already fully informed as to certain necessary facts that concern all
actors everywhere. Much information about showmanship is given in our
makeup classes. You must take lessons in makeup before you go on the
stage. You will do well to practice the same things here in the
studio, now and all the time, in order to make you stage-wise and
perfect in necessary stage deportment.
One of the things required of you on the stage is to _stand still_.
Don't move about or turn your head or lop around or move your hands or
feet. You will have a fixed position established at rehearsals, when
you enter upon professional stage work, and if you do not hold it and
observe the rules about standing still, you will not be wanted and
will not last long. It seems a very simple thing to do, when you think
of it, but unless you do it right _here_, while you are learning the
basic facts about a stage career, you may fall down on it _there_.
Heed this advice, and you will be grateful to me for it sometime.
If you are on the stage and someone is playing a scene, and your head
is going from side to side, you attract the attention of the audience
from the actor to yourself. When you do it here you take the attention
of the class away from me, and you also take my attention away from
the class, and if one or all of you do a "go as you please" about your
movements, your talking and your attitudes in class, we have a
pandemonium here that will drive your teacher frantic and prevent you
from getting the instruction that you are paying for.
In this studio we insist upon and enforce discipline, just as your
stage director will do when you join some company. It is good for you
to get the disciplinary practice now that you must expect to receive
when you pass from here to a regular stage. Those of you who really
mean business and are going to succeed do pay attention to the studio
discipline, always.
[Illustration: NW]
[Illustration: ANN PENNINGTON]
NED WAYBURN'S TAP AND STEP DANCING
SOMETIMES CALLED CLOGGING
[Illustration]
You will remember that in a preceding chapter I said that Tap and Step
dances were those composed chiefly of motions of the feet which
resulted in combinations of various sounds made by different parts of
the foot tapping or beating the floor, these sounds or beats being
called "taps." This type of dancing expresses the American syncopated
rhythms. It was the most popular type of stage dancing about forty
years ago, when it was most beautifully performed by the greatest
American dancing stars like the late George H. Primrose, the famous
American minstrel.
Buck-dancing is done to syncopated rhythms, and you must get the right
accent on those syncopated beats or taps or you cannot get the knack
of doing a buck dance properly. So it is most important that you
practice over and over again the four kinds of "taps" and "hops" which
I shall describe now. First of all, stand in an imaginary circle the
diameter of your feet, with your heels together, your right toe
pointed right oblique and your left toe pointed left oblique, your
weight equally distributed between the two feet, as described in a
previous chapter.
Every dancing step is in counts of eight. Remember that all of your
counts begin with the left foot unless you are instructed to the
contrary. Remember always, when you hop, to land with the knees bent;
otherwise, the landing of the body with stiff legs after the hops will
be a shock to the nervous system which in time will undermine your
health.
[Illustration: _Straight Tap_]
The first tap is called a "straight" tap. Put your weight on the whole
right foot. The left foot should be held about one inch from the
floor. Tap the floor with the ball of the left foot for seven counts,
working the foot on a hinge from the ankle, keeping your feet directly
opposite and inside the circle or place. On the eighth count put the
flat of the left foot down on the floor, shifting your weight to the
left foot. Now in doing these straight taps count: 1, 2, 3, 4, 5, 6,
7, flat. And when you say "flat" you shift your weight to the left
foot by putting it flat on the floor. Then comes the same with the
right foot--seven taps with the ball of the right foot and "flat" on
the eighth count. Now do the sixteen counts, first with the left, then
with the right. Thus: (left) 1, 2, 3, 4, 5, 6, 7, flat; then (right)
1, 2, 3, 4, 5, 6, 7, flat.
[Illustration: _Front Tap_]
The next tap is a "front" tap. The front tap goes front--it gets its
name from the direction it takes. Swing the lower leg (from the knee
down) like a pendulum. The tap is made with the inside edge of the
sole of the shoe, striking the floor as the foot goes front only,
clearing the floor as it goes back, the back swing being made to the
count of "and." Put the accent on the number as you say it out loud.
"_Front_-and," "_2_-and," "_3_-and," "_4_-and," "_5_-and," "_6_-and,"
"_7_-and," and "_8_-flat" (weight on the left foot). Swing the lower
leg from the knee back and forth, not the upper leg at all, striking
or tapping the floor only on the front swing. Then execute the same
taps with the ball of the right foot, stopping after the count of
"8-flat" with both feet flat on the floor, the weight equally
distributed between them. Now, you have had the "straight-tap" and
"front-tap" with both feet.
[Illustration: _Back Tap_]
The next is the back tap. Make the back tap like the snap of a whip,
swinging the lower leg from the knee only, like a pendulum, with a
sharply accented move to back, striking the floor with the ball of the
foot as it goes back only to the counts, and swinging it front to the
count of "and" when the foot must clear the floor each time. Snap it
down--"_Back_-and," "_2_-and," "_3_-and," "_4_-and," "_5_-and,"
"_6_-and," "_7_-and," "_8_-flat" (with the left foot); then with the
right foot, "_Back_-and," "_2_-and," "_3_-and," "_4_-and," "_5_-and,"
"_6_-and," "_7_-and," "_8_-flat."
[Illustration: _Heel Tap_]
We now come to the heel tap, which is made and counted like this:
Heel, 2, 3, 4, 5, 6, 7, flat (8 counts). The same with the right heel
for the same counts (8).
Practice these four taps, the straight, the front, the back, the heel,
and the hop faithfully before you try to learn the buck dance, because
from these four taps and the hop are built up many combinations which
form complicated steps which you will want to learn later on. And the
more you practice these fundamentals the better dancer you are going
to be. Be sure to review, too, over and over again, the eight stage
directions--front, left oblique, left, left oblique back, back, right
oblique back, right, and right oblique.
In "tap" dancing, as in the musical comedy dances, there will usually
be ten steps; one "travelling" or entrance step which will bring you
onto the stage (from "off stage" into the line of sight of the
audience), eight dance steps, and one exit-step to take you "off," out
of sight of the audience, which will always be in the nature of a
_climax_ to provoke applause.
But, as I have said above, in buck-dancing or in any type of tap and
step dancing, the rhythm is most important, and in order to be
thoroughly grounded on syncopated rhythms, I shall give you first of
all a beginner's "time-step." After that you will learn a beginner's
"break."
The "time-step" and "break" are the keys to tap dancing and must be
mastered before the tap dance can be learned. The "time-step" and
"break" must be perfectly timed to the syncopated rhythm. And it is
going to take long, patient periods of practice in order to perfect
them. Do not get discouraged. Apply yourself keenly to both of these
fundamental steps.
[Illustration: PRIVATE LOCKERS IN DRESSING ROOMS]
THE TIME STEP
The purpose of the time step is to get the syncopation into the
dancing step, and establish the "tempo" of the dance.
With the weight on the left foot, front tap with the right, back tap
with the right, hop with the left, with the right foot back and raised
from the floor. The count is "And a _one_," with strong accent on
"one." Now straight tap with right foot to count "two" and accent it.
Do a front tap with the left (count "and"), left foot straight front
(count "three" and accent), right foot straight (count "four" and
accent).
With the weight on the right foot, front tap with the left, back tap
with the left, hop with the right, with the left foot back and raised
from the floor. The count is "And a _one_," with strong accent on the
"one." Now straight tap with left foot to count "two" and accent it.
Do a front tap with the right (count "and"), right foot straight front
(count "three" and accent), left foot straight (count "four" and
accent).
Repeat all six times.
THE BREAK
With the weight on the left foot, front tap with the right foot, back
tap with the right, hop with the left, with the right foot back and
raised from the floor. The count is "And a _one_," with strong accent
on the "one." Tap right foot straight (count "two" and accent). Tap
left foot front, tap left foot back, then left foot straight, to the
count of "and three and." Now right foot straight, to count of "four"
accented. Hop on the right foot with the left raised from the floor in
front, count "five" and accent it. Front tap with the left (count
"and"), straight tap front with the left (count "six" and accent it),
straight tap with the right, place the right toe even with the arch of
the left foot (count "and") then left foot flat front to count of
"seven" accented.
Now, first of all you had the eight different directions; after the
eight different directions the four different parts of the foot and
the "hop," and then the different kinds of sounds or taps that I just
gave you. We begin to make all sorts of combinations of those sounds.
For instance, one of the primary steps which you must know is a
combination of front, back and straight tap together. Stand on the
ball of each foot; the weight is off the heels, and equally
distributed between the balls of the feet.
Now beginning with your left foot, do one front-tap, one back-tap, and
one straight-tap, _accenting_ the straight tap--counting it 1, 2, _3_.
Now, begin with the right foot and do one front-tap, then one
back-tap, and one straight-tap, counting it 1, 2, 3, and then
alternately with each foot. On the third count your weight should rest
on that foot. When perfected, that makes the first actual step in "Tap
and Step" dancing.
One of my pupils of whom I am very proud is Miss Ann Pennington,
another of the "Follies" stars. She became one of the leading
exponents of "Tap and Step" dancing, and although she has reached this
high point in her career, she still comes to me for advice and for
pointers, and I am glad that she does this, because it shows that she
realizes the necessity of new ideas and hard work to keep herself at
the top. In dancing, as in many other professions, one must "keep
everlastingly at it." The story of Miss Pennington's career is similar
to that of many who have come to me for instruction. She had innate
ability, good looks, a sense of rhythm and a willingness to work hard
and patiently, and with these qualities has achieved success.
MR. WAYBURN ADDRESSES A CLASS IN TAP AND STEP DANCING
[Illustration]
What you are learning in this class I like to call "bread and butter"
dances, for if you succeed in mastering them thoroughly, as you surely
will if you give attention to your instruction here in class and then
practice several hours daily at home, you will possess as your own
individual property a means of livelihood that will remain at your
command all your stage life.
When you know how to execute the routines of these dances and add to
and develop your routines to keep them fresh and up to the hour, you
have a lot of neat steps that will get over with the producers of many
of the better types of modern shows. That is what I mean by "bread and
butter" dances; something you can sell most easily in the present show
market, and get not only food and raiment and lodging, but build up a
savings bank account for the future as well. So it is well worth while
to take your instruction here seriously and earnestly, as I am sure
you intend to do. There is big money in this line of dancing if you
practice and keep at it long enough. There are many four-figure
salaries being paid every week to qualified dancers with an
established name and reputation, and the way to earn these big
salaries is to become qualified yourself. We teach you right and start
you right--then it's practice for you; practice and more practice.
Let me tell you just how you should practice from now on in order to
become a competent solo specialty dancer. Practice one step at a time.
In a routine take the first step; practice that step until you are
tired, then sit down and rest five or ten minutes. As soon as you feel
like getting up again, take the second step and practice it until you
are tired; sit down and rest again. Then do the first and second
steps--no more; then sit down and rest again. Practice until you feel
yourself tiring, but DO NOT overdo it. Practice faithfully and don't
slight any one step. Then practice the third step the same way. When
tired sit down and rest--then get up again. Put the first, second and
third steps together, and so on all through the routine of eight or
ten steps. No other way you can think of to practice will result as
well as this particular way. It is a systematic, practical way.
I am taking a big responsibility with you, because when you finish
your course you are going to appeal to me and ask if I know of an
opportunity for you; where I think there is a good chance for you to
begin; how you can get started. You are now getting along in advanced
work. Try to get on in some charity entertainment; some place where
you are employed in the day may have some benefits. Try for church
entertainments. Some evenings in the neighborhood where you live there
may be little entertainments. No matter how small an affair, try to go
on. Get in front of an audience and feel the tension of an audience;
it will give you encouragement, and on each succeeding appearance you
will gain confidence and see how you "get over" with an audience.
After a few appearances any feeling of stage fright will gradually
disappear, and eventually you will gain confidence in yourself. Do not
try to go on at first in any Broadway benefit. Be satisfied to make a
very small beginning.
You have to begin now to put yourselves in the work. You can't be
looking down at the floor and wondering what step comes next. That is
no longer possible. You must acquire a method of executing the step; a
little smile on your face; a little personality behind it; inject
character into all your work.
Recently the Friars put on a Minstrel Show in New York that was a
sensation. It shows that the public are gradually coming back to the
old-time Minstrel Shows. The show business moves around in cycles;
styles change in dances the same as in fashions. Light operas and
musical comedies are coming in. Those of us who watch the theatre know
that the styles are changing, and when I tell you this type of dancing
is coming in you can believe it. Many prominent society women are
studying this style of dancing. The Universities are taking it up, and
we are gradually establishing it. Kansas City, Atlanta--the Junior
League Follies, all did this type of work. There are 10,000 dancing
teachers in America, and out of these, 2,350 are already teaching it,
and there is every incentive for you to learn it, for it is popular
and profitable, and with our foundation technique already acquired as
a basis for this work you should not find it difficult to master.
This class is going to be taught four complete professional stage
dances this month. If you got that outside of this school you would
have to pay not less than $100 to $200 for each routine. I make it a
point to give my scholars the very best there is in the line of
instruction, and at the same time charge them only a reasonable fee.
We also give you the backing of every part of this
establishment--publicity, advertising, and bookings when we can, but
not until you have made good during your study.
Now there is one little thing I am going to talk to you about that
really is a bigger thing than it seems--and that is gum--chewing gum.
If you had had stage experience you would know that gum is taboo in
the theatre, and the reason for this is not only that to chew in sight
of an audience would be an insult and result in immediate dismissal,
but also for this very important reason, that a cud of gum if dropped
on the stage would destroy that stage for dancing--your own dancing
and everybody else's. And it would be the same way here in the studio.
We have here the finest of clear-maple dancing floors in every one of
our studios. Drop a piece of gum on this floor and then try your dance
and see what would happen to you. You'd step on it and you'd get a
fall; you couldn't help it; and an unexpected fall like that might
break your ankle, very easily. It has been done before now. Just make
believe that you are under a theatrical producer on a Broadway stage,
while you are with us here, and park your gum on a lamp post before
you come into this building. Then you and the rest of the young ladies
will not be in danger of meeting with an accident from that source.
Real flowers are not allowed on the professional stage for a similar
reason. A flower petal falling on the floor acts as a banana skin
would, making a slip and a bad fall possible to anyone on the stage.
You'd not like to have your dance spoiled by a wad of gum or a flower
petal, and perhaps get put out of commission and have to forfeit a
contract because of a personal injury. So let's play we are on the
professional stage here and do as real professionals do--cut out the
cud and forego the posies. If you have flowers handed to you over the
footlights when you get to be stars, ladies, let it be at the final
curtain. Then you won't break anybody's neck.
[Illustration: THE THREE REILLY'S--ALICE, GRACIE AND JOHNNY]
I say often to every class, and I say it again to you--come and see me
in my office and tell me how you are getting along here. And I mean
this for every one of you. If I wasn't certain that I am going to be
able to help you I wouldn't ask you to do this. If I didn't care I
might do as some others do--take your money and let you go along in
the class work as you choose to without bothering myself whether you
made good or not. But that is not my way--not this studio's way at
all. You must make good, for your own sake--and for the sake of this
school's reputation. Now remember, there is absolutely no charge for
my advice or counsel about anything that concerns you--your health,
your reducing, your improvement in dancing--anything you want to know.
One day a girl came to me for the first time after she had been in the
school about four months. I asked her in some surprise why she hadn't
been in to see me before. "Why, Mr. Wayburn," she said, "I understood
that you charge a high price for consultation, and I didn't feel that
I could afford it."
Not only do I not charge anything for counseling you, I esteem it a
favor to myself to be allowed to advise you. Candidly, I have never
yet had a girl or boy take my courses here who has made a success of a
dancing career who didn't write to me or talk things over with me
first. If you don't come, you cannot get my ideas, cannot cooperate
with me in matters that concern you.
Come to my office at any time. Between 11 and 1, or 4 and 6 are
usually the best times. If I am busy with some important matter I may
have to ask you to wait awhile or come in at some other time. I'm a
pretty busy man some of the time, myself!
Weigh yourself and tell me about your weight.
NED WAYBURN'S ACROBATIC DANCING
[Illustration]
There is a very decided distinction to be drawn between acrobatics
pure and simple, and acrobatic dancing, which is quite another matter.
It is, of course, acrobatic dancing that you see on the stage
accompanying and accentuating the more formal dancing steps in musical
comedies, revues, and spectacular performances, and it is this
acrobatic dancing that receives wide attention in the teaching of the
dancing art in the Ned Wayburn courses.
There are properly two divisions into which acrobatic dancing is
naturally separated:
(1) _Bending exercises_; including the back bend, hand-stand,
inside-out, front over, back limber, cartwheel, tinseca, nip-up, the
various splits, and several more advanced feats that should be
attempted only after thorough physical preparation.
(2) _High-Kicking exercises_; including all the so-called "legmania"
varieties of dancing, which are best acquired by thorough preparation
of the body in the Ned Wayburn foundation technique and studious
attention to the drill in the Ned Wayburn Americanized ballet
technique.
All of the acrobatic dancing tricks that are properly classified under
bending exercises have for their foundation the back bend and the hand
stand, as they are called, both of which must be mastered absolutely
before attempting other and more complicated acrobatic exercises.
I want to go on record with the emphatic statement that acrobatic
dancing must not be attempted except by those who are entirely and
absolutely physically fit. The acrobatic dancer must possess unusual
strength in the arms, in order that the weight of the body may be
safely supported; and there must be strength and flexibility of the
waist muscles and the abdominal muscles, and of all the muscles of the
back and shoulders, to enable the performer to execute the front and
back bends and their companion strenuous exercises. First, the pupil
must have an unusual adaptability to this type of dancing, and then
must prepare carefully and properly in advance of entering upon the
real work of the course.
The best development comes from our limbering and stretching
exercises. There is nothing else like it nor anything equally as good
as a foundation for all types of dancing, and it is especially needed
by the amateur entering upon an acrobatic dancing career. We have put
literally thousands of pupils through this course, and every student
of our acrobatic dancing classes who has taken this essential
preliminary course has come through in fine shape.
You must be extremely careful if you have or ever have had any
abdominal trouble. You must get the abdomen strengthened before you
undertake any acrobatic work. If you have had an operation for
peritonitis, appendicitis, hernia, or elsewhere in the abdominal
cavity or region, you must, out of consideration for your own health,
avoid any violent bending exercise. This does not imply that you
should not exercise properly. You should, for it is easily possible to
strengthen the tender muscles into a normal condition by suitable and
systematic exercises.
Try this test: Lie flat on your back on the floor. Now, without aid of
the hands or elbows or any outside assistance, bring your body to a
sitting position. If you cannot do this, get your back muscles into
training before you attempt any difficult exertion. If you succeed in
your test, you can safely consider your abdominal muscles to be in
sufficiently good condition to go ahead with acrobatic dancing.
Let me describe a few of the most common of the acrobatic tricks that
all acrobatic dancers must know, and you will no doubt recognize them
as being also favorite tumbling acts of boys and girls on the lawn.
The most complicated and difficult acrobatic exercises are taught in
full in the Ned Wayburn Studios, and are printed in detail, with
simple instruction for their successful accomplishment, in the Ned
Wayburn Home Study Course in Stage Dancing. The few we give you here
are not difficult, and can be mastered at home by anyone who
persistently practices and follows the descriptions with care.
[Illustration: ACROBATIC DANCING PRACTICE.]
BACK BEND
Stand erect. Spread the feet about fifteen inches apart. Have the toes
pointed well out, at about a sixty degree angle. Raise the arms
directly overhead, the hands shoulder-width apart. Put your head
back, pushing forward with your knees. Lean back, bending the arms as
far back as you can, till the palms of the hands rest on the floor. In
doing the back bend, relax the lower jaw and keep the mouth slightly
open to breathe. Throw the strain of the bend in the small of the
back. To come up, acquire a little rocking motion forward and back,
lean forward, and you will come up easily.
_How to do a back bend while standing near a wall._