echnique that consists of
exercises, on the felt floorpad, in limbering and stretching. It is
very beneficial to everyone in every way, and unqualifiedly essential
to the beginner in stage dancing in any of its forms. The prospective
ballet dancer, by going through these exercises in the studio for a
series of twenty lessons or so, and practicing three hours or more at
home daily during the same period, develops strength in the muscles of
the back, legs, ankles and feet that fits her for the ballet
technique; and it is this foundation work that enables her to
eliminate the antiquated exercises and some combinations of steps, and
the unduly long, tedious and once necessary trials that fell to the
lot of the old-country ballerina. So the secret is out; it is our
special foundation work in limbering and stretching combined with my
Americanized Ballet Technique that builds our American pupil into a
strong, healthy, flexible, graceful person, well prepared for
advancement into the beautiful art of the ballet.

This does not mean that the entrant for ballet honors has nothing to
do but go at once upon the stage, a completed artiste. If this
statement of my easier plan suggests such a thing, let me hasten to
correct so erroneous an impression. There is work, and hard work, too,
and lots of it, before our pupil becomes a ballet dancer, even under
our less strenuous and much shortened course of training.

Grace of the entire body is sought and taught, graceful movements of
the head, arms, legs and torso. In addition to grace and poise, there
is need of great muscular strength, and this we are able to develop in
our pupils without bunching the muscles of their calves, thighs or
arms into unsightly knots. And this fact is not one of the least of
the recommendations of our system. We insist upon symmetry and beauty
of figure. This is really more important to the professional dancer
than beauty of face. To possess both, a beautiful face and form, is
the ideal condition, of course, but the figure is susceptible of being
made attractive by our development technique, and any imperfections of
the facial contour or features, and any defects in the complexion, are
easily disguised or corrected by my method of teaching stage-makeup.

[Illustration: 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