The antique Greek dance, after sculptured and painted figures . Fig. 399. Fig. 400. By imagining these two lines the distance of any part of the bodyfrom the center can be computed. By constructing a figure analogous to the preced-ing, and like Fig. 285 in moment, Fig. 403 is ob-tained. This shows how the dancer establishes thecompensation of the preceding rupture of equili-brium, it being in opposition to Fig. 402 in everyway. In other words, Opposition by reaction. It is the search for compensation that impels thedancer to oscillate between two opposing positions,repeating an effect produced
The antique Greek dance, after sculptured and painted figures . Fig. 399. Fig. 400. By imagining these two lines the distance of any part of the bodyfrom the center can be computed. By constructing a figure analogous to the preced-ing, and like Fig. 285 in moment, Fig. 403 is ob-tained. This shows how the dancer establishes thecompensation of the preceding rupture of equili-brium, it being in opposition to Fig. 402 in everyway. In other words, Opposition by reaction. It is the search for compensation that impels thedancer to oscillate between two opposing positions,repeating an effect produced on the right side withthe left. The object is not merely to please the eyeof the spectator, but to secure equality of muscularmovement by exercising, successively, the muscles oneach side of the body. Fig. 285 is the moment of the Step that is op-posed in the most simple manner to Fig. 284. Thisis not merely a hypothesis, it is the attitude that. Fig. 401. the body would assume by instinct. RECONSTRUCTION OF THE STEPS 167
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Keywords: ., bookcentury1900, bookdecade1910, bookpublisherl, booksubjectdance
