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Show THEORY OF THEATRICAL DANCING. 103 and by his boldness and ease of execution, at length show that he is master of his art. Let his whole attention be then directed to delight his beholders, by the elegance of his positions, the gracefulness of his movements, the expressive animation of his features, and by a pleasing abandon diffused throughout his whole performance. These qualities constitute a truly finished dancer, and, with them, he is certain of enrapturing all who behold him. GAIT. A graceful manner of walking on the stage is of much importance to a dancer, although a number of our artists neglect it, both in moments of repose and in presenting themselves to the public for the execution of a pas, which is a serious defect, as it, in the first place, offends the eye, and, secondly, deprives the performance of its pleasing illusion. A good style of walking is very useful, for in that consists one of the first qualities that dancing imparts, which is a graceful carriage. Let your legs be well extended in their movements or steps, and your thighs turned perfectly outwards, all the lower parts of your legs will then be turned in the same manner. Your steps should be no longer than the length of one of your feet. Avoid stiffness in their motions, which must be neither too slow nor too quick ; as both extremes are equally unpleasing. Do not separate your legs from each other sideways. Carry your head upright and your waist steadily ; by which means your body is kept in an elegant position. Let your breast project a little and your arms fall naturally on each side. (See Chapter IV.) |
