This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1888 Excerpt: ...the positions represented in figures 3, 4, 5, Plate i., figure 4, Plate iv., figures 1, 4, Plate v., figure 1, Plate vi., figure 1, Plate viii. The usual attitudes adopted in the performance of pirouettes are those of the second position, figure 1, Plate vi., figure 1, Plate viii., and on the instep, figure 4, Plate ix ...
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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1888 Excerpt: ...the positions represented in figures 3, 4, 5, Plate i., figure 4, Plate iv., figures 1, 4, Plate v., figure 1, Plate vi., figure 1, Plate viii. The usual attitudes adopted in the performance of pirouettes are those of the second position, figure 1, Plate vi., figure 1, Plate viii., and on the instep, figure 4, Plate ix. But why should dancers limit themselves to these positions of the body during the performance of their pirouettes? When an artist has once acquired an easy method of turning on her toes, a little exercise will soon enable her to turn in an arabesque or any other different attitude. I was one of the first to go out of the common track in this respect and, possessing much facility in the performance of pirouettes, I obtained some success in the new kind I invented, one of which is done in the following manner: --turn three times round in the second position, then place the leg and the arms in the arabesque attitude shown by figure 4, Plate x., and give three or four more turns in that attitude, ending it in the same. When this pirouette is correctly performed it has a very graceful effect. Another very beautiful pirouette which I invented is this: --having turned a few times in the second position change it into that of the arabesque represented in figure 3, Plate xi.; stretch out your body, and incline it forwards as much as possible, whilst your head and arms gracefully follow its motion. This pirouette has something in it of a magical appearance, for as the body leans so much over and seems on the point of falling at each turn of the pirouette, one might think there was an invisible power that supported the dancer, who counterbalances the eccentricity from the line of gravity by the positions of the arms and legs and the great rapidity of the.
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PLEASE NOTE, WE DO NOT SHIP TO DENMARK. New Book. Shipped from UK in 4 to 14 days. Established seller since 2000. Please note we cannot offer an expedited shipping service from the UK.
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PLEASE NOTE, WE DO NOT SHIP TO DENMARK. New Book. Shipped from UK in 4 to 14 days. Established seller since 2000. Please note we cannot offer an expedited shipping service from the UK.
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First Edition. Hardback. No Dust Jacket. 8vo. pp xvi, 92. 15 plates. Original publisher's red cloth lettered gitl at cover. With the small blind-stamp of John Michael Blundall (1937-2014) one of the world's leading designers, makers and performers of puppet theatre. Among many other things he created puppet characters in, 'Supercar', 'Fireball XL5', 'Stingray' and 'Thunderbirds'. He was also a collector of books on every aspect of the theatre. Lacks front endpaper. Cloth slightly worn at extremities, inner hinges cracking, a used, very good minus copy.
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Seller's Description:
PLEASE NOTE, WE DO NOT SHIP TO DENMARK. New Book. Shipped from UK in 4 to 14 days. Established seller since 2000. Please note we cannot offer an expedited shipping service from the UK.
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Seller's Description:
PLEASE NOTE, WE DO NOT SHIP TO DENMARK. New Book. Shipped from UK in 4 to 14 days. Established seller since 2000. Please note we cannot offer an expedited shipping service from the UK.
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