"Modern dancing and dancers" by J. E. Crawford Flitch. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.
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J. E. Crawford Flitch. Modern dancing and dancers
Modern dancing and dancers
Table of Contents
INTRODUCTION
CHAPTER I. THE ANCIENT AND MODERN ATTITUDE TOWARDS THE DANCE
CHAPTER II. THE RISE OF THE BALLET
CHAPTER III. THE HEYDAY OF THE BALLET
CHAPTER IV. THE DECLINE OF THE BALLET
CHAPTER V. THE SKIRT DANCE
CHAPTER VI. THE SERPENTINE DANCE
CHAPTER VII. THE HIGH KICKERS
CHAPTER VIII. THE REVIVAL OF CLASSICAL DANCING[1]
CHAPTER IX. THE IMPERIAL RUSSIAN BALLET
CHAPTER X. THE REPERTORY OF THE RUSSIAN BALLET
CHAPTER XI. THE RUSSIAN DANCERS
CHAPTER XII. THE ENGLISH BALLET
CHAPTER XIII. ORIENTAL AND SPANISH DANCING
CHAPTER XIV. THE REVIVAL OF THE MORRIS DANCE
CHAPTER XV. THE FUTURE OF THE DANCE
INDEX
Отрывок из книги
J. E. Crawford Flitch
Published by Good Press, 2022
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The dancing that is seen on the stage of to-day, however, is never reprehensible, and seldom even vulgar, and the fact that in former ages of looser living the dance became contaminated does not adequately explain the disesteem with which it appears, until recently, to have been regarded. The true reason seems to lie in the popular belief, not that dancing is less incorruptible, but that it is less serious than the other arts.
This fallacy—for such I take it to be—is doubtless due in part to the fact that when we speak of dancing we inevitably associate it with the ball-room. The word carries with it a train of images and recollections connected with the languorous cadence of waltz music, the perfume of conservatories, shady corners, champagne and ices, and the premature arrival of dawn. We can scarcely avoid thinking of it as merely the amusement of our lighter hours. But between the dancing of the ball-room and the dancing of art there is about as little connection as between the snow-man that children make on a winter’s afternoon and the sculpture of the Parthenon. The one is an amusement, more or less graceful as the case may be, the other is an inspiration and a science. In the dancing of a mixed company at an evening party there is as little relation to art as there would be in an exhibition of pictures by a group of beginners, who had not yet mastered the elementary rules of drawing. If the performers derive any pleasure out of their respective exhibitions, there is an end of the whole matter and an excuse for it.
