The antique Greek dance, after sculptured and painted figures . Fig. 387. Fib-. .188. Fig. 380. Fie. 390. Fig. 301. Fig. 302. This series is an analysis of one of the numerous forms of theleap used in our modern dance: the Cat-leap, executed laterally fromleft to right (Fig. 387 to Fig. 392) ; and from right to left in to 398. 162 RECONSTRUCTION OF TEMPOS AND STEPS The feet of A (Fig. 396) are shown at the same moment as Figs. 390 and 396 are, no doubt, the same as figure B (). The feet of C, like those of Fig. 397, express the end of theleap and the descent on the toe
The antique Greek dance, after sculptured and painted figures . Fig. 387. Fib-. .188. Fig. 380. Fie. 390. Fig. 301. Fig. 302. This series is an analysis of one of the numerous forms of theleap used in our modern dance: the Cat-leap, executed laterally fromleft to right (Fig. 387 to Fig. 392) ; and from right to left in to 398. 162 RECONSTRUCTION OF TEMPOS AND STEPS The feet of A (Fig. 396) are shown at the same moment as Figs. 390 and 396 are, no doubt, the same as figure B (). The feet of C, like those of Fig. 397, express the end of theleap and the descent on the toe of the left foot. The three imagesof Fig. 386 are an analysis of the Cat-Leap from right to left. Theessential moments of this are the period of suspension and theinstant when the foot comes down on the
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Keywords: ., bookcentury1900, bookdecade1910, bookpublisherl, booksubjectdance
