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Show THEORY OF THEATRICAL DANCING. 89 chiefly attributable to that confusion of branches which at present tarnishes the art of dancing ; to that want of perseverance and study in most dancers, and to that vicious taste, so conspicuous among those who frequent the greatest part of our theatres. Our masters, as I have before observed, were perfect in this style ; but they have had very few followers. I know only one dancer capable of executing it to advantage; but let him not, by an ill-placed complaisance, endeavour to please a crowd of ignorant spectators. It is, nevertheless, in some measure, the province of a perfect artist to bring back public taste to what is really good and beautiful, by persisting in performing according to the true rules of art. It was said in one of the Parisian papers, speaking of m y debut, in the serious style, at the Royal Academy of Music, that " for some length of time past the noble and serious kind of dancing has been treated with a singular contempt. It is, indeed, difficult to imagine how any one can dapce without being lively. Serious dancing, however, possesses its peculiar attractions. Beautiful positions, majestic movements, dignity of step, & c , give a certain character of importance to dancing, which, with respect to imitation, assimilate it in a manner to the art of sculpture. The ancients were very partial to this sort of recreation, and cultivated it with great success. W e despise and neglect it because we are far beneath that perfection which the Greeks, and especially the Romans, once obtained. Their mimic plays bore some analogy to our grave style, which is a reason why we should encourage the small number of dancers who devote themselves to these performances. At some future time they may, perhaps, afford enjoyments hitherto unknown to us." This last sentence proves how great is the decay of the beautiful serious style of dancing; since the enjoyments |
