The antique Greek dance, after sculptured and painted figures . Fig. 206. Fig. 207: Fig. 208. Compare with Figs. 200 and 201 and note the difference in per-spective. (These figures are not the best examples of the Arabesque; themodern type has not been surpassed by any antique figures so fardiscovered.) TECHNIQUE OF THE DANCE 77. Preparatory Exercises 175. So far the dancer has been considered motionless. Separatenotice has been taken of each pose, but nothing has been said aboutthe means by which the transition from one to the other is effected. The Positions and the tempos create their own l
The antique Greek dance, after sculptured and painted figures . Fig. 206. Fig. 207: Fig. 208. Compare with Figs. 200 and 201 and note the difference in per-spective. (These figures are not the best examples of the Arabesque; themodern type has not been surpassed by any antique figures so fardiscovered.) TECHNIQUE OF THE DANCE 77. Preparatory Exercises 175. So far the dancer has been considered motionless. Separatenotice has been taken of each pose, but nothing has been said aboutthe means by which the transition from one to the other is effected. The Positions and the tempos create their own limitation, like apendulum, they are limited to the two extremes of space betweenwhich they may move. 176. The dancer is now familiar with the Positions which will bespoken of as the statics of the art: next comes the study of motion,in which it will be necessary to move according to certain formulas,and, by degrees, acquire the suppleness and the force needed in the
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