48.
Herodias, daughter of, 5.
_Hesitation Waltz, The_, social dance: place in modern ballroom, 272; execution, 289, 290, 291.
_Highland Fling_, the, Scotch dance, 167 _et seq._
Hill, Thomas, dancer, 175 _et seq._
Hippoclides, 20.
Historians, their neglect of dancing, 9 _et seq._
Holland, dances of, 182 _et seq._
Horace, 27.
_Hormos_, dance of ancient Greece, 7.
_Hornpipe_, the _Sailor’s_, characteristic dance, 171.
_Hornpipe_, the, Irish dance, 174 _et seq._
_Hula-Hula, The_, Hawaiian dance, 223.
Hungary, see Slavonic dances.
_Hyporchema_, group of ancient Greek dances, 11.
IAMBIC, dance, sacred to Mars, 13.
India, dancing in, 218 _et seq._ See also St. Denis.
Inns of Court, produced masque, 48.
Ireland, dances of, 174 _et seq._
Italian characteristic dances, details of costume, 159.
Israel, children of. See Moses.
JALEO, informal accompaniment. Spanish dancing, 126.
Jarrett and Palmer, producers, 231.
Japan, dancing in, 225 _et seq._
Javillier, dancer, 108.
_Jeté_, 70, 71. _Jeté tour_, _j. en tournant_, 71.
Jeremiah, Book of, 5.
_Jig_, the Irish dance, 174 _et seq._
John the Baptist. See Herodias, daughter of.
Jones, Inigo, stage decoration, 48.
Jonson, Ben, composer of masques, 48.
_Jota aragonesa, la_, Spanish dance, 124, 150-152.
_Jota valenciana, la_, Spanish dance, 153.
Judges, Book of, 5.
Julian, Emperor, see Church.
Jump, effect of length analysed, 86, 87.
KADRILJS, the, Swedish dance, 181.
Karsavina, Tamar, dancer, 248.
Kiralfy brothers, dancers, producers, 232 _et seq._
_Kolia_, ancient Greek dance, 19.
_Kolo_, the, Servian dance, 189.
Kyasht, Lydia, dancer, facing p. 247.
LA GAI, Louise, dancer, definition _balloné_, 74; in Italian dances, 157 _et seq._
_Lac (le) des Cygnes_, ballet, 268.
Lany, dancer, 108.
Le Brun, Father Pierre, see Church.
Leo X, see Pope.
_Lezginkà_, dance of the Caucasus, 217.
_Lou Gué_, 37.
Louis XIII, performer in ballets, 48.
Louis XIV, see Ballet Academy, French National.
Lind, Jenny, singer, 118.
Long, Patrick J., dancer, 176.
Lopoukowa, Lydia, dancer. Basis of academic training, 89. Slavonic dances, 191.
## Part in Romantic movement, 248.
Metropolitan Opera, 254. Describes curriculum Imperial Academy, 261 _et seq._; affected by American conditions, 308, 309.
_Ludiones_, 25.
Lycurgus, regulations and recommendations concerning dancing, 7, 8.
Lyon, Genevieve, dancer, 274.
Lyon Chassé, the, figure of _Hesitation Waltz_, 290.
MACCABEES, 5.
_Malagueña (la) y el Torero_, Spanish dance, 143, 144.
Castanets in _la Jota_.
_Malagueñas las_, Spanish dance, 144.
Managers, influence on dancing: Chicago World’s Fair, 237; Jarrett and Palmer, _The Black Crook_, etc., 232 _et seq._; imitators, 233. Sergius Diagilew, 251, 252. Public’s share in blame for American conditions, 305. Exceptional undesirables, 307. Commercial exigencies, 308.
_Manchegas_, Spanish dance, 144.
Mandelkern, Joseph, manager, 248.
Mary, Queen of Scotland, 169.
Mascagni, Theodore, dancer, 156.
_Marianas_, Spanish dance, 134.
Mask, Origin, 18 (inference of Mme. L. Nelidow), 249. Persistence, 101, 102.
_Masque_, early steps and elaboration, 36 _et seq._
_Mâtelot_, the, Dutch dance, 182.
_Mazurka_, the, Russian dance, 190, 192.
_Maxixe, the_, Brazilian, social dance: place in modern ball-room, 272; execution, 300, 301.
_Media Luna_, the, (_la Demi-lune_), figure of _Argentine Tango_, 296.
_Memphitic_, group of ancient Greek dances, 15.
Ménestrier, Father, choreographic historian, 29.
Metropolitan Opera Company. Russian ballet, 254. Relation to music and dancing, 255, 309-314.
Military training, dance in, 14, 15.
_Minuet_, the, 52. _M. du Dauphin_, _M. de la Reine_, _M. d’Exaudet_, _M. de la Cour_, 57.
Mirror, figure of Minuet, 57. See also Bavarian.
Mohammed, see Religions, non-Christian.
Monteverde, musical composer, 39.
Moor: see Spanish dancing, also Oriental dancing.
Morality of dancing, see Church; Religions, non-Christian; Sex; Tango.
Mordkin, Mikail, dancer. Part in Romantic movement, 248. Metropolitan Opera, 254.
_Moresca_, the, 43.
_Moritas, las_, Spanish dance, 134.
_Morra, la_, see _Tarantella_.
_Morris Dances_, 172.
Moses; bids children of Israel dance, 5.
Mourning, choreographic expression of, Greeks (ancient), 13. Spanish Gipsies, 126. Arabs, 207.
Mozarabe, see Church.
Mozart, musical composer, collaborated with Noverre, 106.
Municipal ballets, 6, 8.
Murray Anderson Turn, the, figure of One-Step, 281.
Music, analogy to, see Expression.
NAGEL, Fred, dancer, 188.
Nagel, Mrs. Fred, dancer, 188.
Napoleon (Emperor), ballet in Egypt, 109.
Naturalism, consideration of. See Ballet, Classic.
_Nautch Dance_ (India), 221.
Nemours, Duke of, _Ballet of Gouty_, 49.
Nicomedes, mother a dancer, 8.
Nijinski, Waslaw, dancer, 247, 248.
Noblet, dancer, 109.
Noverre, M., ballet-master. Reforms in French ballet, 103. Collaboration with Gluck, 105. Ballet compositions, 106.
OBERTASS, the, Polish dance, 192.
_Oiseau (le) de Feu_, ballet drama, 268.
_One-step_, the, social dance. Directions for execution, 277-283 incl.
Opera, ballet’s place in, 118, 119. See also Metropolitan Opera.
Otero, dancer, 139, 239.
Otero, Jose, teacher, writer on Spanish dancing, 124.
Oriental dancing: distinguished from Occidental, 213-215. See also _St. Denis_, _Composition_.
Ostrander, H. C., traveller, 208, 217.
PAS _de Cheval_, 85.
_Pas de Chat_, 85.
_Pas de Basque_ (step), 74, 75.
_Pas de Bourrée_ (step), 74.
_Passecaille_, the, court dance, 52.
_Passepied_, the, court dance, 52.
Pantomime, distinguished from abstract expression, 62 _et seq._ Noverre, 107. Spanish Gipsy, 125. Arabic, 200 _et seq._ Greek, 249, 250. Rome, 250. Augustin Daly’s interest in, 306. See also Expression.
Pantalone, Doctor, 157.
_Panaderos, los_, Spanish dance, 149.
_Pavane_, the, court dance, 43, 56; influence on social dancing of to-day, 271.
_Pavillon (le) d’Armide_, 268.
Pavlowa, Anna, dancer; academic discipline, 89. Instance of virtuosity, 92.
## Part in Romantic movement, 248.
Metropolitan Opera, 254. Expression as to tendency of ball-room dancing, 303. Canadian Royal Opera Company, 314.
_Perchtentanz_ of Salzburg, 184, 185, 186.
Philip of Macedon, wife a dancer, 8.
_Pirouette_, defined, 76, 79. _Fouetté p._, 76, 77; variations, 78. _P. sur le Cou-de-pied_, 79, 80; _P. composées_, 81.
_Pito_, finger-snapping, accompaniment Spanish dancing, 131.
Plato, his valuation of dancing, 4, 7.
_Plié_, 75, 76.
_Piqué tour_, 89.
_Pointe, sur la_: in ancient Greece, 88; erroneous ideas concerning, 93; instances of, barefoot, 93, 94.
Poland, see Slavonic dances.
_Polka_, the, 181.
_Pirouette_, 76-81, 83.
Pope Alexander VI.
Pope Eugenius IV, 31.
Pope Leo X, 45.
Pope Sixtus IV, 45.
Pope Zacharias, 32.
Prince Igor, ballet drama, 266.
Prevost, Françoise, dancer, 49.
Public (American) in relation to dancing, 229, 232, 233, 269, 304 _et seq._
Pylades, 25 _et seq._
_Pyrrhic_, group of ancient Greek dances, 15.
QUADRILLE, see _Contredanse_.
RAPHAEL, stage decorations, 44.
Rasch, Albertina, dancer, 314.
_Reel_, the, Irish dance, 174 _et seq._
_Reel_, the, Scotch dance, 170.
_Reel of Tulloch_, the, Scotch dance, 170.
_Relevé_, 69, 70.
Religions, non-Christian, Greek, 6 _et seq._
Religions, non-Christian, relation to dancing. Egyptian, 4. Greek, 4, 11 _et seq._ Roman, 24, 25. Mohammedan, 196 _et seq._ Dervishes, 216. _Hamadsha_, 208 _et seq._ India, 224.
René, King of Provence, 36.
Renversé, its æsthetic significance, 61.
Revolution, French, effect on dancing, 108.
Riario, Cardinal, composed ballet, 45.
Richelieu, Cardinal, composer ballet, 49.
Rimski-Korsakov, musical composer, 248.
_Rinnce Fadha_, the, early Irish dance, 177.
_Roger (Sir) de Coverley_, the, English dance, 177.
Rome, dance in, 22 _et seq._
Romantic Revolution, the Russian. See Russian Ballet.
Romeo, Angelo, dancer, 80.
_Rond de Jambe_, 81.
_Rose and the Dagger, The_, pantomime, 139.
Russian Ballet, for comparison, see also Ballet, Classic.
Russia, characteristic dances, see Slavonic dances.
Russia, Court Dance of, 195.
Russian Ballet. One field of its new material, 58. Artistic sanity, 99. Isadora Duncan, influence, 241-247. Re-creates best of Greek drama, 251. Plays in Paris, 252. Metropolitan Opera, 254. Misrepresentative appearances, 255. Relation to Imperial Academy, 257 _et seq._ Compared with Classic, 263. Scope, 266-268. Influence on social dancing, 269, 270. See also Ballet, Classic.
Russian (Imperial) Ballet Academy: favored ward of government, 245; conditions of entrance, 257, 258; disposal of pupils, 258, 259; curriculum, 259-261; care of pupils, 262; synopsis of history, 262, 263. Influence of Romanticism, 263-266.
SAILOR’S _Hornpipe_, see _Hornpipe_.
St. Basil, dance in his _Epistle to St. Gregory_, 30. See also Church.
St. Carlo Borroméo, canonisation of, 35 _et seq._
St. Denis, Ruth, dancer. Influence, 199. _Cobra dance_, 220. Her contribution to art, 221, 222, 223.
St. Isidore, choreographic composer, see Church.
Salic priests, 24.
Sallé, de, Marie, dancer, 49.
Sallust, observations, 27.
_Saltarello_, the, Italian dance, 43, 163.
Samuel, Book of, 5.
_Saraband_, the, court dance, 52, 54.
Saracco-Brignole, Elise, dancer, teacher, 156.
Saracco, George, dancer, ballet-master, 233.
_Serpentine_, see Fuller.
_Saturnalia_, dances of ancient Rome, 25.
Scandinavian, dances of, 180 _et seq._
Scissors, the (_las Tijeras_, les Ciseaux), figure of _Argentine Tango_, 295, 296.
_Scheherazade_, ballet drama: Volinine in, 86; in character, 268.
_Scotch Reel_, the, see _Reel_.
_Seguidillas_, type of Spanish dance, 136, 141, 144.
_Seises_ of Seville, see Church.
Seville Cathedral, see Church.
_Sevillanas, las_, Spanish dance, 136-140 incl. Instance of a competition, 94.
Sex, dance in relation to, 8, 24. Ellsler and Camargo contrasted, 110, 111, 115. Spanish Classic and Flamenco contrasted, 128. Chicago World’s Fair, 199, 238. Arabian _Handkerchief Dance_, 205. One manager’s belief, 239.
_Siciliana_, the, Italian dance, 43, 163.
_Sikinnis._ Ancient Greek dance, 20.
Simplicity, Greek and Roman compared, 22 _et seq._
Sixtus IV, see Pope.
_Schuhplatteltanz_ of Bavaria, 187 _et seq._
_Shean Treuse_, the, Scotch dance, 171.
Shiloh, daughters of. See Judges.
Skansen, the, 180.
_Skralât_, the, Swedish dance, 181.
Slavonic dances, 190 _et seq._
Socrates, 8.
_Soleares, las_, Spanish dance, 152.
Sophocles, 8.
Spanish dancing costume, details of, 135, 142, 143, 149, 153.
Spanish dancing, its place in history: Carthaginian province, Roman entertainment, 121; Moorish influence, 122; Century of Gold, 122.
Spanish--put in Rome.
_Spear_, ancient Greek dance of, 19.
_Spectre (le) de la Rose_, ballet drama, 268.
Square, the, figure of One-Step, 279.
_Spilled Meal_, dance of, 19.
Staats, Léo, dancer, ballet-master, 80.
Steps, classes of, definition of, 67, 68.
Stoige, Otto, see _Pirouette_.
_Strathspey_, the Scotch dance, 171.
Style, ballet, some elements of, 91, 92, 93, 96, 97. Russian and Classic compared, 263-266.
_Sur la pointe_, _les pointes_, position, æsthetic significance, 61. In ancient Greece, 88.
Sweden, dances of, 180 _et seq._
_Sword Dance_ (Scotch), the, 167.
_Sword Dance_ (Turkish), 216.
_Sylphide, la_, ballet, 116.
_Sylphides, les_, ballet, 268.
_Szolo_, the, Hungarian dance, 193.
TABOUROT, Jehan. See Arbeau.
Taglioni, Marie, dancer, contributor to ballet steps, 58, 112. Reference by Thackeray, 110. Individuality, 111. Rivalry with Ellsler, 114 _et seq._ Performance for Queen Victoria, 118. Influence, 228.
_Tango_, the, Spanish dance, 127 _et seq._
_Tango, The Argentine_, social dance: history, 271; progress hampered by its varied execution, 275; moral aspect, 291, 292, 293; execution, 294-300.
_Tarantella_, the, Italian dance, 158.
Tcherepnin, musical composer, 248.
_Temps_, definition, 67.
Tencita, dancer, 154.
Time markers, 17. See also Castanets.
Toe-dancing. See _pointe, sur_.
_Tordion_, the, court dance, 52, 54.
_Toreo Español_, Spanish dance, 155.
_Tour_, see _Pirouette_.
Tourists, dancing for. Tangier, etc., 205. Egypt, 210.
Treaty, Anglo-French concerning dancers’ contracts, 109.
_Tulloch_, see _Reel_.
Turkey, dancing in, 216.
_Turkey Trot, The_, see _One-Step_.
Turn, the, of One-Step, 277.
VAFVA _Vadna_, the, Swedish dance, 181.
Vestris, Auguste, dancer, 102.
Vestris, Gaëtan, dancer, teacher, 102.
Victoria (Queen) influence on dancing, 118.
_Vingakersdans_, the, Swedish dance, 182.
_Virginia Reel_, the, American dance, 177.
_Vito, el_, Spanish dance, 155.
Volinine, Alexander; instance of virtuosity, 86; academic basis, 89;
## part in Romantic movement, 248.
Metropolitan Opera, 254.
_Volte_, the, court dance, 52.
_Volteo, el_, figure of _Argentine Tango_, 300.
WALK, the (_el paseo_, _le promenade_), figure of _Argentine Tango_, 294.
_Waltz_, the. Probable origin, 75. Universality, 183. The Rheinlander Waltz, 188. See also _Boston_; Hesitation Waltz.
_White Fawn, The_, ballet spectacle, 233.
World’s Fair, Chicago, 238.
ZAMBELLI, Carlotta, dancer, 78.
Zarabanda, the, old Spanish dance, 122. See also _Saraband_.
Zourna, dancer, 199 _et seq._
* * * * *
Typographical errors corrected by the etext transcriber:
Jete tour (11)=> Jeté tour (11) {pg xvi}
## action of the the arms=> action of the arms {pg 101}
In his dance=> In this dance {pg 204}
Brought into semi-associaton=> Brought into semi-association {image p 206}
Mes Memoires=> Mes Mémoires {pg 236}
le Promenade=> la Promenade {pg 294}
Rimski-Korsakow, musical composer, 248.=> Rimski-Korsakov, musical composer, 248. {pg 332}
_Gymnopaedia_, group of ancient Greek dances, 11, 12.=> _Gymnopædia_, group of ancient Greek dances, 11, 12. {pg 330}
_Rincce Fadha_, the, early Irish dance, 177.=> _Rinnce Fadha_, the, early Irish dance, 177. {pg 332}