The Art of Stage Dancing Part 30

It is not only the rhythmic movements of the feet and legs that const.i.tute a dancer. Every stage dancer employs as well her face, hands and arms in giving expression to grace, beauty, and the many interpretations of her pantomimic art. Watch the next dancer or group of dancers you see at a show, and it may surprise you to discover how much the hands and arms have to do in adding to the effectiveness of the presentation. It is a compliment to the dancer's artistry that you have been absorbedly pleased by the complete effect, with no thought on your part of a.n.a.lyzing the structure in detail.

But let her put her hands and arms out of the picture and note the disastrous result. You then realize emphatically how much the motions of the entire person, of the limbs and the torso and head, are interdependent to create the grace and rhythm that complete the perfect dance.

The various functions of the hand as detailed are:

1, to define or indicate; 2, to affirm or deny; 3, to mold or detect; 4, to conceal or reveal; 5, to surrender or hold; 6, to accept or reject; 7, to inquire or acquire; 8, to support or protect; 9, to caress or a.s.sail.

How these several functions are naturally evolved from the various movements of the hand will be readily understood when one reads the definitions:

1. (a) To define: first finger prominent; hand moves up and down, side to earth; (b) to indicate: first finger prominent; hand points to object to be indicated.

2. (a) To affirm: hand, palm down, makes movement of affirmation up and down; (b) to deny: hand, palm down, makes movement of negation from side to side.

3. (a) To mold: hand makes a movement as if molding a soft substance, as clay; (b) to detect: rub the thumb across the fingers as if feeling a texture held between them. (A movement often made when following a train of thought.)

4. (a) To conceal: bring the palm of the hand toward you, the fingers at the same time gently closing on palm; (b) to reveal: reverse the above movement, exposing palm.

5. (a) To surrender: closed hand opens, palm down, action as if dropping something on the ground; (b) to hold: the hand closes as if to retain something.

6. (a) To accept: fingers close on upturned palm as if receiving something; (b) to reject: fingers unclose from down-turned palm as if throwing something away.

7. (a) To inquire: a tremulous movement of the outstretched fingers as in the blind; palm down; (b) to acquire; hand drawn toward you, fingers curved toward down-turned palm.

8. (a) To support: palm up, making a flat surface as if supporting a weight; (b) to protect: palm down; a movement of fingers as if covering what you protect.

9. (a) To caress: a movement of stroking up and down, or sideways. If sideways, one caresses the animal nature; (b) to a.s.sail: palm down; the fingers make a convulsive movement of clutching.

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In other words, the hands give expression or emphasis to the thought that it is desired to convey, both in speaking and in the pantomime of the dance and the screen.

Learn, therefore, to use your hands correctly in every dance. There is an idea to be put across in every step from your entrance--your first greeting to your audience--through the measured cadence of your dance steps, to the final exit--your appeal for approval. While you acquire the necessary dance steps to make you a perfect dancer, also learn the hand and arm movements that complement your steps and perfect the picture into its most pleasing possibilities, movements that shall develop the idea of the dance you are portraying and carry it across the footlights.

As soon as you get command of your foot work and master the technical steps of your routine, put your hands and arms into action and develop their connection with your dancing steps so that both shall coordinate as one, and thus your dance will grow into a complete and perfect expression in the easiest way.

Do not neglect your hand-action. It is a positive necessity to successful dancing, and the time to give it attention is while you are learning the rudiments of your art. This work is taught in the Ned Wayburn Modern Americanized Ballet Technique.

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DANCING FEET

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Good dancers will take good care of their feet--the tools of their trade. They are essential factors in your salary--drawing power. Treat them kindly, and they will thank you and remain your meal ticket for many years.

A hot foot bath followed by a careful pedicuring it seems unnecessary to recommend, for that is a daily habit with all dancers and other ladies.

If your feet are tired and cry aloud for care, prepare a bath for them of common baking soda and warm water, using two tablespoonfuls of soda to a bowl of warm water. This will reduce the swelling of the feet and ease them greatly. Now rub them with a cut lemon. This freshens them and also makes them white and pretty. Allow the lemon juice to dry on them, then apply cold cream and ma.s.sage them thoroughly. Now wipe off all surplus cream and dust them with talc.u.m powder. Put on soft house shoes and you will feel like a new person.

Ma.s.sage with olive oil is splendid for tired swollen feet; soaking them in salt water is also good.

Here is a favorite foot balm you can have put up at the drug store: Calomel, ten grains; carbonate of zinc, one dram; oil of eucalyptus, five drops; ointment of rose water, one ounce.

First bathe your feet in cold salt water, then rub in the balm, ma.s.saging it well into the feet at night, and powder freely with talc.u.m in the morning.

When the feet swell from long standing or tedious rehearsals, relief can be had by dissolving the following powder in the foot bath: Borax, two ounces; rock salt, two ounces; alum, one ounce.

If your feet are tender, soak them in this bath for ten minutes, and then dry thoroughly: Hot water, five quarts; boric acid, 200 grams; tannin, five grams.

For removing callous spots, soak the feet in hot water for ten or fifteen minutes, then take a piece of pumice stone and rub the callous spot. Do this every night. During the day keep a piece of cotton which has been covered with cold cream on the spot to keep it soft. This will remove any callous in a short time.

Can you think of a dancer with corns? What torture the idea suggests!

A limping, crippled dancer would be distressing to gaze upon, and even a minute corn could create this condition. It simply isn't done. For a dancer to tolerate a corn is a confession of carelessness, of personal neglect, and indifference to everything concerning her art.

To prevent corns and most other foot troubles, wear shoes that fit your feet. A too loose shoe makes corns just as quickly as does a tight shoe, for when shoes are too large there is a constant friction, which develops a corn. And see to it also that your stockings fit your feet. A short stocking cramps the foot, and a loose stocking wrinkles and rubs in spots.

The first thing to do for a corn is to relieve it from all pressure.

The druggist has an abundance of corn cures, most of which are effective, but if you choose to have one made up to order, here is a sure cure: Salicylic acid, twenty grains; alcohol, one-eighth ounce; flexible collodion, one ounce. Mix and apply to hard surface of corn with a small brush. Do this once or twice daily for three days, then soak the feet in hot water, and a layer of skin will come off. Repeat till corn is gone.

Tight shoes two sizes too small for you do not make your feet look small; in fact, they make the feet look larger, and you haven't freedom to walk or dance. Tight shoes and high-heeled shoes are injurious to the health. The circulation of your whole body is interfered with by wearing them, and cold feet, corns, bunions and many other painful troubles result.

Wear comfortable shoes if you would have freedom in dancing and all other exercises. Whatever shoes you wear, have them comfortable, so you can forget your feet as you step joyously forth to trip a measure in your chosen profession.

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DANCING SHOES

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Each type of dancing demands its own fas.h.i.+on in footwear, and the novice while learning and rehearsing requires a foot covering differing materially from that to be worn later in the perfected dance on the professional stage.

It is very desirable for the newcomer into the dancing world to acquire knowledge of the correct shoes to be worn to facilitate action, make the learning as easy as possible and keep the feet in perfect condition.

In taking up this subject I shall tell in simple language what is the best and most practical way to dress the feet for the various occasions that arise in dancing. One general rule can be laid down for everyone and all occasions: _Have your shoes fit your feet._ Do not simply "buy a pair of shoes." Ascertain the size and width of shoes that correctly fit you, and ask for your shoes by these specifications. Go to a first-cla.s.s shoe dealer. Don't buy a shoe merely because it is pretty. Cheap shoes are often the most expensive, and if poorly made may injure the feet.

The above advice applies to every shoe you buy, for house, sports, street or evening wear, as well as for dancing.

For the courses, consider the type of dancing you are taking and dress your feet with shoes suitable for that kind of work.