The antique Greek dance, after sculptured and painted figures . cer, standing mIII or V, carries oneleg to half II (), or to PrincipleII (Fig. 69), or tohalf IV, or to Prin-ciple IV (Figs. 61,62), he executesthus the Separationin half II, or inPrinciple II, etc. The ride for theSeparation is, as may be seen from the preceding, easy to state. Theride following is particularly applicable. 180. Toe Low.—When the dancer lifts one leg, he holds the toedown and stiff, the movement beginning in the hip, which lifts the upper leg: the movement extendsto the knee, which, in turn, liftsthe foot, h
The antique Greek dance, after sculptured and painted figures . cer, standing mIII or V, carries oneleg to half II (), or to PrincipleII (Fig. 69), or tohalf IV, or to Prin-ciple IV (Figs. 61,62), he executesthus the Separationin half II, or inPrinciple II, etc. The ride for theSeparation is, as may be seen from the preceding, easy to state. Theride following is particularly applicable. 180. Toe Low.—When the dancer lifts one leg, he holds the toedown and stiff, the movement beginning in the hip, which lifts the upper leg: the movement extendsto the knee, which, in turn, liftsthe foot, heel first, the toe beingthe last to leave the ground. Thissuccession of movements is logical:it is a transmission of movementfrom high to low. The photo-graphs, 8, 9, 10, 11, 12, of PlateII, show the application of themechanism used by the dancer dur-ing the Separation of V, right ad-vanced, to principle IV outward(186). 181. Fig. 81 shows the right leg of a Satyr separated on theground in IV advanced. Fig. 279 gives an example of the Separation in half 100 TECHNIQUE OF THE DANCE Fig. 69 is a separation of the right leg in Principle The Greek dancers, as well as the modern, had a horror of thelifted toe. When the separation is held for any length of time, thetoe is held downward. When the leg is lifted, the movement is trans-mitted from high to low,as with our dancers.(Figs. 69, 70.) It is rarely that therule of the toe low is notobserved. The excep-tions (Figs. 87, 216,469) are explained bythe intention to carica-ture, or a mistake in thedrawing. The scenefrom which the Satyr(Fig. 216) is taken represents the triumph of a grotesque Her-cules. The hero, flanked by Victory, is mounted on a chariot drawnby four Centaurs. The Satyr is frisking along ahead, wearing amask, and brandishing two torches, and caring nothing at all forrhythm.
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Keywords: ., bookcentury1900, bookdecade1910, bookpublisherl, booksubjectdance
