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Show T H E O R Y OF THEATRICAL DANCING. 87 and gives the pirouette much more elegance. In the ges - ture expressive of the action, this position is replete with truth, and therefore should not be modified. I shall conclude by telling the pupil that he may revolve in any kind of attitude or arabesque, provided that the design of the body, arms and legs be graceful, and every movement natural, and free from affectation. Pirouettes may be- ended in any position, attitude or arabesque whatever. The following are various different sorts of pirouettes: pirouette a petits battemens on the instep, pirouettes a rond-de-jambe; a la seconde avec grand rond-de-jambe ; avecfouette, pirouette en attitude) en arabesque; pirouette sur le coude-pied; pirouette en dedans a la seconde sur le coude-pied et en altitude ; pirouette renver&4e; pirouettes compos4es, tyc. Position of the dancer in beginning his pirouette from the outside, fig. 3, plate VII. N.B. The feet must herein be placed between the second and fourth ppsition. Position of the dancer in beginning his pirouette from the inside, fig. 4, plate VII. |
