 CHAPTER XIX What is technically known as exhibition dancing is an exaggerated form of the usual social or ballroom dancing. It is teamwork, performed by two, a man and a woman, and is never given as a solo dance by a single artist. There is no end to the styles of dances that may be employed in exhibition work. The public is thoroughly familiar with those most often presented to view in public and private ballroom at social or other functions, which are either the exhibition Foxtrot, the exhibition One Step, the Tango, the exhibition Walls, or the Whirlwind Dance. This by no means covers the possible field. Its limitations are measured only by the ability of the team and the popularity that demands this or that style of dance as the fickle public fluctuates in its preference. An exhibition dance of whatever nature must have an element of the spectacular and theatrical in its presentation in order to appeal. The dancers must inject some surprise steps in an effective place, throw in a little tricky stuff that is new or startling, do something neat and out of the ordinary to make the dance qualify as exhibition, and not just the usual everyday type of some well-known form of the dance. Among the best-known exponents of exhibition dancing one naturally recalls Vernon and Irene Castle, Maurice and his several partners. Florence Walton, Leonora Hughes and Barbara Bennett, as well as the teams of Clifton Webb and Mary Hay, and Basil Durant and Kay Durbin. All these and many other professional exhibition dancers have amply succeeded in their efforts to please the public and have found the financial returns to be most satisfactory. It is a very profitable line of work for dancers of the right qualifications. Exceptional personality is essential as well as great skill in the art of dancing, and less than a commanding supremacy will not suffice to carry the work through to a successful issue. Yet there is a large field here open to many who may not as yet even dream of their adaptability to such a career as this suggests. It has been my pleasure to assist in the direction of every exhibition dancer whose name I have quoted above. Some of them received their first impetus along this line from me, followed my advice and instruction, and in consequence became internationally famous and successful. I am still taking those well adapted to this line and putting them in the way they should go. I know the type of person best qualified to make a success in exhibition dancing, and if those I select will be guided by my experience and knowledge there is no reason why they should not reap the rewards their merit earns as well as those I have named have done. There is a knack in acquiring the necessary ability as a dancer of this type that not every instructor is able to impart. I do not teach exhibition dancing in classes in my studios. Individual private lessons is the only successful way and that is my way. Most other forms of dancing are learned as well or even better in classwork. I doubt if exhibition dancing will ever be overdone. It is popular and good dancers for this line of work are not too numerous, so it seems likely to be in continued demand indefinitely. CHAPTER XX. NED WEIBARN. CHAPTER XX. NED WEIBARN'S PREFECTION. CHAPTER XX. NED WEIBARN'S PROFESSIONAL STAGE MAKEUP. The NED WEIBARN courses teach every form of stage make up for men as well as for women and for every known character part as well as the straight make up for youth. To put all the expert professional make up knowledge into this book would be to practically crowd out everything else or so enlarge the volume as to make it cumbersome. To avoid this and at the same time meet a strong public demand I have in contemplation a book devoted exclusively to this important subject that shall post a wild of waiting experience for stage honours in every detail of the art of correct make up. Meanwhile the subject has an important bearing on the art of stage dancing and so demands a prominent place in this present work. I have therefore chosen for demonstration here the one most popular stage make up which is that adapted to the use of the professional stage woman in every modern theatre, opera house and music hall, and I'm here giving it a complete and thorough exposition. In presenting this form of make up thus prominently I do not wish in any degree to convey the idea that men and male youth are ignored in our studio teaching of make up and that our sole concern is to make the young woman presentable on the stage. This is not the fact. We teach make up to men as well as to women and every correct form of the art. Do not confuse a stage make up with the customary society make up that Milady applies in her bourgeois. They are two entirely different problems. To make up correctly for the modern stage with its multiple lights of great intensity and all the colours of the rainbow requires special duty of yourself individually and a knowledge of what affects the various lighting schemes will produce on the human countenance. Three ladies standing side by side on the same stage may require three different make ups depending upon their types in order to appear at their best to the audience. The brunette, the blonde, the orb and head each need a different treatment and if through ignorance or indifference any omits proper attention to a single item of the very important detail of her facial make up the resort will be disastrous. All of which emphasises the need of ones being properly taught on the start just how to make up in a manner to bring out one's personality to enhance one's beauty and create the most pleasing appearance before her audience. We are now speaking of course of the woman who is to appear in a youthful part. Character make up is an entirely different proposition with which we are not concerned here. It is impossible to get on the stage today without make up. Should any actress try to do so the appearance of her features would be almost death-like. She would be repulsive to the eyes of the audience, a condition that neither she nor the producer of the show would tolerate. The very lights that render superbly beautiful the person with proper make up cause the bare flesh to lose its natural tints, cast shadows under the brows and above the face, create hollows where they do not exist and are not wanted and utterly destroy the pleasing picture. Make up then is one of the first essentials to stage success and it makes no difference how truly beautiful you may be in features and natural colouring of the stage. The fact persists. You must make up and make up right. But the uninstructed amateur whose sole knowledge of make up is confined to the boudoir, is very prone to overdoing her maiden attempts at stage make up, and so disastrously decorate her face, that under the unaccustomed and little understood lights of the theatre she appears hideous to the folks out in front. And this is especially true of the most beautiful type of women who think they know and don't. Anyone with regular features can learn to apply make up, so that on the stage she will be as pre-possessing as her naturally more favoured sister-woman. A beauty unadorned by facial make up, or a beauty not properly made up, will be far outclassed in apparent beauty on the stage by the plainer woman who has mastered the art of make up, and knows how to apply it judiciously and correctly. It is all in knowing how, and the learning is not difficult. The professional actress will not fail to obtain personal instruction in this art from expert teachers, which is decidedly the best way. Puport in our studios avail themselves on our classes and private lessons in make up, and in doing this lay a foundation of invaluable knowledge that will continue with them through life. This spirant or amateur, who for personal reasons cannot come to our studios for this instruction, will absorb much of value by a perusal and study of this chapter. For, while it is not possible to advise an unseen person, whose type you do not know, with the same exactness as you could if she stood before you, there is much here that is general in its application to all types, and the care we are taking to make our information broad enough to cover all these greatly simplified matters for the absent students. There are two steps to a correct knowledge of your personal needs in the make up art. First, what to use, and second, how to use it. I'm going to start you right on both of these steps. Any actress of experience will tell you that her most valuable stage possession is her make up box. It contains the necessary tools of her trade, without which she would be helpless to carry on. It is to her what the brush and colours and palette are to the painter, the needle and thread to the seamstress, the hammer and saw and plane to the carpenter. Before you enter upon a stage career, supply yourself with a complete make up box equipped with all the needed tools and ingredients for making up the part you are to assume. This is a necessary purchase, and will prove one of the best paying investments you ever made. Ordinarily a make up box stocked with the best materials will cost about $12 and is not extravagantly expensive at that price. So many of our students sought our advice as to their purchases in this line, as they left our studios for the professional stage that we fitted out a line of make up boxes completely stocked for each complexion type which we are selling to them over the counter at $9.50. The actual cost to us of each set is about eight cents more than we sell it for, plainly indicating an absence of grasping commercialism in our nature, for which we hope and expect due commendation. Buying expertly and in quantities has enabled us to get together this Ned Waybar and professional make up box. Of the best stuff in the world for its purpose, some of the ingredients being made in America, others in Paris and others in Berlin, all standard goods and used every day in the year in every theatre of the civilized world, and at the same time keep the cost to our students down below a $10 bill. We thank you. Now we are getting orders for our professional make up box to be sent by mail and express to professionals and amateurs throughout this continent, and while we are glad to accommodate all who honour our own profession by their presence in it, please do not expect us to do so at cost. It is one thing to hand a box over the counter and quite another to pack that box for shipment so as to conform to established requirements by the Government Post Office or the express companies. Pre-pay postage, ensure it and deliver it to the New York Postal Authorities. So we have put a price of $10.95 on this make up outfit for parties who do not call for it in person at our studio with postage extra according to the zone in which you reside if it goes by mail. We would rather send it by express and let you pay the charges for carriage at your end if it is all the same to you. The weight of the outfit packed for shipment is about £7. We ensure it in transit at $10 which adds a few cents to its cost to you. It will save correspondence and disappointment of delay if when you order you tell us your age, sex, colour of hair, colour of eyes, colour of complexion, for what character you wish the make up, youth, maturity, old age, advanced old age or any of the possible character parts known to the stage, the nature of the play, whether for a large theatre or the more intimate small theatre or hall, if removing pictures which cause for a decidedly different make up from all other stage work and everything else bearing on this matter that you can think of. Always bear in mind when you order that each box is fitted for one type of person only and cannot be used indiscriminately by a brunette and a blonde and someone else who ranks between the two in colouring and type and that in consequence each must have a personal make up box of her own. The Ned Wayburn professional make up box for a straight stage make up for a blonde youth suited to the use of a young woman with light hair, blue eyes and light complexion in musical comedy, light opera or any dancing or speaking part in the usual stage performance. For presentation in a hall or theatre with modern stage lighting facilities is as followed. The box, art steel, about six and three eighths of an inch wide by nine and a half inches long, five inches high with handle and lock and key, strongly made on purpose to stand the wear and tear of travel and dressing room handling and should last a lifetime. Have your name painted on it as soon as you get it to make it your very own. It may be your frequent companion for many years. One half pound tin of cold cream usually steins to which we give the preference since it is slightly less hard and contains a little more oil than most of the others. This cold cream is the same for all types, blonde, brunette and the others. One half pound tin of face powder steins number two. Brunettes would use steins number two and a half face powder. One glass jar moist rouge steins medium. This medium lip rouge is suitable for blonde and brunette types. It is standard, can be brought anywhere. It's always uniform and the colors run true. If you are ever in Chicago visit Warnessons. He specializes in lip rouge and makes a very good kind. One stick foundation grease paint, flesh. Steins number two. For brunette, steins number three. This is the large stick. One stick grease paint, special blue lining color, steins number eleven for lining the eyes. One stick grease paint, carmine, steins number eighteen. Red foundation for both blondes and brunettes. One box mascara, black, likeness number sixty for darkening the eyebrows. One package cosmetic, black, Roger and Gallant for beading the eyelashes. One box dry rouge, Doreen number eighteen. One pink velour powder pad, Gainsborough number three hundred and fifty. This is about the finest procurable, is of large size so it will not fall in the powder box and scatter the contents. One black crayon pencil, six bee venus, American pencil company for putting shadows under the eyes. One dark blue pencil, Faber number six six two five for shading around the eyes. One orange wood stick for applying beading to the eyelashes. One rabbit's foot, also called rouge paw. One baby brush with handle for blending, very necessary tool. Paper felt liners, one package to outline lips and to place red dots in the corners of the eyes. Cosmetic stove, Lockwoods for heating cosmetic to bead the eyelashes. This stove is approved by fire insurance underwriters. It encloses a candle in a safe way and avoids the use of dangerous fuels in the dressing room. One mirror, six by eight inches in wood frame with metal support, will stand alone or serve as hand mirror. Strong clear glass, the best to be had for its purpose. This completes the list of contents in the Ned Wayburn professional makeup box. For a straight stage makeup for young ladies. For other types and different characterizations, the ingredients are changed to suit each case, while the price remains uniform. There is but one necessity for completing the makeup that is not included in the outfit as given, and this is liquid white, which comes in white or flesh. This is to be applied as a wash to exposed flesh not otherwise made up. It comes in liquid form only, and can be purchased locally in any first class drugstore. We know Sirat's make of liquid white to be good, and there may be others. A towel, a cake of soap, a basin of water, and a few yards of cheesecloth should be assembled before commencing makeup operations. A makeup is easiest applied while seated at a table with your material spread out conveniently before you. If possible, elevate your mirror so that you can see the reflection of your features without the necessity of bending over. Always make up in incandescent light, never in daylight. When making up is a matter of daily routine, the clothing will become badly soiled in a short time if worn during the process. To save your costume, either wear a washable kimono over it, or better, don the kimono over undergarments and put on the costume after the makeup is applied. In private lessons at our studios, we teach all the required forms of stage makeup, taking every type of person that comes to us and developing each individually along such lines as the character or part demands. Men, women, and youth come to us here for development of their correct makeup in private lessons. In our class instruction in this line of work, only the straight makeup for youth is presented that being the one our young lady pupils find especially adapted to their stage needs. These special classes are held as occasion requires to meet the students' demands and are given in our own Demitase Theatre, connected with the studios. Usually a demonstration is made with a blonde, a brunette, and a redhead to show the class the different requirements of the different types. Following this demonstration, each member of the class puts on a makeup under the advice and constructive criticism of the teachers until thoroughly versed in the art as it applies to his or her own individual type. Since the reader of this may not be coming to us for either private or class lessons, we will describe the correct manner of applying makeup in simple language that will enable the distant aspirant to learn all that may be learned by reading without the presence of a personal teacher. You are now seated at your dressing table, your mirror at a convenient elevation in front of you and between two good lights, your layout of tools and materials spread on a towel on the table top, a kimono or other garment spread over your person. Now take a strip of cheesecloth three or four inches wide and tie around the forehead, back of the ears and behind the neck, or one may use a close fitting skullcap. Tuck in all straying locks, the idea of course to keep powder, grease paint, and cold cream getting into and soiling the hair. Now you are going to apply makeup. First stage, cold cream. Apply this liberally all over the face from the hairline to the upper part of the throat but not on the neck. Rub it in thoroughly to fill in all the pores of the skin. Be careful to cover all the space around the eyes. Also rub in on the eyelashes using care to keep it out of the eyes for it will cause stinging. Greasing the eyelashes this way makes the removal of the makeup much easier. Now rub your face with a piece of cheesecloth until all the superfluous cold cream has disappeared. If the face shines too much you have not removed enough of the cream. The surface should give the appearance of being well oiled but not have a sticky, pasty or greasy surface. Second stage, foundation grease paint. The quality of your makeup depends upon this. It will be smooth or rough according to the way you develop it. Rub the end of the grease paint stick several times on each cheek once across the chin, once or twice on the forehead and once down the nose. Use the ends of the fingers and pat this into place rather than rub it till it is thoroughly worked into all the surface you have just covered with the cold cream. Every pore must be filled with the grease paint. Do not apply it too thick which would give the face a pasty unnatural look. Do not forget underneath the chin. Do not apply it to the ears or behind them. Leave no streaks or neglected spots. Have it uniform all over. Blend the paint till the face has an even tone. Watch your mirror carefully. It is better to have the grease paint a little too thin on the face than too thick but you will soon learn to get it just right which is what you are aiming at. Third stage, under rouge, foundation red, Steins number 18, carmine. Make a few dots with the carmine grease paint stick on each cheek and on the end of the chin. Use but little and blend it by patting with the first and second fingers of both hands rather than by rubbing. Begin well up against the nose. Go under and around the eyes and toward the temples working it down below the ear and off the jaw in case there is a hollow in the lower part of the cheek. The colour should extend down on the cheek over on the temple and well up into the eye patted and blended till no one can see where the red fades into the foundation. The chin is then blended in the same way to leave no line between foundation colour and under rouge. If your chin is pointed blend in front not below or it draws the chin way down. Put on a lighter make-up for a small intimate theatre and a heavier one for the large auditorium. Fourth stage enlarging and beautifying the eyes. This is a very important detail of correct make-up and is indispensable on every well-lighted stage where even the most soulful orbs with long thick lashes will dwindle to half their size and have a faded dull appearance if not properly made up. It is essential that the two eyes match in every detail and to secure this result will require the taking of considerable pains and close study of your mirror. Stein's number eleven blue lining stick is for use by the blue eyes regardless of the colour of the hair or complexion. Stein's number seventeen for the dark-eyed. T-shin-haired folks use Stein's number twenty-one purple for the same purpose. With this grease-paint stick of the colour suited to you draw a line across the upper eyelids between the eyebrow and the eyelashes as close as possible to the lashes. With the fingers blend this line into a shadow making it dark close to the upper lashes. Either pencil can be used for this purpose also. Do not get the shadow up to the eyebrows but cover all the upper eyelid and a little beyond the eye at the outer corner. Use the Faber number six six two five blue pencil or Venus six B black for shading under the eye. Draw a line with it directly under the eyelashes and with the fingers blend this into a shadow. Carried too far down this blue suggests illness so be careful. The shadows thus placed above and below the eyes serve to outline them to the spectators in the theatre where otherwise the eyes would practically disappear and not be seen at all owing to the strong footlights. Fifth stage fixing the makeup. Powder number two for blondes number two and a half for brunettes the creamy tints are for the dark skins the flesh and delicate pinks for the fair ones press the powder first on the chin it is feminine instinct to start with the nose but let your start in this case begin with the jaw or chin don't rub it in pat it on thick till the underlying paint is fully covered up the powder absorbs the grease from the chin work upward reaching the nose after the pad has lost some of its original load and the nose will not stare out so white on your face as it would if you began there fast raise the eye and powder underneath look down and powder the space beneath the eyebrow and eyelid sixth stage smoothing off and blending use the baby brush for this there is nothing else so good it is surprising in its results do not press the brush too hard on the face dust the surplus powder off carefully with a light touch to leave no streaks or patches anywhere if now the face has a greasy look you have not used sufficient powder seventh stage highlighting take some of your number 18 Doran's dry rouge on the rabbit's foot and dust very little on your cheeks do not press it down just tickle about the edges of the rouge or it blends perfectly with the foundation if there is too much white about the nose dust it lightly with the rabbit's foot you can turn the paw around and blend with the end that is free of paint never show a white ear to the audience if ears come into style again as they will the lobe and rim should be made a healthy pink but not a strong red with the rabbit's foot eighth stage darkening the eyelashes and eyebrows use Leichner's number 60 black mascara dark brown for light blondes the lower lashes are better left without the treatment since they are almost certain to smear the face if treated and the shadow you have already placed there takes care of the lower lashes all that is necessary apply the mascara to the upper lashes with the brush that comes with the mascara or any fine brush will do start a delicate line on the edge of the eyelid at the outer corner of the eye let it curve slightly downward at the start this line should not exceed half an inch in length and is never carried beyond the eye socket do not make the line heavy nor longer a very little mascara must be brushed lightly onto the eyebrows following the curve of the upper eyelid fix the eyebrows carefully about three quarters the size of the mouth using black or brown mascara according to whether your type is dark or light in this place we are going to tell you how to bead the eyelashes but unless you are a professional actress and your part will be decidedly enhanced by having the eyes very much in evidence we advise against your undertaking it it is not a necessary stage in the makeup process but it comes into the story of makeup naturally and we give it here for the benefit of those who may wish to make use of it beading the lashes consists in placing a small bead of cosmetic on the extreme tip of each lash this is best done on the upper lashes only leaving the lower ones free the Lockwood cosmetic stove is a small affair that holds a piece of candle and a baby sized frying pan or skillet and is one device for its purpose that has the approval of fire insurance companies and so will not be objected to by the theatre fireman there are some heating devices that you are not permitted to use in any theatre and persistence in their use after being once cautioned has caused a rest more than once in this connection many interesting true tales might be told of principal actors being taken bodily from the stage in the midst of a play and landed in the local jail courting the curtain to be lowered and the audience dismissed the stage fireman assigned to every first class theatre during a performance has authority to enforce all ordinances intended to prevent fire and eliminate fire risk in playhouses even to go to the extremity of arresting offenders against the public's safety so be careful to use only a Lockwood cosmetic stove or some equally safe affair in your dressing room you light the candle, place a small amount of Roger and Gallot black cosmetic in the little pan and heat it over the candle flame till melted take up some of this molten cosmetic on the flat end of your orange wood stick and apply it with a deft quick stroke to the upper lashes painting each one separately and without clotting so that a little bead hangs to the tip of each upper lash use care not to drop any of the black on your makeup the effect of this beading is to beautify the appearance of the actress by bringing out her eyes in a wonderful manner under the strongest of spotlights ninth stage red dots in the inner corners of the eye dip the paper felt liner in the moist lip rouge and with it make a tiny red dot in the extreme inner corner of each eye but on the lid not in the eye to space the eyes make them look to be the distance of one eye apart keep these dots well away from the nose or they will tend to make you look cross-eyed from the front tenth stage rouging the lips Stein's moist lip rouge medium if the lips are left their natural colour the footlights bleach them white and colourless shape the upper lip into a cupid's bow and round out the lower lip put a little finger into the rouge and press it tightly against the lips being careful not to smear it open the mouth and draw the upper lip tightly over the teeth when necessary the upper lip can be shortened in appearance by blending and putting the cupid's bow a little higher do not put colour on the lips beyond the angle of the nose otherwise it will make your mouth appear very large a blonde should not apply the rouge full strength as it is too dark for her the lip should not be heavily painted and the line about the edges should be soft and smooth eleventh stage finish with a little powder dusting the face very gently using a swan's down puff put a very little powder on the lines about the eyes but not enough to doll them now look in your mirror with critical eyes your handiwork should have resorted in a velvety soft yet rich complexion that will stand the strong lights of the modern theatre what you have just put on is known as a grease paint make-up there is also a cream make-up so called but it is less desirable for the modern professional stage it fails to give the right effect for a real musical show with powerful lights I have used both and do not hesitate to give this opinion based on my own experience there is also a dry make-up with powder known in theatrical parlance as a lazy make-up suitable only for a dumb chorus girl who has no interest in her work who comes in late and does not care whether she appears to advantage or not to complete any make-up apply liquid white with a soft sponge to the neck, chest, arms and other exposed flesh that is not already made up if as in some of the modern refuse the legs are not covered with stockings or tights they too must have an application of liquid white to look right any flesh that is exposed must be made up because the lights bleach the exposed flesh making it appear bloodless and giving one a gruesome corpse-like colour you are wise if in the matter of make-up you study your own face experiment and note the results for certain you have acquired the best for your own purpose practice it often till you can put it on properly and always with the same result don't seek to look made up ever but to look your best for the parts you are playing always if the make-up ingredients are in evidence to the audience you have not created the proper illusion and must practice making up until you acquire skill it usually takes about one half hour to put a good make-up on after you have perfected the process with your own features removing make-up first remove the beads of cosmetic from the lashes then get rid of the little red spot in the inner corner of the eye work this toward the nose with cold cream then take plenty of cold cream on the fingers of both hands and massage the face thoroughly to soften the make-up all over wipe it off with cheesecloth or an old towel that you can throw away wash the face with warm water and soap dry thoroughly apply a bit of powder and you are all ready to dress some make-up notes you make up for the lights of the theatre which nowadays are very strong and may come from many directions and in various colours the switchboard controlling all the lights is in the first entrance of the stage and the electrician in charge has his plots and cues all carefully planned for each act he does not throw lights on or off for the fun of it or at his pleasure but exactly as carefully designed and mapped by the show's producing director the front lights are those in the body of the house as distinguished from the stage on the stage we have the foot lights in red, white and blue a row of each and overhead are the border lights in the same three colours there is the first border, second, third, sometimes even seven border lights according to the size of the theatre stage the spotlight is an arc light it has usually a colour wheel that revolves so that either red, blue, straw, light straw or pink or any other colour may be projected onto the spot on the stage that is to illuminate and emphasise there are dimmers for the foot lights and the border lights with these you can go from daylight effects to sunset to moonlight, dawn etc with gentle graduation there are two kinds of moon lights on the stage number 29 blue in the spotlight gives a summer moonlight number 35 is best for a winter moonlight scene good gelatines or mediums as they are called are made by the gelatine products company in Brooklyn or may be had from Klegelbros the New York calcium light company the display stage lighting company all first class concerns in New York City under strong blue lights the under-rujid in the makeup will come to the surface which is not desirable so get to your dressing room and powder your makeup down if you are going to be under a blue light the makeup will stand a white spotlight or a pale yellow but will not look well under too much blue and never well under green put liquid white on with a soft sponge put this on only exposed flesh that is not otherwise made up as the arms never put powder on the arms it comes off on everything it touches liquid white is far preferable in every way the baby brush for blending facial makeup is one of the most important tools in the makeup box if you try to buy one in a small town they will insist upon your buying a tray and comb and everything else that goes with the baby set everything practically but the baby better buy the outfit than try to go without the brush but it is still wiser to supply yourself with the brush in time you can buy it separately in the large cities never put your mirror in your makeup box for powder and grease will ruin the best mirror made the mirror furnished with the Ned Waybarn professional makeup box is almost non breakable it is clear as well as strong and in every way one of the best for its purpose it will stand up where you want it never make up while in your street clothes or in stage costume a drop of cosmetic on satin slippers or silk stockings will never come out a washable kimono or bathrobe is the best garment to wear long fingernails will cut and ruin thin stockings don't ever wear the fingernails pointed in using the Venus 6B pencil to darken the upper eyelids use the side and not the point of the pencil do not use a pencil sharpener for it leaves too sharp a point keep your pencil free from grease wipe it often rouge will fade under bright lights much depends upon the condition of one's health as to how long rouge will keep its colour on the face there will be certain times when rouge will disappear rapidly and you will have to renew the outer rouge perhaps before the act is over do not throw powder at your face nor rub it in or smear it pat it on gently with the pad and use the blending brush the tiny dot of rouge placed on the inner corner of each eye is to fix the distance of the eyes apart when the eyes are finished they should appear to be about the distance of one eye apart rarely is makeup used in the nostrils a big nose will look very wide if made up but a small and very straight nose can stand a very little number 18 rouge in the nostril not lip rouge which would be too dark but it is very seldom that the nostrils are made up unless very careful in removing makeup your face will feel raw and chafed when you go out in the wind take time and plenty of cold cream in the removal of makeup and dry and powder your face before exposing it to the outdoor weather if you wish you can leave the mascara on the eyelids working over and under it in removing the rest of the makeup and so use the mascara on the street on matinee days you will see shadowy eyes on the Broadway as some of the ladies of the cast keep the mascara on till the evening performance End of Chapter 20 Recording by Ashley Jane Chapter 21 of the Art of Stage Dancing This is a LibriWalks recording All LibriWalks recordings are in the public domain For more information or to volunteer please visit LibriWalks.org Recording by Tech Savi The Art of Stage Dancing by Ned Rayburn Chapter 21 Stage Costumes On this stage as on the street effective costuming is a matter of good taste The dancer must be particular always to appear in a costume in keeping with the idea and the character of the dance The producer will be certain to adhere to this rule in all cases where the company supplies the stage costumes as is customary In Wadvili or in a home talent show where the dancer furnishes the outfit the same rule of fitness and appropriateness must be observed or the resulting incongruity will greatly mark the presentation Have your stage costumes prepared with the idea of creating proper atmosphere for the dancer giving or the scene in which the dancer appears There are special designers of stage costumes in all the large cities, here and abroad Boxed, the Russian artist is a name all have come to know because of the bizarre effects he creates for the stage In London, Kumali was an outstanding name as costume designer for the Dury Lane Productions Erte in Paris and there are many others abroad New York has several concerns for the first grade whose work along these lines is in evidence in the best theaters throughout the country and overseas Illustration, the first step in costume making for the stage is made when the costume designer and the scenic artists are brought together under the producing director to arrange and settle upon a definite color scheme for each act and scene so that colors of costumes and stage settings shall be in full harmony throughout This is most important for the pictorial effects and in given careful study With the color studies effectively planned there follows a further conference between producer and a costume designer in which plot, locale, atmosphere, characters, lyrics, music and everything else with a bearing on a dancer play in contemplation is fully gone over and considered The personality of the principal is given attention and the various possible effects of the ensemble or chorus groupings, evolutions and pictures are carefully planned with regard to lights and color effects The designer thus consulted submits pencil sketches of his ideas The next step is a watercolor design in the actual colors to be employed The accepted costume plate in color becomes now the working basis for the actual process of manufacturing the garments Most of these color plates for each design is at least $5 but usually more, as high as $25 sometimes before a garment is cut for a stitch taken The price for a costume plate or design depending on a good deal upon the standing or reputation of materials as well as colors are given careful thought Sometimes the artist's design is made around a sample of the actual materials Though usually the color idea is developed first and the goods to be used in the garments considered later The quality of the material for stage costume should be the very best to be had regardless of cost It is unquestionably true that the best is the cheapest way in every way Not only do costumes of cheap fabrics not hold together and the colors fade out when exposed to the strong modern stage lights and repairs and renewals made a frequent necessity But the very people on the stage who are compelled to wear the inferior costumes are literally let down to a lower level in morale as a consequence Illustration, a corner of wardrobe room It is human nature for a well groomed man or woman on the stage or off to be in better spirits and a better mental attitude for the very reason that they are correctly attired Chief garments and inferior costume are required from the dancer's ability to do their best work However unconscious of the fact the dancer may be So I contend that it pays to use the best material and employ the best workmanship if only to keep the performers up to the pitch and put the show over in a way that spells success Then too there is the audience to be considered They know the difference between silk and cotton and the show by the appearance of the costumes that greet them on stage It is a little less than an insult to modern American audiences to expect them to pay modern prices for seats in the theater and then parade a lot of second-rate costumes before them as your idea of something that will get by without detection or adverse comments The cost of costume wears, of course, and the range is wide Professional costumes worn in Broadway productions in any direction have been made for as little as $23 and as high as $1500 for an individual costume Chorus costumes have been shown on Broadway costing $50-400 for each girl in the assembly However a satisfactory chorus costume can be produced today for around $75 and that for a principle of about $100 There are large and satisfactory rental establishments in New York, Chicago, Philadelphia, Boston and others of our prominent cities where costumes can be rented for almost any character of show in single garments or for a complete production In the East, among the best are Brooks or Eves of New York and Van Horn of Philadelphia In the wardrobe department of the Netway Burn Studios there is carried a varied line of up-to-date costumes well over $100,000 in actual cash value There is one set of 12 dancing costumes they are alone worth $4,800 or approximately $400 per costume Any of my stock of costumes is available on a rental basis for amateur shows when my organization is employed to the stage for production And an expert wardrobe mistress goes along with the outfit to ensure proper adjustments and fitting of all the costumes to their wearers The complete costume when rented from any concern includes headdress, plumbers and parasols if the character calls for them Besides the gown or costume proper but never includes wigs, shoes, stockings or tights which must be purchased outright In our studio work and during the rehearsal period on the stage we recommend that the Netway Burn run first as a form of practice, dress best suited for ladies use except in our foundation technique and acrobatic dancing classes in both of which the bathing suit is given the preference illustration NW illustration Mildred Leasy wearing type of practice costume worn for ballet dancing illustration Polly Archer wearing costume or a bathing suit or limbering and stretching and acrobatic dancing illustration Olive Brady wearing practice romper suggested for use in all classes except those in ballet dancing End of Chapter 21 One must possess an inherent sense of rhythm in order to become a successful stage dancer to be able to walk or dance to music in perfect time and find enjoyment in doing it is one of the first essentials I can tell by the way a person walks across the floor when an orchestra or any musical instrument is rendering a sprightly bit of dance music whether or not the walker has the dancing sense that is so necessary to perfection in the art in dancing the term rhythm refers to the coincidence of movement and music and is the symmetrical regulation of time and the periodical repetition of the same arrangement the measure of speed and music and dancing is designated as tempo it is the time in which a musical composition is written and is shown upon the staff by figures of the many types of dance measures the most common are what are known as two four, three four, four four and six eight among the two four rhythms the principal ones are the march which is indicated either in a la breve si as the stars and stripes forever or in two four as the more rollicking over there or the well-known cake walk Georgia Camp Meering by increasing the tempo of the two four march it becomes the one step dance marches are also written in six eight then they are called two steps the handicapped march and sousa's washington post march among the other two four rhythms are the poca suitable for ballet work the pizzicata poca is a very good example of this type the gallop and can can are in a very fast two four tempo waltzes are in three four played sometimes in a lively tempo one in a bar or slow three in a bar three o'clock in the morning a ballroom waltz is in the slow tempo while in the good old summertime is more rapid adapted for fast movements and waltz clogs waltz a coppelia played one in a bar is the type for dainty ballet work the stately minuet is in three four time the gavet played four in a bar is principally suitable for ballet while the song and dance, narcissus, on account of its rhythm is mainly adapted for the soft shoe and its kindred dances it is also in four four the foxtrot is written a la breve two in a bar in moderate tempo it has a somewhat strict rhythm while the charleston played usually in the same tempo is rhythmically different as one can notice it has an anticipated second beat perhaps the most popular music for the charleston dance is the charleston number from run in wild there are a great many varieties of national dances all having a peculiar rhythm of their own portraying the character of their people among these are the american characteristic dances as the roub dance and the peculiar rhythm of the stock buck the essence played in moderate six eight tempo as in coming through the rye among the irish dances the most popular are the jig a fast two four and the real a fast six eight the scotch have their highland fling a fast four four and there is the hornpipe the ash dancers are particularly fond of the waltz played lively and when still more increased in tempo it becomes the fandango a wild and merry dance the tango is in two four played in moderately slow tempo its rhythm is also adapted for the habanera the italians have their tarantella it is played very fast it is supposed to cure the bite of the tarantula hence the furious tempo the egyptian oriental dance is of a more sensuous type either moderately fast in two four or slow in six eight the soft shoe dance is played four in a bar in scottish tempo most any two four march movement is suitable for buck dances but they must be in syncopated rhythm with characteristic melodies and accompaniments and not what is called straight marches but must have the right atmosphere musically in order to inspire the dancer there are a number of very good dance albums published annually with popular dance melodies and piano arrangements among the best are those published by Leo Feist, Inc. Jerome H. Remick and company Shapiro, Bernstein and company Harms, Inc. and M. Whitmark and Sons all of New York End of Dancing Tempos recording by Marmalade Hanna Guadalajara Jalisco, Mexico each latitude.wix.com slash pirata radio Chapter 23 of The Art of Stage Dancing this is a LibriVox recording all LibriVox recordings are in the public domain for more information or to volunteer please visit LibriVox.org recording by Sue Hatch The Art of Stage Dancing by Ned Weibern Diet and Dancing there are three kinds of people who should use care in all that they put into their bodies in the way of food and drink the just right and the stouts that seems to cover about everybody on earth doesn't it well that is just the idea it is my way of saying that everyone everywhere you and I and the other folks will be better looking and in better health and better spirits more capable in every way if we pay attention to our diet this treaty is intended for men as well as women and is equally applicable to both it is addressed to the ladies for reasons that are surely obvious but the rebuilding of the figure is accomplished by the same methods in both sexes remember this and substitute man for woman in your reading an application of this chapter if you are a male incidentally it is not stage dancers alone who need to be told what is best for them but as our professional dealings here in the studios are with dancers we are directing our advice to them for really the need is greater in the case of the lady whose job and salary depend on her bodily appearance and health and mental condition than is the case of any other of her sex the lady of society wishes to look at her best and usually succeeds in doing so but her job doesn't depend on it as yours does so believe me when I say that what I am about to put down here in black and white is not said for the fun of it nor for any other purpose but to enable every woman to increase her capital stock and secure the largest possible dividends in the beauty market the thin, slight undernourished woman will heed my words on this subject with satisfaction her procedure is pleasant and easy comparatively she can and will improve rapidly and is determined to do so and will stick to what I tell her the just right woman wants to remain in her perfect form and the words here printed will serve as a signpost to direct her in the way that is best for the accomplishment of that desirable end her task is easiest of all the stout woman who would regain the more pleasing figure that nature intended she should have can do so if she will inclination to indolence and indulgence must be overcome by herself not by anything anyone else can do for her and she must make up her mind that she has a real task before her and one that calls for all her willpower and stern determination and she must be patient for in her case results are apt to be slow but let her be encouraged some of the most admired women of the stage have experienced the same difficulty with two abundant flesh and have perfected themselves by this identical plan set forth here so it has been done and can be done in your case but it all depends on you your zeal and your stick tuativeness first I'm going to direct the two thin as to the best method for them to put on flesh fill out hollows become symmetrical and graceful and pleasing to the eye how to gain weight one if you are thin have an examination by a competent physician to be sure you have no organic trouble before you try to put on flesh two calm yourself learn to accept the trivial annoyances and the small misfits of life as a matter of course to give them attention beyond their desserts is to wear the web of your life to the warp hovered three exercise and air take at least ten minutes of Ned Wayburn exercises every morning as soon as you get up begin with a small number of movements and increase gradually be in the open air as much as possible four sleep resistance is markedly lowered by a lack of sufficient sleep rest period during the day if possible do not sleep longer than eight hours for every hour that you were in bed over that time the fat piles on or else you are losing flesh five avoid unnecessary exertion don't talk too much delete the details never talk about your ailments except to your physician you pay him to listen or should avoid tea coffee and nicotine and other stimulants seven masticate your food thoroughly and leave your troubles behind when you go to the table eight eat stretch your stomach and train it to take care of more food you must eat three meals each day at regular intervals they must consist of what your system requires and not just what tastes good on your palate never eat between meals give your digestive apparatus a chance to function as it should three times daily at the same time each day always giving it an opportunity to rest as well nine eat eat whether you enjoy it or not you will enjoy it later don't heed the advice that you should not eat as a matter of duty you should ten eat but no second helpings I have seen printed advice never to eat unless you enjoy your food and to avoid eating as a mere duty I tell you to discard that advice do eat whether you enjoy it or not and do eat as a matter of duty once the food is in your system whether you like it or not a large part of it will be assimilated perhaps not so well or so readily for we know that the enjoyment of food adds to the efficiency of the digestive juices there is a small bird called the Ortolan which is highly esteemed by the Italian gormans when it is fat it is very delicious but as it feeds normally only once a day when the sun rises it naturally has no fat on it so the Italians confine these birds in a darkened room and succeed in getting them to eat four or five times a day in the following manner they put a lantern at a little window in the room the Ortolans thinking the sun has risen hop around and eat the lantern is withdrawn and they are left in darkness four or five hours now the lantern is again put in place the Ortolans evidently an unsuspicious guile-less type of bird thinking the sun has risen again to performance duty by telling them it is time to eat hop down from their perches and busy themselves very seriously and dutifully with their breakfast apparently they do not keep track of time and do not suspect that only four hours of the 24 has elapsed this same sun rises for them four or five times during the day and each time they obey its summons and gallantly eat the result is that they are converted into little balls of delicious fat you can get a lesson from these birds diet to increase weight thick soups thick gravies plenty of butter and sugar fruits the best fruit to fatten is bananas eaten slowly with cream and sugar any kind of stewed fruits cooked with sugar orange juice with plenty of sugar grapefruit with plenty of sugar any kinds of berries with plenty of cream and sugar cereals oatmeal cream of wheat corn flakes avoid brand foods meats anything fried is good roast beef roast veal roast pork roast ham veal chops pork chops no lamb must have steaks rare ham and eggs vegetables white potatoes creamed, hashed any kind of fried potatoes sweet potatoes fried mashed potatoes with butter beets are fattening boiled spaghetti macaroni boiled onions creamed carrots lima beans peas bread white bread hot tea biscuits plenty of butter pastries pies, cakes puddings any sort of french pastry in moderation beverages sweet milk cocoa, chocolate malted milk perhaps one cup of coffee a day not too strong with plenty of cream weak tea with cream and sugar keep your system well flushed drink plenty of water about 45 ounces a day say 9 tumbler foals a glass of water before and after each meal one in the middle of the morning one in the afternoon and another just before going to bed are essential this induces perspiration which opens the pores and lets out the impurities the worn out tissues and keeps the system healthy incidentally relieving the kidneys never take any liquids during a meal this interferes with the work of the digestive juices and proper assimilation of the food there is no hardship involved in selecting one's meals from this extensive and comprehensive menu and if proper eating were all that is necessary to perfect your figure the process would be a joy indeed but we are seeking to make you not only pleasant to look upon but also physically adapted to a stage career which means that vigor, strength endurance and flexibility are demanded as well so in order to accomplish both we unite exercise to diet and the combination of the right foods and habits and the Ned Wayburn foundation technique brings about the direct result you become shapely graceful strong and accomplished in a great art all as the result of the same instruction and simultaneously Ned Wayburn's menus for the underweight Monday breakfast shredded wheat with sliced banana one half cup thin cream or top milk and one rounding teaspoon sugar poached egg two slices toast two squares butter coffee with one half cup hot milk or cream and sugar as desired luncheon cream of tomato soup saltine Swiss cheese and rye bread sandwich one square butter prune whip soft custard sauce one glass of milk dinner vegetable soup roast beef with gravy baked potato lime beans french roll two squares of butter hearts of lettuce french dressing ice cream Tuesday breakfast baked apple large with one tablespoon cream scrambled eggs with two slices bacon one cornmeal or graham muffin one square butter coffee as above luncheon club sandwich with mayonnaise lemon meringue pie coffee with half cup hot milk dinner boiled potato lettuce and tomato salad french dressing two slices bread two squares butter ice cream glass of milk Wednesday breakfast grapefruit with sugar one half cup oatmeal with one quarter cup cream and one rounding teaspoon sugar two boiled eggs one slice toast one square butter luncheon two land chops creamed asparagus on toast tomato and lettuce salad mayonnaise two rolls two squares butter one half cantaloupe dinner boiled steak with gravy scalloped or mashed potatoes buttered beets two slices whole wheat bread two squares butter ice cream milk Thursday breakfast one orange three griddle cakes with two squares butter and three tablespoons of syrup coffee as in breakfast number one luncheon fruit salad mayonnaise raisin bread and cream cheese sandwich a doughnut glass of milk dinner substantial soup such as minestrone patitma meat or patifaux roast chicken or duck with stuffing and gravy candied sweet potatoes green peas two rolls or bread one square butter raw fruit honeydew melon or a half a cantaloupe coffee Friday breakfast six stewed prunes and juice corn flakes with one half cup top milk or cream and one tablespoon sugar two slices hot buttered toast and marmalade or jam one glass of milk luncheon cream of pea soup ham omelette french fried potatoes two slices buttered toaster bread strawberry ice cream tea as desired dinner breaded veal cutlet or roast leg of veal spaghetti with tomato sauce string beans celery french roll one square butter apple brown Betty hard sauce glass of milk or coffee with hot milk Saturday breakfast one serving strawberries raspberries or sliced peaches with two tablespoons cream and one teaspoon sugar one half cup with four tablespoons cream and one teaspoon sugar three slices of bacon one french roll one square butter cocoa luncheon chicken or egg salad with mayonnaise two rolls two squares butter baked apple with cream glass of milk dinner cream of asparagus soup baked ham potato salad mayonnaise fresh green or red cabbage cooked two slices of rye bread one square butter raspberry sherbert or peach ice cream coffee Sunday breakfast one glass orange juice three tablespoons grape nuts with four tablespoons cream cocoa cream eggs on toast luncheon macaroni and cheese spinach with oil and vinegar two slices whole wheat bread two squares butter chocolate cornstarch pudding with cream dinner beef stew with vegetables red beet or cabbage salad french dressing two rolls two squares butter strawberry shortcake glass of milk or coffee with hot milk note if underweight is marketed it may be advantageous to take additional nourishment at 10 a.m. and 4 p.m. such as a glass of milk or cocoa with two graham crackers and a glass of hot milk and crackers at bedtime this will add 750 to a thousand calories to the day's total any one of the above breakfast contains 800 calories any one of the above luncheon contains a thousand calories any one of the above dinners contains 1200 calories this gives a day's total of approximately 3,000 calories of heat or energy how to lose weight to get rid of superfluous everday poise is one of the necessary steps to beauty a ponderous actress has a limited field certain character parts a few vaudeville acts a singing turn or burlesque of her own abnormality if she has the personality to carry it off with and there her availability for stage purposes ends but you cannot dance and bottle at the same time it isn't done if you aspire to be the kind of stage dancer that the public demands and that we produce in our courses you will have to submit to diet and exercise the only coin of the realm that will buy physical beauty and perfect development there is no other way medicines for this purpose are dangerous because they contain poisons like arsenic and mercury make up your mind to either all hope of a dancing career or to faithfully follow the prescribed routine of proper exercise and non-fattening foods if you continue to take into your body the foods that build fatty tissue no exercise alone will dispose of the excess fat that is sure to result while our exercises in the studio do help greatly they cannot entirely correct a basically wrong condition supplemented by proper diet and diet alone is not sufficient either you must have the exercises along with it diet to decrease weight you must partake of no soups nothing that is fried no gravies the only meats that you will be permitted to eat are roast lamb lamb chops broiled and boiled white fish or white meat of chicken or turkey or any other meats of any kind no other fish of any kind vegetables you may have any green vegetables especially plain spinach carrots, string beans, lettuce celery, onions sliced tomatoes never any stewed tomatoes or beets but you can have beet tops radishes are hard to digest you are not permitted to have any pastry and by that is meant cakes or cookies no candies of any kind no ice cream or ice cream sodas no sarsaparilla or ginger ale no liquor no smoking, no cigarettes you are not to take any liquids while having your meals you are not to partake of whole milk cream or white bread use little or no sugar or butter the only kind of bread that you are permitted to eat is the whole wheat bread gluten bread or whole rye bread you may take stale bread toasted, gluten bread is good when toasted you are prohibited from taking coffee you may take very weak tea very weak but there should be no sugar in the tea nor should there be any cream in it you may have a slice of lemon in your tea lemon juice can be squeezed on the lettuce instead of using sugar or rich dressing the lettuce or spinach and plenty of it is permissible buttermilk is excellent and so is postum but the postum should be taken without sugar and used with hot skimmed milk not cream for fruits take baked apple, applesauce grapefruit, orange juice raspberries, blueberries huckleberries, a few strawberries not many occasionally potatoes no potatoes except a baked white potato occasionally no sweet potatoes no french fried, home fried hashed or creamed potatoes no mashed potatoes the only kind you are permitted to partake of being the well baked white potato and you may eat the skins if you like but do not butter the potato for cereals take bran bran flakes or hominy but the hominy must be cooked for one hour and a half this is the best cereal for your diet the hominy should be flavored with about one half teaspoon of current jelly put into the hominy and stirred up just to give it a little taste do not use any cream, milk or sugar on your hominy which is really the most nutritious cereal when cooked this length of time I am reproducing here the Ned Wayburn daily menu for reducing a diet it is one I have worked out carefully and studiously and used successfully on many of my pupils and myself by means of this diet and my studio exercise I reduced myself from 262 pounds to 207 pounds in 12 weeks a loss of 55 pounds and felt better when I got through than I did when I began but I do not advise anyone taking off weight too fast with my method of reducing all the unhealthy fatty tissue will be gotten rid of before the remaining firm muscular tissue will be distributed about the body you may get thinner in the face first and about the thighs last be patient it may take you six months or longer unless you have gland trouble or some other serious disorder it will go in time provided you will work to get rid of it and stick to the diet for not less than three months those taking the conditioning work lose an average of about one pound per week while those who are trying to build up gain about one half pound each week after they have gotten rid of all the unhealthy unnecessary tissue those underweight frequently losing about five pounds before they begin to show any gain surely bring back youthful buoyancy and ensure your health and figure for the future after you have succeeded in getting down to the right poundage you can go on my balanced diet for those who have reduced but you will still have to do about 10 minutes of my exercises every morning and you must never overeat again Ned Wayburn's daily reducing menus Monday breakfast orange without sugar medium one poached egg on thin slice toast one small pat butter coffee with one teaspoon sugar and one half tablespoons cream or coffee with one quarter cup hot skimmed milk luncheon lettuce tomato and cream cheese salad with one half tablespoons french dressing two thin slices whole wheat bread one small pat butter one glass skimmed milk dinner lean roast beef one medium baked potato spinach one small pat butter pear or apple Tuesday breakfast one half grapefruit without sugar one egg and one thin slice crisp bacon one thin slice toast one small pat butter coffee with hot skimmed milk luncheon cheese sandwich asparagus salad with one half tablespoon mayonnaise lemon dinner roast or broiled chicken green peas lettuce and cucumber salad with one half tablespoon french dressing baked apple no cream Wednesday breakfast three quarter cup strawberries with rounding teaspoon powdered sugar one half cup oatmeal with one quarter cup skimmed milk and one level teaspoon sugar glass of skimmed milk luncheon cream of tomato soup medium serving cold meat two thin slices rye bread one small pat butter one half small cantaloupe dinner broiled sirloin steak moderate serving one ear corn on cob tomato and lettuce salad with one half tablespoon french dressing one small pat butter a cup of custard Wednesday breakfast one apple one egg omelet one bran muffin small pat butter coffee with hot skimmed milk luncheon macaroni and cheese lettuce with french dressing fruit gelatin pudding dinner beef or lamb stew with vegetables two thin slices whole wheat bread small pat butter tapioca cream pudding one peach with one rounding teaspoon powdered sugar shredded wheat with one half cup milk two thin crisp slices bacon thin slice dry toast luncheon one french lamb chop one medium baked potato lettuce with one half tablespoon french dressing lemon ice dinner vegetable soup broiled halibut or other white fish with lemon one medium baked potato fresh bread one small pat butter french ice cream small serving Saturday breakfast one half orange one french roll small pat butter glass of skimmed milk luncheon clam or corn chowder three saltines moderate serving peach or strawberry ice cream or apple cream or custard pie dinner tomato salad with french dressing mashed turnips one thin slice whole wheat bread one small pat butter raw peach Sunday breakfast one banana three quarter cup corn flakes one half cup skimmed milk one slice toast one small pat butter luncheon egg or chicken salad one slice bread one piece loaf cake or two plain cookies tea with lemon no sugar hamburger steak with tomato sauce two cakes string beans or asparagus one thin slice rye bread one small pat butter glass of skimmed milk or coffee with skimmed milk raw apple orange or pear note if overweight is excessive omit all desserts given in menus except raw unsweetened fruits any one of the above breakfast contains 350 calories of heat or energy any one of the above luncheon contains 500 calories any one of the above dinners contains 650 calories the days total will be 1500 calories you will no doubt be interested in hearing the story of a young lady Miss Ann Constance who came to me a little over a year ago to be reduced she was 16 years old was 5 feet 5 inches in height and weighed 179 pounds at the end of 9 months under the treatment that I am recommending for those who are overweight she tipped the scales at 119 pounds her photographs in this book taken before and after will tell the story better than I can in words Miss Constance is in better health today than she has ever been before in her life and she has become an exceedingly good dancer recently with the Greenwich Village Follies and at this writing just beginning a career in the movies with the famous players at their Long Island Studios she is however only one of the many girls whom my diets and exercises have helped we have never failed in reducing any of our pupils who came to us for that purpose but we have to have their cooperation of course quite recently we had a very puzzling case that challenged the Sherlock Holmes in us and I think it will interest you to know how we solved it a young lady of really huge proportions resident of another city called on me at the studio accompanied by her mother and placed herself in my charge for reducing I studied her arranged a special diet for her and she entered the class in limbering and stretching I watched the progress of all my pupils and expect them to record change every week I watched this young lady with a special care and was dumbfounded to notice that she was steadily gaining in weight she never lost a pound but kept adding fat to more fat all the time not withstanding that she was working her head off in the classroom when she came to class she skipped 7 lessons of the 20 in the first month's course reporting for only 13 finally insisting that the lessons were not doing her any good I felt that there must be something wrong and wrote the mother of the girl about it as she had requested me to do she told me that the girl had had a charge account at a certain hotel where she took her meals I asked the mother if it would be possible for me to get the meal checks signed by her daughter which would show just what she had eaten the meal checks were turned over to me I found that the girl had been eating the prohibited things that about once in two weeks she had followed my diet and at every other time she had eaten everything she liked enormous meals consisting of starchy foods and all sorts of desserts mostly sweets I also found that she had been taking some of the other girls at the studio along with her and fattening them up the mother was inclined to be easy with the girl I called her father's attention to the matter because the girl paid no attention at all to me and as far as I could see was hurting the school of course she was only fooling herself I insisted that we were not going to fail with her and her father came to New York to see me about this time the girl was taken ill suffering with acute indigestion and finally the mumps on my advice her father took her home lately I have heard from the young lady and she wants to re-enter the school if I decide to take her back she will have to keep strictly to her diet and attend regularly which I believe she is now ready to do as she has gained much weight since leaving here Lillian Russell was a beautiful woman with a personality and stage presence she was fond of the good things in life and was obliged to watch carefully a tendency to emblem point she has gone on record as saying that lots of walking lots of dancing and two meals a day was all the reducing exercise she ever employed she advised a light breakfast no luncheon and a good dinner with no in between meals no piecing no candy the chief trouble with this plan is that one is apt to become ravenous by dinner time and way overeat at that meal and thus undo what you are attempting the best way is to follow the Ned Wayburn diet faithfully and take three meals each day which I have suggested End of Chapter 23 Recording by Sue Hatch San Francisco Bay Area Chapter 24 of the Art of Stage Dancing this is a LibriVox recording all LibriVox recordings are in the public domain for more information or to volunteer please visit LibriVox.org Recording by Jewell Raquel The Art of Stage Dancing by Ned Wayburn The Dance is its own justification it needs no excuse nor do the many millions who share its delights need to be told how beneficial it is to them they know that they are healthier and happier men and women and therefore get more out of life and give more to others because they dance if the purpose of life is in the words of an immortal document the pursuit of happiness surely those who train their bodies to move in harmony with natural laws are fitting themselves for capacity to enjoy all that life brings to live well requires good physical health for which a prime requisite is an abundance of pleasant exercise not alone to those who are free from the necessity of the various forms of exertion that are termed work but to every human being exercise is as necessary as food to those whose daily callings involves substantial physical labor the need for exercise is just as great as lighter employments and nowhere can there be found so satisfactory a bodily exercise as in the dance sports, outdoor games, horseback riding etc. have their place but are available to a comparatively small percentage of all the people now that the introduction of the automobile has turned America into a nation of riders on soft cushions the need for proper exercise has become more important than ever to live well, breathe well, sleep well body demands activities that will develop and strengthen it the most delightful form in which this want can be supplied is in the dance the universal desire of mankind is for enjoyment the qualification of physical, mental and aesthetic needs to enjoy requires the possession of the roman prime essential a sound mind in a sound body so closely are physical and mental health related so complex the reactions of a disordered nervous system on bodily health or the effect on the mind of physical weakness that the wisest doctors do not pretend to say this illness is either wholly mental or physical they do know that some violation of the laws of right living some neglect to follow natural impulses is chiefly responsible for the long list of ills that afflict mankind and they are unanimously agreed that proper diets and an abundance of exercise are far better than cures they prevent disease it is not necessary to go into physiological details to explain why the well nourished body demands suitable exercise that it does is an admitted fact the question that confronts the millions who know that their bodily condition is not what it should be is what must I do to make myself stronger and capable of enjoying life better the obvious answer is dance in dancing there is found a form of exercise that stimulates circulation of the blood to the remotest fingertip that develops under proper training every muscle that aids digestion to perform its functions of supplying nourishment to every tissue of the body and brings to the dancers the glow of vigor and animation these effects of the dance have long been proved by the experience of millions of men and women other millions who have not yet tried it will sooner or later make the experiment they will find that life takes on a new outlook that instead of listless indifference they are actively interested in many things that they formerly ignored that with restored bodily vigor they have quickened minds and better appreciation of all their daily contacts with their fellows and that they are enjoying each day's existence with a zest never known before the dance is a physical, mental and moral up-building it brings a greater capacity for success in the daily tasks and duties it stimulates and restores it shows the door to the glooms and welcomes gladness it brings self-confidence it brings a sense of enterprise and banishes the mental depressions that result from bodily ills it forms new circles of agreeable companions and affords opportunities for congenial friendships it avoids wasted expenditures for nauseous drugs and doctor's bills it puts humanity in harmony with fundamental natural laws and makes of all who resort to it healthier, happier and better men and women End of Dancing and Good Health Recording by Jules Raquel Chapter 25 Showmanship Do you know what repeaters are in the language of the stage? They are people who like a show well enough to patronize it more than once well enough to spend their money to see it a second or a third time perhaps many times and bring their friends to enjoy it with them there are many more repeaters on occasions when attractions have real merit of one kind or another than the casual public dreams of the show manager watches for them and spots them and rejoices greatly when he finds them abundantly in evidence night after night for he knows then has displayed real showmanship in its selection of a cast, a play and in its rendition the frequent return of a pleased patron accompanied by his companions attests to the success of a show in stronger terms than any other one thing could possibly do I go on record as saying that no show was ever a real financial success without it produced repeaters it is a real test of genuine showmanship recognized as such the world over by every shrewd theatrical manager good showmanship consists of the ability to anticipate the verdict of the play going public the successful showman must have his fingers on the public pulse it matters that concern entertainment he cannot afford to guess it is too expensive he must correctly diagnose the case in advance of prescribing for its needs if he expects to be successful the wise showman always demands his play to have the very widest possible appeal for the public is many-sided and a single narrow idea will fail to touch it at all points as it must do if it is to have a popular acceptance he knows, being a wise showman that people come to his playhouse for entertainment, pleasure laughter and relaxation and not for a learned discourse on some abstract or worrisome theme there are proper places for the lecture to win but that place is not in the theater of the wise showman it is his business to create his proper entertainment into a valuable piece of property that shall declare actual cash dividends at the box office that is being a successful showman and he who does this exhibits real showmanship the successful stage dancer must possess showmanship that is why the subject is brought into this book on stage dancing that dancers may be made to realize a need of which they may be wholly uninformed it takes showmanship on the part of the dancer to get fully in touch with the audience get down to their level if you like to say it that way and never go over their heads successful dancers always use good judgment in their offerings the same kind of dance does not do for vaudeville musical comedy review and opera each requires its own kind of dance the review has its own audience the musical comedy one of another character vaudeville still a third kind and opera still another here is where the dancers showmanship comes in to recognize this difference and adapt to the offering to the audience before whom he or she appears dancers who would profit to the fullest extent in their profession must learn how to absorb this essential element known as showmanship in the various ways in which it may be done reading along right lines is very important read the dramatic reviews and criticisms in the daily press and read regularly the leading theatrical weeklies identify yourself with your profession in this way make it a point to see and study other dancers in vaudeville musical comedy opera and review meet your fellow dancers behind the scenes the actual experience is that you are recommended to undertake in your own behalf in a chapter I have called making a name will be invaluable aids to you in harvesting a lot of the best grade of showmanship travel will help you learn a lot the travel and successful theatrical person is always alert, quick, bright posted in all important matters that concern the profession and all who are connected with it those who take my courses as students of dancing are given a wide mental as well as physical training to prepare them to cultivate showmanship that shall compliment their skill as dancers when they become professionals I call my lectures inspirational talks for I do want what I say about their future careers to be inspiring to them and encouraging and beneficial I speak to my pupils for many years of stage experience and I know if what I say is heated and given full consideration they will be better dancers and secure better engagements and do so in less time as a result good showmanship and dancing consist also in being able to sell one's own personality in a dance select your offerings to suit your public put in the effective tricks in your exits that are so important in inviting applause and learn to leave your audience hungry more of you let them go away with a wish that they might see more of your dancing that is your cue and successful showmanship my dancers let the audience come back to see the same show again in order to once more enjoy your pretty work that means repeaters and repeaters as I told you mean successful showmanship and both artistic and financial success it is never good showmanship on the part of the dancer or of an actor or actress in any part to let the audience know that you know that they are out there the way you handle an audience will have much to do with the opinion of your work that will be held by the big men in the theatrical world who may be among those present at any performance you never can tell when and they remember are hiring good dancers now and then their judgment of how you handle an audience is worth consideration and bear in mind too that the most important part of your dance is the very end of it the finish upon which always depends the applause and the recall you like to earn your bow and that is right take your bow in front of the audience gracefully and quickly don't milk the audience drive by your bows never do that get general applause but don't work up a lot of bows come right back bow modestly and do a short dance to acknowledge their applause such good work as that will stand the inspection and secure the approval of every theatrical manager whose approbation you value an audience does not want to see you take bows bow simply gratify the vanity of the artist so you see there is quite a bit of showmanship for the dancer to study and acquire and it is very much worthwhile for all stage dancers to put it into practice early in their career there are entertainment values that the showman himself must be able to create from his available material which he will find and develop in dialogue, lyrics tuneful music, voice, singing dancing, characterization costumes, settings scenery, properties lighting and everything else connected in any way with the stage picture or the presentation of his offering the publicity and exploitation of the show will tax this showmanship from another angle and is of great importance to the success of the play or the artist the selection of proper music also has much to do with the appeal to the auditors no musical show can ever be made a success without beautiful appealing melodies or song hits as we call them and now one final word of advice to my dancers three minutes is long enough for your solo dance concentrate your efforts do not present a long drawn out and padded dance that will weary everyone brevity is the soul of good dancing as well as of wit and you will be wise to heed this from the very start of your professional stage career never show a dance to any prospective employer unless your dance has been thoroughly set and properly rehearsed with whoever is to play the music pianist or orchestra never offer any excuses at such a time be sure of yourself and only do one dance your very best one end of chapter 25 showmanship recording by Philip Dyer