The Art of Stage Dancing Part 34

The hosts whose invitation includes the announcement "special dances by Miss ---- or Mr. ----" know that there will be few declinations because of other engagements. The fortunate ones who are able to command the presence of any of the well known stars in the dancing firmament at a social gathering, are a.s.sured that their guests will carry away with them only pleasant recollections of a delightful occasion.

Even to those who may have often seen the artist in public performances, there is an additional charm in the dances as given in the more intimate conditions of a private gathering. The knowledge that the audience appreciates every detail, down to the slightest touch, stimulates the dancer to the highest mood of artistic endeavor.

"Art," wrote William Morris, "is the expression of man's joy in his work." Emphatically is this true of the dancer's art, and the exaltation of joyousness into perfect harmony of motion comes only when the artist knows that the message conveyed is understood by the onlookers.

To those who wish to make their impress upon society by distinctive gatherings, the artist affords an ever new and always pleasing entertainment.

As knowledge of the illimitable possibilities of the dance expands, there is certain to be a growing demand for the types of dancers whose gifts make them peculiarly adapted to the exercise of their art at social functions.

[Ill.u.s.tration: NW]

UNIVERSAL APPRECIATION OF THE DANCE

[Ill.u.s.tration]

The chief reason why dancing as a public entertainment will always maintain its present popularity, and will be in even greater demand in the future than in the past, is to be found in the fact that to appreciate and enjoy to the fullest degree the work of the creative dancer requires no special knowledge of the art itself on the part of the spectator. There are many who do not understand or appreciate cla.s.sical music. To many others the speaking drama makes no appeal.

Still others care nothing for the motion picture, and cannot be induced to witness a performance on the screen. But everyone--men and women, young or mature, can enjoy the beauty, harmony, and exhilaration of a well conceived and well executed dance. There is something in the nature of us all that responds immediately to the message that the dancer conveys. Perfection of form, grace of movement, harmony of action with appropriate music, all combine to make up a spectacle that thrills and inspires. To slightly paraphrase Robert Browning:

"Others may reason and welcome, But seeing the dance, we know."

As was said of the Athenians of old, the American people are always looking for something new. They are quick to take up this or that fad in dress, games, sports or amus.e.m.e.nts, and after a brief time throw it aside. There is nothing of the fancy of the hour in the popular acceptance of the dance, either for personal practice, or as a stage entertainment. What has been seen in all the American cities during the past ten or twenty years--the steady growth in popularity of the dance in all its forms--is no whim that will presently pa.s.s. On the contrary, nothing can be more certain than that each year will find a greater increase in dancing, both by the people themselves, and for them by the artists of the profession. It was said for a long time by visiting foreigners that Americans had not learned how to enjoy themselves. This may have been true at one time, but it is not today.

The chief object of life, it has been discovered, is to live abundantly and joyously. Everything that helps to make living more cheerful, healthful and agreeable; that satisfies aesthetic needs; that ministers to the sense of beauty and harmony, will be encouraged and developed, and as one important means to these ends, the dance must of necessity flourish and endure.

[Ill.u.s.tration: NW]

THE MELTING POT OF THE DANCE

[Ill.u.s.tration]

A great deal is being talked and written about changing the millions who have come to this country from foreign lands, or are the children of immigrants, into 100 per cent Americans. So far as the advocacy of measures for this purpose is based on a sincere desire to bring home to everyone living under the national flag a knowledge of the essential principles of our government and inst.i.tutions, this is worthy of the encouragement and aid of all patriotic citizens. There is, however, another aspect of the Americanization movement, that is not so admirable. This is the attack on ideas, manners, customs and amus.e.m.e.nts peculiar to certain foreign peoples, not because they are necessarily wrong, or antagonistic to genuine Americanism, but merely because they are different. According to some of these self-const.i.tuted authorities the way to instill patriotism and love of country into the benighted aliens is to persuade them to abandon all that links them with the land of their ancestors, and become exactly like the prevailing type of Bangor, Maine, Augusta, Georgia, or Portland, Oregon.

Oliver Wendell Holmes tells how when he was a boy living in Cambridge, Ma.s.s., there was a constant warfare between the boys of his district and those who lived down by the water front, who were regarded as foreigners, because they seemed to be in some way different. He concluded that most of the racial antagonisms and hatreds that so often lead to quarrels and war are due to the same notion; that the foreign man is inferior because his ways are different from ours.

Against the narrow ideas that would reject many things of great value because they are of foreign origin, there is need for a wise and discriminating selection of the best that all regions of the earth have to offer in the domain of science, literature, music, painting, the dance, and other arts, and their combination with the results attained by American creative effort.

In no respect is there a more urgent need for the development of a truly American art spirit than in the wide field offered by artistic dancing, yet it would surely be a mistake to ignore all that has been learned and accomplished in the long experience of other peoples. A foolish prejudice against foreign dances should not be allowed to prevent the incorporation of their best features into what will ultimately be the distinctive American school.

That there a.s.suredly will be an essentially American type of dancing in all its branches, that will reach heights far above that yet achieved by any other country, cannot be doubtful. As the increase of wealth, not only for a few, but for the great ma.s.s of the people, gives more leisure, creates new desires, and brings increased capacity for enjoyment, it is inevitable that more and more will the public appreciation of the dance call for still greater advances. As the various races from other lands have mingled their several qualities and gifts, and have produced the highest civilization on a broad scale that the world has ever seen, so will the creators of new and more beautiful dance forms utilize the characteristic dances of all nations in achieving what will be the 100 per cent American dance.

YOUR OPPORTUNITIES

[Ill.u.s.tration]

Those of you who are perfecting yourselves for a stage career are naturally giving consideration to your future as you advance in the courses, and are wondering just how you will go about it to get well placed in your chosen line of work.

I am going to tell you how some have tried to do this, and then tell you the best, surest and safest way. And do not for a moment think that I am guessing about what I tell you. I know the theatrical world and theatrical ways and methods, and I know the managers, the producers, and all the princ.i.p.als connected with our profession, and they know me. So I am not guessing when I say that your personal interests in all matters connected with the stage will be best conserved by entrusting them to me.

In our cla.s.ses here in the studio there is apt to be one or more dominating spirits who become anxious to go around the booking offices and seek for a tryout and an engagement.

It is true that to go to any office and say that you are a recent or prospective graduate of the Ned Wayburn Studios is a good recommendation, and you may get a hearing and a tryout on the strength of it. But please be advised by me and let me give you the tryout first when I am sure you are ready for it. Your teacher should first be given a chance to see what you can do individually. His advice is invaluable and impartial. When he reports that you are advanced sufficiently to deserve consideration for a solo role, then come and dance for me. I am glad to have you do this, and shall always give you my decision honestly and fairly, and let me add, freely--no charge whatever. If I see that you are deficient in any way, I will be frank and tell you so, and will also suggest what you should do to correct your fault. In other words, you will get constructive criticism, and kindly advice, in my office, whereas anything short of perfection shown to a booking agent or possible employer would be apt to insure abrupt dismissal. They would give you no helpful advice, and you would prejudice yourself, for your effrontery, in their eyes for any future engagement you might seek.

So be advised by me. I respect an ambition that prompts you to go out and hunt an engagement, but, believe me, yours is not the best way.

There are agents and agents. Some would do right by you, and perhaps some would be unscrupulous. I am not going on record in this book with any details that would seem to reflect in the least on anyone, so I'll not enlarge upon this subject here. But I will tell you more about this if you come to my office and ask me to.

Now if any pupil in the school asks you to go around the theatrical agencies, please don't do it, but come and tell me. Perhaps some day you both will come to me and say "Thank you."

[Ill.u.s.tration: ADA MAY (WEEKS)]

Oftentimes we send out groups of our students, two, four, six or eight, to go on the professional stage for something special.

Sometimes they are paid; sometimes it is done gratuitously; but the experience alone is worth money to them.

The regular theatrical season opens about Labor Day and lasts till around Decoration Day. Summer engagements begin about the first Monday in June and end about the last Sat.u.r.day in August. Calls are sent out about the middle of April for summer work, and about the middle of July for the winter or regular season. If you are able to qualify, you will get the benefit of these calls for dancers, and when you go with my recommendation, it will be only to the best managers.

I will inform you fully as to the best forms of contract for you to sign in every case, and make no charge for this. You know, when you engage to go with a show, you do not simply take the manager's word for it that he will employ you for so many weeks at so much a week, nor does the manager simply take your "Yes, I'll come," and let it go at that. This matter of entering his employ is a business affair, a transaction of importance to you both, and calls for a signed agreement that binds him, the manager, as to his responsibility to you, and binds you as to your duties to him. It is a legal doc.u.ment, binding on both parties, the manager and you--and let me tell you right here, you feel mighty big with your first stage contract duly signed and delivered, and in your pocket, and while you may in future seasons get contracts that specify much larger salaries than your first one does, no contract will ever _seem_ so big and important to you as this first one, the start, the goal of your ambition. I love to see my pupils with their first professional contracts! They are so happy and hopeful; the world opens up new delights for them; they have arrived. The reward of their untiring exertions here in the courses is at hand, and they have earned it and deserved it. "Good for you!" I feel like saying; and I am truly happy to think that I have been in some degree instrumental in bringing this about.

My experience has been paid for. I have learned to profit by my own mistakes, and I can and will save you all the risk in closing deals that involve so much--perhaps your entire future stage career. I can and will do this, if you let me.

[Ill.u.s.tration]

STAGE-CRAFT

[Ill.u.s.tration]

When my pupils become professional dancers and "sign up" for their first stage engagement they will wish not to be or appear ignorant of the marvelous mechanism that is the modern theatrical stage. Not that they will learn it all from any book, but my knowledge of things back stage will be of help, and I have jotted down here some of them for that purpose. The rest of it the new entrant upon the real stage will absorb in time, but with the help of my condensed explanation herein no one who reads need appear lost or totally bewildered in the new environment back of the curtain line.

Let me tell you some of the important things that every pupil of mine who contemplates a professional career should know about the theatre, the building itself and the stage upon which you expect to present your offerings to the public.

[Ill.u.s.tration: _Proscenium Arch, the Frame of the Stage Pictures_]

In the first place, the theatre building is divided into two parts, the auditorium and the stage. The dividing line is known as the curtain line. In stage parlance the auditorium side of the dividing line is the "front of the house," or "out front," and the stage side is always "back stage."

The proscenium arch of the stage makes the frame for the pictures on the stage. "The opening" means to the professional the width across stage at the proscenium arch, and varies according to the size of the auditorium and the line of sight of the auditors. It may be thirty feet, forty, or even more, as is the case in the New York Hippodrome and other large city theatres. The height is sometimes the same as the width, or slightly less, the complete frame of the arch being usually of an oblong shape, possibly thirty-five feet wide and twenty-five feet high.

[Ill.u.s.tration: _Diagram of a Modern Theatre_]