The antique Greek dance, after sculptured and painted figures . Fig. 284. .Fig. 285. of opposition in every one of the figures, and the form of the move-ment which unites the two extreme moments. 236. Tempos and Steps on the Toe.—The Positions and the move-ments on the toes cannot be practiced by the dancer except after long and painful preparatoryexercises, without danger of dislocation. The terminal phalange of the toe must acquirestrength before it can be used to support, not onlythe foot, but the zehole weight of the body. Rise on the toe and stand firmly in all of thePositions; pass from
The antique Greek dance, after sculptured and painted figures . Fig. 284. .Fig. 285. of opposition in every one of the figures, and the form of the move-ment which unites the two extreme moments. 236. Tempos and Steps on the Toe.—The Positions and the move-ments on the toes cannot be practiced by the dancer except after long and painful preparatoryexercises, without danger of dislocation. The terminal phalange of the toe must acquirestrength before it can be used to support, not onlythe foot, but the zehole weight of the body. Rise on the toe and stand firmly in all of thePositions; pass from one Position to another; passfrom a Position on the sole to a Position on thetoe, and return to the first, etc. The two series ofphotographs give an analysis of the exercises onthe toes. 237. Leaving II, on the Toes. Fig. 287: The Preparation: the Position is here the V, left ad-vanced.
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Keywords: ., bookcentury1900, bookdecade1910, bookpublisherl, booksubjectdance
