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Show THEORY OF THEATRICAL DANCING. 99 His remark struck me, and I immediately set about imitating that distinguished performer. I made my first essays under the eye of my father. Whilst he extemporized on the piano-forte, I endeavoured to follow his musical intentions, and to formulas de deux, de trois, which I afterwards performed in his operas of Omphale, Achille, Dibutade, §c. These essays were so fortunate as to meet with general approbation. APPENDIX. FIRST EXERCISES. First Positions. In the first position the legs are much extended, the two heels close to each other, the feet turned completely outwards in a straight line. (See fig. 1, plate I.) In the second, the legs are more apart, but only by the length of the foot. (See fig. 2, plate II.) In the third, the feet half cross each other and are close together. (See fig. 3, plate I.) The fourth is very similar to the third, with this difference, that the feet half cross each other without touching. (See fig. 1, plate II.) In the fifth, the feet cross each other entirely. (See fig. 4, plate I.) In all these positions the knees must be bent without raising the heels in the least from the ? PUBLIC Cy |