Marion Chambers
It must be considered that in the ballet the movement of the arms is very important, and to perform it properly requires long study and extreme accuracy. Just as the art of painting blends and composes colors, and by the composition of scenes and figures makes a whole that is pleasant to the eye, so the movements of the arms in dancing add many and diverse forms of grace to the body, guiding and regulating its movements so as to result in a harmonious whole. One authority has styled dancing “the music of the eye.” The dancer who neglects the difficult study which the arms require because she believes that the only necessity is brilliant execution in the legs, will be an imperfect artist. It is not enough to know how to dance with one’s legs; the ballet must also be executed with the trunk of the body and the arms. Their movements must be graceful and in harmony with those of the legs, since they constitute a weight for the equilibrium of the body when it rests on one leg. The arms must accompany the trunk, making a frame for it.
The movements of the head, of the eyes, the expression of the face, all are of tremendous importance in perfecting the ballet. It is because of the necessity of bearing constantly in mind the various attitudes of head, torso, arms and legs that I believe that the ballet contributes more than any other type of dancing to the general development of grace and poise of the whole body.
In addition to teaching what we call the legitimate American Ballet, we add to the students’ repertoire what are known as “tricks,” which earn applause for the dancer. Many of our pupils go directly from our courses to the professional stage, since it would be difficult for them to earn a supporting salary in the musical comedy field doing straight ballet work alone. We teach straight toe dances, and also eccentric toe dances, as will be demonstrated in another chapter.
You are now a student in our beginner’s ballet class. First, you must provide yourself with soft ballet slippers, as without them it would be impossible to do this type of work. As you enter our ballet room you note full length mirrors on the walls, to enable you to watch yourself as you dance—the original “watch your step” propaganda. Also you will see a wooden rod, technically known as a “bar,” running around the walls of the studio. This is about three and a half feet above the floor, and is easily grasped by the hand for support in practicing.
In your practice at home, in the absence of such a bar, substitute an ordinary chairback or other firm object as a support, being careful that its height is correct.
Now the first thing to acquire is a knowledge of the fundamental rules of the dance, since everything depends upon them, and no one may hope to attain proficiency without this knowledge.
The fundamental positions of the ballet are five, and their complete mastery has been the prime factor in the success of every ballet dancer since the dance was invented. You will be constantly referred to “first position,” “third position,” and the others throughout your instruction, and you must know instantly and intuitively what each reference means as you hear it or read it, and to do this you must have the five position thoroughly absorbed into your inner consciousness. That means, practice the five positions over and over, day after day. No ballet dancer ever was entitled to this name without she knew these five rules of the dance.
The five positions for practice at the bar are here given, and the primary exercise at each position described and pictured.
First Ballet Position
First Position: Stand erect, with the head up, the legs straight, the heels together, the toes pointed out, the weight of the body evenly distributed between the two feet. Extend one arm to lightly grasp the bar, and carry the other arm straight out from the shoulder, in a slightly relaxed position, as shown in the diagram. The thumb should rest on the tip of the first finger, the middle and ring fingers slightly bent, the little finger extended so that it is slightly separated from the others, the wrist bent slightly downward. The whole attitude should be flexible and graceful.
Now lower the body by bending the knees. The feet should be kept flat on the floor, the heels raised from the floor as little as possible when bending the legs. The knees should be extended to the sides, as shown in the diagram. The free arm should follow the attitude of the legs—that is, it should be lowered to the waist when the knees are bent. This bending should be repeated four times.
Second Ballet Position
Second Position: From the first position, keeping both legs straight, slide the right foot sideways until leg and foot are fully extended without moving the torso. Then place the weight of the body on both feet with heels on the floor. The head should be in a straight line above the center of the space between the heels. Now bend and rise slowly four times, without raising the heels from the floor.
Third Ballet Position
Third Position: From the second position, shift the weight to one leg, fully extending the foot and toes of the other leg. Then glide the extended leg slowly in front of the other, the heel leading, until the ankle of the leg behind is covered by the front leg. Bend and rise slowly four times; keeping the head in a straight line above the heel that is in front.
Fourth Ballet Position
Fourth Position: From the third position, slide the front leg forward as far as possible without moving the body, until foot and toes are fully extended; then put the heel on the floor, the foot turned outward. Place the weight of the trunk on both legs, the head being vertically above the heel of the front foot. Bend and rise slowly four times.
Fifth Ballet Position
Fifth Position: From the fourth position, shift the weight to the back leg, fully extending the front leg and foot. Slide the front leg slowly back to the other leg with heel well turned out, until the feet are on a parallel line, with the heel of the front leg in front of the toes of the back leg. The weight of the body should rest on both legs, and the throat should be virtually above the ankle of the front leg. Bend and rise four times.