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STAGE DANCING.

ADELINE GEN EE’S WITCHERY. In an article from the Miss June K»b«ts, premiere d « nse St, o . B rten ' Girl,” Ward success. The u & tells of her art and of what she thinks it should mean to the world.. Sat I would rather dance than do anrthmg dse in the world is the commonplaee one would . «P«t <rom a. dancer who earns her way None the less, just as I have been dhncing since I was four >eai old, so I hope to go on dancing all

my Dancing is rhythm, the rhythm of life aM interprets life as does every art,' and is as much a legitimate medium of expressions as is music,

painting or sculpture. in To he great, even to be efficient, in anyart one must master the whole “ y its teehniaue. Thus I may he excused for giving some my world It is necessary ;o re:inem ber that the upper part of the body is as important as the £eet ; Timor's ences as a rule look at th= dan.e. s face, then at her arms, then at hei

£C Fancy dancing I doubt if there are more than twenty steps, tl s conbination of these and the varym„ them that makes' the dance. Fancy steps should be avoided m ballroom. JThey are not good _ ioim ’ and should be reserved for exhibition purposes.

ISADORA DUNCAJn... My opinion is that Isadora un can is undoubtedly the greatest exponent of the dance. H w asune of l fe most thrilling moments of my Ife | when I first saw her, for her art m, me realise what dancing wnh its ecstacies could mean. The dancing of Isadora Duncan is great symbolic art Every one of her subtle movements and gestures awakens one’s realisations not only of the bea^ y f Nature, but also one’s recognition of fhe ekWsite a*-* of OM ' S ° w ” nf-ui interesting to note that none I of the great exponents .of dancing aie whS cL be termed beautiful .women. Certainly Mae Murray, Who is, o course, now better known on th screen is beautiful, but then she 1. I not among those I should gi ea dancers, although she is certainly n \ the front rank. Pavlova is most remarkable foi he. I ■ -r-r inno’ • nnf

beautiful arms, Her face is long, aim she has a large, ugly nose. Hu eyes are Eastern in their heaviness. Ruth St. Denis has a dark, sombre'face, and when one looks at her it seems only right that she should, get her inspiration from the East. I GENEE AND OTHERS i I The provocative witchery of Adeline Genees’ face will be remembered 4 here, but her retrousse nose and laughing eyes seem to me to be puckish in their attraction. Isadora DunI I can has more classic beauty in her face, which is lit a.s though with an inward flame that almost startles one; f | but you could not call .ber beautiful. 9 I Karsavina is irresistibly overwhelmj ing, but her beauty, too, is heavy, i 1 and you are disappointed when you § see her “off” and study her features. S I Both Nijinsky and Mordkin are revelaI I tions- However, great male dancers i with really beautiful bodies arc so un--8 | usual on the stage that the extravag- ■ | ant adjectives I have heard heaped. P I upon them can be largely explained I away. . Because of its sheer technical perfection, the significance of Genee’s work is apt to be overlooked or forgotten by the public; but every dancer recognises the tremendous debt which the art of the dance owes her. By preserving and by embellishing the old traditions she preserved all that was best in the ballet, and saved it. from sinking into debased and unhealthy pandering to the senses.

FUTURE OF THE ART.

The question will now probably be asked as to what the future of the are of the danc will be? Through the dance rhythm will return to life. Undoubtedly the fforts of th aesthetic schools will produce stimulating results while folk dances which afford spontaneous, though conventional, outlets for the rhythmic repression of simple emotion must succeed in producing far-reaching effect. Indeed, even the modern ballroom dances — especially the tang'o and the tangowaltz —partake of the new spirit. Now that the bunny-hug, the shim-my-shake, and the jazz have been banished, we can feel the thrill of rhythm and the touch of grace in the latest dances, which are real dances, capable of far-reaching development.

Permanent link to this item
Hononga pūmau ki tēnei tūemi

https://paperspast.natlib.govt.nz/newspapers/SNEWS19231005.2.26

Bibliographic details
Ngā taipitopito pukapuka

Shannon News, 5 October 1923, Page 4

Word count
Tapeke kupu
750

STAGE DANCING. Shannon News, 5 October 1923, Page 4

STAGE DANCING. Shannon News, 5 October 1923, Page 4

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