OCR Text |
Show THEORY OF THEATRICAL DANCING. 101 foot just touching the ground at the toe, cross before the left, by bending your knee and opening again sideways> then bend the knee again, crossing your foot behind, opening also sideways ; and so continue to do several of these baltemens one after the other. Gradually increase in quickness, till you can perform them so rapidly, that the eye cannot count them. These battemens have a very pretty effect, and give much brilliancy to the motions of the legs. They should also be practised a great deal with both legs resting on the toes. Ronds-de-Jambes. T o begin your ronds-de-jambes from the outside, take the same position as that in which you commence your petits battemens. Suppose it is the left leg that stands on the ground whilst the right, in the second position, is prepared for the movement, make it describe a semicircle backwards, which brings your legs to the first position, and then continue on the sweep till it completes the whole circle, ending at the place from whence it started. This is what we technically term ronds-de-jambe. The ronds-de-jambes from the inside are begun in the same position, but the right leg, instead of commencing the circle backwards, must do so forward. After the pupil has practised the ronds-de-jambe on the ground, he should exercise himself in performing them in the air, holding the leg that supports his body, on the toes. The pupil must at first practise in resting his hand on something, that he may keep himself upright, and exercise each leg alternately. W h e n he has acquired some facility in this, let him practise without holding, which gives him uprightness and equilibrium, essential qualities in a good dancer. He will also thereby gain strength, and means of executing, with ease, every kind of step. He must repeat his practice daily to establish his execution; 7 |