The antique Greek dance, after sculptured and painted figures . Fig. li. The ancient ballet masters knew and used the law of oppositionof the arms and legs in the walk. Noverre (eighteenth century)shows in a wonderful manner the natural interplay and combinationof movement in the dance. The word Opposition is used to indi- 38 THE MOVEMENTS IN GENERAL cate different members of the body directed toward different points,rather than moving in symmetry. 64. Representation of the Walk in Greek Painting and Sculpture.—On the more ancient vases and reliefs the walkers are presented inone particul
The antique Greek dance, after sculptured and painted figures . Fig. li. The ancient ballet masters knew and used the law of oppositionof the arms and legs in the walk. Noverre (eighteenth century)shows in a wonderful manner the natural interplay and combinationof movement in the dance. The word Opposition is used to indi- 38 THE MOVEMENTS IN GENERAL cate different members of the body directed toward different points,rather than moving in symmetry. 64. Representation of the Walk in Greek Painting and Sculpture.—On the more ancient vases and reliefs the walkers are presented inone particular aspect, which is a simplification of the aspect affectedby primitive artists everywhere; all are shown in profile, more or lessstiff, and with the feet flat on the ground. This convention, whichis also seen in Egyptian art, possesses the awkwardness commonto all archaic work. The Greeks retained it until it became a tradi-tion ; it is to be seen in sculpture of the best period, even the friezeof the Parthenon. Experiment proves that a person can get noelastic
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Keywords: ., bookcentury1900, bookdecade1910, bookpublisherl, booksubjectdance
