music, which will give real inspiration. Without inspiration nothing
worthwhile is ever accomplished in the way of stage dancing.
Machine-like dancers never get over. One must learn to inject one's
own personality into each dance, in order to radiate an atmosphere
that will bring success. This important subject of atmosphere is taken
up in all our courses, and practically and thoroughly demonstrated and
taught. Great care must be exercised that a dance is not overproduced,
because if the scenery, costumes, in other words, the background, is
allowed to dominate the dance itself, the dance will fail. The pupil
must always dominate the costume and the entire stage setting or
surroundings in order to get the dance over. Lavish production and
accessories of any kind sometimes will interfere with the success of
the pupil, or dancer. In other words, a too lavish production will
detract from the dance itself and from the one who is performing the
dance. So it really takes a person of artistic perception, who has
become practical through actual experience, to set a dance properly
and surround it as it should be surrounded. Many a novice will have
good ideas, perhaps, for atmosphere, but through lack of experience
will not be able to get those ideas over on the stage. It takes,
therefore, practical stage direction to realize all the possibilities
of stage atmosphere in a practical way.
The subject of atmosphere as it relates to the future success of our
students, is given proper attention in our courses. I personally
present it before the classes in talks from time to time, and
demonstrate its meaning and purpose practically, by use of settings,
lights and properties on the stage of my own Demi-Tasse theatre,
connected with the studios.
The recognition of atmosphere and its need in connection with stage
performances is a mental process, an idealization that not every
material mind is capable of grasping readily. Probably no pupil would
think of enrolling in a course that had atmosphere for its sole
subject; yet it is an important matter to all students of the stage,
and my plan of introducing it incidentally in my classroom talks, and
at the same time showing them by a practical stage demonstration just
what it means to them personally, has put it before our pupils in such
an interesting and material way that they cannot fail to absorb some
knowledge of its benefits.
Every producing stage director must possess an innate or an acquired
sense of what we designate as atmosphere, in order to put on a
production in a perfect, pleasing and profitable way. My many
unqualified stage successes demonstrate my possession of this
essential element, which I try to unite with originality and artistic
perception, as well as a sure conception of what a fickle public will
welcome and approve by its patronage. Hence, my talks on atmosphere
are of more than usual value.
[Illustration: NW]
DANCING CHILDREN
When you are teaching a child something that suggests play, and that
at the same time is beneficial to health and beauty, and is also the
real foundation for a future career, you are accomplishing much in an
easy and pleasing way.
[Illustration]
The activities in our Saturday classes for little tots do all of this.
They are called dancing classes, and they become that, but the
gradation from romping play into systematic dancing instruction is
accomplished practically without consciousness on their part, and thus
they learn the rudiments of stage routine almost without knowing it.
[Illustration: CHILDREN'S SATURDAY HOUR]
I don't know of any bunch of children anywhere that have a happier
time than do our littlest pupils in their dainty lessons in the
studios. They love every bit of the "work." In the first place, it is
adapted to their years, and their instructors are both competent and
kindly; and while it is quite a problem to handle a roomful of
little folks bent on mischief, and direct their playing along
systematized lines, we do it, and before they know it the little feet
are stepping in unison to bright music, and gradually there is
awakened a pride in perfect performance, and the little playmates
become little dancers, each trying his best to equal or excel his or
her fellows.
I go on record as saying that the age of eight years is the most
favorable for the beginning of a dancing career, for then the young
pupil has a mind sufficiently developed to easily comprehend
instruction, and a body readily responsive to training. Yet we take
children from four to seven years of age for specialized training
which prepares them properly in the fundamentals and technique that is
so necessary. Occasionally some five-year-old dancing marvel is
discovered. Young years are learning years the world over, and right
training in foundation work for the future great dancer, as taught in
our studios, is so attractive in itself and so suggestive of real
"fun" to the little learner, that both child and parents give it their
hearty approval.
Dancing teachers in other cities send promising children to New York
to study for professional careers; mothers bring the little dancers to
New York, anxious to put them on the stage at once. But that is not
possible, as a state law prohibits any child under sixteen from
appearing before a paid audience to sing or dance, while permitting
them to go on for dialogue parts only, if they are past ten years.
Producers demand birth certificates and live up to the law. There is
in New York City a Gerry Society, which controls the situation and is
sharply on the alert.
Here in New York City there is a professional school for stage
children, which many attend.
The great majority of the children who come to our studios for dancing
instruction are from families who do not want the children to take up
stage careers, but wish them to be properly and thoroughly trained in
every type of dancing, which incidentally brings out all the natural
grace in the body, develops health, poise, charm of manner,
personality and symmetrical bodies. Parents naturally desire to see
their little ones graceful, accomplished, pleasing in deportment, and
able to exhibit a few clever steps in home or amateur entertainments--a
parent's proper pride. Others, especially professional stage people,
active or retired, enter their young folks in my courses with a view
to their ultimately becoming professional stage dancers. They know the
emoluments. They know that one daughter on the dancing stage is worth
ten in the parlor--financially. They know, too, that old adage "as the
twig is bent," and the rest of it, so they start their twigs straight
and in fertile soil with faith that in this way their child's future
is well and happily provided for. A knowledge of stage dancing is a
life insurance policy that pays big dividends during one's lifetime.
The dancer is her own--and perhaps her parents'--beneficiary.
We have tots here in the studio at our Saturday classes as young as
four. Usually, however, they are five, six, or over. In their primary
work we give them all sorts of jolly exercises--walking, running,
galloping, and for the tiniest we have "skipping special," "baby
work," body building and dancing games.
Our Junior class for children (ages four, five, six and seven) devotes
half an hour to very mild physical training and limbering and
stretching work on the heavy felt pads, and then there is half an hour
of dancing games. The hour thus passes all too quickly with our
interested little pupils. As they show proficiency in this work we
give them the actual dancing steps which are arranged in effective
routines. All of the technique is necessary and beautiful and they
love to go through it before the big wall mirrors and see themselves
in graceful poses.
[Illustration: NED WAYBURN AND TWO TINY PUPILS: HERBERT COLTON, 6;
PATTY COAKLEY, 5]
Those whose little bodies are especially adapted to it are allowed to
take up so-called acrobatic dancing, and it is not surprising that the
heels-over-head idea appeals as it does to the juvenile mind. It is
action such as they crave, doing "cartwheels," "splits," "back-bends"
and many showy "tricks," and they just love it. They are never forced
in this work, but really accomplish it themselves under painstaking
instructions. Children eight, nine, ten and eleven years of age are
assigned to the intermediate classes, beginners or advanced, according
to the proficiency or talent that they show me. Those twelve,
thirteen, fourteen and fifteen years of age are placed in the
Children's Senior Classes, either beginners or advanced. I,
personally, grade them and supervise all of their instruction. When
they reach the age of sixteen, the girls are put in the adult girls'
classes and the boys at sixteen are given private lessons from then
on. There are no mixed adult classes.
One thing we are very careful and considerate about is, putting a
child on her toes in the ballet work. We find cases where teachers
elsewhere have forced this too soon, before the child's feet and
ankles were prepared for it. Mothers are sometimes to blame for that,
for they are eager to see their little daughters do this pretty work;
but we insist upon proper foundation work first, developing the child
gradually, and then, when the strength is there, we know we should be
able to do the rest not only without danger of permanent injury but
with assurance of pleasing and perfect success.
Children thus gradually get instruction in five basic types of
dancing, i.e., musical comedy, tap and step, acrobatic, ballet,
including classical, character, toe, interpretive, and exhibition
dancing. They may develop best along one of these types, and choose to
follow that one out to a real professional quality, or they may
acquire a good working knowledge of all and thus have a diversity of
accomplishments. Then when they reach the age limit of sixteen that
permits them legally to enter upon the profit-taking period, they are
ready to respond.
I watch the little folks with their instructors every Saturday. They
are graduated according to their ages at first, and then graded
according to ability, usually at the end of each term (every twelfth
or thirteenth week). The youngest group gets one hour's work, all
their little bodies can stand, while those between eight and fifteen
inclusive get two hours instruction each Saturday. Their mothers,
guardians or governesses are in a spacious waiting room.
We are making a lot of children happy, and at the same time laying a
foundation for their health and beauty, and perhaps for their
financial prosperity. The future great dancers of the next two decades
are somewhere in this lot of little ones; which ones it will be is
unknown to them or to us, but all are given an equal opportunity, and
many will make good.
[Illustration: NW]
DANCING HANDS
[Illustration]
It is not only the rhythmic movements of the feet and legs that
constitute a dancer. Every stage dancer employs as well her face,
hands and arms in giving expression to grace, beauty, and the many
interpretations of her pantomimic art. Watch the next dancer or group
of dancers you see at a show, and it may surprise you to discover how
much the hands and arms have to do in adding to the effectiveness of
the presentation. It is a compliment to the dancer's artistry that you
have been absorbedly pleased by the complete effect, with no thought
on your part of analyzing the structure in detail.
But let her put her hands and arms out of the picture and note the
disastrous result. You then realize emphatically how much the motions
of the entire person, of the limbs and the torso and head, are
interdependent to create the grace and rhythm that complete the
perfect dance.
The various functions of the hand as detailed are:
1, to define or indicate; 2, to affirm or deny; 3, to mold or detect;
4, to conceal or reveal; 5, to surrender or hold; 6, to accept or
reject; 7, to inquire or acquire; 8, to support or protect; 9, to
caress or assail.
How these several functions are naturally evolved from the various
movements of the hand will be readily understood when one reads the
definitions:
1. (a) To define: first finger prominent; hand moves up and down, side
to earth; (b) to indicate: first finger prominent; hand points to
object to be indicated.
2. (a) To affirm: hand, palm down, makes movement of affirmation up
and down; (b) to deny: hand, palm down, makes movement of negation
from side to side.
3. (a) To mold: hand makes a movement as if molding a soft substance,
as clay; (b) to detect: rub the thumb across the fingers as if feeling
a texture held between them. (A movement often made when following a
train of thought.)
4. (a) To conceal: bring the palm of the hand toward you, the fingers
at the same time gently closing on palm; (b) to reveal: reverse the
above movement, exposing palm.
5. (a) To surrender: closed hand opens, palm down, action as if
dropping something on the ground; (b) to hold: the hand closes as if
to retain something.
6. (a) To accept: fingers close on upturned palm as if receiving
something; (b) to reject: fingers unclose from down-turned palm as if
throwing something away.
7. (a) To inquire: a tremulous movement of the outstretched fingers as
in the blind; palm down; (b) to acquire; hand drawn toward you,
fingers curved toward down-turned palm.
8. (a) To support: palm up, making a flat surface as if supporting a
weight; (b) to protect: palm down; a movement of fingers as if
covering what you protect.
9. (a) To caress: a movement of stroking up and down, or sideways. If
sideways, one caresses the animal nature; (b) to assail: palm down;
the fingers make a convulsive movement of clutching.
[Illustration: GERTRUDE LAWRENCE]
In other words, the hands give expression or emphasis to the thought
that it is desired to convey, both in speaking and in the pantomime of
the dance and the screen.
Learn, therefore, to use your hands correctly in every dance. There is
an idea to be put across in every step from your entrance--your first
greeting to your audience--through the measured cadence of your dance
steps, to the final exit--your appeal for approval. While you acquire
the necessary dance steps to make you a perfect dancer, also learn the
hand and arm movements that complement your steps and perfect the
picture into its most pleasing possibilities, movements that shall
develop the idea of the dance you are portraying and carry it across
the footlights.
As soon as you get command of your foot work and master the technical
steps of your routine, put your hands and arms into action and develop
their connection with your dancing steps so that both shall coordinate
as one, and thus your dance will grow into a complete and perfect
expression in the easiest way.
Do not neglect your hand-action. It is a positive necessity to
successful dancing, and the time to give it attention is while you are
learning the rudiments of your art. This work is taught in the Ned
Wayburn Modern Americanized Ballet Technique.
[Illustration: NW]
DANCING FEET
[Illustration]
Good dancers will take good care of their feet--the tools of their
trade. They are essential factors in your salary--drawing power. Treat
them kindly, and they will thank you and remain your meal ticket for
many years.
A hot foot bath followed by a careful pedicuring it seems unnecessary
to recommend, for that is a daily habit with all dancers and other
ladies.
If your feet are tired and cry aloud for care, prepare a bath for them
of common baking soda and warm water, using two tablespoonfuls of soda
to a bowl of warm water. This will reduce the swelling of the feet and
ease them greatly. Now rub them with a cut lemon. This freshens them
and also makes them white and pretty. Allow the lemon juice to dry on
them, then apply cold cream and massage them thoroughly. Now wipe off
all surplus cream and dust them with talcum powder. Put on soft house
shoes and you will feel like a new person.
Massage with olive oil is splendid for tired swollen feet; soaking
them in salt water is also good.
Here is a favorite foot balm you can have put up at the drug store:
Calomel, ten grains; carbonate of zinc, one dram; oil of eucalyptus,
five drops; ointment of rose water, one ounce.
First bathe your feet in cold salt water, then rub in the balm,
massaging it well into the feet at night, and powder freely with
talcum in the morning.
When the feet swell from long standing or tedious rehearsals, relief
can be had by dissolving the following powder in the foot bath: Borax,
two ounces; rock salt, two ounces; alum, one ounce.
If your feet are tender, soak them in this bath for ten minutes, and
then dry thoroughly: Hot water, five quarts; boric acid, 200 grams;
tannin, five grams.
For removing callous spots, soak the feet in hot water for ten or
fifteen minutes, then take a piece of pumice stone and rub the callous
spot. Do this every night. During the day keep a piece of cotton which
has been covered with cold cream on the spot to keep it soft. This
will remove any callous in a short time.
Can you think of a dancer with corns? What torture the idea suggests!
A limping, crippled dancer would be distressing to gaze upon, and even
a minute corn could create this condition. It simply isn't done. For a
dancer to tolerate a corn is a confession of carelessness, of personal
neglect, and indifference to everything concerning her art.
To prevent corns and most other foot troubles, wear shoes that fit
your feet. A too loose shoe makes corns just as quickly as does a
tight shoe, for when shoes are too large there is a constant friction,
which develops a corn. And see to it also that your stockings fit your
feet. A short stocking cramps the foot, and a loose stocking wrinkles
and rubs in spots.
The first thing to do for a corn is to relieve it from all pressure.
The druggist has an abundance of corn cures, most of which are
effective, but if you choose to have one made up to order, here is a
sure cure: Salicylic acid, twenty grains; alcohol, one-eighth ounce;
flexible collodion, one ounce. Mix and apply to hard surface of corn
with a small brush. Do this once or twice daily for three days, then
soak the feet in hot water, and a layer of skin will come off. Repeat
till corn is gone.
Tight shoes two sizes too small for you do not make your feet look
small; in fact, they make the feet look larger, and you haven't
freedom to walk or dance. Tight shoes and high-heeled shoes are
injurious to the health. The circulation of your whole body is
interfered with by wearing them, and cold feet, corns, bunions and
many other painful troubles result.
Wear comfortable shoes if you would have freedom in dancing and all
other exercises. Whatever shoes you wear, have them comfortable, so
you can forget your feet as you step joyously forth to trip a measure
in your chosen profession.
[Illustration: NW]
DANCING SHOES
[Illustration]
Each type of dancing demands its own fashion in footwear, and the
novice while learning and rehearsing requires a foot covering
differing materially from that to be worn later in the perfected dance
on the professional stage.
It is very desirable for the newcomer into the dancing world to
acquire knowledge of the correct shoes to be worn to facilitate
action, make the learning as easy as possible and keep the feet in
perfect condition.
In taking up this subject I shall tell in simple language what is the
best and most practical way to dress the feet for the various
occasions that arise in dancing. One general rule can be laid down for
everyone and all occasions: _Have your shoes fit your feet._ Do not
simply "buy a pair of shoes." Ascertain the size and width of shoes
that correctly fit you, and ask for your shoes by these
specifications. Go to a first-class shoe dealer. Don't buy a shoe
merely because it is pretty. Cheap shoes are often the most expensive,
and if poorly made may injure the feet.
The above advice applies to every shoe you buy, for house, sports,
street or evening wear, as well as for dancing.
For the courses, consider the type of dancing you are taking and dress
your feet with shoes suitable for that kind of work.
If your foot is short and fat, buy a short vamp shoe; if your foot is
long and narrow, get shoes with a long vamp. Stiff soles being bad for
the arches and hard to work in, be sure to get flexible soles.
[Illustration: TYPES OF DANCING SHOES
TOE SHOE WITH PADDED BOX TOE, USED FOR TOE DANCING.
SOFT BALLET SHOE, FOR BALLET, LIMBERING AND STRETCHING AND ACROBATIC
LESSONS.
STAGE SHOE WITH EXTRA FLEXIBLE SHANK, USED FOR HIGH KICK, ETC.
CUT-OUT SANDAL, FOR ORIENTAL CHARACTER AND BALLET WORK.
"MARY JANE" TYPE OF SHOE FOR TAP AND STEP DANCING.
LACED TYPE OF SHOE FOR TAP AND STEP DANCING.
A SPLIT CLOG SHOE WITH FIBER HALF SOLE ATTACHED, FOR ADVANCED "TAP"
WORK.
TYPE OF SHOE SUGGESTED FOR GIRLS DOING ACROBATIC DANCING.
"GREEK CHARACTER" LOW BALLET SHOE.
RUSSIAN BOOT.
"GREEK CHARACTER" HIGH BALLET SHOE.
TYPE OF MAN'S SHOE SOMETIMES USED FOR ACROBATIC DANCING.]
For the toe dancer there are toe shoes which have a padded box toe.
These come in black and white kid and in pink satin. This toe shoe and
the regular soft ballet shoe, which is used for ballet technique,
should both be a perfectly snug fit, the toes of the foot coming to
the very end of the shoe. To do this requires a shoe about two sizes
smaller than one's regular street shoes.
Nothing is better for the limbering and stretching foundation
technique, as given in the Ned Wayburn courses, than the soft ballet
shoe with a quarter-inch lift at the heel.
For acrobatic dancing this type of shoe is also recommended, though
many prefer an elk sole cut out sandal, which is also the choice for
Oriental ballet dancing. These sandals if too large will bulge at the
sides, hence care in their fitting is desirable. The most commonly
used shoe for girls doing acrobatic and soft shoe work and one that is
excellent for this purpose, is a black kid flat, as it is known, which
has a low heel and flexible sole; a sensible, comfortable shoe, such
as your feet thank you for.
For tap and step dancing there are several types of shoes, the most
common being that known as the "Mary Jane" or juvenile shoe with ankle
strap and button or buckle. Another favorite is the laced low shoe,
known as the oxford, made for both men and women. The solid clog shoe
has a full wood heel, arch and sole, and is used for very advanced
clog dancing; not to be worn by beginners, but only the most
accomplished professional solo dancers. There is also a low show for
"Tap" dancing called the "Split-clog" shoe, used by very advanced
pupils only, never by beginners, the half-sole being wood and the heel
wood, as well, but most professional dancers prefer what is known as
the "Haney" metal plate on the end of the shoe to bring out the
"taps," or else a wood-fibre half-sole, but no beginner should be
worrying about this. Just remember, that you must never try to learn
to dance in a French, Cuban or military heel, as they act as a
handicap or "brake." No one can learn with them because they pitch one
forward at the wrong angle and impair the health.
[Illustration: Fibre Toe]
[Illustration: Coin Jingle]
[Illustration: Heel Jingle]
There are several attachments, called "jingles," "taps," fiber half
soles, and the like, that the expert dancer in this type of work will
wish to have on his dancing shoes, and I shall tell you about them
here, but it is best to avoid their use while you are learning the
dances. After you have mastered your stuff and qualified yourself
without them, then have them put on, but not until after you have
become a real dancer.
There is a "coin jingle," as it is called, a brass disc about the size
of a quarter of a dollar set loosely on the shoe shank, that sounds
like two coins striking together at every shake.
The heel jingle is a brass plate set into the shoe near the heel with
a loose disc inside it from which extends a plug that as you step
falls and hits the floor.
The regulation stage shoe has a very flexible shank and a French heel.
It is not a desirable shoe for the student of dancing because of the
heel. But for high kicking and similar types of stage dancing after
one has acquired a knowledge of the art, it is very satisfactory. Be
sure it is comfortable and fits well.
There are other shoes that come naturally into use on the stage for
certain types of dancing. There is the low ballet shoe of the Greek
type, and a similar one in the high ballet type.
What is known as the Russian boot finds its place in some dances. It
is often red, green, or white, to match the costume. Variations of
this boot are the Spanish, Gypsy or Hungarian, Cowboy, and others.
There is also a high-laced close fitting boot with a very low heel and
soft sole used by men, as a rule, in certain kinds of acrobatic
dancing.
When you get into theatrical footwear, there is practically no limit
to the possibilities and the variations. Period shoes of all times and
nations--Grecian, Roman, Egyptian, etc.,--make the list almost
endless.
But really the only dancing shoes you will first concern yourself with
are those I have designated as belonging to the learners' work for
foundation technique, acrobatic, musical comedy, tap and step, ballet
and toe dancing.
In the exhibition dancing the usual ball room shoes are preferred. If
the dance is done in character, that will determine the style of the
shoes.