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Show T H E O R Y OF THEATRICAL DANCING. 67 Simple position of the body, fig. 1, plate I. Epaulement, opposition of the body, fig. 3 and 4, plate I. Positions of the body in poses and in different attitudes, plates V, VI, VII, VIII, and IX. Position of the body in arabesques, plates X, XI, and XII. N.B. In arabesques the body goes out of a perpendicular line, and inclines forwards or backwards in a pleasing abandon. CHAPTER IV. STUDY OF THE ARMS. THE position, opposition, and carriage of the arms, are, perhaps, the three most difficult things in dancing, and, therefore, demand particular study and attention. Noverre, speaking of opposition, says, that " of all the movements executed in dancing, the opposition or contrast of the arms to the feet is the most natural, and, at the same time, the least attended to." " Observe, for instance, a number of persons walking; you will see that when they place the right foot before, the left arm naturally falls before also, and is thus in opposition with it." This appears to m e a general rule, and from thence it is that skilful dancers have acquired the true manner of carrying their arms, and forming a constant opposition of them with their feet; that is to |
