The antique Greek dance, after sculptured and painted figures . ng all of thesedefects, highly interesting to the student of thedance. It is a unique example, because it provesconclusively that the Greeks practiced the Battustep, which is much like our Entrechat (Cut). Acomparison of Fig. 318 with No. 10 of Plate IIIdecides that question and permits a reconstructionof all of the phases of the movement. The wholeseries of photographs on Plate III should be con-sidered as one in an analysis of the Entrechat Four of the moderndance: they constitute a restoration of the Greek Step, of which thepai
The antique Greek dance, after sculptured and painted figures . ng all of thesedefects, highly interesting to the student of thedance. It is a unique example, because it provesconclusively that the Greeks practiced the Battustep, which is much like our Entrechat (Cut). Acomparison of Fig. 318 with No. 10 of Plate IIIdecides that question and permits a reconstructionof all of the phases of the movement. The wholeseries of photographs on Plate III should be con-sidered as one in an analysis of the Entrechat Four of the moderndance: they constitute a restoration of the Greek Step, of which thepainting on the vase shows a characteristic moment. 256. Turning Movements.—A great number of Tempos and Stepsare executed while turning, without which the whole mechanism wouldbe altered. A short list of these follows: The Slide, turning. The , turning. The Fouette, turning. The Jete, turning. The Rise on the Toes, turning. ? The Step on the Toes, turning. The Battus {Entrechats), turning. The turn may be on the ground or in the air, depending on the. Fig. 318. 136 TECHNIQUE OF THE DANCE nature of the movement. The modern French dancer uses all ofthese forms. 257. The whirling steps are turns made very rapidly, usually onthe toes or the half-toes of both feet, continuing in a series, depend-ing on the ability of the dancer, and advancing on the ground inany desired direction. 258. * The Pirouette.—Among the turning movements practiced byour dancers, the Pirouette has an important place. It consists inturning one or more times on the toe or the half-toe of one foot, theother leg being raised and motionless, knee bent. The impulsionnecessary for the rotation of the body on its unique pivot is prin-cipally the arm, which, here, plays the role of motor. 259. There are numerous varieties of the Pirouette: nearly all ofthe Positions taken by the free leg may be used here, while the activeleg executes the movement. The greater number of the Pirouettes are in double form: acco
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Keywords: ., bookcentury1900, bookdecade1910, bookpublisherl, booksubjectdance
