The Theory of Theatrical Dancing; With a Chapter On Pantomime;
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To succeed in these attempts, let her in the first place, turn her thighs outwards and move them in this position, which she is enabled to do by the freedom of the rotatory movement of the os femoris in the cotyloid cavity of the hip bones. The knees assisted by this movement will follow the same direction, and at length get into their right place. The rotula, which hinders the knee from bending backwards, will then fall perpendicularly in the line of the point of the foot ; and the thighs and ...legs at length become perfectly straight, and firmly maintain the stability of the trunk. In the second place, she ought to keep a continued flexion in the joint of her knees, and so make her legs appear more extended than they are in reality. This is the work of time and practice.
Having once acquired the habit it will almost be im- possible 40 make the legs return to their primitive vicious position, without the most painful and in- sufferable efforts.
The bow-legged dancer must also try to diminish her bow-leggedness by drawing her legs as close as possible to each other.
What to read after The Theory of Theatrical Dancing; With a Chapter On Pantomime;?
You can find similar books in the "Read Also" column, or choose other free books by Blasis, Carlo, 1803-1878 to read onlineMoreLess
To quickly assess the difficulty of the text, read a short excerpt:
To succeed in these attempts, let her in the first place, turn her thighs outwards and move them in this position, which she is enabled to do by the freedom of the rotatory movement of the os femoris in the cotyloid cavity of the hip bones. The knees assisted by this movement will follow the same direction, and at length get into their right place. The rotula, which hinders the knee from bending backwards, will then fall perpendicularly in the line of the point of the foot ; and the thighs and ...legs at length become perfectly straight, and firmly maintain the stability of the trunk. In the second place, she ought to keep a continued flexion in the joint of her knees, and so make her legs appear more extended than they are in reality. This is the work of time and practice.
Having once acquired the habit it will almost be im- possible 40 make the legs return to their primitive vicious position, without the most painful and in- sufferable efforts.
The bow-legged dancer must also try to diminish her bow-leggedness by drawing her legs as close as possible to each other.
What to read after The Theory of Theatrical Dancing; With a Chapter On Pantomime;?
You can find similar books in the "Read Also" column, or choose other free books by Blasis, Carlo, 1803-1878 to read onlineMoreLess
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