The Art of Stage Dancing Part 12

[Ill.u.s.tration]

What you are learning in this cla.s.s I like to call "bread and b.u.t.ter"

dances, for if you succeed in mastering them thoroughly, as you surely will if you give attention to your instruction here in cla.s.s and then practice several hours daily at home, you will possess as your own individual property a means of livelihood that will remain at your command all your stage life.

When you know how to execute the routines of these dances and add to and develop your routines to keep them fresh and up to the hour, you have a lot of neat steps that will get over with the producers of many of the better types of modern shows. That is what I mean by "bread and b.u.t.ter" dances; something you can sell most easily in the present show market, and get not only food and raiment and lodging, but build up a savings bank account for the future as well. So it is well worth while to take your instruction here seriously and earnestly, as I am sure you intend to do. There is big money in this line of dancing if you practice and keep at it long enough. There are many four-figure salaries being paid every week to qualified dancers with an established name and reputation, and the way to earn these big salaries is to become qualified yourself. We teach you right and start you right--then it's practice for you; practice and more practice.

Let me tell you just how you should practice from now on in order to become a competent solo specialty dancer. Practice one step at a time.

In a routine take the first step; practice that step until you are tired, then sit down and rest five or ten minutes. As soon as you feel like getting up again, take the second step and practice it until you are tired; sit down and rest again. Then do the first and second steps--no more; then sit down and rest again. Practice until you feel yourself tiring, but DO NOT overdo it. Practice faithfully and don't slight any one step. Then practice the third step the same way. When tired sit down and rest--then get up again. Put the first, second and third steps together, and so on all through the routine of eight or ten steps. No other way you can think of to practice will result as well as this particular way. It is a systematic, practical way.

I am taking a big responsibility with you, because when you finish your course you are going to appeal to me and ask if I know of an opportunity for you; where I think there is a good chance for you to begin; how you can get started. You are now getting along in advanced work. Try to get on in some charity entertainment; some place where you are employed in the day may have some benefits. Try for church entertainments. Some evenings in the neighborhood where you live there may be little entertainments. No matter how small an affair, try to go on. Get in front of an audience and feel the tension of an audience; it will give you encouragement, and on each succeeding appearance you will gain confidence and see how you "get over" with an audience.

After a few appearances any feeling of stage fright will gradually disappear, and eventually you will gain confidence in yourself. Do not try to go on at first in any Broadway benefit. Be satisfied to make a very small beginning.

You have to begin now to put yourselves in the work. You can't be looking down at the floor and wondering what step comes next. That is no longer possible. You must acquire a method of executing the step; a little smile on your face; a little personality behind it; inject character into all your work.

Recently the Friars put on a Minstrel Show in New York that was a sensation. It shows that the public are gradually coming back to the old-time Minstrel Shows. The show business moves around in cycles; styles change in dances the same as in fas.h.i.+ons. Light operas and musical comedies are coming in. Those of us who watch the theatre know that the styles are changing, and when I tell you this type of dancing is coming in you can believe it. Many prominent society women are studying this style of dancing. The Universities are taking it up, and we are gradually establis.h.i.+ng it. Kansas City, Atlanta--the Junior League Follies, all did this type of work. There are 10,000 dancing teachers in America, and out of these, 2,350 are already teaching it, and there is every incentive for you to learn it, for it is popular and profitable, and with our foundation technique already acquired as a basis for this work you should not find it difficult to master.

This cla.s.s is going to be taught four complete professional stage dances this month. If you got that outside of this school you would have to pay not less than $100 to $200 for each routine. I make it a point to give my scholars the very best there is in the line of instruction, and at the same time charge them only a reasonable fee.

We also give you the backing of every part of this establishment--publicity, advertising, and bookings when we can, but not until you have made good during your study.

Now there is one little thing I am going to talk to you about that really is a bigger thing than it seems--and that is gum--chewing gum.

If you had had stage experience you would know that gum is taboo in the theatre, and the reason for this is not only that to chew in sight of an audience would be an insult and result in immediate dismissal, but also for this very important reason, that a cud of gum if dropped on the stage would destroy that stage for dancing--your own dancing and everybody else's. And it would be the same way here in the studio.

We have here the finest of clear-maple dancing floors in every one of our studios. Drop a piece of gum on this floor and then try your dance and see what would happen to you. You'd step on it and you'd get a fall; you couldn't help it; and an unexpected fall like that might break your ankle, very easily. It has been done before now. Just make believe that you are under a theatrical producer on a Broadway stage, while you are with us here, and park your gum on a lamp post before you come into this building. Then you and the rest of the young ladies will not be in danger of meeting with an accident from that source.

Real flowers are not allowed on the professional stage for a similar reason. A flower petal falling on the floor acts as a banana skin would, making a slip and a bad fall possible to anyone on the stage.

You'd not like to have your dance spoiled by a wad of gum or a flower petal, and perhaps get put out of commission and have to forfeit a contract because of a personal injury. So let's play we are on the professional stage here and do as real professionals do--cut out the cud and forego the posies. If you have flowers handed to you over the footlights when you get to be stars, ladies, let it be at the final curtain. Then you won't break anybody's neck.

[Ill.u.s.tration: THE THREE REILLY'S--ALICE, GRACIE AND JOHNNY]

I say often to every cla.s.s, and I say it again to you--come and see me in my office and tell me how you are getting along here. And I mean this for every one of you. If I wasn't certain that I am going to be able to help you I wouldn't ask you to do this. If I didn't care I might do as some others do--take your money and let you go along in the cla.s.s work as you choose to without bothering myself whether you made good or not. But that is not my way--not this studio's way at all. You must make good, for your own sake--and for the sake of this school's reputation. Now remember, there is absolutely no charge for my advice or counsel about anything that concerns you--your health, your reducing, your improvement in dancing--anything you want to know.

One day a girl came to me for the first time after she had been in the school about four months. I asked her in some surprise why she hadn't been in to see me before. "Why, Mr. Wayburn," she said, "I understood that you charge a high price for consultation, and I didn't feel that I could afford it."

Not only do I not charge anything for counseling you, I esteem it a favor to myself to be allowed to advise you. Candidly, I have never yet had a girl or boy take my courses here who has made a success of a dancing career who didn't write to me or talk things over with me first. If you don't come, you cannot get my ideas, cannot cooperate with me in matters that concern you.

Come to my office at any time. Between 11 and 1, or 4 and 6 are usually the best times. If I am busy with some important matter I may have to ask you to wait awhile or come in at some other time. I'm a pretty busy man some of the time, myself!

Weigh yourself and tell me about your weight.

NED WAYBURN'S ACROBATIC DANCING

[Ill.u.s.tration]

There is a very decided distinction to be drawn between acrobatics pure and simple, and acrobatic dancing, which is quite another matter.

It is, of course, acrobatic dancing that you see on the stage accompanying and accentuating the more formal dancing steps in musical comedies, revues, and spectacular performances, and it is this acrobatic dancing that receives wide attention in the teaching of the dancing art in the Ned Wayburn courses.

There are properly two divisions into which acrobatic dancing is naturally separated:

(1) _Bending exercises_; including the back bend, hand-stand, inside-out, front over, back limber, cartwheel, tinseca, nip-up, the various splits, and several more advanced feats that should be attempted only after thorough physical preparation.

(2) _High-Kicking exercises_; including all the so-called "legmania"

varieties of dancing, which are best acquired by thorough preparation of the body in the Ned Wayburn foundation technique and studious attention to the drill in the Ned Wayburn Americanized ballet technique.

All of the acrobatic dancing tricks that are properly cla.s.sified under bending exercises have for their foundation the back bend and the hand stand, as they are called, both of which must be mastered absolutely before attempting other and more complicated acrobatic exercises.

I want to go on record with the emphatic statement that acrobatic dancing must not be attempted except by those who are entirely and absolutely physically fit. The acrobatic dancer must possess unusual strength in the arms, in order that the weight of the body may be safely supported; and there must be strength and flexibility of the waist muscles and the abdominal muscles, and of all the muscles of the back and shoulders, to enable the performer to execute the front and back bends and their companion strenuous exercises. First, the pupil must have an unusual adaptability to this type of dancing, and then must prepare carefully and properly in advance of entering upon the real work of the course.

The best development comes from our limbering and stretching exercises. There is nothing else like it nor anything equally as good as a foundation for all types of dancing, and it is especially needed by the amateur entering upon an acrobatic dancing career. We have put literally thousands of pupils through this course, and every student of our acrobatic dancing cla.s.ses who has taken this essential preliminary course has come through in fine shape.

You must be extremely careful if you have or ever have had any abdominal trouble. You must get the abdomen strengthened before you undertake any acrobatic work. If you have had an operation for peritonitis, appendicitis, hernia, or elsewhere in the abdominal cavity or region, you must, out of consideration for your own health, avoid any violent bending exercise. This does not imply that you should not exercise properly. You should, for it is easily possible to strengthen the tender muscles into a normal condition by suitable and systematic exercises.

Try this test: Lie flat on your back on the floor. Now, without aid of the hands or elbows or any outside a.s.sistance, bring your body to a sitting position. If you cannot do this, get your back muscles into training before you attempt any difficult exertion. If you succeed in your test, you can safely consider your abdominal muscles to be in sufficiently good condition to go ahead with acrobatic dancing.

Let me describe a few of the most common of the acrobatic tricks that all acrobatic dancers must know, and you will no doubt recognize them as being also favorite tumbling acts of boys and girls on the lawn.

The most complicated and difficult acrobatic exercises are taught in full in the Ned Wayburn Studios, and are printed in detail, with simple instruction for their successful accomplishment, in the Ned Wayburn Home Study Course in Stage Dancing. The few we give you here are not difficult, and can be mastered at home by anyone who persistently practices and follows the descriptions with care.

[Ill.u.s.tration: ACROBATIC DANCING PRACTICE.]

BACK BEND

Stand erect. Spread the feet about fifteen inches apart. Have the toes pointed well out, at about a sixty degree angle. Raise the arms directly overhead, the hands shoulder-width apart. Put your head back, pus.h.i.+ng forward with your knees. Lean back, bending the arms as far back as you can, till the palms of the hands rest on the floor. In doing the back bend, relax the lower jaw and keep the mouth slightly open to breathe. Throw the strain of the bend in the small of the back. To come up, acquire a little rocking motion forward and back, lean forward, and you will come up easily.

_How to do a back bend while standing near a wall._

Stand about 3 feet from the wall, with your back to the wall, feet about two feet apart. Bend back, touch the wall with the palms and walk down the wall with your hands until you touch the floor. Then walk up with your hands until you are erect.

[Ill.u.s.tration: _The Back Bend on the Flat, and Near a Wall_]

HAND STAND

Take a wide step forward with the left foot, place both hands flat on the floor at least eighteen inches apart in front of the left toe, fingers open and pointed directly front, right leg perfectly straight, extended straight back. Swing the right leg up and over and follow it with the left leg, and when you come down bring down the left leg first, then the right leg, bringing the left knee close up to the chest. Do not kick hard or you will go over.

_How to do a hand stand while standing near a wall._

Advance whichever foot comes natural to you to do this act (people are right and left footed as well as right and left handed); let us say your right foot. Stand facing the wall with the right foot advanced to within about two feet of it. Place both hands on the floor, about eighteen inches apart, in front of left foot, fingers open and pointed front, right leg extended back and straight. Kick up with the left foot over your back so as to bring the soles of both feet against the wall, the left foot reaching the wall first; knees straight, heels together.

[Ill.u.s.tration: _The Hand Stand on the Flat (A, B), and Near a Wall_]

CARTWHEEL