,the ,art of ,stage ,dancing4 ,illustration3 ,,ned ,,wayburn ,,the ,,art ,,of ,,stage ,,dancing ,the ,story of a ,beautiful and ,profitable ,profession ,illustration ,a ,,manual ,,of ,,stage-,,craft by ,,ned ,,wayburn ,price #e4jj ,,new ,,york ,the ,ned ,wayburn ,studios of ,stage ,dancing1 ,inc4 ,,publishers ,illustration ,copyright1 #aibe1 by ,,ned ,,wayburn ,,studios ,,of ,,stage ,,dancing1 ,,inc4 ,made in ,u4,s4,a4 ,,greetings6 ,illustration ,someway ,i don't care for the word ,preface4 ,as ,i think the matter over1 ,i'm not sure that ,i ever read a preface to any book2 and this fact suggests to me that possibly others would pass by this page in my book if ,i dubbed it by that much-worn and very trite word4 ,so ,i've hailed you all with a much more cheery and stimulating title for my opening page2 and perhaps1 in consequence1 some may read it4 ,illustration3 ,,nw ,my ,greetings are specially extended to certain chosen groups of people3 ,first1 to all students of the past1 the present1 and those hoped for in the future2 second1 to the hundreds of teachers of the art of dancing who esteem my original methods of instruction sufficiently to care about what ,i may print on the subject2 and third1 to a public that has sat in front at any or many of my productions1 and enjoyed them1 and is1 in consequence1 interested to know something about the hard work1 the thought and the skill1 necessary to bring about such pleasing results4 ,lest so narrow a limit to my ,greetings may be misunderstood1 on second thought ,i will extend my ,greetings to that world of people who love life and beauty and happiness2 who appreciate honest effort to make living more enjoyable and brighter2 who love laughter and smiles and the good things that go with them4 ,and if all that kind of people will read and appreciate my book1 ,i shall not miss the others4 ,but still1 to them1 as well as to you1 ,i extend ,greetings6 ,,ned ,,wayburn ,illustration3 ,,nw ,an ,apology ,illustration ,as a writer of books1 ,i confess myself to be a good stage craftsman4 ,i have never before attempted authorship1 and this volume is simply a spontaneous outpouring of my personal love and knowledge of a great art that has filled my years with joy and happiness1 and some renown in the theatrical world4 ,to have been one modest part of an instrument that has piped to pleasure many millions of my fellows1 is surely justification for personal satisfaction4 ,how this playing has been done1 how it is being done today in greater degree than ever before1 is what ,i have in mind to tell a curious public4 ,and so ,i became an author for this once1 and what you may discover that ,i lack in literary ability1 let me trust you will find compensated for in the plainness and simplicity of the facts1 incidents and reminiscences that ,i relate4 ,if not the manner1 at least the matter is worthy of your approval4 ,my story is presented in the first person1 and this is because ,i find it easiest to write from a personal viewpoint--not1 ,i hope1 as the result of any special desire to see the letter ,i in print4 ,a more experienced author would be able to write this book with less suggestion of ego in its pages1 ,i have little doubt1 and so ,i have called this explanatory word ,an ,apology that you may understand why things are as they are1 and not demand of the tyro the same quality of literary excellence that you would be justified in expecting of the better qualified writer4 ,to paraphrase one of my earliest school-boy speeches1--,if this be an apology1 make the most of it4 ,illustration3 ,,nw ,,contents ,page ,a ,bit of ,ancient ,history #ai ,modern ,stage ,dancing #bc ,ned ,wayburn--,an ,inspiration #bg ,the ,ned ,wayburn ,method of ,training #db ,ned ,wayburn ,stage ,dances #eg ,ned ,wayburn's ,foundation ,technique #fb ,mr4 ,wayburn ,addresses the ,beginners' ,class in ,foundation ,technique #ge ,ned ,wayburn's ,musical ,comedy ,dancing #hc ,mr4 ,wayburn ,addresses a ,class in ,musical ,comedy ,dancing #ij ,ned ,wayburn's ,tap and ,step ,dancing 7,clogging7 #ig ,mr4 ,wayburn ,addresses a ,class in ,tap and ,step ,dancing #ajc ,ned ,wayburn's ,acrobatic ,dancing #ajh ,mr4 ,wayburn ,addresses a ,class in ,acrobatic ,dancing #aae ,ned ,wayburn's ,modern ,americanized ,ballet ,technique #aba ,terms ,used in ,ned ,wayburn's ,modern ,americanized ,ballet ,technique #acj ,mr4 ,wayburn ,addresses the ,beginners' ,class in ,ballet ,technique #acb ,ned ,wayburn's ,toe ,dancing #acg ,ned ,wayburn's ,specialty ,dancing #ada ,ned ,wayburn's ,exhibition ,dancing #add ,ned ,wayburn's ,professional ,stage ,makeup #adf ,stage ,costumes #afe ,dancing ,tempos #afi ,diet and ,dancing #agh ,dancing and ,good ,health #aie ,showmanship #aih ,who's ,who in the ,show #bjc ,professional ,coaching and ,producing for ,amateur ,entertainments #baf ,private ,instruction #bci ,experience #bda ,inspiration #bdf ,atmosphere #bea ,dancing ,children #bed ,dancing ,hands #bei ,dancing ,feet #bfb ,dancing ,shoes #bfe ,the ,quest of ,beauty #bgj ,who's ,afraid6 7,stage ,fright7 #bgc ,the ,dance and the ,drama #bgh ,personality in the ,dance #bhj ,dancing and ,ease of ,manner #bhd ,dancing and ,civilization #bhf ,dancing and ,cheerfulness #bij ,dancing and ,country ,life #bic ,dancing as a ,social ,accomplishment #big ,universal ,appreciation of the ,dance #bii ,the ,melting ,pot of the ,dance #cja ,your ,opportunities #cjc ,stage-craft #cjg ,making a ,name #cag ,forms of ,stage ,contracts #cbg ,,list ,,of ,,halftone ,,plates ,all portraits are of artists whose careers have been directed by ,ned ,wayburn4 ,all stage scenes are of productions staged by ,ned ,wayburn4 ,all interior views are of classrooms and other departments of the ,ned ,wayburn ,studios of ,stage ,dancing1 ,inc41 #ahda ,broadway 7at ,columbus ,circle71 entrance on #fjth ,street1 ,new ,york ,city4 ,photographs used by courtesy of ,art ,studios and ,art ,photographers whose names are appended4 99 99 99 99 99 ,ned ,wayburn 7,white ,studio1 ,n4,y474 ,gilda ,gray and ,ned ,wayburn ,pupils in ,it's ,getting ,darker on ,broadway1 ,follies of #aibb4 ,one ,view of ,grand ,ball ,room in ,ned ,wayburn ,studios4 ,lace ,ballet1 ,follies of #aibb4 ,the ,fairbanks ,twins1 in the ,follies1 and ,stars of ,two ,little ,girls in ,blue 7,white ,studio1 ,n4,y474 ,oscar ,shaw1 ,featured with ,good ,morning1 ,dearie1 ,the ,music ,box ,revue1 ,two ,little ,girls in ,blue1 etc4 7,white ,studio1 ,n4,y474 ,dolly ,sisters1 ,internationally ,famous ,musical ,comedy ,stars 7,alfred ,cheney ,johnston1 ,n4,y474 ,one of over ,twenty ,daily ,dancing ,classes at the ,ned ,wayburn ,studios4 ,vivienne ,segal1 ,prima ,donna of the ,follies and many other ,musical ,comedies1 ,featured in ,light ,opera 7,white ,studio1 ,n4,y474 ,paulette ,duval and ,ned ,wayburn ,pupils1 ,follies of #aibc4 ,class in ,dancing ,foundation ,technique at the ,ned ,wayburn ,studios4 ,louise ,groody1 ,featured with ,good ,morning1 ,dearie1 ,no1 ,no1 ,nanette1 etc4 7,white ,studio1 ,n4,y474 ,partial ,view of ,demi-,tasse ,theatre1 ,ned ,wayburn ,studios4 ,conditioning ,class in the ,ned ,wayburn ,studios4 ,the ,astaires1 ,fred and ,adele1 ,featured in ,lady1 ,be ,good6 in ,america1 and in ,stop ,flirting1 ,london 7,white ,studio1 ,n4,y474 ,cecil ,lean1 ,featured in ,no1 ,no1 ,nanette1 ,the ,time1 the ,place and the ,girl1 ,the ,blue ,paradise1 etc4 7,apeda1 ,n4,y474 ,scene from ,ned ,wayburn's ,symphonic ,jazz ,revue4 ,ann ,pennington1 ,star ,dancer with the ,follies 7,alfred ,cheney ,johnston1 ,n4,y474 ,private ,lockers in ,dressing ,rooms4 ,the ,three ,reillys1 ,alice1 ,gracie and ,johnny1 ,remarkable ,tap ,dancers 7,white ,studio1 ,n4,y474 ,acrobatic ,dancing ,practice at the ,ned ,wayburn ,studios4 ,evelyn ,law1 ,principal ,dancer in the ,follies1 and ,louie the ,fourteenth 7,white ,studio1 ,n4,y474 ,lina ,basquette1 ,premiere ,dancer in the ,follies1 and other ,musical ,productions 7,white ,studio1 ,n4,y474 ,marion ,chambers1 ,premiere ,dancer in ,poppy1 and in ,ned ,wayburn ,productions 7,white ,studio1 ,n4,y474 ,the ,birth of ,venus4 ,a ,ned ,wayburn ,pantomime ,presented in ,leading ,motion ,picture and ,vaudeville ,theatres4 ,virginia ,bacon1 ,vaudeville ,dancing ,star1 and with ,ned ,wayburn ,productions 7,young and ,carl1 ,cincinnati74 ,gilda ,gray1 ,dancing ,star1 ,who ,made ,her ,biggest ,success with the ,follies4 7,alfred ,cheney ,johnston1 ,n4,y474 ,maurice1 ,internationally ,known ,exhibition ,dancer 7,ira ,l4 ,hill1 ,n4,y474 ,the ,ned ,wayburn ,professional ,stage ,makeup ,box and ,outfit4 ,mary ,eaton1 ,premiere ,dancer with the ,follies1 and co-starred in ,kid ,boots 7,white ,studio1 ,n4,y474 ,class in ,stage ,makeup at the ,ned ,wayburn ,studios4 ,one ,hundred ,thousand ,dollars' ,worth of ,dancing ,costumes are ,immediately ,available4 ,corner of the ,wardrobe ,department4 ,mildred ,leisy1 recently with ,geraldine ,farrar's ,operatic ,fantasie1 ,carmen2 wearing type of costume favored for ,ballet practice4 ,polly ,archer1 late with the ,follies1 wearing type of costume 7bathing suit7 preferred for ,limbering and ,stretching and ,acrobatic ,dancing4 ,olive ,brady1 with ,ned ,wayburn's ,honeymoon ,cruise1 dressed in special practice romper1 designed by ,ned ,wayburn1 recommended for use in all dancing classes except the ,ballet4 ,scene from ,ned ,wayburn's ,honeymoon ,cruise4 ,frances ,white1 ,featured with the ,follies1 ,midnight ,frolics1 ,vaudeville1 etc4 7,white ,studio1 ,n4,y474 ,group of ,ned ,wayburn ,show ,girls1 ,follies of #aibb4 ,ann ,constance1 with ,greenwich ,village ,follies1 and ,famous ,players ,pictures 7,showing ,her ,physical ,condition ,before and ,after ,she ,entered the ,ned ,wayburn ,studios7 7,edward ,thayer ,monroe1 ,n4,y47 ,helen ,fables1 ,vaudeville ,dancing ,star1 and with ,ned ,wayburn ,productions 7,white ,studio1 ,n4,y474 ,w4,c4 ,fields1 ,featured with the ,follies1 ,the ,ham ,tree1 etc4 7,white ,studio1 ,n4,y474 ,ray ,dooley1 ,featured with the ,follies1 ,hitchy ,koo1 etc4 7,white ,studio1 ,n4,y474 ,moonlight ,ballet1 ,follies of #aibc4 ,will ,rogers1 ,celebrated ,american ,cowboy ,humorist and ,roper1 ,featured in the ,follies 7,white ,studio1 ,n4,y474 ,dorothy ,dickson1 ,starred in ,london ,productions of ,sally and ,the ,cabaret ,girl1 shown with ,her ,dancing ,partner1 ,carl ,hyson 7,white ,studio1 ,n4,y474 ,corner in ,one of the ,ladies' ,dressing ,rooms1 ,showing ,shower ,baths4 ,private ,dancing ,lesson at the ,ned ,wayburn ,studios4 ,marion ,davies1 in the ,follies1 and ,famous ,movie ,star 7,alfred ,cheney ,johnston1 ,n4,y474 ,charlotte ,greenwood1 ,star of ,so ,long ,letty1 ,featured with the ,music ,box ,revue1 ,ritz ,revue1 ,winter ,garden ,productions1 etc4 7,white ,studio1 ,n4,y474 ,children's ,saturday ,hour at the ,ned ,wayburn ,studios4 ,ned ,wayburn and ,two ,tiny ,pupils1 ,herbert ,colton1 #f1 and ,patty ,coakley1 #e4 ,gertrude ,lawrence1 ,english ,star1 ,featured in ,andre ,charlot's ,revue 7,hugh ,cecil1 ,london74 ,types of ,dancing ,shoes4 ,janet ,stone and ,nick ,long1 ,jr41 ,formerly with the ,musical ,comedy1 ,lady ,butterfly1 etc4 7,white ,studio1 ,n4,y474 ,cleo ,mayfield1 ,featured in ,no1 ,no1 ,nanette1 ,the ,blue ,paradise1 etc4 7,white ,studio1 ,n4,y474 ,al ,jolson1 ,famous ,new ,york ,winter ,garden ,star1 ,who ,popularized ,mammy ,songs 7,white ,studio1 ,n4,y474 ,mr4 ,wayburn's ,private ,office4 ,little ,old ,new ,york1 ,follies of #aibc4 ,rita ,owen1 with the ,follies 7,white ,studio1 ,n4,y474 ,ada ,may 7,weeks71 ,star of ,lollipop 7,white ,studio1 ,n4,y474 ,grand ,ball ,room in ,ned ,wayburn ,studios4 ,marilyn ,miller1 ,musical ,comedy ,star1 in the ,follies1 ,sally and ,sunny 7,alfred ,cheney ,johnston1 ,n4,y474 ,scene from ,ned ,wayburn's ,demi-,tasse ,revue4 ,rita ,howard1 ,vaudeville ,dancing ,star1 and with ,ned ,wayburn ,productions 7,white ,studio1 ,n4,y474 ,corridor on ,third ,floor of ,ned ,wayburn ,studios4 ,by the ,south ,sea ,moon1 ,follies of #aibb1 with ,gilda ,gray4 ,belle ,baker1 ,vaudeville ,star 7,lowell1 ,chicago74 ,business ,office of the ,ned ,wayburn ,studios4 ,pearl ,regay1 ,dancing ,star in ,rose-,marie 7,white ,studio1 ,n4,y474 ,eddie ,cantor1 ,star of ,kid ,boots1 ,follies1 etc4 7,white ,studio1 ,n4,y474 ,fifteen ,thousand ,square ,feet of ,floor ,space1 ,two ,floors1 ,comprised in ,ned ,wayburn's ,studios of ,stage ,dancing1 at ,columbus ,circle and ,broadway1 ,new ,york4 ,the ,,art of ,,stage ,,dancing ,illustration ,,ned ,,wayburn ,illustration3 ,,gilda ,,gray ,,and ,,ned ,,wayburn ,,pupils ,,in ,,it',s ,,getting ,,darker ,,on ,,broadway1 ,,follies ,,of #aibb ,,the ,,art ,,of ,,stage ,,dancing ,illustration3 ,overture ,a ,,bit ,,of ,,ancient ,,history ,every age has had its ways of dancing2 every people has expressed itself in some form of rhythmic motion4 ,the dance originally was the natural expression of the simple emotions of a primitive people4 ,triumph1 defeat1 war1 love1 hate1 desire1 propitiation of the gods of nature1 all were danced by the hero or the tribe to the rhythm of beaten drums4 ,over six thousand years ago ,egypt made use of the dance in its religious ritual4 ,at a very early period the ,hebrews gave dancing a high place in their ceremony of worship4 ,moses bade the children of ,israel dance after the crossing of the ,red ,sea4 ,david danced before the ,ark of the ,covenant4 ,the ,bible is replete with instances showing the place of the dance in the lives of the people of that time4 ,greece in its palmy days was the greatest dancing nation the world has ever known4 ,here it was protected by priesthood and state1 practiced by rich and poor1 high and lowly born4 ,one of the nine muses was devoted to the fostering of this particular art4 ,great ballets memorialized great events2 simple rustic dances celebrated the coming of the flowers and the gathering of the crops4 ,priestesses performed the sacred numbers2 eccentric comedy teams enlivened the streets of ,athens4 ,philosophers taught it to pupils for its salutary effect on body and mind2 it was employed to give soldiers poise1 agility and health4 ,the dance was undoubtedly among the causes of ,greek vigor of mind and body4 ,physicians prescribed its rhythmic exercise for many ailments4 ,plato specifies dancing among the necessities for the ideal republic1 and ,socrates urged it upon his pupils4 ,the beauty of harmonized movements of healthy bodies1 engendered by dancing1 had its effect on the art of ,greece4 ,since the days of classic ,greece1 scenery1 music and costume have created effects then undreamed of1 but notwithstanding the lack of incidental factors1 the greatness and frequency of municipal ballets1 the variety of motives that dancing was made to express1 combine to give ,greece a rank never surpassed as a dancing nation4 ,the ,greek stage of this age was rich in scope1 and for its effects drew upon poetry1 music1 dancing1 grouping and posing4 ,then came the ,dark ,ages of history1 and in a degraded world dancing was saved and taken under the protection of the ,christian church1 where it remained for the greater part of a thousand years4 ,the vehicle that carried the ballet through this period was known as the spectacle4 ,these sacred spectacles1 in grouping1 evolution1 decoration and music1 possessed qualities that entitle them to a respectable place in the annals of opera ballet4 ,the steps were primitive1 but they sufficed for the times4 ,however1 the organization of the first real opera ballet conforming to standards of modern excellence did not come till the latter part of the fifteenth century1 when ,cardinal ,riario1 a nephew of ,pope ,sixtus ,,iv1 composed and staged a number of important ballet productions4 ,but the greatest development of the modern type of ballet received its impetus under the reign of ,louis ,,xiv of ,france1 who founded the national ballet academy at ,paris in #affa1 and often played prominent parts himself4 ,under this influence great performers began to appear1 artists whose work1 by grace of beauty alone1 attested that perfection in ballet technique was approaching4 ,the growth of the ballet since the time of ,louis ,,xiv has been the contribution of individual artists1 who by giving expression to their own original ideas have thus advanced the art to the pinnacle attained by the modern ,russian ballet of today4 ,the above outline of the history of the dance is made brief intentionally1 with no attempt to touch upon the various forms of dancing as practiced by the many nations and tribes4 ,numerous books have been written covering all aspects of this subject1 and giving in detail the steps and rhythms of the people of every age1 and of every continent and the isles of the sea2 and as matters of interest1 education and research they are competent and complete1 and especially edifying to the student of ,terpsichore4 ,but the subject that interests us is not concerned with ancient lore nor with historical data1 however delightful they may be4 ,i am writing for the ,american of today about present-day matters in the ,american theatrical world1 and to that end choose to ignore all other phases of the subject4 ,in our day the development of the dance has reached its greatest heights1 in both the social circle and the stage picture4 ,the advance made in stage dancing within the last generation has been very pronounced1 yet so gradual has been this growth and improvement1 that only the elders of the present time can visualize its progress1 and that only by a backward look to the period of paucity and monotony that ruled in their junior years1 and contrast the dearth of then with the abundance of now4 ,for really1 whether in our multitude of revues or in our many musical shows1 the dance1 the pose1 the rhythm and the melody that enhance our delight are all parts of the modern art of stage dancing4 ,and it is of this art that the writer seeks to tell the story in the present volume4 ,both the theatre and the dance have had their abundant historians4 ,the dance is ages older than the theatre4 ,the time of the coming of the dance to the theatre and their fitting union ever after has been recorded4 ,they have advanced together hand in hand through the years since their first meeting and are closer companions at this hour than ever before4 ,stage dancing is no longer the haphazard stepping of feet to music that it was in the beginning4 ,from its earlier crude efforts it has developed into a modern art1 a profession of the first class1 calling for brain and ability at their very best1 its devotees giving years of labor to perfecting themselves in their chosen art4 ,illustration ,illustration3 ,,one ,,view ,,of ,,grand ,,ball ,,room ,illustration3 ,,ned ,,wayburn ,,revue ,,modern ,,stage ,,dancing ,modern stage dancing differs from social or ballroom dancing in that it is the kind of dancing that one can commercialize4 ,most of the artistic and financial successes of the stage today are built upon music and dancing4 ,we find these two essential elements in opera1 revue1 musical comedy1 pantomime and vaudeville1 while the place of the dance in moving pictures may well be recognized4 ,should the old-time minstrel show come back1 as it is certain to do1 there will be added another name to the list of active entertainments that call for a union of music and dancing to insure their prosperity4 ,the ,follies1 the ,frolics1 the ,scandals1 the ,music ,box1 the ,vanities1 the ,passing ,shows--by whatever name the modern revue is spread before an eager public1 the basis of its appeal is always the same4 ,and when the ,junior ,leagues--the various charity organizations and the social and college clubs of our cities stage a performance that shall appeal to the interest of their public1 and consequently gather in the shekels to their coffers1 these amateur organizations turn naturally to music and dance and spectacle as the mediums with the widest appeal2 an appeal to both the performer and the spectator4 ,incidentally1 let me say that the appeal of music and the dance to the performer1 whether on the professional or the amateur stage1 is not given the consideration to which it is entitled4 ,perhaps nobody in the audience cares whether or not the dancer is enjoying the dance4 ,but let me tell you1 the dancer is having just as good a time up there on the stage as you are down in front2 and probably you never gave the matter a thought6 ,the dancers' enjoyment of the art is an essential factor in the causes that lead to the popularity of our modern type of stage entertainment4 ,to have acquired proficiency in their chosen profession the dancers have labored strenuously and long1 and now the reward of years of effort is theirs4 ,they love their art as well as its emoluments4 ,by industry and perhaps frugality they have acquired an independent career for life4 ,they have made much of their opportunities4 ,they have a right to be happy4 ,and they are4 ,probably no man ever lived who knows personally so many dancing folks as ,i do1 and among all my stage acquaintances and friends ,i can count on a very few fingers the number that ,i would not class as supremely happy in their profession1 and those few who might be considered as unhappy are made so by circumstances entirely apart from the stage1 or1 in a few instances1 because of their own folly and indiscretions4 ,the stage world is a happy world in the main4 ,its rewards are abundant in friendships as well as in cash1 and the happiness radiated to you from behind the footlights is the direct result of the happiness that permeates the very being of the smiling favorite of the gods whose efforts to please you have met with your approbation4 ,so the pleasure of dancer and spectator are in a degree mutual1 which in great measure explains the fascination that the dancing show has for the public4 ,in nearly every amateur stage performance in my long experience there have been present some few who exhibited natural ability as dancers1 and possessed foundation requirements for professional stage work4 ,in cases where these favored ones have placed themselves under my instruction their improvement has been rapid and sure4 ,there is no such thing as an untrained successful dancer2 there never has been2 there never will be4 ,given that one has the ability requisite to a knowledge of the dance1 the rest comes from active training1 and nothing else4 ,and by ability ,i do not mean experience1 but rather that natural talent to step to music and observe tempo and rhythm that every dancer must possess4 ,it is a talent inborn in the dancer1 and needs only proper development under competent instruction to bring out all the possibilities that are in one4 ,beyond that1 and after the days of instruction are over1 the only limit is the personality1 the mental ability and the originality of the dancer himself1 and these we encourage in every possible manner1 for that way lies the electric sign in front of a ,broadway ,theatre1 and all that goes with it in glory and gold4 ,it is to the amateur dancer of today that the professional stage looks for its recruits4 ,there never before has been so great a demand for stage dancers as exists now1 and the supply for both solo and ensemble work barely suffices4 ,talent naturally is encouraged by this condition of the market for its wares1 and all who take advantage of this popularity and qualify for the better grade positions will find little difficulty in securing what they are entitled to4 ,i am anxious to get over with one part of this book that seems necessary to its complete understanding by a reading public1 and that is the very personal subject of myself1 its author4 ,i am going to permit entrance into these pages of a brief biography of ,ned ,wayburn for two distinct reasons3 ,first1 to establish by what route ,i came to be an authority on stage-craft and stage dancing2 and second1 by a recital of my personal struggle and effort and final success1 to encourage all young men and young women of ambition to themselves enter upon the stage of our great calling1 with every hope of future success4 ,to that end1 ,i am permitting a friend to come on the stage with his story of my stage career and experience4 ,as ,i look back upon my own history1 it seems like a romance4 ,and it is2 a romance in real life2 every word of it true1 and the entire scenario as wonderful as anything in the movies4 ,illustration3 ,,nw ,illustration3 ,,lace ,,ballet1 ,,follies ,,of #aibb ,,ned ,,wayburn--,,an ,,inspiration ,by ,,carleton ,b4 ,,case ,every line of endeavor has its outstanding leaders4 ,the men and women who do great things in a grand way ever command our admiration4 ,we like to hear about their public careers and the intimate side of their exceptional lives is of decided interest to us4 ,this ,i think is especially true where the noted ones are among our public entertainers1 the player-folk1 who bring so much joy and happiness into the world out of nothing--creators of innocent pleasure4 ,long years before this was penned1 and while yet my locks were innocent of the whiteness that now typifies my years1 ,i was closely associated with the family of ,wayburn4 ,i was a man in ,chicago when ,ned ,wayburn was a boy in the same city1 starting on what was destined to become a truly remarkable career4 ,i know ,ned ,wayburn well4 ,he is a king and a thoroughbred1 as man or as manager1 and to know him is to esteem him4 ,illustration3 ,,cinderella ,his fame is peculiar in that it is based so largely on the success of other people--the actors and dancers whom he has discovered or directed and so helped to become stars of the first magnitude4 ,to name them by hundreds is easy2 to number all who are approaching stardom or who1 now well placed on the professional stage1 have materially profited by his aid and instruction1 will go into the thousands4 ,surely such a record of achievement is ample cause for pride4 ,ned ,wayburn possesses an almost uncanny faculty of discerning latent talent in the line of his profession4 ,you may not know one dance step from another1 yet his discerning eye will detect a possibility for you in some branch of the dancing art that results will later prove as correct as they are surprising to yourself4 ,i have heard him tell of ,evelyn ,law1 that when she first came to the studio she exhibited a tap and step dance as her specialty4 ,this type of dancing was totally unsuited to her1 said ,ned1 and ,i told her so4 ,and ,i also told her what her 'line' was4 ,she took my advice1 and today she leads the world in that type of dancing1 and her salary has four figures in it every week4 ,the man who can do that is a genius1 and ,ned ,wayburn has done it many1 many times4 ,there is one outstanding fact in his entire career as producer of shows and director of the education of his pupils in his dancing studios3 ,he insists that everything and everybody about him shall be the best4 ,his studios are fitted up the best1 regardless of cost4 ,sixty thousand dollars he paid for the fittings and furnishings of the two floors contained in his perfect establishment for teaching dancing at ,columbus ,circle1 ,broadway and ,sixtieth ,street1 ,new ,york4 ,his instructing staff must be the best4 ,his pupils must be the best4 ,i mean by that1 not that the pupils are so qualified when they enter1 but that when they are ready to graduate from his institution into the professional life of the stage1 then they must be the best2 nothing else will do4 ,so1 too1 in his own stage productions1 and he has several1 and more are in prospect4 ,they are nowhere slighted4 ,the best cast1 music1 dancing1 costumes1 scenery--everything--always4 ,ned never was a piker4 ,he wasn't born that way4 ,lavish some consider him1 but he finds his luxuriant presentations are appreciated by the line in front of the box office4 ,he couldn't put on a cheap show if he wanted to4 ,one goes to a ,ned ,wayburn show with the assurance of getting his money's worth in beauty and pleasurable entertainment4 ,it pays2 and the financial test is after all the one criterion by which to form a final judgment in things theatrical4 ,now ,i am going to give some details of the inspiring career that began with an ambitious boy possessed of an artistic temperament1 a love of music and of the beautiful1 and who was at the same time a hustler and a born executive--a career developed by experience1 still in progress and not yet at its culmination4 ,as you read1 it will seem almost incredible that one man1 still comparatively young1 could in so brief a period have accomplished so much that calls for great mental stress and extraordinary physical activity4 99 99 99 99 99 ,ned ,wayburn was born in ,pittsburgh1 ,pennsylvania1 where his parents were socially prominent4 ,later the ,wayburn family moved to ,atlanta1 ,georgia1 and thence to ,chicago4 ,during his school days he first attracted attention as an amateur athlete1 winning recognition as a fast runner1 trick skater1 tennis player1 center rush on various football teams1 and finally as a semi-professional baseball pitcher and home-run hitter4 ,while employed in his father's manufacturing plant in ,chicago1 he took part in many amateur theatricals1 and became noted as a dramatic coach for charity entertainments and clubs1 leading cotillions and taking part in many society and club entertainments4 ,it was at that time that his success in directing and writing dialogue for amateur theatricals attracted the attention of ,hart ,conway1 of the ,chicago ,school of ,acting1 who promptly engaged him as assistant4 ,at the same time1 he had the privilege of seeing and studying the greatest stars and the best attractions at the ,chicago ,grand ,opera ,house1 where he began at the very bottom of the ladder as an usher in the gallery1 balcony and main floor4 ,finally he became chief usher--then sold tickets for the gallery--took tickets at the main door4 ,the late ,aaron ,hoffman1 famous playwright1 was opera glass boy at that time with him1 and the well-known star1 ,taylor ,holmes1 was one of his ushers6 ,eventually he became ,assistant ,superintendent of that theatre4 ,to gain additional experience1 ,ned worked as a super with many different attractions1 including the companies of ,olga ,nethersole1 ,otis ,skinner1 ,walker ,whiteside1 ,julia ,stuart1 etc41 finally playing small parts in the legitimate and ,shakespearian drama4 ,having displayed a natural aptitude as a director while holding prompt books at rehearsals1 he became a dramatic director and actor of eccentric comedy and character parts4 ,then his natural instinct for dancing asserted itself1 and he became a specialty dancer1 practicing from three to eight hours a day to perfect his dancing1 incidentally developing his talent as a musician4 ,the late ,col4 ,john ,hopkins saw ,ned ,wayburn at a society benefit performance in ,chicago1 and induced him to play one week's engagement4 ,thus ,ned ,wayburn made his first professional appearance at ,hopkins' ,theatre1 ,state ,street1 ,chicago1 being billed as ,chicago's ,leading ,amateur--a singing and dancing black-faced comedian1 doing a ragtime piano specialty1 and dancing act4 ,this led to other engagements4 ,the piano specialty1 which he originated1 started the ragtime craze4 ,he played in and around ,chicago and the middle west4 ,he came ,east to ,new ,york1 and was booked by the late ,phil ,nash1 on the ,keith ,circuit1 billed as ,the ,man ,who ,invented ,ragtime4 ,in his piano specialty he created the idea of playing the classics in ,ragtime1 being the first person on the stage to play ,mendelssohn's ,wedding ,march1 ,oh ,promise ,me1 ,star-,spangled ,banner1 etc41 in syncopated rhythm or ,ragtime4 ,he was also the first on the stage to do imitations of the harp1 bagpipe1 mandolin1 banjo1 etc41 on the piano4 ,his act was much imitated all over the world4 ,upon reaching ,new ,york he met with misfortune4 ,there was no piano for him at his opening performance and his original act had been stolen and performed in ,new ,york ahead of his appearance4 ,this culminated in a period without work4 ,finally he found himself walking ,broadway from one ,thursday morning until late ,saturday night1 with neither food nor money6 ,having looked forward so much to ,new ,york and what he expected it to bring him1 he was at first discouraged and inclined to give up and go back home with each succeeding rebuff1 but he made up his mind to stick it out1 no matter what he had to do until he got on in a first class company4 ,after months of patient canvassing of all managers' and agents' offices where he was denied recognition1 he was finally given an opportunity1 through an acquaintance who heard him play in a #bfth ,st4 theatrical boarding house1 to demonstrate his ability in a tryout for the most popular star on ,broadway at the time1 ,may ,irwin4 ,she immediately recognized his ability and gave him an engagement at #be4jj per week1 to introduce ragtime to ,broadway4 7,he was receiving #abe4jj per week when he first came to ,new ,york47 ,he wrote for ,miss ,irwin the first ragtime song1 ,syncopated ,sandy4 ,he was so hard up at the time that he sold a one-half interest in this song to a man named ,stanley ,whiting for #be4jj1 so this man could have his name on the song as co-author4 ,for an entire season she sang it and he played it in the performances of ,the ,swell ,miss ,fitzwell at the old ,bijou ,theatre1 ,new ,york ,city 7,broadway between #cjth and #cast ,sts474 ,syncopated ,sandy sold over #a1jjj1jjj copies4 ,it was used to teach people to play ragtime4 ,all ,mr4 ,wayburn ever received out of its publication was a #ae4jj advance royalty1 which he was glad to get4 ,he also helped write the third act of ,the ,swell ,miss ,fitzwell1 and re-wrote the second act1 including some of the musical numbers1 for which he received no royalty4 ,incidentally1 he was promoted to the position of stage director by ,miss ,irwin1 and wrote some of her most successful songs1 receiving a salary of #cj4jj per week4 ,he taught society to play ragtime and to cakewalk4 ,however1 he had confidence in his ability and worked hard to gain experience4 ,he canvassed the music stores while en route with the company and sold sheet music which helped defray his expenses1 and he saved his spare pennies4 ,finally1 he signed up with ,mathews and ,bulger1 a very popular team of stars4 ,from that moment the star of success glowed brightly for ,ned ,wayburn4 ,for two years following he toured the ,united ,states and ,canada with ,dunne and ,ryley's musical comedy success1 ,by the ,sad ,sea ,waves1 which he helped write and stage1 introducing ragtime1 now known as ,jazz1 to ,america in nearly every city of over #e1jjj population4 ,gertrude ,hoffmann was one of his dancing girls in the chorus of this show4 ,illustration3 ,,fairbanks ,,twins ,being a born musician he turned his talents1 in his spare time1 to writing songs1 many of which became quite popular1 and from which he derived considerable revenue4 ,he ,ain't ,no ,relation of ,mine1 ,spend ,your ,money ,while ,you ,live ',cause ,you're ,gonna ,be a ,long ,time ,dead1 ,ragtime ,jimmie's ,jamboree1 etc41 etc4 ,mr4 ,wayburn then staged ,george ,m4 ,cohan's first musical play1 ,the ,governor's ,son1 and ,george ,ade's first musical play1 ,the ,night of the #dth1 the latter at ,hammerstein's ,victoria ,theatre1 ,new ,york1 with ,joseph ,coyne and ,harry ,bulger as the featured comedians4 ,thus began an unending succession of triumphs as a theatrical producer and stage director4 ,mr4 ,wayburn was engaged by ,oscar ,hammerstein as producing stage director for ,hammerstein's ,victoria ,theatre ,paradise ,roof ,gardens1 at #dbnd ,street and #gth ,avenue1 where the ,rialto ,theatre now stands1 where he had charge three summers and staged the very first girl acts1 including ,ned ,wayburn's ,jockey ,club with the ,countess ,von ,hatzfeldt1 which toured to the ,pacific ,coast and back to ,new ,york1 booked by ,martin ,beck4 ,he was then engaged by ,sire ,bros4 as producing stage director for their ,new ,york ,theatre and ,roof ,gardens where he1 a mere boy1 staged and directed the greatest company of stars ever assembled under one roof1 including ,jessie ,bartlett ,davis1 ,mabelle ,gilman1 ,virginia ,earle1 ,marie ,dressler1 ,nina ,farrington1 ,thomas ,q4 ,seabrooke1 ,dan ,mc,avoy1 ,junie ,mc,cree1 ,louis ,harrison1 ,marion ,winchester1 ,emma ,carus1 etc41 etc4 ,the ,hall of ,fame was one of many productions staged for them4 ,he then became producing stage director for ,klaw and ,erlanger4 ,during the next four years produced and helped to create3 ,the ,billionaire with ,jerome ,sykes1 ,bluebeard with ,eddie ,foy1 ,the ,rogers ,brothers in ,london1 ,the ,rogers ,brothers in ,paris1 ,the ,rogers ,brothers in ,ireland1 ,the ,rogers ,brothers in ,panama1 ,the ,ham ,tree with ,mc,intyre and ,heath1 ,mother ,goose with ,joseph ,cawthorne1 ,humpty-,dumpty1 ,the ,white ,cat1 ,the ,pearl and the ,pumpkin1 ,little of ,everything with ,fay ,templeton and ,pete ,dailey1 and many other productions for the ,new ,amsterdam ,theatre and ,roof1 also for the ,new ,york ,theatre ,roof1 acting as general stage director of both4 ,he leased and managed the ,new ,york ,theatre ,roof ,gardens1 where he conceived and produced some very successful headline vaudeville acts1 among them1 ,ned ,wayburn's ,minstrel ,misses1 and ,ned ,wayburn's ,rain-dears1 which afterward played the ,keith circuit and other vaudeville theatres to previously unequaled success4 ,left ,klaw and ,erlanger to engage in the vaudeville producing field for himself through the encouragement of ,b4,f4 ,keith1 ,e4,f4 ,albee1 ,percy ,g4 ,williams1 ,william ,hammerstein1 ,f4,f4 ,proctor and ,martin ,beck4 ,owned and produced the following headline acts3 ,the ,futurity ,winner1 ,the ,star ,bout1 ,the ,rain-dears1 with ,neva ,aymar2 ,the ,dancing ,daisies1 with ,dorothy ,jardon2 ,the ,phantastic ,phantoms1 with ,larry and ,rosie ,ceballos2 ,the ,side ,show1 with ,harry ,pilcer1 and about #ajj other big acts4 ,produced his own musical comedy attraction1 ,a ,one ,horse ,town4 ,for ,mortimer ,h4 ,singer at the ,la ,salle ,theatre1 ,chicago1 produced the following ,musical ,comedies3 ,the ,time1 the ,place and the ,girl1 starring ,cecil ,lean--and which ran #dfd consecutive performances to standing room only2 ,the ,girl ,question1 ,the ,golden ,girl1 ,the ,goddess of ,liberty1 ,honeymoon ,trail1 ,the ,girl at the ,helm1 ,the ,heart ,breakers1 etc4 ,founded ,ned ,wayburn's ,training ,school for the ,stage1 which first occupied the ,american ,savings ,bank ,building1 #aae ,west #dbnd ,street1 between ,broadway and #fth ,avenue1 ,new ,york ,city1 and then expanded to the entire five-story building at #adc ,west #ddth ,street1 next to the ,hudson ,theatre and opposite the ,lambs ,club4 ,john ,emerson1 ,president of the ,actor's ,equity ,association1 and ,zelda ,sears1 author of ,the ,lollypop1 and many other successes1 were then members of his faculty4 ,for the ,shuberts and ,lew ,fields staged ,the ,mimic ,world1 at the ,casino ,theatre1 ,new ,york4 ,for ,lew ,fields 7of ,weber and ,fields71 at the ,broadway ,theatre and ,herald ,square ,theatre staged3 ,the ,midnight ,sons1 ,the ,jolly ,bachelors1 ,the ,hen ,pecks1 ,the ,summer ,widowers1 ,the ,never ,homes1 ,the ,wife ,hunters1 ,tillie's ,nightmare1 starring ,marie ,dressler2 ,lew ,fields in ,old ,dutch1 ,victor ,herbert's ,the ,rose of ,algeria1 etc4 ,for the ,messrs4 ,shubert at the ,casino ,theatre1 ,n4,y41 the following musical comedies3 ,the ,girl and the ,wizard1 starring ,sam ,bernard2 ,havana1 with ,james ,t4 ,powers 7made the ,american version of this libretto72 ,the ,prince of ,bohemia1 with ,andrew ,mack1 and ,mlle4 ,mischief1 starring ,lulu ,glaser4 ,staged and appeared in ,the ,producer1 written by ,william ,lebaron1 a headline vaudeville production 7fifty people7 which opened at ,hammerstein's ,victoria ,theatre1 ,new ,york ,city1 and played for months in vaudeville1 headlining in all principal eastern cities4 ,staged ,the ,military ,girl1 starring ,cecil ,lean and ,cleo ,mayfield1 at the ,ziegfeld ,theatre in ,chicago4 ,engaged by ,lee and ,j4,j4 ,shubert as producer for ,new ,york ,winter ,garden1 created a policy for that theatre and a formula for musical productions still used there2 staged ,the ,passing ,show of #aiab1 ,the ,honeymoon ,express1 with ,al ,jolson and ,gaby ,deslys1 ,broadway to ,paris1 ,the ,passing ,show of #aiac1 etc4 ,for the ,english manager1 ,albert de ,courville1 at the ,hippodrome1 ,london1 ,england1 at the highest terms ever paid a stage director1 he directed ,george ,robey1 ,ethel ,levey1 ,harry ,tate1 ,billy ,merson1 ,shirley ,kellogg1 and other famous continental stars4 ,he staged ,hullo ,tango 7ran over one year71 ,zig-,zag 7ran one and one-half years71 ,box of ,tricks1 ,joybells1 etc4 ,opened offices in ,london1 producing ,the ,honeymoon ,express1 which ran five years in ,london and the provinces2 produced ,dora's ,doze1 at ,palladium ,music ,hall1 and leased ,middlesex ,music ,hall1 ,london1 to stage his own musical productions with ,american1 ,french and ,english stars1 in association with ,oswald ,stoll1 but was obliged to stop productions there when war was declared4 99 99 99 99 99 ,next he staged and presented his own production of a farce1 ,she's ,in ,again1 at ,gaiety ,theatre1 ,new ,york ,city2 also put on his own #aej1jjj production of ,town ,topics1 with ,will ,rogers1 at the ,century ,theatre1 ,new ,york1 for which playhouse he created a ,continental ,music ,hall policy4 ,it was soon after this that he accepted an engagement as producer and general stage director for ,florenz ,ziegfeld and staged the ,follies of #aiaf1 ,follies of #aiag1 ,follies of #aiah1 and ,follies of #aiai4 ,illustration3 ,,oscar ,,shaw ,in addition to the above1 ,mr4 ,wayburn devised and staged for ,mr4 ,ziegfeld nine successful ,midnight ,frolics and two ,nine ,o',clock ,revues atop the ,new ,amsterdam ,theatre1 ,new ,york1 during this time4 ,for ,mesmore ,kendall1 devised and staged the opening presentation for the ,capitol ,theatre1 ,new ,york ,city1 ,september1 #aiai1 including an elaborate and very successful revue4 ,for ,dillingham and ,ziegfeld1 at ,century ,theatre1 ,new ,york1 he devised and staged the sensationally successful second act finale to ,the ,century ,girl 7#aiaf71 where the #ej-;foot circular revolving stage was employed so ingeniously in the ,uncle ,sam finale4 ,staged ,miss #aiag at the ,century ,theatre1 ,new ,york1 with ,irene ,castle1 ,elsie ,janis and #dj other stars4 ,for ,lew ,fields3 ,the ,poor ,little ,ritz ,girl4 ,for ,a4,l4 ,erlanger and ,b4,c4 ,whitney3 ,the ,ed ,wynn ,carnival1 at the ,new ,amsterdam ,theatre1 ,n4,y4 ,for ,a4,l4 ,erlanger3 ,two ,little ,girls in ,blue 7with the ,fairbanks ,twins1 ,oscar ,shaw and ,evelyn ,law71 at the ,george ,m4 ,cohan ,theatre1 ,n4,y4 ,founded ,ned ,wayburn ,studios of ,stage ,dancing and ,ned ,wayburn ,booking ,offices4 ,staged ,f4 ,ziegfeld's production1 starring ,will ,rogers1 also ,follies of #aibb1 which ran #fg consecutive weeks in ,new ,york ,city and about #dj weeks on tour4 ,no other ,follies up to this time ever ran over #af weeks in ,new ,york4 ,produced many vaudeville acts1 among them1 ,ned ,wayburn's ,dancing ,dozen4 ,arranged motion-picture presentations for the ,famous ,players-,lasky ,theatres4 ,in association with ,ben ,ali ,haggin produced several tableaux1 including ,simonetta1 ,dubarry1 and ,the ,green ,gong1 which were presented in many of the principal cities4 ,staged the musical comedy ,lady ,butterfly1 at ,globe ,theatre1 ,new ,york4 ,staged the ,anatol ,friedland headline girl act for the ,keith-,albee and ,orpheum vaudeville circuits1 and ,the ,birth of ,venus1 a series of beautiful tableaux which were shown in many principal motion picture and vaudeville theatres4 ,staged for ,florenz ,ziegfeld ,follies of #aibc1 at ,new ,amsterdam ,theatre1 ,new ,york1 which attraction played to the largest week's receipts of any ,follies ever produced at ,new ,amsterdam ,theatre4 ,staged the following headline vaudeville productions3 ,,ned ,,wayburn',s ,,honeymoon ,,cruise --an elaborate junior musical comedy1 adapted for vaudeville1 with a cast of dancers1 principals and ensemble1 composed entirely of pupils of the ,ned ,wayburn ,studios4 ,this act1 the highest priced in vaudeville1 started on tour in ,january1 #aibd1 and broke all box-office records of the ,poli ,theatres in ,new ,england1 as well as those of many other theatres on the ,keith-,albee ,circuit1 including the premiere vaudeville theatre of the world1 ,keith-,albee ,palace ,theatre1 ,new ,york1 and the new #g1jjj1jjj ,earle ,theatre in ,philadelphia4 ,it is still breaking records1 and is one of the most sought-after acts in vaudeville4 ,,ned ,,wayburn',s ,,demi-,,tasse ,,revue --another headline act1 composed entirely of pupils of the ,ned ,wayburn ,studios4 ,now on the ,keith-,albee and ,orpheum ,circuits4 ,the opening engagement at ,bridgeport broke the attendance record of the ,palace ,theatre there and the same results followed at ,new ,haven1 ,hartford and ,worcester1 when the audiences and newspaper critics alike declared the ,revue even better than ,ned ,wayburn's ,honeymoon ,cruise1 which had previously held the attendance records in those cities4 ,,ned ,,wayburn',s ,,symphonic ,,jazz ,,revue ,another new production1 also composed of pupils of the ,ned ,wayburn ,studios--touring the principal motion picture theatres in the ,middle ,west and also ,keith-,albee and ,orpheum ,circuits4 ,staged the dances for ,geraldine ,farrar in an ,operatic ,fantasie--,carmen 7all the dancers in this production being pupils of the ,ned ,wayburn ,studios74 ,,society1 ,,university ,,and ,,private ,,entertainments ,for ,mrs4 ,william ,k4 ,vanderbilt1 #bnd1 devised and staged her ,mah ,jong ,fete at the ,hotel ,plaza1 ,new ,york1 for the ,big ,sisters charity1 ,december1 #aibc1 and her ,persian ,jazz ,fete1 ,december1 #aibd4 ,the ,princeton ,triangle ,club's ,musical ,comedy1 ,drake's ,drum last year and ,the ,scarlet ,coat this year4 ,the ,filene ,store's musical comedy1 ,the ,caddie ,girl1 ,colonial ,theatre1 ,boston1 in ,april1 #aibd1 and ,barbara ,lee1 in ,april1 #aibe1 presented at the ,tremont ,theatre1 ,boston1 for one week1 with ,leah ,ainsworth1 a ,ned ,wayburn pupil1 in the title role4 ,penn4 ,state ,college ,thespian ,club's ,show1 ,the ,magazine ,cover ,girl last year1 and ,wooden ,shoes this year4 ,the ,third ,annual ,masonic ,fashion and ,home ,exposition at ,madison ,square ,garden1 ,new ,york1 ,may1 #aibd4 ,elaborate entertainments for the ,willys-,overland ,company1 at the ,hotel ,biltmore1 ,new ,york 7three years74 ,jewelers' #bd-,karat ,club ,annual ,entertainment at the ,waldorf-,astoria ,hotel1 ,new ,york 7three successive years74 ,own ,your ,own ,home ,exposition1 at ,trenton1 ,new ,jersey4 ,shriner's ,frolic1 at ,washington1 ,d4,c4 ,kansas ,city ,junior ,league ,follies 7,december1 #aibd74 ,atlanta ,junior ,league ,follies 7,february1 #aibe74 ,a ,musical ,revue for the ,new ,york ,edison ,co41 #aibe 7so successful it had to be repeated74 ,the ,providence ,junior ,league ,show1 #aibe4 ,the ,new ,haven ,junior ,league ,nautical ,bal ,cabaret1 #aibe4 ,the ,vincent ,club ,musical ,comedy1 ,fez1 in ,boston 7,april1 #aibe74 ,the ,chatterbox ,revue in ,rochester 7,april1 #aibe74 ,the ,massachusetts ,tech ,show1 ,the ,duchess of ,broadway 7#aibe71--;and a great many other society1 charity1 masonic and church entertainments4 ,it is out of this amazingly wide and varied experience that ,ned ,wayburn evolved the courses in stage dancing1 stage-craft and showmanship which are being taught with such great success today at the ,ned ,wayburn ,studios4 ,ned ,wayburn is known to thousands as the genius who staged the very best editions of ,the ,follies and ,midnight ,frolics at the ,new ,amsterdam ,theatre1 ,n4,y4 ,but in the world of the theatre--among those who know--he is recognized as ,america's foremost creator1 producer and director of musical comedies1 revues1 headline vaudeville productions1 motion picture presentations1 fetes and every other form of entertainment that features beautiful1 original or spectacular dancing4 ,illustration3 ,,dolly ,,sisters ,his versatility knows almost no limit4 ,his wealth of theatrical experience runs the gamut from his own first appearance as an amateur actor and coach to a succession of triumphs as producing director of the most gorgeous theatrical presentations both here and abroad4 ,added to his practical stage-craft there is the vital flame of imaginative genius1 a creative faculty that clearly stamps all his work4 ,it is this1 as well as his extraordinary executive ability and his all-embracing knowledge of stage technique1 that makes him the most sought-after of all directors4 ,it also explains the distinct advantage which pupils of the ,ned ,wayburn ,studios have over all others1 in that they are being constantly sought for desirable engagements because of the thorough way in which they are trained1 both physically and mentally1 in dancing4 ,illustration3 ,,nw ,,the ,,ned ,,wayburn ,,method ,,of ,,training ,illustration ,there are five basic types of stage dancing that ,i teach1 covering the modern field in full1 and supplying the pupil with a complete knowledge of all the steps needed for a successful stage career4 ,these five types consist of3 ,musical ,comedy ,dancing1 ,tap and ,step ,dancing 7,clogging71 ,acrobatic ,dancing1 ,exhibition ,dancing 7,ball-room71 ,modern ,americanized ,ballet ,dancing4 ,the last named includes all the best variety of ballet dances1 such as toe1 classical1 character1 interpretive1 oriental1 folk1 national1 covering ,spanish1 ,russian1 ,greek1 ,javanese1 etc4 ,instruction is given in any or all of the above to beginners1 advanced amateurs1 professionals and teachers1 and is preceded in every case by the ,ned ,wayburn ,foundation ,technique1 which includes my limbering and stretching process1 and is one of the most important courses ever devised for the student of dancing in that it saves years of study4 ,this original technique is described in a succeeding chapter4 ,in addition to the types of dancing mentioned above1 we also give instruction in the art of making up for the stage4 ,accompanying the technical instruction1 each class and pupil receives without cost the benefit of the valuable stage-craft1 managerial and producer's knowledge that ,i have acquired during my years of activity in the theatrical world4 ,this is given in occasional lectures or inspirational talks before the class4 ,students also1 when duly fitted1 will be informed as to where and how to obtain engagements1 correct forms of contract to be entered into1 and other valuable business information concerning the practical side of selling their services to the best advantage1 saving them much time and possible embarrassment and loss4 ,in all probability1 if you love dancing and aspire to make it a career1 you possess an innate sense of rhythm4 ,you feel the swing of music and love to move your body to the strains of a lilting melody4 ,the first great possessions of the successful stage dancer are a love of harmonious sounds and a sense of rhythmic motion4 ,if you haven't these1 you might better abandon the idea of studying with me as far as any hope is concerned of my developing you into a stage artist4 ,while you would find much to enjoy and to benefit your health and appearance in taking my dancing exercises1 if you are minus the very first dancing essentials you could not expect us to advance you beyond your own limitations4 ,another important qualification for the stage dancer1 which if not possessed at its fullest may be acquired under our instruction1 is a sense of direction4 ,this sense of direction is of maximum importance in stage dancing1 because1 as you can readily understand1 since you have your audience in front of you and to your left and your right1 you must do your dances so that they will appeal to all sections of your audience4 ,and there are certain stage directions which you must know in order to grasp my method of instruction4 ,that you may get absolute precision in direction1 let us proceed as follows3 ,imagine that you are standing on a stage1 in a circle the diameter of your own feet2 we will call that circle your place4 ,illustration3 ,your ,place ,divide the stage into eight different directions4 ,you are now facing the front4 ,face the left1 the back1 the right1 and then front again4 ,that makes four directions--front1 left1 back and right4 ,face half-way to the left--that is called left oblique4 ,face half-way to the back--that is called left oblique back4 ,now face back4 ,face half-way to the right--that is called right oblique back4 ,now face half-way to the front4 ,that is called right oblique4 ,that makes eight different directions1 very easy to memorize and never forgotten after once learned1 and you will employ them in your stage work every day4 ,that they may become familiar with the necessary directions1 students are given brief instructions at their first lesson1 as ,i stand before them and take the turns with them and announce the name of each direction as ,i take it4 ,illustration3 ,the ,eight ,different ,directions ,illustration3 ,left ,turn ,illustration3 ,right ,turn ,in making the turn from wall to wall1 when you turn to the left around1 you should turn on the right heel1 which thus acts as a pivot and keeps you in your place2 like this--left oblique1 left1 left oblique back1 back1 right oblique back1 right1 right oblique1 and front4 ,in going around to the right turn on the left heel4 ,fix these directions firmly in your mind4 ,you will need them when you get into stage dancing4 ,illustration3 ,turning the ,head ,the eight different directions are in eight counts4 ,the first direction to the left is left oblique4 ,that is counted one4 ,left is two4 ,left oblique back1 three4 ,back1 four4 ,right oblique back1 five4 ,right1 six4 ,right oblique1 seven4 ,front is eight4 ,all of our steps are taught in counts of eight4 ,we begin to count from one and go as far as eight1 then repeat4 ,we count1 #a1 #b1 #c1 #d1 #e1 #f1 #g1 #h1 or we count #a-;and1 #b-;and1 #c-;and1 #d-;and1 #e-;and1 #f-;and1 #g-;and1 #h-;and1 as may be required4 ,after the steps have been taught by counts and learned properly1 through much patient practice1 they are fitted to music4 ,without turning the rest of the body1 turn the head sharply to the left wall1 so that your face is square to the wall4 ,you are now looking left4 ,look front4 ,look to the right 7square around74 ,look front4 ,look left oblique4 ,front4 ,right oblique4 ,front4 ,now throw the head back and look up 7without straining the muscles of the neck7--hold the head at an angle of about #de degrees4 ,your head should not be tilted to one side1 but straight back4 ,now look front again--now down1 now front4 ,there is a difference between turning it to the left or right and inclining to left or right4 ,incline your head to the left shoulder--hold your face up a little and keep it square to the front--chin high--now incline your head to the right shoulder--up straight--now turn it to the left 7around as far as you can7--turn it front--turn it to the right--turn it front--throw it back--look up1 now front--drop down and now front4 ,illustration3 ,,one ,,of ,,over ,,twenty ,,daily ,,dancing ,,classes ,,at ,,the ,,ned ,,wayburn ,,studios4 ,illustration3 ,inclining the ,head ,,the ,,lesson ,,to ,a ,,class ,,is ,,as ,,follows ,now1 be careful to keep your lines straight up and down1 directly behind one another4 ,let those in the first line across raise the right hand4 ,second line across raise hands up2 third line across1 and fourth line across4 ,this is called across stage 7indicating left to right74 ,this is called up and down stage 7indicating front to back71 and going down this way 7to the footlights7 is moving down-stage4 ,going toward the back wall is moving up-stage or back-stage4 ,illustration3 ,diagram of ,modern ,theatre ,stage ,,concerning ,,entrances ,,and ,,exits ,if you come in sight of the audience from that side 7indicating left7 you are making an entrance from the left4 ,if you leave in that direction1 you are making an exit to the left4 ,it is an artistic feat to make a good exit4 ,it requires not only specialized training1 but also practical experience in front of an audience4 ,it may be a vocal exit1 a dramatic or spoken exit1 or a dancing exit1 and one must reach a decided climax at the exit4 ,if the dance consists of eight steps1 properly spaced1 the most effective steps are put in where they will provoke applause4 ,the last or finish step must get the most applause or the dancer fails4 ,so we put a climactic trick step in for a finish1 and then we top that with the exit1 and the exit must be a surprise4 ,otherwise1 the dance has not built up from the time the dancer makes an entrance and gets the attention of the audience4 ,so making an effective exit is really a difficult thing to do4 ,you are taught in the advanced instruction how to enter and exit properly4 ,one draws the applause on the eighth step by assuming a certain attitude or by striking a picture which asks the audience for the applause1 and on the exit another round of applause can be earned1 and in this way the dance gets over1 or is sold to the audience1 as we say in the show business4 ,illustration3 ,correct ,standing ,position ,now face the right1 please4 ,if you make an exit on that side you are making an exit to the right4 ,if you come on from that side 7meaning if you come in sight of the audience from that side7 you are making an entrance from the right4 ,the proper way to stand to learn my kind of stage dancing is with the left toe pointed left oblique1 and the right toe right oblique4 ,have your knees together1 heels together1 with the weight equally distributed between the feet1 hands down at the side1 arms relaxed1 heads up and direct your gaze straight ahead on a line with your eyes4 ,never recognize anyone over the footlights4 ,always look straight front on a line with the eyes4 ,never look at the floor when dancing unless specifically so instructed4 ,to look at the floor while dancing gives an audience the impression that you have no confidence in yourself and that you are laboring to perform your dance4 ,illustration3 ,movements of ,eyes ,only ,in dancing1 the head and arms and upper part of the body 7torso or trunk7 are as important as the feet and legs4 ,the eyes are the most expressive agent of the body4 ,now1 without turning your head1 using your eyes only1 look left oblique1 look front1 look right oblique1 front1 look left oblique down1 look front1 look left oblique up1 look front1 look right oblique down1 look right oblique up1 look front4 ,most of my instruction is based on the eight different directions which you have been told about1 and on the four different parts of the foot1 which you must also understand thoroughly4 ,this makes it easy to analyze any dancing steps that we teach4 ,these four different parts of the foot are3 #a1 the toe1 or end of the shoe4 #b1 the ball of the foot 7the half sole74 #c1 the heel4 #d1 the flat of the foot4 ,illustration3 ,the ,four ,different ,parts of the ,foot ,tapping the toe of the left foot to the floor makes the first count2 stamping the ball of the left foot1 the second count2 the heel of the left1 the third count2 and the flat of the entire foot the fourth count4 ,these four different parts of the foot become an exercise by counting #a1 #b1 #c1 #d1 with the left foot1 and #e1 #f1 #g1 #h1 with the right foot1 beginning with the right toe on the count of #e4 ,this exercise if practiced faithfully will give flexibility to the muscles and ligaments that control the entire foot1 all of which are used in musical comedy dancing1 for the ,american tap1 step and specialty work 7clogging71 for social or ballroom dancing1 for exhibition dancing1 as well as in the acrobatic dancing work1 and for my ,americanized ballet training1 including toe dancing4 ,do this exercise first with the left foot1 then with the right foot1 to the count of #a1 #b1 #c1 #d1 #e1 #f1 #g1 #h1 and practice it often1 till it becomes a perfectly natural action4 ,it is the basis of the best bread and butter dancing steps1 as you will discover in later lessons4 ,in doing this exercise1 remember that in dropping the toe to the floor it must be placed straight back1 and not left or right oblique back2 straight back from the place where you stand4 ,the knees should be kept together4 ,when you stamp the ball of your foot1 the feet are directly opposite each other4 ,illustration3 ,the ,development of a ,tap ,dancing ,step ,i want you to note that each of the four movements of this exercise has a distinct sound4 ,the dropping of the toe1 the stamping of the ball of the foot1 of the heel1 and of the flat foot1 each creates a separate and distinct sound4 ,i have named these sounds taps1 and it is the various combinations of these sounds that are used so effectively in musical comedy dances1 in tap1 step1 and ,american specialty dancing 7sometimes called clogging71 as well as in some of our choicest acrobatic dancing4 ,some of our pupils are apt at tap and step dancing1 others are more apt at ballet dancing1 musical comedy or acrobatic dancing4 ,some of our young ladies take four classes a day2 some take three2 others two2 and still others but one class a day4 ,in addition to this1 there are pupils1 among them a great many young gentlemen1 who take private lessons in their chosen style of dancing every day while some only take one private lesson a week4 ,try to perfect yourselves as solo dancers4 ,it is there that fame and fortune await you4 ,you may not appreciate it now1 but when you have mastered the ,ned ,wayburn courses1 you will look back with satisfaction and realize the wonderful opportunity my simple courses have afforded you4 ,there is no other school in the world that teaches the five basic types of dancing in the same thorough1 rapid manner and with the same satisfactory results4 ,the student who has industriously performed the essential preliminary work as ,i teach it has obtained a satisfactory mastery of the body1 and has a large range of movement at command2 is now able to control the source of movement and to relax opposing muscles so that the movement may follow through2 that is1 may continue from its initiative in any part of the body to the desired climax1 without muscular obstruction4 ,the entire body is now ready and responsive to any call upon it1 and the act of dancing becomes a pleasure and a joy it never was before1 and never would have been but for the preliminary work as ,i have arranged it for the making of beautiful and efficient dancers4 ,illustration3 ,,vivienne ,,segal ,the result is a harmony of rhythmical coordination that will echo far beyond the dancing courses and into the various activities of one's whole life4 ,the great freedom and abandonment of movement now acquired is not a combination of erratic movements and gestures distributed at random4 ,the freedom gained is the result of perfect control1 not in any degree the result of unguided abandon4 ,my dancers know how to work because they are sure of themselves2 the controlled individual is the free individual4 ,but the dancer has gained more than mastery of movement4 ,valuable as are strength and skill1 even more so is the resultant balance and soundness of the nervous system that directly results from such rhythmical coordination1 fitting one for meeting the complex and often disturbing demands of life4 ,now1 too1 in the process of acquiring such a splendid state of general physical well-being1 the pupil has absorbed and acquired some understanding of the power and the wonder of a physical self1 and will proudly treat this newly discovered self with respect and consideration4 ,the mental gains as the result of this work have a right to consideration1 also4 ,the handicap of self-consciousness is largely overcome by the complete mastery of the movements of the body2 the mind becomes freed1 the mental horizon enlarged1 as the direct result of body and nerve control4 ,the delight of free and expressive movement with a body that responds joyously to the slightest impulse of thought and feeling1 develops a new resource of pleasure1 and in perfection of bodily response is found a new source of beauty with endless promise for the future4 ,if you begin the courses with the feeling1 make me a dancer if you can1 and act with indifference throughout the instruction that is given for your benefit1 you are doomed to failure4 ,no one succeeds unless they want to and work very hard4 ,you are here to prepare for an honorable calling1 a beautiful1 respected and profitable profession1 that when once you acquire will remain at your disposal all your life4 ,most of our pupils recognize this and sincerely strive1 with our help1 to perfect themselves through incessant patient practice4 ,we have no intention ever to let a small minority of indifferent1 ,i don't care pupils1 hold back the ambitious ones4 ,those who merit success shall have every opportunity always4 ,you1 no doubt have been to good shows1 seen good dancing and attractive posing and grouping1 with rich scenery1 proper lighting and appropriate music1 and have wished that you1 too1 might share in the applause of the audience for your own merit as a dancer4 ,i want to help you become what so many others of my scholars have become1 the best in their line of endeavor4 ,i am enthusiastic about my part of the work1 and ask and expect you to be just as enthusiastic as ,i am4 ,really1 you should have more enthusiasm than ,i have1 since it is you who are to go before the audiences and get the applause and the pay1 and not me4 ,whether or not you are enthusiastic about your work will show in your results4 ,your degree of interest and improvement is recorded1 so ,i know just what you are accomplishing4 ,you must expect to get tired1 really tired out1 in your earliest lessons and practice4 ,that is what has invariably happened to all others before you1 who are drawing down the fat salaries today4 ,i expect it1 and should be surprised indeed if any student proved to be an exception4 ,in fact1 if you do not tire1 and perspire and pant after an hour of working your every muscle in a set of movements new to them1 then you surely are not getting the benefit that the exercises are intended to promote4 ,soreness during your first four or five lessons is a sign of your having taken the lessons earnestly and honestly and actively1 as you should in your own interest4 ,the soreness will work out and be gone for good after a few lessons4 ,please get sore6 ,then ,i know you are all right4 ,but do not overdo at any time1 now or later1 in class work1 private lessons1 or home practice1 and especially be careful while you are new at the work1 and the novelty of it tempts your ambition to keep on and on4 ,alternate work and rest1 strenuous toil and complete relaxation1 is the ideal way to build yourself into beauty and strength and suppleness by my method1 without danger of straining or injury4 ,in the classroom1 if a pupil needs to sit and rest a bit occasionally it is permitted4 ,but do not let our consideration for your comfort become an excuse for mere laziness6 ,there are lazy girls as well as lazy men in the world1 ,i have heard1 and it is barely possible that one or two might decide to take my courses sometime4 ,if they do1 our required work will give them inspiration1 as well as perspiration1 and enable them to overcome an inclination to indolence that they must master if they hope to succeed as dancers--or in any other vocation4 ,let me encourage you by saying1 what ,i know to be true1 that you will harden yourself in a few days' time so that the muscles of your body will pleasantly respond to your demands without crying out loud when called upon4 ,just keep at it4 ,don't get discouraged because it wearies you on the start4 ,if you could see our advanced pupils going through their routines1 and how easily they perform the same simple exercises you are required to do in the beginning1 their muscles ready1 trained and responsive1 and every motion of their bodies a pleasure to them and a satisfaction after patient practice1 you would be encouraged and would be able to smile at the few temporary discomforts of a few sore muscles4 ,but do not be too ambitious and work to the point of exhaustion4 ,illustration3 ,,nw ,illustration3 ,,paulette ,,duval ,,and ,,ned ,,wayburn ,,pupils1 ,,follies ,,of #aibc ,,ned ,,wayburn ,,stage ,,dances ,illustration ,i have already named the five basic types of stage dancing taught in my courses4 ,in this chapter ,i shall describe them in detail in such a manner that anyone can distinguish them from one another4 ,no doubt when you have seen dances of the new type executed on the theatrical stage you may have been unable in some cases to correctly classify them4 ,that is not at all surprising1 since the classification is my own1 as well as some of the steps themselves4 ,you have realized that so-and-so did a pleasing1 pretty and complicated dance1 but what it is called1 or if it is called at all1 you are unable to state4 ,all my dances have names and are properly classified1 and what these are and to what distinct type they belong is going to be spread before you here and now4 ,first let us consider the type that ,i have named ,american ,specialty ,dancing1 the one that is more truly and distinctively ,american than any other type of dancing to be seen on any stage today4 ,this classification comprises every variety of tap and step dancing1 and also what is commonly known as ,legmania1 the latter including the high-kicking features1 where the leg will execute front1 back1 and side kicks1 and other forms of the acrobatic type of dancing4 ,legmania is not a possible development for every student of dancing1 as nearly every other form of the art is1 but is available to the few who are adapted to its exacting technique1 which insures that this interesting field will never grow too many blossoms1 and that supply is not likely to equal demand4 ,i will mention ,evelyn ,law in ,legmania and ,ann ,pennington in ,tap and ,step dancing as sample stars from my studios in this beautiful and lucrative type of dancing1 though their dancing limitations are by no means confined to this one branch of the art4 ,tap and step dances are made up of a series of steps that involve certain movements of the four parts of the foot as described in another chapter2 namely1 the toe1 the ball of the foot1 the heel1 and the flat of the foot1 which produce distinct rhythmic sounds or taps as they separately strike the floor or stage4 ,under the classification of tap and step dancing1 we teach the buck and wing dance1 the waltz clog1 the straight clog 7which is like an ,english clog or a ,lancashier clog71 jigs1 reels1 and the old form of what we call step dancing1 which was popular forty years ago in the old variety days4 ,they did the jigs1 reels and clogs then1 and these different types of dancing modernized combine to make what we today call the ,american ,specialty type of dancing4 ,my course in tap dancing1 for instance1 includes beginners' buck and soft-shoe dances1 intermediate1 advanced1 semi-professional and professional buck and soft-shoe dances4 ,of course1 when you get into the semi-professional buck and soft-shoe you will begin to get complicated taps1 and you will get difficult triple-taps in professional buck dancing4 ,you are no doubt familiar in a general way with the ,musical ,comedy type of dancing1 which is really an exaggerated form of fancy dancing4 ,it includes the now popular but simpler soft-shoe dances1 dainty1 soft1 pretty movements with many effective attitudes of the body1 all sorts of kicking and fancy steps4 ,as a matter of fact1 this type of dancing is perhaps the most difficult of all to define exactly1 because often musical comedy dances include a few tap steps and sometimes simple ballet movements1 or combinations1 as we term them4 ,our musical comedy dances are arranged in routines1 or sequences of not less than ten steps1 including an entrance1 eight steps to the dance1 and an exit movement4 ,the entrance is a travelling step1 a step which gets you onto the stage2 then comes the dance itself consisting of eight steps2 then the exit which must include a step which will make a decided climax to the whole dance4 ,i have already explained the importance of making an effective exit4 ,in a subsequent chapter1 ,i will describe more in detail a musical comedy routine4 ,perhaps ,acrobatic ,dancing is the most difficult of all the types to master--that is1 it most certainly requires a degree of strength that the other dances do not demand2 sufficient strength in the arms to support the weight of the body in the hand-stand and the cartwheel1 flexibility of the muscles in order to do the limbers and back-bends4 ,all of the acrobatic tricks--hand-stands1 cartwheels1 splits1 roll-overs1 back-bends1 front-overs1 inside-outs1 nip-ups1 butterflies1 flip-flops1 ,boranis1 somersaults1 etc41 are very difficult and require special adaptability and inexhaustible patience1 but almost any normal human being between the ages of four and thirty can learn even the advanced tumbling tricks in time1 but only by keen application and persistent practice4 ,the fourth of the basic types of dancing is my ,modern ,americanized ,ballet1 a most graceful type of dance which requires and developes beauty and grace of motion of the head1 the hands1 the arms1 the feet and legs1 of the whole body1 in fact4 ,this ,americanized ballet is subdivided into various types of dances--toe dancing1 classical dancing1 character dancing1 interpretive dancing1 covering all kinds of ,national and folk dancing4 ,these have attention elsewhere in this volume4 ,exhibition dancing constitutes the fifth type1 and is varied in its possibilities4 ,it is the kind you see exhibited by a dancing team in public and private ballrooms and at social or club functions1 and may take the form of the exhibition fox trot1 the exhibition one-step1 the tango1 the exhibition waltz or the whirlwind dance4 ,it is very pretty and very profitable work for those who are adapted to its interpretation4 ,this type of dancing is not taught in classes in the ,ned ,wayburn ,studios1 but is given special attention under qualified private tutors1 in private lessons1 and has prepared some remarkable dancers in this field4 ,two of the popular dances which ,i have conceived and arranged and which have lately swept the world are the ballroom ,charleston dance and the exhibition ,charleston4 ,as my pupil you will discover in the course of your advancement that you have a particular preference for one of these types of dancing1 or perhaps two1 or three4 ,each person has his or her own personality1 and certain personalities are better suited to the ,tap and ,step style of dancing than to the ,ballet1 for instance4 ,but in order to meet the competition in stage dancing in the future1 you require a knowledge of the five basic types1 as outlined4 ,i cannot emphasize too strongly the importance of personality in a successful stage career4 ,along with the actual mastering of the dancing steps and acquisition of health and a beautiful body1 comes just as surely the development of personality4 ,and since each individual has a distinct personality it is advisable for everyone to select the type of dancing best suited to that personality4 ,it is because of this quality that the performance of stars like ,evelyn ,law1 ,marilyn ,miller1 ,ann ,pennington1 ,gilda ,gray and ,fred and ,adele ,astaire leaves a lasting impression4 ,every step1 every movement is designed to drive home the characteristics of their individuality4 ,even more important than the actual dancing steps they do is the manner in which they execute them--the individuality which gives expression to all that they do4 ,it is the almost indefinable factor called personality which lifts one out of the ranks of the chorus and makes the solo dancer4 ,in this book ,i am trying to help you develop your personality1 in the way that ,i have discovered and developed the personalities of so many of today's stars4 ,most emphatically ,i want to impress upon you that it is not chorus work that you learn in my courses4 ,it is professional1 individual dancing1 taught thoroughly and completely4 ,anyone who masters the dances takes on a certain confident feeling in time1 after exercising great patience in practice4 ,with this confidence the happy pupil radiates a new magnetic personality which the audience feels4 ,but more about this later on1 when you will learn just how one's self is injected into the dances until they are vitalized and made living exponents of a beautiful art4 ,,ned ,,wayburn',s ,,foundation ,,technique ,illustration ,the human body is the instrument of the dancer1 and must be as much under the direct command of the dancer as the violin is at the command of the musician4 ,it must respond instantaneously and without effort to every emotion and thought in the dancer's mind4 ,to do this it is obvious that the physical mechanism of the entire body must be completely mastered and controlled4 ,the first stage of the work to achieve command of the human frame as a dancing instrument is to bring about flexibility in all its parts and obtain muscular guidance and control4 ,this demands a special technique that shall coordinate in harmonious functioning all parts of the body by an unconscious effort of the mind4 ,illustration3 ,,class ,,in ,,dancing ,,foundation ,,technique ,,at ,,the ,,ned ,,wayburn ,,studios4 ,the foundation technique which ,i evolved for the ,ned ,wayburn courses is a limbering and stretching process for the body1 which precedes the teaching of dancing steps1 fitting all pupils properly with a basis1 a foundation for the important work to come4 ,without these exercises1 all of which are set to inspiring music1 muscles employed in dancing would remain taut or soft and not respond properly1 the pupil would quickly tire1 and the attempt to dance become an unavailing effort4 ,with the limbering and stretching course1 time is saved in preparing the student for the lessons to come1 and the time necessary for the training and development of a dancer is much shortened from the long apprenticeship that once prevailed under the old antiquated ,ballet technique4 ,what is known as the ,ned ,wayburn method brings into play all the bodily muscles that are essential to the dancer's use1 gives strength1 suppleness and symmetry to the entire body4 ,all forms of outdoor exercise are valuable adjuncts to bodily health and strength and beauty1 but supplementing them the dancer must carry on with just the foundation technique ,i have devised1 in order to waken and strengthen the dancing muscles1 a result not brought about by even the best of romping sports or one's other usual exercising4 ,in connection with correct diet1 which has attention in later chapters of this book1 my methods of preliminary exercise will aid the over-stout to reduce pleasantly and surely1 and also enable the under-developed to put on needed weight1 in both cases the attendant blessings of health1 strength and symmetry following in due order4 ,my method induces perspiration1 opens the pores1 eliminates unhealthy tissue1 and at the same time supplies new tissue replete with health1 which is placed evenly over the entire body where nature wants it4 ,do not let the words limbering and stretching mislead you4 ,perhaps there may be words that describe the work better than these do4 ,but my idea in using these words is that flexibility1 suppleness1 grace and freedom of movement are all covered by limbering1 while stretching is intended to convey the idea of a proper fitting of the body and limbs for the various forms of kicking that are absolutely essential in modern stage dancing4 ,some people get the idea that stretching exercises will lengthen the body or limbs4 ,this is not so4 ,neither is the result of any mechanical operation whatever4 ,you bend your body rhythmically1 and by degrees acquire a proficiency that enables you to stretch and limber up yourself to an extent that may surprise you4 ,no one was ever hurt by my exercises2 you gradually limber and stretch yourself6 ,all who have taken the exercises and have practiced them as directed have materially benefited4 ,they bring health1 graceful figures and a fitness for learning dancing as nothing else does of which ,i have knowledge4 ,that is what these exercises are for1 and just what they do4 ,and another important fact in connection with my foundation technique for dancers1 it does not bunch the muscles into unsightly shape2 it does not make huge1 knotty muscles in the arms and legs1 as has long been the case with certain ,russian and ,italian ballet methods4 ,you have no doubt seen ballet dancers with distorted bodies4 ,the ,american woman will not be content with any development that mars the appearance of her figure1 and she is right4 ,you have seen the ,ned ,wayburn trained girls on many a stage1 and never yet saw one that was not pleasing in figure1 to put it mildly1 and that is the way we insist in developing them at the studio4 ,our pupils acquire agility without angularity or unsightly protuberances anywhere4 ,we take the raw material1 child or adult1 between four and forty1 with or without any former experience or training1 proceed with them through my foundation technique of limbering and stretching1 and advance them from there to courses in any of the various forms of dancing1 with the perfect assurance that they have the necessary basis of flexibility and muscle control that will support them on their way to perfect dancing success4 ,in conjunction with this work1 all types of kicking steps are taught1 front kick1 side kick1 back kick1 hitch kick1 and the others4 ,since strength for kicking comes from the abdominal muscles1 a workout that will especially exercise these muscles around the waist line is essential1 and a series of strengthening activities is given to this end4 ,imagine that you are in practice costume1 one of a class of students similarly dressed1 standing in line on a padded rug in my ,foundation ,technique studio4 ,the instructor begins with the simple exercises1 and directs you through a number of them during an hour's lesson today1 repeating them briefly tomorrow and adding new ones to those you learned yesterday1 till soon you have progressed through the entire list4 ,the work is done rhythmically to music1 and all exercises are in eight counts4 ,each is repeated in measured time till the class masters it1 and the student is requested to practice the lessons at home faithfully and earnestly1 and the proficiency thus acquired is looked for in the class work of the day after4 ,illustration3 ,,nw ,here are a dozen of the ,ned ,wayburn series of ,limbering and ,stretching exercises selected from my ,foundation ,technique3 ,illustration3 ,,exercise #a4 ,for limbering and stretching the triceps1 and loosening the waist line along the sides4 ,stand erect1 head up1 heels together1 arms down at sides1 raise right arm straight up over the head4 ,bend body to left as far as you can1 sliding left hand down the thigh4 ,return to erect position1 then with left arm raised bend to right4 ,alternate left and right eight times to count of one1 lean2 two1 lean1 etc4 ,illustration3 ,,louise ,,groody ,illustration3 ,,exercise #b4 ,for loosening the dorsi and abdominal muscles1 developing muscles of chest and waist line4 ,stand erect1 chin in1 heels together1 toes pointed out1 raise left arm straight over head1 right arm down at side4 ,swing right hand up over head also1 and lean the body right oblique4 ,swing both arms down1 then up and lean left oblique4 ,do this for eight counts of one1 lean2 two1 lean1 etc4 ,illustration3 ,,exercise #c4 ,for limbering muscles of the back1 biceps of the legs1 developing abdominal muscles and reducing waist line4 7,forward bend47 ,raise both arms straight over head the width of the shoulders apart1 heels together1 knees stiff4 ,bend forward and touch the floor with the palms of both hands1 if you can1 if you cannot1 then with the ends of the fingers4 ,raise arms again over head and lean back as far as you can4 ,count one1 touch2 two1 lean1 etc41 to a count of eight4 ,illustration3 ,,exercise #d4 ,for making the waist line flexible4 ,it limbers the muscles of the thighs and back4 ,stand erect1 both hands above head1 arms stiff4 ,keep hands in this position throughout1 step left foot straight forward1 bend the body back as far as you can4 ,then body erect and left foot returned to position4 ,step right foot front1 bend back again4 ,alternate with each foot for eight counts3 left1 lean1 straight1 in2 right1 lean1 straight1 in1 etc4 ,,exercise #e4 ,to strengthen calves and ankles4 ,stand erect1 knees stiff1 heels together1 hands on hips4 ,rise on the toes2 down1 up1 down1 etc41 for #dh counts4 ,illustration3 ,,exercise #f4 ,for limbering the back and the waist line4 ,kneel1 knees about eight inches apart1 trunk erect4 ,extend arms horizontally in front to count one4 ,on count of two raise the hands above the head1 shoulder-width apart and lean back4 ,keep arms stiff4 ,on count of and1 trunk again erect and arms extended front4 ,on count of three1 hands over head and lean back4 ,repeat for eight counts4 ,illustration3 ,,exercise #g4 ,to strengthen the biceps and triceps of the arm4 ,from kneeling position of ,exercise #f1 lie flat on the stomach1 palms on floor alongside the hips1 elbows up1 to count of one4 ,on count two1 raise the body1 straightening arms1 supporting body on hands and toes4 ,lower body to floor on count three4 ,alternate raising and lowering body for sixteen counts4 ,,exercise #h4 ,for limbering and stretching the abdominal muscles4 ,stand erect1 heels together1 chin in1 chest out1 step right foot forward1 bend body front1 place both hands flat on floor 7foot-race starting position74 ,jump1 bringing right foot back and left foot forward at the same time4 ,jump1 bringing left foot back and right foot forward4 ,right1 left1 right1 left1 for sixteen counts4 ,illustration ,illustration3 ,,exercise #i4 ,to develop the front of the thighs and the biceps4 ,stand erect1 feet fifteen inches apart4 ,raise arms straight above the head1 shoulder-width apart4 ,keep toes and heels flat on the floor4 ,squat down1 lowering arms as you do so until they are horizontally straight in front of you4 ,rise to erect position1 raising arms at the same time above the head4 ,keep arms stiff4 ,down1 up1 down1 up1 for sixteen counts4 ,illustration3 ,,partial ,,view ,,of ,,demi-,,tasse ,,theatre1 ,,ned ,,wayburn ,,studios ,illustration3 ,,exercise #aj4 ,to strengthen the lower abdominal muscles4 ,lie flat on your back1 arms at sides1 palms on floor4 ,keep knees stiff and together and toes pointed4 ,raise both feet so that toes point to ceiling4 ,count one2 lower the feet to the floor4 ,count two2 7do not hit the floor hard in lowering the feet74 ,count one1 down2 two1 down2 etc41 to eight4 ,illustration3 ,,exercise #aa4 ,to strengthen the upper abdominal muscles and the diaphragm4 ,you are lying on your back4 ,on count one1 sit up1 bend forward1 touch your toes with your hands and place your head against your knees4 ,count touch4 ,on count two1 bring your trunk erect1 arms straight overhead4 ,on count of down you are again lying on your back4 ,count one1 touch1 two1 down1 three1 touch1 four1 down1 etc41 to eight1 down4 ,illustration3 ,,exercise #ab4 ,to strengthen the thighs and biceps4 ,stand erect1 heels together4 ,raise arms horizontally to the sides4 ,bend the knees and assume a squatting position4 ,rise to erect position4 ,count down1 up1 down1 up1 etc41 eight times4 99 99 99 99 99 ,there are more than thirty different exercises given in the ,ned ,wayburn courses in this work4 ,if you desire a complete list1 address an inquiry to the ,ned ,wayburn ,studios of ,stage ,dancing1 ,inc41 #ahda ,broadway 7at ,columbus ,circle7 entrance on #fjth ,st41 ,new ,york1 for prospectus of the ,new ,ned ,wayburn ,home ,study ,courses in ,dancing4 ,,mr4 ,,wayburn ,,addresses ,,the ,,beginner',s ,,class ,,in ,,foundation ,,technique ,you are starting on a course of not less than twenty lessons and exercises in my ,foundation ,technique for dancing1 which is a feature exclusive to this studio1 known as the ,ned ,wayburn ,limbering and ,stretching process for the human body4 ,this is one of the most important things that ever came into your life4 ,it is at once a necessary foundation upon which to build the perfect dancer and an unequaled system of cultural exercises for the correction of certain physical ills in those who have no expectation of pursuing a professional career4 ,illustration ,primarily ,i originated this series of exercises to make good dancers quickly4 ,there was nothing of the kind in existence that would do the work ,i wanted done1 so ,i carefully thought it out myself1 and finally developed the complete plan4 ,some of it will be taught you here4 ,it has proven to be all ,i anticipated1--a method of preparing the muscles and ligaments to respond instantly to the dancer's call upon them for precise action4 ,it is the object of this series of exercises to eliminate fatigue1 create sturdy yet symmetrical and flexible frames and increase the health1 grace and beauty of the participant4 ,it is1 therefore1 no wonder that others than those who expect to enter upon a stage career have sought these exercises for their own improvement in personal appearance and physical well-being4 ,now all please stand in line around the room1 stand quietly and without leaning against the wall4 ,stand shoulder to shoulder1 hands down at sides1 heels together1 feet flat down1 toes pointing left oblique and right oblique2 the weight equally distributed between the two feet4 ,hold your chin high and look straight ahead on a line with your eyes4 ,i organize the class by first arranging the pupils according to their height4 ,there is a reason for this4 ,if you are five feet tall and stand next to a girl who is five feet eleven1 you at once become conscious of your size4 ,it is to avoid this handicap of self-consciousness that ,i grade you by height4 ,you are now in line as to heights4 ,please each of you stand in front of a chair1 one pupil to a chair1 and number from one at the left end4 ,number thirteen will be called twelve and a half4 ,speak out your individual number loud and clear4 ,this number you are given is your personal1 distinctive number during the life of this class and is never changed4 ,the number of this class is #eja4 ,as you call your number out loud please be seated in the chair back of you1 and while the stenographer takes your names and the instructor collects your weekly tickets ,i will say a few words4 ,i expect you to arrive promptly in the classroom1 and request that you time your arrival so as to be here in the studio at least fifteen minutes before class time1 so as to be in your practice costume and ready for the call to class right on the hour set4 ,we have to observe discipline in all your work in the courses1 otherwise nothing would be accomplished4 ,we have printed rules posted in the office and elsewhere1 and expect you to read and observe them4 ,please do not talk at all during class work4 ,it interrupts the work seriously4 ,you have all been to school before and know that silence is one of the important rules of every school4 ,this one is no exception4 ,now1 the first thing to do is to have your ticket ready4 ,you must have your name signed on the ticket1 where it says ,signature of pupil4 ,turn the ticket over and read it through on both sides4 ,remember your class number and your individual number in the class4 ,the success of our school depends largely upon the way the classes are organized and thereafter dominated4 ,much of the success of the work depends upon the lectures you hear in the classes4 ,they are in the form of inspirational talks based on different subjects4 ,you are required to read all of our literature4 ,get and read the booklet entitled ,your ,career4 ,every month we issue a school paper1 ,the ,ned ,wayburn ,news1 which tells of the activities of pupils of the school who are now appearing in ,new ,york1 or out on the road1 and which has many interesting articles and information monthly for students of the dance4 ,please get a copy and read all of our literature--because it gives you an idea of what the school and its present and graduate pupils are accomplishing4 ,it is a well established rule of the studio that pupils shall weigh themselves every ,monday and keep a record of their weight from week to week4 ,for this purpose use the scales in the main office of the studio1 please4 ,they are accurate4 ,we have them tested and adjusted at intervals to be sure that they are right4 ,you are requested and expected to come into my private office and talk with me once a week1 and when you do so ,i shall ask you about your weight1 and you must be prepared to tell me4 ,i know just how much you ought to weigh1 and am interested in hearing whether you are gaining or losing flesh in the proportion that you should4 ,at the end of the four weeks' period ,i shall ask each of you individually in the class about the variation in your weights1 and ,i am then able to tell who is faithfully following my instructions as to practice1 diet1 hours of sleep and the other simple and necessary requirements of our courses4 ,for ,i know that if my regime is observed as ,i request that it be1 you will show it1 and if you neglect to follow my advice you will not have made the progress you should1 and will show that4 ,you cannot disguise the real facts from me4 ,i do not want any of you to overexert at these limbering and stretching exercises4 ,they are scientifically constructed to do for you what no other known cultural movements of this kind will do4 ,at first they will tire you1 leave you all in1 ,i have no doubt4 ,i expect that4 ,you see1 in these exercises you are putting into play a lot of muscles that have been lying dormant1 perhaps never been used in the way you will use them in this class as preparation for health1 comeliness and dancing strength4 ,you need to use these muscles4 ,it is to stir them up and make you strong1 and at the same time supple and shapely1 that ,i have devised this series of exercises4 ,it was not made by guess1 this plan of developing and conditioning1 but as the result of years of study and proof4 ,these exercises will make you feel perfectly wonderful after a while4 ,nothing else will do you as much good4 ,but do not1 please1 expect the perfected results to show in a day or two4 ,it cannot be done so quickly4 ,you have been several years getting the way you are1 and if you can improve greatly in a few months you must consider yourself fortunate4 ,illustration3 ,,conditioning ,,class ,,at ,,the ,,ned ,,wayburn ,,studios4 ,let me say1 as a word of caution1 that if you have any organic trouble1 or have been weakened by a serious operation or recent illness1 ,i wish you would report the facts to your class instructor or to me before you take on this work4 ,in any event1 don't overdo at any time1 neither here nor in your home practice4 ,if you find it necessary1 stop at any time and sit down in your chair a few minutes till you get your breath4 ,but don't stay out of class tomorrow because you find your muscles are tired4 ,every other student's muscles will be sore tomorrow1 as well as yours4 ,if you remain absent you will be much slower in getting those sore muscles feeling right than if you come into class and work the soreness out4 ,if you are absent you may miss something you will want to know4 ,there is something new taught every day--or there may be a special lecture which you cannot afford to miss4 ,i hope you are going to be patient4 ,i hope you are not going to say3 ,this is too much for me6 ,no matter how tired you are this work will do you more good than any medicines4 ,you are not to take medicines without telling me about it4 ,you are not to eat between meals2 you are not to take any liquids with your meals4 ,masticate your food carefully4 ,don't bolt your meals in a hurry4 ,take time to eat properly4 ,don't sleep more than eight hours4 ,don't dance half the night away4 ,you must look out for your health while you are training4 ,some of you are underweight1 because you are not properly regulated so far as your meals and living is concerned4 ,you are eating things you should not eat4 ,others are eating in such a hurry that the food is not properly assimilated by the body4 ,you should drink not less than forty-five ounces of water a day4 ,that is about nine glasses4 ,you should drink a glass of water before and after each meal1 ,,not during your meals--one about eleven o'clock in the morning1 another about four o'clock in the afternoon1 and one just before you go to bed at night4 ,,not ice water4 ,water not only flushes the system but it induces perspiration4 ,and you must perspire freely in all of our work because you get rid of many impurities through the pores4 ,i reduced my own weight1 by diet1 exercise1 and dancing1 from #bfb pounds to #bjg pounds4 ,but you have got to be very patient in reducing or building up4 ,if you take off or put on a pound a week you will be doing very well4 ,but let me regulate that1 please4 ,sometimes pupils who are underweight when they first come here begin to lose weight1 and they get worried about it4 ,but you shouldn't worry4 ,that means that you are losing unhealthy tissue1 which will be replaced in time by healthy muscular tissue4 ,that doesn't mean that you will get big knots of muscle on your arms and legs1 such as you see in pictures in some of the magazines4 ,the new tissue will be evenly distributed over the body4 ,it is my business to manufacture symmetrical bodies4 ,i have manufactured hundreds of celebrated beauties since ,i began my theatrical career1 sometimes through facial makeup1 sometimes through exercises and diet1 but always with dancing as the chief feature in health and beauty culture4 ,there is a reason why this school has grown to its present proportions4 ,it is because ,i have made a thorough study of anatomy and know how to make human bodies healthy and beautiful4 ,i could tell you a very interesting story of ,clan ,calla1 a little ,irish princess who came to me with curvature of the spine to see if ,i could help her4 ,she was very weak and hardly able to walk2 they had to carry her to the studios from the subway4 ,now she is strong and well and dances beautifully4 ,don't try to reduce too fast4 ,i had two friends who died as a result of reducing with medicine4 ,they took some sort of baths for reducing1 and some kind of medicine to shrink themselves4 ,that is why ,i became interested in reducing and began to practice on myself4 ,now make up your minds to make this class a success4 ,don't make it necessary for your instructor to have to address any one of you personally4 ,when your instructor gives an order execute it at once4 ,always get into your places promptly4 ,don't forget that you are going to be lame--but you must work it out4 ,you will begin with mild calisthenics--then1 later on1 you will learn several kinds of kicks--the side kick1 the front kick1 the hitch kick1 etc4 ,but before you can kick1 you must have the strength necessary for kicking4 ,you must practice the exercises in order to get this strength4 ,now you are organized and you can accomplish real work4 ,if there are any questions you would like to ask me1 come to my private office at the end of the hall on the second floor--,broadway front4 ,you will progress according to the way you practice4 ,you must put in hours of faithful practice4 ,if you take one hour of instruction a day at the studio1 you should practice three hours a day at home4 ,if you can possibly do so1 always go through your ,foundation ,technique when you first get up in the morning4 ,the lesson itself is not enough4 ,faithful practice means success1 and without practice you won't succeed at all1 and you won't get your weight off or you won't build up4 ,three times the length of a lesson is my rule for practice4 ,some practice from three to eight hours a day so as to gain dancing strength4 ,you must have a lot of flexibility in order to dance in a professional manner4 ,get the habit of deep breathing4 ,gradually you will increase your breathing capacity and deep breathing makes good blood4 ,the oxygen you take into your lungs goes through the blood and takes off the impurities in the blood1 and oxygen is necessary in properly assimilating your food4 ,don't let anybody else advise you about diets4 ,if a doctor has put you on a diet1 let me know about it4 ,my diets won't do you any good unless you are taking the limbering and stretching work along with them4 ,you will enjoy them2 you do not have to starve yourself4 ,another thing let me warn you about6 ,don't bring or wear valuable jewelry to the studios4 ,all of our employees are trustworthy1 and besides1 we investigate the pupils who come into our studios4 ,we know all about them4 ,if the wrong kind of person does get in1 he or she doesn't stay more than an hour or two4 ,we also have detectives in the classes4 ,but don't take any chances4 ,don't bring valuable things into the place4 ,do not leave pocket-books in the dressing rooms2 bring them into the class room4 ,we keep a strict record of the attendance and the progress of each individual pupil4 ,we insist that you have the best that money can provide for you4 ,if anything should happen at any time to which you could take exception1 ,i hope you will report it to me4 ,our policy of giving you the very best to be had has appealed to a world of ambitious youth4 ,be careful about giving advice to other girls4 ,i don't want anybody in this class to presume to give advice to anybody else in the class4 ,many times a girl comes here to the school from clear across the continent4 ,she comes with great hopes and aspirations1 ready to work hard1 and with all the enthusiasm in the world4 ,then1 some girl in her class may tell her that she doesn't dance well--and her hopes will be shattered and she will become discouraged4 ,now none of you has any business to give advice or criticize other members of the class4 ,if you can learn stage dancing anywhere1 you can learn it in the ,ned ,wayburn ,studios4 ,persistent practice will do wonders4 ,remember all ,i have said about this1 and keep smiling4 ,,ned ,,wayburn',s ,,musical ,,comedy ,,dancing ,illustration ,this is one of the most useful as well as attractive types of stage dancing1 and appeals strongly to all aspirants for theatrical honors and emoluments4 ,i say useful1 for the reason that ,musical ,comedy dancing as ,i teach it supplies dancers with a repertoire of fancy steps and neat dance routines that should enable them to sell their services in the best theatrical markets of the world1 which seems to me to be a pretty useful sort of a property for one to have in their permanent possession4 ,if ,i here repeat that frequent practice on the part of the student is necessary for the correct acquirement of ,musical ,comedy dancing1 ,i am merely stating what is right and necessary that all should understand who desire to make their services in this line of endeavor available for public approval and a corresponding cash return4 ,and this applies to every other kind of dancing as well4 ,now you may think that you know just what ,musical ,comedy ,dancing is1 and perhaps you do1 but the name of it hardly defines it so that it would be recognized for exactly what it is by one not thoroughly stage-wise4 ,you see a pleasing ensemble or solo dance at some revue or musical show and1 without seeking or desiring to classify this dance as this1 that or the other kind1 you are satisfied to realize in your inner consciousness that it is a pretty movement and well worth seeing4 ,so exact is the execution that it arouses your wonder how the dancers ever manage to get so many intricate steps and rapid motions and pretty flings of their heels into a united and harmonious picture2 all working in perfect unison1 to a pleasing tempo1 smiling the while and doing it all as a mere matter of course1 with seeming unconcern1 just as though the steps and kicks and posing and grouping were second nature to them all4 ,that is a ,musical ,comedy dance1 and instead of growing on bushes to be gathered by every careless hand1 it is actually the result of studious endeavor and persistent drilling on the part of the participants1 and of careful and conscientious training by competent dancing instructors4 ,it is well done and gratifying to the spectator because it is the finished product of qualified teaching1 earnest endeavor1 tireless energy1 practice1 rehearsing4 ,remember this1 the next time you attend a show where dancing is a feature1 and accord the dancers the credit that is their due4 ,true ,musical ,comedy dancing is in reality an exaggerated form of what was formerly styled fancy dancing4 ,it is a cross between the ballet and the ,ned ,wayburn type of tap and step or ,american specialty dancing4 ,it combines pretty attitudes1 poses1 pirouettes and the several different types of kicking steps that are now so popular4 ,soft-shoe steps break into it here and there in unexpected ways and places1 adding a pleasing variety to the menu4 ,the tempo enhances and harmonizes the scene and the action4 ,there is no monotony1 no tiresome sameness2 yet the varying forms of action blend into a perfect continuity4 ,the dance is full of happy surprise steps1 perhaps1 or unexpected climaxes and variations that arouse the interest as they quickly flash by4 ,often there is featured in ,musical ,comedy dancing a bit of so called character work1 which may be anything--,bowery1 ,spanish1 ,dutch1 eccentric1 ,hawaiian1 or any of the countless other characteristic types4 ,also there are touches of dainty ballet work interspersed among the other features1 at times4 ,yet to accomplish the ballet effects or the character representations exacts of the dancer no special development along strictly ballet or classical lines1 when she obtains her ,musical ,comedy training here1 for these features are given the required attention as part of the regular course in fitting the student for this branch of the stage dancing art1 and thus our ,musical ,comedy graduates are qualified for all the variations of effort that naturally come under that head4 ,my foundation technique is a prime factor in the successful accomplishment of any type of dancing1 and the scientific limbering and stretching exercises that constitute that work are indispensable in perfecting the pupil to handle every phase of the varied demands in ,musical ,comedy dancing4 ,hence my insistence that our foundation technique precede the entrance of the pupil into the classes of this or any of the other various types of stage dancing that we teach4 ,illustration3 ,,fred ,,and ,,adele ,,astaire ,two of my most famous pupils in ,musical ,comedy dancing are ,fred and ,adele ,astaire1 brother and sister4 ,they came to me to study from ,omaha1 ,nebraska1 as little tots of about six and seven years of age4 ,adele was always fond of coming to her classes2 but ,fred says that he just followed on through brotherly association rather than from any preconceived ambition to become a professional dancer4 ,then1 through reverses of family fortunes1 the time came when they felt that they should be supporting themselves4 ,they continued to study under me1 and ,i was very happy to be able to place them in vaudeville in a singing and dancing act1 which ,i had prepared for them4 ,this started them on their career1 which has led them to ,europe and back again4 ,they have appeared in ,over the ,top1 ,the ,passing ,show of #aiah1 ,apple ,blossoms1 and in ,the ,love ,letter4 ,they then scored a sensational success in ,london in ,stop ,flirting 7#ege performances74 ,now they are starring in ,lady1 ,be ,good1 on tour after a long run in ,new ,york4 ,in this chapter ,i shall now describe in detail #cb bars of a simple musical comedy dance1 a soft shoe routine1 as we call it1 to give you some understanding of how modern stage dances are developed at the ,ned ,wayburn ,studios4 ,illustration3 ,,nw ,,musical ,,comedy ,,routine--#d_/d ,,tempo ,tune3 ,way ,down ,upon the ,swanee ,river4 ,the dancer enters from stage left4 ,step right foot to right oblique on count of one4 ,step left foot behind to right oblique back on count of two2 step right foot around behind the left on count of and2 step left foot to right oblique on count of three2 repeat same for four1 five1 and1 six4 ,step right foot to right oblique1 count of seven2 drag left foot in air behind to right oblique and slap left heel with right hand on count of eight4 ,step left foot to left on count of one2 drag right foot in air behind to left oblique and slap right heel with left hand on count of two2 step right foot to right on count of three and drag left foot across in front in air on count of four2 step left foot to left facing left1 count of five2 right foot front small step on count and2 step left foot back facing back1 count of six2 right foot to left1 small step on and4 ,left foot to right facing right1 count of seven2 right foot to back1 small step on and4 ,left foot to front facing front1 count of eight4 ,now repeat entire movement4 ,these two movements should take the dancer to the centre of the stage2 done in eight measures of #d_/d time4 ,step right foot to right oblique count of one2 hop on it in same place with left foot in air behind to left oblique back1 count two2 step down to left oblique back with left foot on count of three2 hop on left foot1 extend right foot in air right oblique on count four2 step right foot back behind left foot on count five2 step left foot to left oblique back1 count six2 step right foot across to left oblique1 count seven2 hop on right foot1 extend left foot in air right oblique back1 count of eight4 ,now reverse this entire movement to other side4 ,these two steps are done in four measures of #d_/d tempo in the centre of the stage4 ,step right foot to right1 count one2 step left foot behind to right oblique back1 count and2 step right foot down in same place1 count two4 ,reverse to left for count of three1 and1 four2 then step right foot to right1 count five2 step left foot in front to right1 turning and facing up stage1 count six2 step right foot around stage front to right1 turning front again1 count seven2 drag left foot across in front of right to right1 count of eight4 ,reverse this entire step to other side4 ,these two steps are done in four measures of #d_/d tempo in centre of the stage4 ,this finishes the first half of the chorus1 or #af measures4 ,facing left oblique1 drag right foot from left oblique to right oblique back1 count of and2 hop on left foot in same place1 count of one2 drag right foot from right oblique back to left oblique1 count and2 hop on left foot same place1 count of two2 drag right foot from left oblique to right oblique back1 count and2 hop left foot same place1 count of three2 displace left foot with right foot from right oblique back1 left foot extending to left oblique1 all on count of four4 ,hop on right foot same place1 count and2 step left foot to left oblique1 count five2 step right foot across in front to left oblique1 count six2 hop on right foot same place1 count of and2 step left foot to left oblique1 count of seven2 hop on left foot same place1 and turn1 kick right foot to right oblique1 count eight4 ,going up stage right oblique back facing right oblique1 step right foot back to right oblique back1 count one2 step left foot to right foot1 count of and2 step right foot to right oblique back1 count two2 step left foot to right foot1 count of and2 step right foot to back1 facing back1 count three2 hop on right foot turning right to face front on count four4 ,step left foot to left oblique on five2 step right foot to left foot on and2 step left foot to left oblique on six2 step right foot to left foot on and2 step left foot to left oblique on seven2 hop on left foot and kick right foot to right oblique on eight4 ,reverse all of these steps4 ,these are done in eight measures of #d_/d tempo in the centre of the stage4 ,step left foot to left oblique1 count one2 step right foot behind to left1 bend left knee1 count two2 hop on right foot and kick left to left oblique1 count three2 swing left foot back to right oblique back on four2 bring right foot around behind left on count and2 step left foot to front1 count five2 step right foot back to left on six2 bring left foot around behind right on count and2 step right foot to front on count of seven2 step left foot to left oblique on count eight4 ,illustration3 ,,cecil ,,lean ,step right foot to right on count one2 swing left foot up stage and step to back on and2 right foot straight in place1 facing up stage1 count two2 step left foot to stage right on count three2 facing right swing right foot to right1 count and2 step left foot straight in place1 count four2 now facing front1 having made complete left back turn4 ,now step right foot to right oblique back1 count five2 step left foot to right oblique back behind right foot1 count and2 straight with right foot in place1 count six2 step left to left oblique back1 count seven2 step right foot to left oblique back behind left foot1 count and2 straight with left foot in place1 count eight4 ,reverse these steps4 ,these steps are done in eight measures of #d_/d tempo1 in the center of the stage4 ,this completes the first chorus1 or #cb measures4 ,illustration3 ,,nw ,,mr4 ,,wayburn ,,addresses ,a ,,class ,,in ,,musical ,,comedy ,,dancing ,illustration3 ,,nw ,in ,musical ,comedy dancing it is necessary that you should have control of every muscle in the body in order to do the work effectively4 ,if you have not that control you are going to fail to get the steps4 ,that is the reason for the limbering and stretching work of our foundation technique1 a necessary preliminary for all who enter this class4 ,our foundation process will give you the mastery of the muscles of the feet1 the upper leg1 the lower leg and your whole body1 without which you will never be able to learn this type of dancing4 ,it requires concentration1 patience1 incessant practice1 on your part1 but you soon see the good results of your efforts in the strengthening and flexibility of all your muscles4 ,this class is organized for a period of not less than twenty lessons1 during which time you will have the satisfaction of acquiring four complete routines4 ,each routine consists of not less than ten steps4 ,some have more1 but the average routine consists of ten steps1 one to bring you onto the stage1 which is called a travelling step1 eight steps in the dance proper1 usually set to about #fd bars of music1 or the length of two 7#b7 choruses of a popular song1 and an exit step1 which is a special step designed to form a climax to the dance and provoke applause as you go off stage4 ,now1 there may be two travelling steps to bring you onto the stage instead of one1 depending upon the arrangement of the routine1 but you will be taught about two steps every lesson1 in the beginners' courses1 so that at the end of each week1 or five lessons1 you will have learned one complete routine4 ,you must learn to throw your personality into the dances4 ,and when you get further along in the dances you can begin to work your facial expressions into your dancing4 ,there are many things to learn about dancing besides the steps1 and you will do well to improve your opportunities in every way you can while you are preparing for a stage career4 ,go to see as many expert professional dancers as you can--study them--and absorb all you can about stage dancing from the ,ned ,wayburn ,news and other dance magazines4 ,this course teaches complete professional routines such as you would do on the stage1 and may be used as solo dances4 ,routine is a professional term for musical comedy or any kind of a stage dance4 ,it is a sequence of steps4 ,routines are arranged so that they will provoke applause4 ,maybe the fourth or the eighth step will be climactic steps1 especially arranged to make a climax in the dance and win applause4 ,in different routines1 the climax you will find comes on different steps1 depending upon the arrangement of the routine4 ,in order to put over a climax you must throw your personality into it4 ,exits as well as entrances are difficult of successful accomplishment4 ,it takes a great artist to make an effective exit4 ,the exit should always be made with the face toward the audience 7unless there is some special reason why the back is turned71 so that the audience gets the full effect of your facial expression4 ,all the dances in my courses are taught in a professional way4 ,that does not mean1 of course1 that you have to go on the professional stage4 ,many girls and boys study with me who have no intention of ever going on the stage4 ,they do so because they know that my limbering and stretching work and my type of dancing will make them healthy1 flexible and graceful1 but nevertheless they are all taught in a professional stage way1 which is the only successful method4 ,my stage dancing is the type of dancing that gets over with an audience4 ,the old folk dances and the old-fashioned fancy dances no longer appeal to the interest4 ,but ,i teach the kind of dancing that is in demand4 ,if you should appear in any kind of entertainment for charity or any private theatrical performances1 you can make use of my really professional stage dances2 and since you are properly taught1 you will make a success1 providing you profit by expert advice and devote ample time to practice every day4 ,one reason that we get such good results in our school is on account of the way in which we organize and conduct our classes4 ,everybody must conform to discipline4 ,you certainly will get discipline if you go on the stage4 ,everybody should get a copy of our booklet1 ,your ,career1 if you haven't already done so1 and read it through from cover to cover4 7,a copy will be sent free on request47 ,read the call-board outside in the office4 ,in the professional theatre the call-board is usually placed near the stage door4 ,anything of interest to the company is posted on the call-board4 ,pupils in my courses are required to read the call-board because in reading the call-board1 the booklet and the other literature that we get out1 you will absorb a lot in the way of showmanship and stage-craft4 ,any one of you1 after taking my course1 should make a success on the stage because you will know how to dance in a professional way4 ,you will know how to sell your dancing4 ,specialized training is very necessary in order to get a foothold1 and the rewards are enormous for those pupils who do get over4 ,make an effort to acquire an easy presence4 ,this you must get by appearing before an audience4 ,now1 ,i represent your audience4 ,i come in to visit your class in order to make constructive criticism1 and to watch your physical progress4 ,whenever any of our pupils are appearing in the city theatres you should go and see them1 because from their work you will get inspiration1 and you must have inspiration4 ,without it you can't do anything2 you won't get any benefit out of the work at all4 ,you must concentrate on the work and enjoy it4 ,only through patient practice will you ever make a success of it4 ,some girls come into the musical comedy work and are inclined to take it lightly4 ,they don't practice enough4 ,or perhaps they get discouraged if they miss one step and can't seem to get it at first4 ,you must be enthusiastic about your work if you are going to succeed4 ,illustration3 ,,scene ,,from ,,ned ,,wayburn',s ,,symphonic ,,jazz ,,revue ,i want to tell you about a group of my girls who recently started out on their professional work4 ,they were in the ,ned ,wayburn ,symphonic ,jazz ,revue1 which was arranged by my producing department for the ,middle ,western ,moving ,picture ,theatres4 ,these girls had all been around the ,studios for about six months1 practicing and working hard1 and this was the first experience for most of them4 ,they were a wonderful bunch of girls1 mentally and morally4 ,four of the girls had their mothers with them as chaperones4 ,one of them saved #bge4jj in #bd weeks out of a salary of #ej4jj per week4 ,ned ,wayburn's ,honeymoon ,cruise is made up of pupils from the ,studio1 also1 and has made a great success4 ,they are girls and boys of good breeding1 personality and good minds4 ,i want you to come to me and advise with me about what you are going to do with yourself4 ,let me be the one to guide you1 please4 ,don't listen to any girl you may meet in classes4 ,you will learn to like some girl in the class very much and you will become great friends4 ,all of a sudden she gets an idea about a professional engagement and she drags you along with her1 and you both think you are ready to start in and do something big4 ,but there is a right way and a wrong way to go about getting started1 and you must start with the right manager for the sake of your whole future success4 ,remember that ,i am always glad to talk with you and to help you about engagements when you are ready1 but you must prove your ability first4 ,no girl or boy can get an endorsement from me who misses a lesson without offering a plausible excuse4 ,you must be regular in attendance and you must be punctual4 ,if you miss a class you are obliged to telephone in before the class starts4 ,if you are ill you must bring a doctor's certificate the next time you come to class4 ,your excuses must be sent to me personally4 ,if you telephone in1 be sure that it is sent through to me4 ,i keep track of all the past pupils1 and ,i do not recommend pupils who have not worked faithfully or who have been irregular in attendance4 ,there is a great incentive in class work1 since you can get encouragement and inspiration from the other girls4 ,some girls in the class will take to the work more easily than others because they are in better physical condition1 but if a girl gets along faster and better than you do1 don't be discouraged by it4 ,just let it make you more ambitious to do as well4 ,your time will come if you keep at it4 ,do not try to practice in this room4 ,this is a place to learn4 ,practice your lesson1 go over the exercises1 at home1 several hours a day or use the practice rooms we provide4 ,don't be satisfied to come into class and try to perfect your routines there4 ,it isn't possible4 ,when you go on the stage professionally you will be expected to be already fully informed as to certain necessary facts that concern all actors everywhere4 ,much information about showmanship is given in our makeup classes4 ,you must take lessons in makeup before you go on the stage4 ,you will do well to practice the same things here in the studio1 now and all the time1 in order to make you stage-wise and perfect in necessary stage deportment4 ,one of the things required of you on the stage is to stand still4 ,don't move about or turn your head or lop around or move your hands or feet4 ,you will have a fixed position established at rehearsals1 when you enter upon professional stage work1 and if you do not hold it and observe the rules about standing still1 you will not be wanted and will not last long4 ,it seems a very simple thing to do1 when you think of it1 but unless you do it right here1 while you are learning the basic facts about a stage career1 you may fall down on it there4 ,heed this advice1 and you will be grateful to me for it sometime4 ,if you are on the stage and someone is playing a scene1 and your head is going from side to side1 you attract the attention of the audience from the actor to yourself4 ,when you do it here you take the attention of the class away from me1 and you also take my attention away from the class1 and if one or all of you do a go as you please about your movements1 your talking and your attitudes in class1 we have a pandemonium here that will drive your teacher frantic and prevent you from getting the instruction that you are paying for4 ,in this studio we insist upon and enforce discipline1 just as your stage director will do when you join some company4 ,it is good for you to get the disciplinary practice now that you must expect to receive when you pass from here to a regular stage4 ,those of you who really mean business and are going to succeed do pay attention to the studio discipline1 always4 ,illustration3 ,,nw ,illustration3 ,,ann ,,pennington ,,ned ,,wayburn',s ,,tap ,,and ,,step ,,dancing ,,sometimes ,,called ,,clogging ,illustration ,you will remember that in a preceding chapter ,i said that ,tap and ,step dances were those composed chiefly of motions of the feet which resulted in combinations of various sounds made by different parts of the foot tapping or beating the floor1 these sounds or beats being called taps4 ,this type of dancing expresses the ,american syncopated rhythms4 ,it was the most popular type of stage dancing about forty years ago1 when it was most beautifully performed by the greatest ,american dancing stars like the late ,george ,h4 ,primrose1 the famous ,american minstrel4 ,buck-dancing is done to syncopated rhythms1 and you must get the right accent on those syncopated beats or taps or you cannot get the knack of doing a buck dance properly4 ,so it is most important that you practice over and over again the four kinds of taps and hops which ,i shall describe now4 ,first of all1 stand in an imaginary circle the diameter of your feet1 with your heels together1 your right toe pointed right oblique and your left toe pointed left oblique1 your weight equally distributed between the two feet1 as described in a previous chapter4 ,every dancing step is in counts of eight4 ,remember that all of your counts begin with the left foot unless you are instructed to the contrary4 ,remember always1 when you hop1 to land with the knees bent2 otherwise1 the landing of the body with stiff legs after the hops will be a shock to the nervous system which in time will undermine your health4 ,illustration3 ,straight ,tap ,the first tap is called a straight tap4 ,put your weight on the whole right foot4 ,the left foot should be held about one inch from the floor4 ,tap the floor with the ball of the left foot for seven counts1 working the foot on a hinge from the ankle1 keeping your feet directly opposite and inside the circle or place4 ,on the eighth count put the flat of the left foot down on the floor1 shifting your weight to the left foot4 ,now in doing these straight taps count3 #a1 #b1 #c1 #d1 #e1 #f1 #g1 flat4 ,and when you say flat you shift your weight to the left foot by putting it flat on the floor4 ,then comes the same with the right foot--seven taps with the ball of the right foot and flat on the eighth count4 ,now do the sixteen counts1 first with the left1 then with the right4 ,thus3 7left7 #a1 #b1 #c1 #d1 #e1 #f1 #g1 flat2 then 7right7 #a1 #b1 #c1 #d1 #e1 #f1 #g1 flat4 ,illustration3 ,front ,tap ,the next tap is a front tap4 ,the front tap goes front--it gets its name from the direction it takes4 ,swing the lower leg 7from the knee down7 like a pendulum4 ,the tap is made with the inside edge of the sole of the shoe1 striking the floor as the foot goes front only1 clearing the floor as it goes back1 the back swing being made to the count of and4 ,put the accent on the number as you say it out loud4 ,front-and1 #b-;and1 #c-;and1 #d-;and1 #e-;and1 #f-;and1 #g-;and1 and #h-;flat 7weight on the left foot74 ,swing the lower leg from the knee back and forth1 not the upper leg at all1 striking or tapping the floor only on the front swing4 ,then execute the same taps with the ball of the right foot1 stopping after the count of #h-;flat with both feet flat on the floor1 the weight equally distributed between them4 ,now1 you have had the straight-tap and front-tap with both feet4 ,illustration3 ,back ,tap ,the next is the back tap4 ,make the back tap like the snap of a whip1 swinging the lower leg from the knee only1 like a pendulum1 with a sharply accented move to back1 striking the floor with the ball of the foot as it goes back only to the counts1 and swinging it front to the count of and when the foot must clear the floor each time4 ,snap it down--,back-and1 #b-;and1 #c-;and1 #d-;and1 #e-;and1 #f-;and1 #g-;and1 #h-;flat 7with the left foot72 then with the right foot1 ,back-and1 #b-;and1 #c-;and1 #d-;and1 #e-;and1 #f-;and1 #g-;and1 #h-;flat4 ,illustration3 ,heel ,tap ,we now come to the heel tap1 which is made and counted like this3 ,heel1 #b1 #c1 #d1 #e1 #f1 #g1 flat 7#h counts74 ,the same with the right heel for the same counts 7#h74 ,practice these four taps1 the straight1 the front1 the back1 the heel1 and the hop faithfully before you try to learn the buck dance1 because from these four taps and the hop are built up many combinations which form complicated steps which you will want to learn later on4 ,and the more you practice these fundamentals the better dancer you are going to be4 ,be sure to review1 too1 over and over again1 the eight stage directions--front1 left oblique1 left1 left oblique back1 back1 right oblique back1 right1 and right oblique4 ,in tap dancing1 as in the musical comedy dances1 there will usually be ten steps2 one travelling or entrance step which will bring you onto the stage 7from off stage into the line of sight of the audience71 eight dance steps1 and one exit-step to take you off1 out of sight of the audience1 which will always be in the nature of a climax to provoke applause4 ,but1 as ,i have said above1 in buck-dancing or in any type of tap and step dancing1 the rhythm is most important1 and in order to be thoroughly grounded on syncopated rhythms1 ,i shall give you first of all a beginner's time-step4 ,after that you will learn a beginner's break4 ,the time-step and break are the keys to tap dancing and must be mastered before the tap dance can be learned4 ,the time-step and break must be perfectly timed to the syncopated rhythm4 ,and it is going to take long1 patient periods of practice in order to perfect them4 ,do not get discouraged4 ,apply yourself keenly to both of these fundamental steps4 ,illustration3 ,,private ,,lockers ,,in ,,dressing ,,rooms ,,the ,,time ,,step ,the purpose of the time step is to get the syncopation into the dancing step1 and establish the tempo of the dance4 ,with the weight on the left foot1 front tap with the right1 back tap with the right1 hop with the left1 with the right foot back and raised from the floor4 ,the count is ,and a one1 with strong accent on one4 ,now straight tap with right foot to count two and accent it4 ,do a front tap with the left 7count and71 left foot straight front 7count three and accent71 right foot straight 7count four and accent74 ,with the weight on the right foot1 front tap with the left1 back tap with the left1 hop with the right1 with the left foot back and raised from the floor4 ,the count is ,and a one1 with strong accent on the one4 ,now straight tap with left foot to count two and accent it4 ,do a front tap with the right 7count and71 right foot straight front 7count three and accent71 left foot straight 7count four and accent74 ,repeat all six times4 ,,the ,,break ,with the weight on the left foot1 front tap with the right foot1 back tap with the right1 hop with the left1 with the right foot back and raised from the floor4 ,the count is ,and a one1 with strong accent on the one4 ,tap right foot straight 7count two and accent74 ,tap left foot front1 tap left foot back1 then left foot straight1 to the count of and three and4 ,now right foot straight1 to count of four accented4 ,hop on the right foot with the left raised from the floor in front1 count five and accent it4 ,front tap with the left 7count and71 straight tap front with the left 7count six and accent it71 straight tap with the right1 place the right toe even with the arch of the left foot 7count and7 then left foot flat front to count of seven accented4 ,now1 first of all you had the eight different directions2 after the eight different directions the four different parts of the foot and the hop1 and then the different kinds of sounds or taps that ,i just gave you4 ,we begin to make all sorts of combinations of those sounds4 ,for instance1 one of the primary steps which you must know is a combination of front1 back and straight tap together4 ,stand on the ball of each foot2 the weight is off the heels1 and equally distributed between the balls of the feet4 ,now beginning with your left foot1 do one front-tap1 one back-tap1 and one straight-tap1 accenting the straight tap--counting it #a1 #b1 #c4 ,now1 begin with the right foot and do one front-tap1 then one back-tap1 and one straight-tap1 counting it #a1 #b1 #c1 and then alternately with each foot4 ,on the third count your weight should rest on that foot4 ,when perfected1 that makes the first actual step in ,tap and ,step dancing4 ,one of my pupils of whom ,i am very proud is ,miss ,ann ,pennington1 another of the ,follies stars4 ,she became one of the leading exponents of ,tap and ,step dancing1 and although she has reached this high point in her career1 she still comes to me for advice and for pointers1 and ,i am glad that she does this1 because it shows that she realizes the necessity of new ideas and hard work to keep herself at the top4 ,in dancing1 as in many other professions1 one must keep everlastingly at it4 ,the story of ,miss ,pennington's career is similar to that of many who have come to me for instruction4 ,she had innate ability1 good looks1 a sense of rhythm and a willingness to work hard and patiently1 and with these qualities has achieved success4 ,,mr4 ,,wayburn ,,addresses ,a ,,class ,,in ,,tap ,,and ,,step ,,dancing ,illustration ,what you are learning in this class ,i like to call bread and butter dances1 for if you succeed in mastering them thoroughly1 as you surely will if you give attention to your instruction here in class and then practice several hours daily at home1 you will possess as your own individual property a means of livelihood that will remain at your command all your stage life4 ,when you know how to execute the routines of these dances and add to and develop your routines to keep them fresh and up to the hour1 you have a lot of neat steps that will get over with the producers of many of the better types of modern shows4 ,that is what ,i mean by bread and butter dances2 something you can sell most easily in the present show market1 and get not only food and raiment and lodging1 but build up a savings bank account for the future as well4 ,so it is well worth while to take your instruction here seriously and earnestly1 as ,i am sure you intend to do4 ,there is big money in this line of dancing if you practice and keep at it long enough4 ,there are many four-figure salaries being paid every week to qualified dancers with an established name and reputation1 and the way to earn these big salaries is to become qualified yourself4 ,we teach you right and start you right--then it's practice for you2 practice and more practice4 ,let me tell you just how you should practice from now on in order to become a competent solo specialty dancer4 ,practice one step at a time4 ,in a routine take the first step2 practice that step until you are tired1 then sit down and rest five or ten minutes4 ,as soon as you feel like getting up again1 take the second step and practice it until you are tired2 sit down and rest again4 ,then do the first and second steps--no more2 then sit down and rest again4 ,practice until you feel yourself tiring1 but ,,do ,,not overdo it4 ,practice faithfully and don't slight any one step4 ,then practice the third step the same way4 ,when tired sit down and rest--then get up again4 ,put the first1 second and third steps together1 and so on all through the routine of eight or ten steps4 ,no other way you can think of to practice will result as well as this particular way4 ,it is a systematic1 practical way4 ,i am taking a big responsibility with you1 because when you finish your course you are going to appeal to me and ask if ,i know of an opportunity for you2 where ,i think there is a good chance for you to begin2 how you can get started4 ,you are now getting along in advanced work4 ,try to get on in some charity entertainment2 some place where you are employed in the day may have some benefits4 ,try for church entertainments4 ,some evenings in the neighborhood where you live there may be little entertainments4 ,no matter how small an affair1 try to go on4 ,get in front of an audience and feel the tension of an audience2 it will give you encouragement1 and on each succeeding appearance you will gain confidence and see how you get over with an audience4 ,after a few appearances any feeling of stage fright will gradually disappear1 and eventually you will gain confidence in yourself4 ,do not try to go on at first in any ,broadway benefit4 ,be satisfied to make a very small beginning4 ,you have to begin now to put yourselves in the work4 ,you can't be looking down at the floor and wondering what step comes next4 ,that is no longer possible4 ,you must acquire a method of executing the step2 a little smile on your face2 a little personality behind it2 inject character into all your work4 ,recently the ,friars put on a ,minstrel ,show in ,new ,york that was a sensation4 ,it shows that the public are gradually coming back to the old-time ,minstrel ,shows4 ,the show business moves around in cycles2 styles change in dances the same as in fashions4 ,light operas and musical comedies are coming in4 ,those of us who watch the theatre know that the styles are changing1 and when ,i tell you this type of dancing is coming in you can believe it4 ,many prominent society women are studying this style of dancing4 ,the ,universities are taking it up1 and we are gradually establishing it4 ,kansas ,city1 ,atlanta--the ,junior ,league ,follies1 all did this type of work4 ,there are #aj1jjj dancing teachers in ,america1 and out of these1 #b1cej are already teaching it1 and there is every incentive for you to learn it1 for it is popular and profitable1 and with our foundation technique already acquired as a basis for this work you should not find it difficult to master4 ,this class is going to be taught four complete professional stage dances this month4 ,if you got that outside of this school you would have to pay not less than #ajj to #bjj for each routine4 ,i make it a point to give my scholars the very best there is in the line of instruction1 and at the same time charge them only a reasonable fee4 ,we also give you the backing of every part of this establishment--publicity1 advertising1 and bookings when we can1 but not until you have made good during your study4 ,now there is one little thing ,i am going to talk to you about that really is a bigger thing than it seems--and that is gum--chewing gum4 ,if you had had stage experience you would know that gum is taboo in the theatre1 and the reason for this is not only that to chew in sight of an audience would be an insult and result in immediate dismissal1 but also for this very important reason1 that a cud of gum if dropped on the stage would destroy that stage for dancing--your own dancing and everybody else's4 ,and it would be the same way here in the studio4 ,we have here the finest of clear-maple dancing floors in every one of our studios4 ,drop a piece of gum on this floor and then try your dance and see what would happen to you4 ,you'd step on it and you'd get a fall2 you couldn't help it2 and an unexpected fall like that might break your ankle1 very easily4 ,it has been done before now4 ,just make believe that you are under a theatrical producer on a ,broadway stage1 while you are with us here1 and park your gum on a lamp post before you come into this building4 ,then you and the rest of the young ladies will not be in danger of meeting with an accident from that source4 ,real flowers are not allowed on the professional stage for a similar reason4 ,a flower petal falling on the floor acts as a banana skin would1 making a slip and a bad fall possible to anyone on the stage4 ,you'd not like to have your dance spoiled by a wad of gum or a flower petal1 and perhaps get put out of commission and have to forfeit a contract because of a personal injury4 ,so let's play we are on the professional stage here and do as real professionals do--cut out the cud and forego the posies4 ,if you have flowers handed to you over the footlights when you get to be stars1 ladies1 let it be at the final curtain4 ,then you won't break anybody's neck4 ,illustration3 ,,the ,,three ,,reilly',s--,,alice1 ,,gracie ,,and ,,johnny ,i say often to every class1 and ,i say it again to you--come and see me in my office and tell me how you are getting along here4 ,and ,i mean this for every one of you4 ,if ,i wasn't certain that ,i am going to be able to help you ,i wouldn't ask you to do this4 ,if ,i didn't care ,i might do as some others do--take your money and let you go along in the class work as you choose to without bothering myself whether you made good or not4 ,but that is not my way--not this studio's way at all4 ,you must make good1 for your own sake--and for the sake of this school's reputation4 ,now remember1 there is absolutely no charge for my advice or counsel about anything that concerns you--your health1 your reducing1 your improvement in dancing--anything you want to know4 ,one day a girl came to me for the first time after she had been in the school about four months4 ,i asked her in some surprise why she hadn't been in to see me before4 ,why1 ,mr4 ,wayburn1 she said1 ,i understood that you charge a high price for consultation1 and ,i didn't feel that ,i could afford it4 ,not only do ,i not charge anything for counseling you1 ,i esteem it a favor to myself to be allowed to advise you4 ,candidly1 ,i have never yet had a girl or boy take my courses here who has made a success of a dancing career who didn't write to me or talk things over with me first4 ,if you don't come1 you cannot get my ideas1 cannot cooperate with me in matters that concern you4 ,come to my office at any time4 ,between #aa and #a1 or #d and #f are usually the best times4 ,if ,i am busy with some important matter ,i may have to ask you to wait awhile or come in at some other time4 ,i'm a pretty busy man some of the time1 myself6 ,weigh yourself and tell me about your weight4 ,,ned ,,wayburn',s ,,acrobatic ,,dancing ,illustration ,there is a very decided distinction to be drawn between acrobatics pure and simple1 and acrobatic dancing1 which is quite another matter4 ,it is1 of course1 acrobatic dancing that you see on the stage accompanying and accentuating the more formal dancing steps in musical comedies1 revues1 and spectacular performances1 and it is this acrobatic dancing that receives wide attention in the teaching of the dancing art in the ,ned ,wayburn courses4 ,there are properly two divisions into which acrobatic dancing is naturally separated3 7#a7 ,bending exercises2 including the back bend1 hand-stand1 inside-out1 front over1 back limber1 cartwheel1 tinseca1 nip-up1 the various splits1 and several more advanced feats that should be attempted only after thorough physical preparation4 7#b7 ,high-,kicking exercises2 including all the so-called legmania varieties of dancing1 which are best acquired by thorough preparation of the body in the ,ned ,wayburn foundation technique and studious attention to the drill in the ,ned ,wayburn ,americanized ballet technique4 ,all of the acrobatic dancing tricks that are properly classified under bending exercises have for their foundation the back bend and the hand stand1 as they are called1 both of which must be mastered absolutely before attempting other and more complicated acrobatic exercises4 ,i want to go on record with the emphatic statement that acrobatic dancing must not be attempted except by those who are entirely and absolutely physically fit4 ,the acrobatic dancer must possess unusual strength in the arms1 in order that the weight of the body may be safely supported2 and there must be strength and flexibility of the waist muscles and the abdominal muscles1 and of all the muscles of the back and shoulders1 to enable the performer to execute the front and back bends and their companion strenuous exercises4 ,first1 the pupil must have an unusual adaptability to this type of dancing1 and then must prepare carefully and properly in advance of entering upon the real work of the course4 ,the best development comes from our limbering and stretching exercises4 ,there is nothing else like it nor anything equally as good as a foundation for all types of dancing1 and it is especially needed by the amateur entering upon an acrobatic dancing career4 ,we have put literally thousands of pupils through this course1 and every student of our acrobatic dancing classes who has taken this essential preliminary course has come through in fine shape4 ,you must be extremely careful if you have or ever have had any abdominal trouble4 ,you must get the abdomen strengthened before you undertake any acrobatic work4 ,if you have had an operation for peritonitis1 appendicitis1 hernia1 or elsewhere in the abdominal cavity or region1 you must1 out of consideration for your own health1 avoid any violent bending exercise4 ,this does not imply that you should not exercise properly4 ,you should1 for it is easily possible to strengthen the tender muscles into a normal condition by suitable and systematic exercises4 ,try this test3 ,lie flat on your back on the floor4 ,now1 without aid of the hands or elbows or any outside assistance1 bring your body to a sitting position4 ,if you cannot do this1 get your back muscles into training before you attempt any difficult exertion4 ,if you succeed in your test1 you can safely consider your abdominal muscles to be in sufficiently good condition to go ahead with acrobatic dancing4 ,let me describe a few of the most common of the acrobatic tricks that all acrobatic dancers must know1 and you will no doubt recognize them as being also favorite tumbling acts of boys and girls on the lawn4 ,the most complicated and difficult acrobatic exercises are taught in full in the ,ned ,wayburn ,studios1 and are printed in detail1 with simple instruction for their successful accomplishment1 in the ,ned ,wayburn ,home ,study ,course in ,stage ,dancing4 ,the few we give you here are not difficult1 and can be mastered at home by anyone who persistently practices and follows the descriptions with care4 ,illustration3 ,,acrobatic ,,dancing ,,practice4 ,,back ,,bend ,stand erect4 ,spread the feet about fifteen inches apart4 ,have the toes pointed well out1 at about a sixty degree angle4 ,raise the arms directly overhead1 the hands shoulder-width apart4 ,put your head back1 pushing forward with your knees4 ,lean back1 bending the arms as far back as you can1 till the palms of the hands rest on the floor4 ,in doing the back bend1 relax the lower jaw and keep the mouth slightly open to breathe4 ,throw the strain of the bend in the small of the back4 ,to come up1 acquire a little rocking motion forward and back1 lean forward1 and you will come up easily4 ,how to do a back bend while standing near a wall4 ,stand about #c feet from the wall1 with your back to the wall1 feet about two feet apart4 ,bend back1 touch the wall with the palms and walk down the wall with your hands until you touch the floor4 ,then walk up with your hands until you are erect4 ,illustration3 ,the ,back ,bend on the ,flat1 and ,near a ,wall ,,hand ,,stand ,take a wide step forward with the left foot1 place both hands flat on the floor at least eighteen inches apart in front of the left toe1 fingers open and pointed directly front1 right leg perfectly straight1 extended straight back4 ,swing the right leg up and over and follow it with the left leg1 and when you come down bring down the left leg first1 then the right leg1 bringing the left knee close up to the chest4 ,do not kick hard or you will go over4 ,how to do a hand stand while standing near a wall4 ,advance whichever foot comes natural to you to do this act 7people are right and left footed as well as right and left handed72 let us say your right foot4 ,stand facing the wall with the right foot advanced to within about two feet of it4 ,place both hands on the floor1 about eighteen inches apart1 in front of left foot1 fingers open and pointed front1 right leg extended back and straight4 ,kick up with the left foot over your back so as to bring the soles of both feet against the wall1 the left foot reaching the wall first2 knees straight1 heels together4 ,illustration3 ,the ,hand ,stand on the ,flat 7,a1 ,b71 and ,near a ,wall ,,cartwheel ,the cartwheel is the hand stand done sidewise4 ,instead of kicking up1 as in the hand stand1 put one hand down and then the other1 going sidewise1 kicking your feet up4 ,keep your head back1 so as to retain your sense of direction4 ,illustration3 ,the ,cartwheel ,one of my star pupils in acrobatic dancing is ,miss ,evelyn ,law1 a principal dancer of the ,follies1 and in ,louie the ,fourteenth4 ,she came to me four years ago1 a little girl fifteen years old4 ,there are few girls who have worked so hard to succeed as has ,evelyn1 and there are certainly few who have achieved the top line in their profession as quickly as she has4 ,in every respect1 ,miss ,law is a credit to the ,american stage4 ,she started in her first appearance in an engagement which ,i got for her at a salary of #ge4jj a week4 ,then her salary jumped to #abe4jj a week1 in ,two ,little ,girls in ,blue1 plus her mother's fare2 later1 as a featured member of the ,follies1 which engagement ,i was also very happy to secure for her1 her weekly salary reached the #gej4jj mark4 ,but ,evelyn deserves her good fortune1 because she has worked hard4 ,indeed1 no girl could do the remarkable work which she is doing were she to live anything but a life of rigorous attention to every detail pertaining to health and physical fitness4 ,she not only has ability1 but she has the capacity for putting her heart into her job4 ,she writes3 ,the encouragement which ,i have received urges me on to greater effort2 and ,i am constantly trying to improve myself4 ,i realize that only by constantly striving can ,i hope to win the recognition of producers and at the same time please the public4 ,she writes of her present work that it is a privilege which must be honored by my unflagging effort to put forth my best4 ,there's inspiration for all my dancing pupils in ,evelyn ,law's success4 ,illustration3 ,,nw ,illustration3 ,,evelyn ,,law ,,mr4 ,,wayburn ,,addresses ,a ,,class ,,in ,,acrobatic ,,dancing ,i have watched this class with a great deal of interest4 ,you really are getting a physical foundation here for wonderful dancing2 you are beginning to handle yourselves in a scientific way4 ,i congratulate you4 ,to make a success at acrobatic or any other dancing you must not strain yourselves4 ,train1 but don't strain4 ,be patient and keep practicing1 and you will go far4 ,you are very wise to develop your ability along the line of acrobatic dancing rather than as an acrobat4 ,there is a vast difference4 ,as a mere acrobat one has to be a top-liner and wonderfully expert to get any kind of a salary at all1 but as an acrobatic dancer you can command a place in the very best stage productions1 high class musical comedies1 musical revues1 vaudeville1 etc41 and also in the better grade motion pictures and presentations1 and get a very good salary4 ,but if you let the acrobatic tricks dominate your dance1 you will be classed as an acrobat1 and not as an acrobatic dancer2 so look out--keep your dancing up to grade and throw in these acrobatic tricks as a surprise and a climax1 and you've got something the public and the producers want and will pay for4 ,illustration ,after you have acquired these wonderful tricks and gotten hold of your bodies1 and succeeded in bringing out in a physical way all the grace that nature gave you1 then you can be taken and schooled in the soft1 beautiful ,americanized ballet work1 and you will find that after this training you are now getting1 our ballet technique will delight you and be comparatively easy for you4 ,you know1 of course1 that in this course the ballet is not taught in the old1 antiquated way1 taking years of your time before you are permitted to do solo work4 ,we teach you our own modern1 scientific way1 giving you first our foundation technique1 then letting you learn how to use your arms1 head1 the upper part of your body and your legs gracefully and prettily1 and making you as good ballet dancers as the old long-drawn-out practice ever made1 enabling you to qualify for a paying engagement without a discouraging wait of years and years4 ,pavlowa1 you know1 was kept subordinate twelve years before she was permitted to attempt a solo dance in public4 ,imagine our ,american girls submitting to such apprenticeship6 ,not one of you would consider such a thing4 ,and fortunately you do not have to1 for we have revolutionized all that4 ,now you are getting a wonderful dancing repertoire1 with acrobatic dancing1 musical comedy work and the tap and step dancing4 ,when you add our ballet course to that1 then you are ready for any call that may come to you in your lifetime4 ,this is my aspiration for you4 ,we are trying to realize ideals4 ,when you have finished here you will be accomplished dancers1 not mere machines going through a bunch of set exercises4 ,add the spiritual touch to your work now as you start on the home stretch4 ,finish here going strong1 and your speed will carry you far4 ,don't be satisfied to qualify merely as acrobats4 ,when you come to me for a letter of recommendation to some first-class theatrical manager1 ,i don't want to have to say to him3 ,enclosed you will please find one acrobat4 ,i have better hopes of the graduate pupils of my courses than that4 ,i want to say a word here to any who feel that they are slow and not keeping up with the pace set by the rest of the class1 and that word of advice is1 take the same class for another four weeks' period4 ,don't have any false pride about it4 ,you want to fit yourself perfectly for your profession4 ,if the four weeks you have already had here are not time enough to do that1 go in for another month4 ,really1 two months is a very short time for completing a training of so much value to you4 ,i tell pupils in the courses in the other branches of dancing we teach1 that if they feel stiff or have difficulty in performing their steps1 they would do well to go into this class1 the acrobatic dancing class1 for a month1 because here the students get all sorts of primary acrobatic tricks and gain in strength and flexibility4 ,all dancing is easier to those who take this work4 ,and besides1 if you go out and accept an engagement you will be proficient in cartwheels1 splits1 and many other neat tricks that will be of great service to you4 ,these are stunts that you cannot learn in a theatre2 no one has time to teach them to you1 nor the necessary equipment or facilities1 and you want to be ready when the stage director calls for those who are capable of doing something unusual1 to show him on the spot4 ,and you cannot afford to try to learn things from another girl4 ,you may injure yourself severely if you do4 ,these difficult feats should only be attempted under the best instruction4 ,do not allow any girl or boy who is inexperienced to try to teach you anything in the line of acrobatic work4 ,fresh air in your lungs1 correct diet1 and nine glasses of water a day will do wonders for you in many ways4 ,you have heard me say this before4 ,well1 ,i shall say it a good many times more1 just as long as ,i have students under my charge who want to be healthy1 wealthy and wise--and good looking and good dancers4 ,and please do not treat this advice lightly4 ,i can only ask you to observe these simple rules4 ,i have no way of enforcing them1 and possibly because they are simple you do not give them the consideration they deserve4 ,now let me tell you some facts1 and then you decide whether or not you think it wise to neglect yourself4 ,surely none of you will object to taking a glass of water nine times a day4 ,do not drink ice water1 nor take water with meals4 ,liquids taken while eating will bloat you1 make you fat1 or make it impossible to assimilate your food properly1 and that will keep you underweight4 ,take a glass on arising1 one after breakfast1 one before and after dinner and luncheon1 one at about eleven in the morning and another at four1 and one just before getting into bed4 ,water taken into the system this way induces a healthful perspiration which eliminates the bodily impurities4 ,your skin must be ventilated1 which means that the pores must be opened1 and water-drinking as ,i have directed will do this4 ,if you drink milk1 sip it slowly2 don't pour it down4 ,don't eat between meals4 ,have a meal an hour and a half before class or before a performance1 then the digestive process will have had time to complete its work and leave you in the best condition for mental and physical exertion4 ,after exercising here in your class1 do not dress and hurry out into the street until your pores are closed4 ,you have free shower baths at your disposal in your dressing rooms here in the studios1 put there for just the purpose of enabling you to get into perfect condition before you go outdoors4 ,use them1 with my compliments1 please1 and keep fit2 then take a good rub down4 ,it is important to you to have a good clear skin and complexion4 ,some of you have it1 and you want to keep it2 some will be glad to know how to get it4 ,i am going to tell you just how to acquire it and keep it1 and clear up any little blemishes on your skin1--but it is so simple ,i am afraid you won't think it worth doing4 ,to have clear skins you must have pure blood and good circulation of the blood1 and to obtain these you must breathe deeply and correctly and so get fresh air1 full of oxygen1 into your lungs4 ,that's all there is to it4 ,and now1 here is the correct way to breathe to accomplish all this1 and ,i wish you would practice it now here in the class as ,i tell you about it3 ,breathe in through your nostrils1 with the mouth closed4 ,inhale slowly and way down deep1 filling your lungs as full as you can2 then exhale slowly through your mouth4 ,do this as an exercise1 and do it ten times before you stop4 ,then do it again whenever you think of it1 not less than three times a day4 ,you cannot do it too often1 no danger of that6 ,it won't hurt you or cost you a cent4 ,the air drawn into your lungs this way expands your chest and increases your lung capacity4 ,this makes good wind for dancing1 and all dancers need lots of wind2 you have to have it1 you have to call for lots of breath when you dance rapidly or long4 ,start in right now1 and by the time you have a stage engagement you will be prepared with a bellows that will furnish all the air you call for--and meanwhile watch your skin and your complexion put on the clear1 healthy1 beautiful appearance that every woman envies4 ,the air in this room1 as in any room1 is not entirely free of impurities2 it is not the best air for your breathing exercises4 ,outdoors--say1 over in ,central ,park1 only a block from here--is where you find the beautifying1 pure oxygen that will start your blood tingling1 expand your chest1 and give you the real beauty of skin and complexion that nature meant all women should have4 ,walk4 ,exercise4 ,while you're out walking1 take your beauty-breathing exercise as you go4 ,in my office ,i have a list of foods1 with sixteen rules for good health4 ,the word diet suggests starvation and going hungry and a lot of disagreeable things like that1 ,i suppose1 and so you would much rather not hear about it4 ,well1 it isn't as bad as you think1 and a proper diet is a health insurance1 and should be carefully observed4 ,do you know that ,i have made a study of diets and dieting1 and of anatomy--the structure of the human body8 ,my interest in dancing and in my pupils here--and in my own health--has prompted me to study that subject thoroughly4 ,i could tell you a great deal about getting and keeping healthy1 if you cared to hear it and if ,i had time to go into the subject4 ,my best dancers1 and all good dancers1 diet4 ,that is1 they are careful to eat what is best for them1 and not everything that may tickle the palate yet raise a rumpus inside one and upset the whole system1 and make them cross and cranky and homely and bad actors generally4 ,good food1 pure air1 plenty of water1 internally and externally1 the right amount of sleep1 not more than eight hours1 and not less than seven1 proper exercise and practice--all of these are essential to make good dancers--to make you good dancers4 ,come in to my office tonight after class4 ,weigh yourselves before you come in4 ,then talk to me about yourself and get my diet list to take home1 please4 ,illustration3 ,,lina ,,basquette ,,ned ,,wayburn',s ,,modern ,,americanized ,,ballet ,,technique ,illustration ,i have invented a method of teaching the ballet that eliminates the long and tedious training formerly considered necessary1 and fits the pupil for a stage appearance in the briefest possible length of time4 ,that my method is a perfect success is evidenced in the best theatres everywhere4 ,i have taken amateurs who never did a ballet step in their lives1 put them in training by my personally devised method1 and made perfect solo dancers of them in a few months' time1 secured them engagements1 and their fame as ballet dancers par excellence is today world-wide4 ,elsewhere in this book ,i shall name several of these whom you know best1 and you will admit that ,i am right in what ,i have just said when you peruse their names4 ,i am assuming that you are aware of the fact that in all foreign countries the ballet student is taught for years before she is allowed to attempt a public appearance or permitted to consider a professional engagement4 ,this ultra-conservative custom has been brought across the water1 and the idea has always held here in ,america that the four1 six1 ten year apprenticeship was a necessity2 that no dancer could qualify for a professional appearance in a shorter period4 ,it was taken for granted that there was no short cut to this trade1 and up to the recent present there has been none4 ,but our ,american girls who are gifted with a talent for this superb form of graceful dancing will not consent to devote the best years of their lives to unproductive labor4 ,the idea of signing away several years of their happy lives in order to become entitled merely to a critical teacher's approval1 and all this time without compensation of a financial nature1 does not appeal to any1 and least of all to that very person1 the young person who would make the best dancer4 ,yet there was an increasing demand for capable ballet dancers1 and the supply was limited and dwindling4 ,so1 in order to make a world happy1 ,i put my wits to work and evolved a plan that has revolutionized the entire industry4 ,and ,i have called it ,ned ,wayburn's ,modern ,americanized ,ballet ,technique2 and it is a ,ballet ,technique at its very best4 ,if ,i had done nothing else in the years of my theatrical experience1 ,i should still feel that ,i had accomplished much that is worth while4 ,and1 really1 it is all very simple4 ,the wonder is that others did not figure it out before ,i did4 ,and it is no secret4 ,i am going to tell you all about it1 and what the results have been1 and then you can see for yourself why it is no longer best or necessary to go to foreign lands and take lessons the old way1 for years and years4 ,there is what is called the ,universal ,ballet ,technique4 ,it is the standard of the dancing world1 recognized and observed everywhere that the ballet is taught or danced4 ,my method follows this ,universal ,technique closely1 and is identical in many of the essentials4 ,the chief difference between the old way and my new method is in the preparatory work4 ,now1 this will never become a world full of ballet dancers1 because not everyone could learn this graceful undulation if they wanted to4 7,all the more reason1 ,i say1 why those who have the talent should profit by it47 ,not all of my pupils1 nor all of my best pupils in other forms of the art1 can hope to become solo artistes in ballet work4 ,i can glance over a class at work in any of my studios1 and select the few who may hope to perfect themselves in the ballet4 ,i have had to discourage and no doubt disappoint some of my ambitious ones who have aspired to master the great art of ballet dancing2 but ,i know ,i did what was best for them in advising them as ,i did4 ,these same girls will be topnotchers in other fields of stage dancing1 and ,i would rather direct their pathway to sure success than to let them wander into byways where their feet might stumble4 ,so first of all1 the candidate for ballet dancing must have my approval1 she must be qualified according to my high standards1 and when ,i say ,yes1 and the student enters faithfully upon the work as ,i lay it out1 she is going to make good4 ,and the first instruction she will receive in my courses is in the nature of a muscle culture1 a foundation technique that consists of exercises1 on the felt floorpad1 in limbering and stretching4 ,it is very beneficial to everyone in every way1 and unqualifiedly essential to the beginner in stage dancing in any of its forms4 ,the prospective ballet dancer1 by going through these exercises in the studio for a series of twenty lessons or so1 and practicing three hours or more at home daily during the same period1 develops strength in the muscles of the back1 legs1 ankles and feet that fits her for the ballet technique2 and it is this foundation work that enables her to eliminate the antiquated exercises and some combinations of steps1 and the unduly long1 tedious and once necessary trials that fell to the lot of the old-country ballerina4 ,so the secret is out2 it is our special foundation work in limbering and stretching combined with my ,americanized ,ballet ,technique that builds our ,american pupil into a strong1 healthy1 flexible1 graceful person1 well prepared for advancement into the beautiful art of the ballet4 ,this does not mean that the entrant for ballet honors has nothing to do but go at once upon the stage1 a completed artiste4 ,if this statement of my easier plan suggests such a thing1 let me hasten to correct so erroneous an impression4 ,there is work1 and hard work1 too1 and lots of it1 before our pupil becomes a ballet dancer1 even under our less strenuous and much shortened course of training4 ,grace of the entire body is sought and taught1 graceful movements of the head1 arms1 legs and torso4 ,in addition to grace and poise1 there is need of great muscular strength1 and this we are able to develop in our pupils without bunching the muscles of their calves1 thighs or arms into unsightly knots4 ,and this fact is not one of the least of the recommendations of our system4 ,we insist upon symmetry and beauty of figure4 ,this is really more important to the professional dancer than beauty of face4 ,to possess both1 a beautiful face and form1 is the ideal condition1 of course1 but the figure is susceptible of being made attractive by our development technique1 and any imperfections of the facial contour or features1 and any defects in the complexion1 are easily disguised or corrected by my method of teaching stage-makeup4 ,illustration3 ,,marion ,,chambers ,it must be considered that in the ballet the movement of the arms is very important1 and to perform it properly requires long study and extreme accuracy4 ,just as the art of painting blends and composes colors1 and by the composition of scenes and figures makes a whole that is pleasant to the eye1 so the movements of the arms in dancing add many and diverse forms of grace to the body1 guiding and regulating its movements so as to result in a harmonious whole4 ,one authority has styled dancing the music of the eye4 ,the dancer who neglects the difficult study which the arms require because she believes that the only necessity is brilliant execution in the legs1 will be an imperfect artist4 ,it is not enough to know how to dance with one's legs2 the ballet must also be executed with the trunk of the body and the arms4 ,their movements must be graceful and in harmony with those of the legs1 since they constitute a weight for the equilibrium of the body when it rests on one leg4 ,the arms must accompany the trunk1 making a frame for it4 ,the movements of the head1 of the eyes1 the expression of the face1 all are of tremendous importance in perfecting the ballet4 ,it is because of the necessity of bearing constantly in mind the various attitudes of head1 torso1 arms and legs that ,i believe that the ballet contributes more than any other type of dancing to the general development of grace and poise of the whole body4 ,in addition to teaching what we call the legitimate ,american ,ballet1 we add to the students' repertoire what are known as tricks1 which earn applause for the dancer4 ,many of our pupils go directly from our courses to the professional stage1 since it would be difficult for them to earn a supporting salary in the musical comedy field doing straight ballet work alone4 ,we teach straight toe dances1 and also eccentric toe dances1 as will be demonstrated in another chapter4 ,you are now a student in our beginner's ballet class4 ,first1 you must provide yourself with soft ballet slippers1 as without them it would be impossible to do this type of work4 ,as you enter our ballet room you note full length mirrors on the walls1 to enable you to watch yourself as you dance--the original watch your step propaganda4 ,also you will see a wooden rod1 technically known as a bar1 running around the walls of the studio4 ,this is about three and a half feet above the floor1 and is easily grasped by the hand for support in practicing4 ,in your practice at home1 in the absence of such a bar1 substitute an ordinary chairback or other firm object as a support1 being careful that its height is correct4 ,now the first thing to acquire is a knowledge of the fundamental rules of the dance1 since everything depends upon them1 and no one may hope to attain proficiency without this knowledge4 ,the fundamental positions of the ballet are five1 and their complete mastery has been the prime factor in the success of every ballet dancer since the dance was invented4 ,you will be constantly referred to first position1 third position1 and the others throughout your instruction1 and you must know instantly and intuitively what each reference means as you hear it or read it1 and to do this you must have the five position thoroughly absorbed into your inner consciousness4 ,that means1 practice the five positions over and over1 day after day4 ,no ballet dancer ever was entitled to this name without she knew these five rules of the dance4 ,the five positions for practice at the bar are here given1 and the primary exercise at each position described and pictured4 ,first ,position3 ,stand erect1 with the head up1 the legs straight1 the heels together1 the toes pointed out1 the weight of the body evenly distributed between the two feet4 ,extend one arm to lightly grasp the bar1 and carry the other arm straight out from the shoulder1 in a slightly relaxed position1 as shown in the diagram4 ,the thumb should rest on the tip of the first finger1 the middle and ring fingers slightly bent1 the little finger extended so that it is slightly separated from the others1 the wrist bent slightly downward4 ,the whole attitude should be flexible and graceful4 ,illustration3 ,first ,ballet ,position ,now lower the body by bending the knees4 ,the feet should be kept flat on the floor1 the heels raised from the floor as little as possible when bending the legs4 ,the knees should be extended to the sides1 as shown in the diagram4 ,the free arm should follow the attitude of the legs--that is1 it should be lowered to the waist when the knees are bent4 ,this bending should be repeated four times4 ,illustration3 ,second ,ballet ,position ,second ,position3 ,from the first position1 keeping both legs straight1 slide the right foot sideways until leg and foot are fully extended without moving the torso4 ,then place the weight of the body on both feet with heels on the floor4 ,the head should be in a straight line above the center of the space between the heels4 ,now bend and rise slowly four times1 without raising the heels from the floor4 ,illustration3 ,third ,ballet ,position ,third ,position3 ,from the second position1 shift the weight to one leg1 fully extending the foot and toes of the other leg4 ,then glide the extended leg slowly in front of the other1 the heel leading1 until the ankle of the leg behind is covered by the front leg4 ,bend and rise slowly four times2 keeping the head in a straight line above the heel that is in front4 ,illustration3 ,fourth ,ballet ,position ,fourth ,position3 ,from the third position1 slide the front leg forward as far as possible without moving the body1 until foot and toes are fully extended2 then put the heel on the floor1 the foot turned outward4 ,place the weight of the trunk on both legs1 the head being vertically above the heel of the front foot4 ,bend and rise slowly four times4 ,illustration3 ,fifth ,ballet ,position ,fifth ,position3 ,from the fourth position1 shift the weight to the back leg1 fully extending the front leg and foot4 ,slide the front leg slowly back to the other leg with heel well turned out1 until the feet are on a parallel line1 with the heel of the front leg in front of the toes of the back leg4 ,the weight of the body should rest on both legs1 and the throat should be virtually above the ankle of the front leg4 ,bend and rise four times4 ,,terms ,,used ,,in ,,ned ,,wayburn',s ,,modern ,,americanized ,,ballet ,,technique ,illustration ,arabesque--,a posture executed with one foot on the floor4 ,assemble--,to bring the feet together4 ,attitude--,a posture executed with both feet on the floor4 ,balance--,a combined slide 7glisse71 closing of the feet1 rising on the toes and lowering of the heels4 ,changement de ,pied--,changing the position of the feet4 ,chasse--,a chasing step in three movements3 ,slide 7glisse71 cut 7coupe71 slide 7glisse74 ,ciseaux--,the scissors step3 ,a point and swing with one foot while hopping twice on the other4 ,coupe--,to cut4 ,degager--,to sway2 to transfer4 ,demi ,pas de ,basque--,a half or incomplete pas de basque4 ,ecarte--,to jump from a closed position1 open the feet in the air1 and land in a closed position4 ,echappee--7,escaped47 ,any changement done on the toes4 ,elever--,to rise on the toes4 ,entrechat--,to spring into the air and change the position of the feet as often as possible before landing4 ,fouette--,a swinging of the leg4 ,frappe--,to stamp the foot4 ,glisse--,to slide4 ,glissade--,three movements combined3 ,elever 7to rise on the toes71 glisse 7to slide71 assemble 7to close the feet74 ,grand ,battement--,high beating4 ,jete--,to leap or throw the weight from one foot to the other4 ,movement--,an activity of the body from a resting position2 also a change from one activity to another4 ,illustration3 ,,the ,,birth ,,of ,,venus ,the nine standard dancing ,movements are3 7#a7 ,droit--to swing the foot forward and backward2 7#b7 ,overt--to swing the foot from right to left2 7#c7 ,glisse--to slide2 7#d7 ,tourne--to turn2 7#e7 ,tortiller--to twist2 7#f7 ,battu--to beat2 7#g7 ,saute--to hop2 7#h7 ,jete--to leap2 7#i7 ,coupe--to cut4 ,pas--,a step4 ,pas ,ballonne--,a combination of hop1 step1 hop4 ,pas ,boiteaux--,a limping step in three movements3 ,hop on right foot and raise left leg forward with the knee straight2 step forward on left foot2 step forward on right foot4 ,pas de ,basque--,a step of three movements3 ,demi rond de jambe1 jete 7describe half circle in air with leg1 leap72 glisse 7slide72 coupe 7cut74 ,pas de ,bourree--7,stuffing step47 ,three little steps on ball of the foot4 ,pas de ,chat--7,cat step47 ,four sideward movements3 ,leap1 slide1 step1 step4 ,pas ,marche--7,marching step47 ,four movements3 step1 swing1 step1 close4 ,pas ,sissonne--,imitation of opening or closing of a pair of scissors1 done by bending in fifth position1 hopping to one side1 at the same time lifting opposite leg in second position2 then leg down in front and assemble in front with the leg that did the hop4 ,petit ,battement--,low beating4 ,petit ,battement avec ,port de ,bras--,low bending ,transcriber's ,note3 beating8 with arm movements4 ,petit ,battement sur le ,cou de ,pied--,small beatings around the ankle4 ,petite ,rond de ,jambe--,small foot circles described on the floor4 ,plier--,to bend the knees4 ,pirouette--,an artistic turn executed on one foot4 ,pointe--,the toe4 ,port de ,bras--,carriage of the arms4 ,the five arm movements are3 ,bending1 stretching1 raising1 lowering1 turning4 ,rond de ,jambe--,circles in the air executed by the leg4 ,saute--,to hop4 ,step--,a placing of the foot in any direction and transferring the weight onto it4 ,terre a ,terre--,a series of pas de bourrees of four or more steps4 ,three-step ,turn--,a complete turn1 right or left1 in three steps4 ,tortiller--,to turn or twist the leg4 ,tour de ,basque--,a basque turn2 pirouette de basque4 ,tour ,jete--,jete with a turn2 one step sideward to right1 one leap and complete turn2 one step sideward onto right foot4 ,tour ,saute--,one step1 one hop1 turning completely around in direction of the step4 ,,mr4 ,,wayburn ,,addresses ,,the ,,beginners' ,,class ,,in ,,ballet ,,technique ,illustration ,you have now advanced in your studies to where it becomes necessary to train yourselves for the stage mentally as well as physically4 ,you have acquired the flexibility1 strength of body and symmetry of form that was promised in my earlier courses to those who faithfully attended class and persistently practiced at home4 ,you have progressed through the hard foundation technique to a point where you are physically fitted to undertake the beautiful work of our ballet technique4 ,but now that you are entering on a new phase of your life work1 it is no time to let down and by carelessness lose what you have already acquired by your obedience to your studio instruction4 ,i am sure you will not disappoint me by doing this4 ,please bear in mind you have still some hard work before you1 both mental and physical hard work1 before you are ready to capitalize your efforts1 to get the substantial rewards that come to the graduate pupils of these courses4 ,you can by looking back a few weeks see your own improvement4 ,you are able today to do many things of value in a stage career that when you entered here you found impossible of accomplishment4 ,but you are still in the formative period as to the finished product1 as represented by the solo ballet1 the stage work par excellence1 to which you all aspire1 and in which you will realize your fondest hopes when you possess its full technique as we teach it4 ,you are more fortunate than you may realize in having available the benefit of our ballet technique instead of having to go through the long years of excessive labor that would have been your lot if you lived abroad and wished to become a premier danseuse4 ,long training1 at least four years' daily instruction and practice1 is required of ballet students in ,england1 ,france1 ,italy1 ,russia1 or anywhere else in the world4 ,the foreign methods tend to bunch the muscles4 ,you have seen dancers with knotted calves1 bunchy knees1 huge thighs1 all the result of the old technique4 ,as you know1 we insist upon your preparing for the ballet course by taking our limbering and stretching exercises1 and today you know why4 ,you have a genuine foundation to build upon4 ,your bodies are lithe and supple1 your muscles hard yet not misshapen1 and you have advanced by easy stages through the foundation work to where you are today1 ready for the finishing touches4 ,in your ballet work you must be careful how you land when you jump into the air4 ,my system lands the body with the knees bent1 otherwise you might undermine your health4 ,to come down full weight on your heels repeatedly would prove very injurious4 ,keep your muscles exercised4 ,there is no better exercise for the dancer than walking1 and three miles a day is none too much4 ,take long deep breaths out of doors4 ,horseback riding1 golf1 tennis1 all are good for you4 ,dancing itself is the best exercise you can have1 but when you have a one-hour lesson or more1 and then practice at home three or more hours daily you will find walking a rest1 a relaxation1 because it is a change of work4 ,occasionally we have a ,pupils' ,frolic in our own ,demi-,tasse ,theatre1 to give you a chance to do a turn before a friendly audience4 ,this is good experience and encourages talent4 ,some of you sing4 ,some are accomplished in other forms of dancing4 ,i like to hear your voices and see your dances4 ,they may be valuable aids to you in your stage work1 even if not just of a stage character4 ,i can tell about that when you sing or dance for me4 ,anyway1 they indicate that you have talent and are accomplished and able to improve yourself1 and that suggests that you possess a personality of your own1 one of the great essentials of your future success4 ,sometimes we arrange special exhibitions for charity affairs and call upon our best talent to appear in these4 ,such an opportunity is very valuable experience for you and ,i am glad for your sake always when ,i can get you a chance to appear in public or social affairs1 to give you self-confidence and inspiration4 ,now one more very important lesson you must learn before you finish here1 and that is in the art of makeup4 ,for it is an art1 and one that every actress must be fully posted upon4 ,if you don't know how much depends upon correct makeup1 come and ask me about it and ,i will tell you4 ,we hold classes in makeup in our ,demi-,tasse ,theatre on occasional ,saturday afternoons4 ,i advise you to secure a place in this class soon4 ,you will find it very interesting and valuable4 ,your application should be made at the counter in the main business office4 ,the charge is #b4jj for a class lesson1 and we teach our own methods1 dry1 cream1 and grease-paint makeups4 ,usually we take three girls1 a blonde1 a brunette and a red-head1 and make them up in class1 explaining the work as we do so4 ,for private instruction in makeup our charge is #e4jj a lesson4 ,it is very practical instruction and you will obtain much positive benefit from it4 ,it is not always the girl who is most beautiful on the street or in the parlor who makes up best4 ,often the contrary is the case1 and the girl with the ordinary street appearance becomes very attractive looking on the stage with the proper makeup4 ,in any event1 my makeup directions will make a vast improvement in your appearance for stage effect1 as well as for street4 ,there is no doubt but that you are obtaining in my courses the most valuable ballet instruction in ,america1 if not in the entire world4 ,the instructors ,i am supplying you with have had years of professional ballet training and experience both abroad and in this country1 as ,i am sure you all know4 ,furthermore1 they are not only remarkable dancers1 but also very competent as teachers4 ,so if you give attention to their instruction and watch them as they illustrate the various elements that constitute the complete ballet technique1 and learn the several basic positions and the graceful movements and attitudes and kicks that go to make up the complete whole1 you may expect to become expert in this beautiful art yourselves4 ,but you must practice1 practice at home1 every day1 many hours a day1 and keep it up right along4 ,there is no other way to succeed in any dancing1 and especially in ballet work4 ,you have been told in your former classes in this studio about keeping yourselves fit and healthy and charming by consuming nine glasses of water daily1 aided by deep breathing1 correct and careful diet and eight hours' sleep4 ,continue to observe these simple laws of health and beauty1 if you value your present opportunities and your future success1 as ,i am certain you do4 ,form regular habits now1 treat your bodies well4 ,the recompense is so great if you do1 you cannot afford to be careless in any respect4 ,feel free to come to my private office any time1 or write me1 and discuss with me personally any matters that concern yourself in relation to your health or prospects for the future4 ,we are both1 you and ,i1 interested in and working steadily for your future4 ,this is a forward-looking establishment where futures are made to order4 ,your future1 and that of the hundreds of young pupils who favor us here with their presence1 may depend in large measure upon your energy and studiousness while you are with us and under our tutelage4 ,let us help you4 ,let me help you4 ,it is my mission in life to direct folks straight along the pleasant paths of health1 beauty and financial independence1 and ,i feel sure ,i can be of aid to you and your future if you will give me the opportunity to do so4 ,illustration3 ,,nw ,illustration3 ,,virginia ,,bacon ,,ned ,,wayburn',s ,,toe ,,dancing ,illustration ,all forms of modern toe dancing--and there are several--are based upon the ballet technique1 of which a synopsis of my own ,americanized form appears in a preceding chapter4 ,there is toe dancing of the really classical school in the perfected ballet4 ,that is the kind with which we are most familiar4 ,when a mother says1 ,i want my child to be taught toe dancing1 she usually expects to be understood as referring to the ballet in its entirety1 of which dancing on the toes seems symbolical4 ,but of later years there has developed in the terpsichorean art other forms and combinations of toe dancing besides the strictly classical1 as for instance1 the eccentric toe dance and the acrobatic toe dance4 ,as to the classical form1 reference to the ballet chapter will find its present development duly set forth4 ,the eccentric toe dance and its fellow1 the acrobatic toe dance1 both have their beginnings in the fundamental ballet technique1 in which one must be well and properly schooled before expecting to succeed in the more advanced work of these laterday favorites4 ,for they are favorites1 as an hour at any modern playhouse where the newer dances are featured1 will demonstrate4 ,it is at the behest of the great ,american audience that these newer toe dances are with us4 ,you and the rest of the public that constitute our audiences demand action1 tricks--or at least tricky and novel touches here and there--in your dancing entertainment4 ,the old stuff doesn't get over with you any more4 ,so we invent new things that present what you are bound to like1 and the eccentric and acrobatic toe dances are the result4 ,it may be jumping down a flight of steps on the toes1 or a continued hopping on one toe for #af counts to music1 or a swinging of one leg back and forth1 like a pendulum1 in an acrobatic way while the dancer hops on one toe--such stunts as these are the applause-getters nowadays1 and they are well worth applauding1 too1 for they are pleasing demonstrations of real skill1 and are acquired by the dancer only after long and continued effort and practice4 ,few if any1 ,i am sure1 fully appreciate the time and labor it takes to make a modern toe dancer1 one who shall be able to perform something new and catchy in a clever way1--a real feat nowadays1 and one that theatrical producers are quick to see and seize when it appears4 ,the fact is1 the tricks ,i have spoken of must never dominate the dancing1 but must be entirely secondary and incidental1 as it were4 ,otherwise the dancer becomes an acrobat4 ,you don't care for straight acrobatics1 ,mr4 ,public1 but acrobatic dancing1 or dancing with a neat acrobatic stunt thrown in incidentally as a bit of seasoning1 is really very palatable and pleasing to you4 ,it must remain a beautiful dance1 aided and added to by a pretty surprise in the form of a bit of unexpected toe work--then you like to see it1 so we are careful in my courses to promote in this kind of work only that form for which there is a demand1--and this is equally true with every other kind of dancing that we teach4 ,before any toe dancing is undertaken by the ambitious student there must be a foundation laid to build upon that shall be lasting and efficient4 ,the body must be under perfect control2 every muscle immediately responsive and ready1 strength placed where it is essential4 ,our students who have passed through the limbering and stretching course 7foundation technique7 and have advanced to the ballet work and through that1 are ready for the advanced features in modern toe dancing4 ,we work this way with such of our more promising pupils as desire it1 and then teach them the tricks1 as we call it1 that are so effective when properly done4 ,every toe dancer should have one-hour lessons five days each week till perfected1 and at least three hours daily practice six days in the week at home4 ,i have already stated and now say it once more in this connection1 that children should not go on their toes in the dance until they have taken what ,i know to be a necessary foundation course1 to fit them to do so without danger of permanent distortion of feet and legs1 enlarged ankles1 and other ill effects4 ,it is the parents' fault1 of course1 when children are forced into toe dancing at too early an age or without proper preparation4 ,i simply will not consent to do it4 ,i have seen children of sixteen who ought to be at their best at that age in this work1 yet because of the forcing process in early years were incapable of sustaining themselves on their deformed feet4 ,many of my well-known graduate pupils have been seen in the ,follies and other first class productions4 ,their work is an inspiration to all who love exquisite dancing of this kind4 ,they secured the right foundations on the start1 and now have strength1 speed1 grace1 and ability to do what their dances call for4 ,there are lots and lots of toe dancers graduated from my courses1 and ,i cannot think of one who has failed to make good4 ,that1 ,i think1 is because their personality plus practice plus honest and capable instruction and a knowledge of showmanship and stage-craft absorbed from my inspirational talks has brought forth the natural result4 ,illustration3 ,,nw ,illustration3 ,,gilda ,,gray ,handwritten ,with sincere appreciation to ,ned ,wayburn whose producing genius created the record breaking ,follies of #aibb ,gilda ,gray ,,ned ,,wayburn',s ,,specialty ,,dancing ,illustration ,there is a wonderful field for the dancer who can create an appealing dance of his or her own1 or who can take some type of dance and by sheer personality so develop it as to be identified with it as the representative of that form of dancing4 ,not everyone can be a specialty dancer of this sort1 but to be one is well worth the effort of every ambitious exponent of the dancing art4 ,any kind of stage dancing may become a specialty dance4 ,but it really takes a person with good mental capacity as well as expert dancing ability to develop what others may do well1 make of it an outstanding and triumphant success1 and identify it with one's self before the public as one's very own4 ,but the rewards are great for those who accomplish this1 and ,i am always glad to see an effort made along these lines1 since it means so much in the way of fame and fortune to those who make the grade4 ,and one may become a specialty dancer in more than one line4 ,gilda ,gray1 for instance1 in the ,follies of #aibb did three separate and distinct specialties in her work at every performance3 ,a musical comedy specialty1 an ,hawaiian dance1 and her ,come ,along character dance1 which she built up under my direction into a pronounced hit4 ,so with these facts before us1 that any dance may be made into a specialty1 taken out of the ordinary and individualized1 and that no dancer is limited to a single line in this work1 but can spread out over the entire field if competent to do so1 there is surely ample encouragement to the dancing pupil to make an effort to profit by the opportunity my studio instruction affords1 and become not only a good dancer but also a good1 better1 best specialty dancer--something quite worth while on every stage1 ,european as well as ,american4 ,almost any pupil will naturally specialize in some one form of dancing in the learning process4 ,thus one may show a preference for the musical comedy work1 or tap and step1 clogging1 acrobatic dancing1 whatever it may be4 ,it is preferred because one takes to it easiest1 or is most proficient in it1 or has a personal liking for it4 ,that is the dance for you to specialize in4 ,perfect yourself in it4 ,do a little better than anyone else does1 and you are on the boulevard headed toward becoming a specialty dancer4 ,legmania is a form of specialty dancing4 ,the ,charleston1 at present so popular with the multitude1 is another4 ,the ,hula ,hula and all other kinds of character dancing are specialties4 ,clogging1 the ballet1 interpretive and toe dances--why enumerate them4 ,let it go at this3 ,any form of dancing that you like best and are most efficient in can be made your specialty dance if you give it personality1 atmosphere1--if you vitalize it so that it stands out alive and distinctive--your very own4 ,it takes brains as well as legs to become a specialty dancer of real quality1 capable of controlling the public's interest4 ,yes1 and it takes competent instruction to guide you right1 and it takes practice on your part after you get the instruction1 too4 ,but it is quite worth while4 ,the rewards are sure if you merit them4 ,illustration3 ,,nw ,,ned ,,wayburn',s ,,exhibition ,,dancing ,illustration ,what is technically known as ,exhibition ,dancing is an exaggerated form of the usual social or ballroom dancing4 ,it is team work1 performed by two1 a man and a woman1 and is never given as a solo dance1 by a single artist4 ,there is no end to the styles of dances that may be employed in exhibition work4 ,the public is thoroughly familiar with those most often presented to view in public and private ballroom1 at social or other functions1 which are either the ,exhibition ,fox ,trot1 the ,exhibition ,one ,step1 the ,tango1 the ,exhibition ,waltz or the ,whirlwind dance4 ,this by no means covers the possible field4 ,its limitations are measured only by the ability of the team1 and the popularity that demands this or that style of dance1 as the fickle public fluctuates in its preference4 ,an exhibition dance of whatever nature must have an element of the spectacular and theatrical in its presentation in order to appeal4 ,the dancers must inject some surprise steps in an effective place1 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 every-day type of some well-known form of the dance4 ,illustration3 ,,maurice ,among the best-known exponents of exhibition dancing one naturally recalls ,vernon and ,irene ,castle1 ,maurice and his several partners1 ,florence ,walton1 ,leonora ,hughes and ,barbara ,bennett1 as well as the teams of ,clifton ,webb and ,mary ,hay1 and ,basil ,durant and ,kay ,durban4 ,all these and many other professional exhibition dancers have amply succeeded in their efforts to please the public1 and have found the financial returns to be most satisfactory4 ,it is a very profitable line of work for dancers of the right qualifications4 ,exceptional personality is essential1 as well as great skill in the art of dancing1 and less than a commanding supremacy will not suffice to carry the work through to a successful issue4 ,yet there is a large field here1 open to many who may not as yet even dream of their adaptability to such a career as this suggests4 ,it has been my pleasure to assist in the direction of every exhibition dancer whose name ,i have quoted above4 ,some of them received their first impetus along this line from me1 followed my advice and instruction1 and in consequence became internationally famous and successful4 ,i am still taking those well adapted to this line and putting them in the way they should go4 ,i know the type of person best qualified to make a success in exhibition dancing1 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 earns1 as well as those ,i have named have done4 ,there is a knack in acquiring the necessary ability as a dancer of this type that not every instructor is able to impart4 ,i do not teach exhibition dancing in classes in my studios4 ,individual private lessons is the only successful way1 and that is my way4 ,most other forms of dancing are learned as well or even better in classwork4 ,i doubt if exhibition dancing will ever be overdone4 ,it is popular1 and good dancers for this line of work are not too numerous4 ,so it seems likely to be in continued demand indefinitely4 ,,ned ,,wayburn',s ,,professional ,,stage ,,makeup ,illustration ,the ,ned ,wayburn ,courses teach every form of stage makeup1 for men as well as for women1 and for every known character part as well as the straight makeup for youth4 ,to put all the expert professional makeup knowledge into this book would be to practically crowd out everything else or so enlarge the volume as to make it cumbersome4 ,to avoid this and at the same time meet a strong public demand1 ,i have in contemplation a book devoted exclusively to this important subject1 that shall post a world of waiting aspirants for stage honors in every detail of the art of correct makeup4 ,meanwhile1 the subject has an important bearing on the art of stage dancing and so demands a prominent place in this present work4 ,i have1 therefore1 chosen for demonstration here the one most popular stage makeup1 which is that adapted to the use of the professional stage woman in every modern theatre1 opera house and music hall1 and am here giving it a complete and thorough exposition4 ,in presenting this form of makeup thus prominently1 ,i do not wish in any degree to convey the idea that men and male youth are ignored in our studio teaching of makeup1 and that our sole concern is to make the young woman presentable on the stage4 ,this is not the fact4 ,we teach makeup to men as well as to women1 and every correct form of the art4 ,do not confuse a stage makeup with the customary society makeup that milady applies in her boudoir4 ,they are two entirely different problems4 ,to makeup correctly for the modern stage1 with its multiple lights of great intensity and all the colors of the rainbow1 requires special study of yourself individually and a knowledge of what effects the various lighting schemes will produce on the human countenance4 ,three ladies standing side by side on the same stage may require three different makeups1 depending upon their types1 in order to appear at their best to the audience4 ,the brunette1 the blonde1 the auburn-haired1 each needs a different treatment1 and if through ignorance or indifference any omits proper attention to a single item of the very important detail of her facial makeup1 the result will be disastrous4 ,all of which emphasizes the need of one's being properly taught on the start just how to makeup in a manner to bring out one's personality1 to enhance one's beauty1 and create the most pleasing appearance before her audience4 ,we are now speaking1 of course1 of the woman who is to appear in a youthful part2 character makeup is an entirely different proposition1 with which we are not concerned here4 ,it is impossible to go on the stage today without makeup4 ,should any actress try to do so1 the appearance of her features would be almost deathlike4 ,she would be repulsive to the eyes of the audience1 a condition that neither she nor the producer of the show would tolerate4 ,the very lights that render superbly beautiful the person with proper makeup cause the bare flesh to lose its natural tints1 cast shadows under the brows and above the face1 create hollows where they do not exist and are not wanted1 and utterly destroy the pleasing picture4 ,makeup1 then1 is one of the first essentials to stage success1 and it makes no difference how truly beautiful you may be in features and natural coloring off the stage1 the fact persists--you must makeup1 and makeup right4 ,but the uninstructed amateur1 whose sole knowledge of makeup is confined to the boudoir1 is very prone to overdo in her maiden attempts at stage makeup1 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 front4 ,and this is especially true of the most beautiful type of women1 who think they know1 and don't4 ,anyone with regular features can learn to apply makeup so that on the stage she will be as prepossessing as her naturally more favored sister-woman4 ,a beauty unadorned by facial makeup1 or a beauty not properly made-up1 will be far outclassed in apparent beauty on the stage by the plainer woman who has mastered the art of makeup and knows how to apply it judiciously and correctly4 ,it is all in knowing how1 and the learning is not difficult4 ,the professional actress will not fail to obtain personal instruction in this art from expert teachers1 which is decidedly the best way4 ,pupils in our studios avail themselves of our classes and private lessons in makeup and in doing this lay a foundation of invaluable knowledge that will continue with them through life4 ,the aspirant 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 chapter4 ,for1 while it is not possible to advise an unseen person1 whose type you do not know1 with the same exactness as you could if she stood before you1 there is much here that is general in its application to all types1 and the care we are taking to make our information broad enough to cover all these greatly simplifies matters for the absent students4 ,there are two steps to a correct knowledge of your personal needs in the makeup art3 ,first1 what to use2 and second1 how to use it4 ,i am going to start you right on both of these steps4 ,any actress of experience will tell you that her most valuable stage possession is her ,makeup ,box4 ,it contains the necessary tools of her trade1 without which she would be helpless to carry on4 ,it is to her what the brush and colors and palette are to the painter2 the needle and thread to the seamstress2 the hammer and saw and plane to the carpenter4 ,before you enter upon a stage career supply yourself with a complete makeup box equipped with all the needed tools and ingredients for making up for the part you are to assume4 ,this is a necessary purchase1 and will prove one of the best paying investments you ever made4 ,ordinarily a makeup box stocked with the best materials will cost about #ab4jj and is not extravagantly expensive at that price4 ,so many of our students sought our advice as to their purchases in this line1 as they left our studios for the professional stage1 that we fitted out a line of makeup boxes1 completely stocked1 for each complexion type1 which we are selling to them over the counter at #i4ej4 ,the actual cost to us of each set is about eight cents more than we sell it for2 plainly indicating an absence of grasping commercialism in our nature1 for which we hope and expect due commendation4 ,illustration3 ,,the ,,ned ,,wayburn ,,professional ,,stage ,,makeup ,,box ,,and ,,outfit ,a--,,black ,,cosmetique4 ,b--,,black ,,mascaro4 ,c--,,baby ,,brush4 ,d--,,black ,,crayon ,,pencil4 ,e--,,dark ,,blue ,,pencil4 ,f--,,carmine ,,grease ,,paint4 ,g--,,blue ,,lining ,,grease ,,paint4 ,h--,,foundation ,,grease ,,paint4 ,i--,,orangewood ,,stick4 ,j--,,paper ,,felt ,,liners4 ,k--,,cosmetic ,,stove4 ,l--,,pink ,,velour ,,powder ,,pad4 ,m--,,face ,,powder4 ,n--,,cold ,,cream4 ,o--,,dry ,,rouge4 ,p--,,rabbit',s ,,foot4 ,q--,,moist ,,lip ,,rouge4 ,r--,,art ,,steel ,,box4 ,s--,,special ,,mirror4 ,buying expertly and in quantities has enabled us to get together this ,ned ,wayburn ,professional ,makeup ,box of the best stuff in the world for its purpose1 some of the ingredients being made in ,america1 others in ,paris1 and still others in ,berlin1--all standard goods and used every day in the year in every theatre of the civilized world1--and at the same time keep the cost to our students down below a ten dollar bill4 7,applause47 ,we thank you4 ,now we are getting orders for our professional makeup box to be sent by mail and express to professionals and amateurs throughout this continent1 and while we are glad to accommodate all who honor our own profession by their presence in it1 please do not expect us to do so at cost4 ,it is one thing to hand a box over the counter1 and quite another to pack that box for shipment so as to conform to established requirements by the government post office or the express companies1 prepay postage1 insure it1 and deliver it to the ,new ,york postal authorities4 ,so we have put a price of #aj4ie on this makeup outfit for parties who do not call for it in person at our studio1 with postage extra1 according to the zone in which you reside1 if it goes by mail4 ,we would rather send it by express and let you pay the charges for carriage at your end1 if it is all the same to you4 ,the weight of this outfit packed for shipment is about seven pounds4 ,we insure it in transit at #aj1 which adds a few cents to its cost to you4 ,it will save correspondence and the disappointment of delay if when you order you tell us your age1 sex1 color of hair1 color of eyes1 color of complexion1 for what character you wish the makeup 7youth1 maturity1 old age1 advanced old age1 or any of the possible character parts known to the stage72 the nature of the play2 whether for a large theatre or the more intimate small theatre or hall2 if for moving pictures 7which calls for a decidedly different makeup from all other stage work71 and everything else bearing on this matter that you can think of4 ,always bear in mind when you order1 that each box is fitted for one type of person only1 and cannot be used indiscriminately by a brunette and a blonde and someone else who ranks between the two in coloring and type1 and that in consequence each must have a personal makeup box of her own4 ,the ,ned ,wayburn ,professional ,makeup ,box for a straight stage makeup for a blonde youth1 suited to the use of a young woman with light hair1 blue eyes and light complexion1 in musical comedy1 light opera or any dancing or speaking part in the usual stage performance1 for presentation in a hall or theatre1 with modern stage lighting facilities1 is as follows3 ,the ,box4 ,art steel1 about #f-c_/h in4 wide by #i-a_/b in4 long1 #e in4 high1 with handle and lock and key4 ,strongly made on purpose to stand the wear and tear of travel and dressing room handling1 and should last a lifetime4 ,have your name painted on it as soon as you get it1 to make it your very own4 ,it may be your frequent companion for many years4 ,one-half ,pound ,tin of ,cold ,cream4 ,usually ,stein's1 to which we give the preference1 since it is slightly less hard and contains a little more oil than most of the others4 ,this cold cream is the same for all types1 blonde1 brunette and the others4 ,one-half ,pound ,tin of ,face ,powder4 ,stein's ,no4 #b4 7,brunettes would use ,stein's ,no4 #b-a_/b face powder47 ,one ,glass ,jar ,moist ,rouge4 ,stein's medium4 ,this medium lip rouge is suitable for blonde and brunette types4 ,it is standard1 can be bought anywhere1 is always uniform and the colors run true4 ,if you are ever in ,chicago1 visit ,warnesson's4 ,he specializes in lip rouge and makes a very good kind4 ,one ,stick ,foundation ,grease ,paint1 ,flesh4 ,stein's ,no4 #b4 7,for brunettes1 ,stein's ,no4 #c47 ,this is the large stick4 ,one ,stick ,grease ,paint1 ,special ,blue ,lining ,color4 ,stein's ,no4 #aa4 ,for lining the eyes4 ,one ,stick ,grease ,paint1 ,carmine4 ,stein's ,no4 #ah4 ,red foundation1 for both blondes and brunettes4 ,one ,box ,mascaro1 ,black4 ,leichner's ,no4 #fj4 ,for darkening the eyebrows4 ,one ,package ,cosmetique1 ,black4 ,roger and ,gallet4 ,for beading the eyelashes4 ,one ,box ,dry ,rouge4 ,dorin1 ,no4 #ah4 ,one ,pink ,velour ,powder ,pad4 ,gainsborough ,no4 #cej4 ,this is about the finest procurable2 is of large size1 so it will not fall in the powder box and scatter the contents4 ,one ,black ,crayon ,pencil4 #f;,b ,venus1 ,american ,pencil ,co4 ,for putting shadows under the eyes4 ,one ,dark ,blue ,pencil4 ,faber ,no4 #ffbe4 ,for shading around the eyes4 ,one ,orange ,wood ,stick4 ,for applying beading to the eyelashes4 ,one ,rabbit's ,foot4 ,also called rouge paw4 ,one ,baby ,brush1 with handle4 ,for blending4 ,very necessary tool4 ,paper ,felt ,liners1 one package4 ,to outline lips and to place red dots in corners of the eyes4 ,cosmetic ,stove1 ,lockwood's4 ,for heating cosmetique to bead the eyelashes4 ,this stove is approved by ,fire ,insurance ,underwriters4 ,it encloses a candle in a safe way and avoids the use of dangerous fuels in the dressing rooms4 ,one ,mirror4 #fx#h inches1 in wood frame1 with metal support4 ,will stand alone or serve as hand mirror4 ,strong1 clear glass4 ,the best to be had for its purpose4 ,illustration3 ,,mary ,,eaton ,this completes the list of contents in the ,ned ,wayburn ,professional ,makeup ,box1 for a straight stage makeup1 for young ladies4 ,for other types and different characterizations the ingredients are changed to suit each case1 while the price remains uniform4 ,there is but one necessity for completing the makeup that is not included in the outfit as given1 and that is ,liquid ,white1 which comes in white or flesh4 ,this is to be applied as a wash to exposed flesh not otherwise made up4 ,it comes in liquid form only1 and can be purchased locally in any first-class drug store4 ,we know ,suratt's make of liquid white to be good1 and there may be others4 ,a towel1 a cake of soap1 a basin of water and a few yards of cheese cloth should be assembled before commencing makeup operations4 ,a makeup is easiest applied while seated at a table with your materials spread out conveniently before you4 ,if possible1 elevate your mirror so that you can see the reflection of your features without the necessity of bending over4 ,always make up in incandescent light1 never in daylight4 ,when making-up is a matter of daily routine the clothing will become badly soiled in a short time if worn during the process4 ,to save your costume1 either wear a washable kimono over it1 or better1 don the kimono over undergarments and put on the costume after the makeup is applied4 ,in private lessons at our studios we teach all the required forms of stage makeup1 taking every type of person that comes to us and developing each individually along such lines as the character or part demands4 ,men1 women1 and youth come to us here for development of their correct makeup in private lessons4 ,in our class instruction in this line of work only the straight makeup for youth is presented1 that being the one our young lady pupils find especially adapted to their stage needs4 ,these special classes are held as occasion requires to meet the students' demands1 and are given in our own ,demi-,tasse ,theatre1 connected with the studios4 ,usually a demonstration is made with a blonde1 a brunette and a red-head1 to show the class the different requirements of the different types4 ,following this demonstration1 each member of the class puts on a makeup under the advice and constructive criticism of the teachers1 until thoroughly versed in the art1 as it applies to his or her own individual type4 ,since the reader of this may not be coming to us for either private or class lessons1 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 teacher4 ,you are now seated at your dressing table1 your mirror at a convenient elevation in front of you and between two good lights1 your lay-out of tools and materials spread on a towel on the table top1 a kimono or other garment spread over your person4 ,now take a strip of cheesecloth three or four inches wide and tie around the forehead1 back of the ears1 and behind the neck2 or one may use a close-fitting skull cap4 ,tuck in all straying locks4 ,the idea is1 of course1 to keep powder1 grease paint and cold cream from getting into and soiling the hair4 ,now you are going to apply makeup4 ,first stage4 ,cold cream4 ,apply this liberally all over the face from the hair line to the upper part of the throat1 but not on the neck4 ,rub it in thoroughly to fill all the pores of the skin4 ,be careful to cover all the space around the eyes1 also rub in on the eyelashes1 using care to keep it out of the eyes1 for it will cause stinging4 ,greasing the eyelashes this way makes the removal of the makeup much easier4 ,now rub your face with a piece of cheesecloth until all the superfluous cold cream has disappeared4 ,if the face shines too much1 you have not removed enough of the cream4 ,the surface should give the appearance of being well oiled1 but not have a sticky1 pasty or greasy surface4 ,second stage4 ,foundation ,grease ,paint4 ,the quality of your makeup depends upon this4 ,it will be smooth or rough according to the way you develop it4 ,rub the end of the grease paint stick several times on each cheek1 once across the chin1 once or twice on the forehead and once down the nose4 ,use the ends of the fingers and pat this into place rather than rub it1 till it is thoroughly worked into all the surface you have just covered with the cold cream4 ,every pore must be filled with the grease paint4 ,do not apply it too thick1 which would give the face a pasty1 unnatural look4 ,do not forget underneath the chin4 ,do not apply it to the ears or behind them4 ,leave no streaks or neglected spots4 ,have it uniform all over4 ,blend the paint till the face has an even tone4 ,watch your mirror carefully4 ,it is better to have the grease paint a little too thin on the face than too thick1 but you will soon learn to get it just right1 which is what you are aiming at4 ,third stage4 ,under rouge2 foundation red2 ,stein's ,no4 #ah carmine4 ,make a few dots with the carmine grease paint stick on each cheek and on the end of the chin4 ,use but little1 and blend it by patting with the first and second fingers of both hands1 rather than by rubbing4 ,begin well up against the nose1 go under and around the eyes1 and toward the temples1 working it down below the ear and off the jaw in case there is a hollow in the lower part of the cheek4 ,the color should extend down on the cheek1 over on the temple and well up to the eye1 patted and blended till no one can see where the red fades into the foundation4 ,the chin is then blended in the same way1 to leave no line between foundation color and under rouge4 ,if your chin is pointed1 blend in front1 not below1 or it draws the chin way down4 ,put on a lighter makeup for a small1 intimate theatre1 and a heavier one for the large auditorium4 ,fourth stage4 ,enlarging and beautifying the eyes4 ,this is a very important detail of correct makeup1 and is indispensable on every well-lighted stage1 where even the most soulful orbs with long1 thick lashes will dwindle to half their size and have a faded1 dull appearance if not properly made up4 ,it is essential that the two eyes match in every detail1 and to secure this result will require the taking of considerable pains and close study of your mirror4 ,stein's ,no4 #aa blue lining stick is for use by the blue-eyed1 regardless of the color of the hair or complexion4 ,stein's ,no4 #ag1 for the dark-eyed4 ,titian-haired folks use ,stein's ,no4 #ba purple for the same purpose4 ,with this grease paint stick of the color suited to you1 draw a line across the upper eyelid between the eyebrow and the eyelashes1 as close as possible to the lashes4 ,with the fingers blend this line into a shadow1 making it dark close to the upper lashes4 ,either pencil can be used for this purpose also4 ,do not get the shadow up to the eyebrows1 but cover all the upper eyelid1 and a little beyond the eye at the outer corner4 ,use the ,faber ,no4 #ffbe blue pencil or ,venus #f;,b black for shading under the eye4 ,draw a line with it directly under the eyelashes1 and with the fingers blend this into a shadow4 ,carried too far down this blue suggests illness1 so be careful4 ,the shadows thus placed above and below the eyes serve to outline them to the spectators in the theatre1 where otherwise the eyes would practically disappear and not be seen at all owing to the strong footlights4 ,fifth stage4 ,fixing the makeup4 ,powder ,no4 #b for blondes2 ,no4 #b-a_/b for brunettes4 ,the creamy tints are for the dark skins1 the flesh and delicate pinks for the fair ones4 ,press the powder first on the chin4 ,it is feminine instinct to start on the nose1 but let your start in this case begin with the jaw or chin4 ,don't rub it in4 ,pat it on thick till the underlying paint is fully covered up4 ,the powder absorbs the grease4 ,from the chin work upward1 reaching the nose after the pad has lost some of its original load1 and the nose will not stare out so white on your face as it would if you began there first4 ,raise the eye and powder underneath2 look down1 and powder the space beneath eyebrow and eyelid4 ,sixth stage4 ,smoothing off and blending4 ,use the baby brush for this2 there is nothing else so good4 ,it is surprising in its results4 ,do not press the brush too hard on the face2 dust the surplus powder off carefully with a light touch1 to leave no streaks or patches anywhere4 ,if now the face has a greasy look1 you have not used sufficient powder4 ,seventh stage4 ,high lighting4 ,take some of your ,no4 #ah ,dorin's dry rouge on the rabbit's foot and dust a very little on your cheeks4 ,do not press it down1 just tickle about the edges of the rouge to be sure it blends perfectly with the foundation4 ,if there is too much white about the nose1 dust it lightly with the rabbit's foot4 ,you can turn the paw around and blend with the end that is free of paint4 ,never show a white ear to the audience4 ,if ears come into style again1 as they will1 the lobe and rim should be made a healthy pink1 but not a strong red1 with the rabbit's foot4 ,eighth stage4 ,darkening the eyelashes and eyebrows4 ,use ,leichner's ,no4 #fj black mascaro2 dark brown for light blondes4 ,the lower lashes are better left without the treatment1 since they are almost certain to smear the face if treated1 and the shadow you have already placed there takes care of the lower lashes all that is necessary4 ,apply the mascaro to the upper lashes with the brush that comes with the mascaro1 or any fine brush will do4 ,start a delicate line on the edge of the eyelid at the outer corner of the eye1 let it curve slightly downward at the start4 ,this line should not exceed half an inch in length and is never carried beyond the eye socket4 ,do not make the line heavy nor longer4 ,a very little mascaro must be brushed lightly on to the eyebrows1 following the curve of the upper eyelid4 ,fix the eyebrows carefully about three-quarters the size of the mouth1 using black or brown mascaro according to whether your type is dark or light4 ,in this place we are going to tell you how to bead the eyelashes1 but unless you are a professional actress and your part will be decidedly enhanced by having the eyes very much in evidence1 we advise against your undertaking it4 ,it is not a necessary stage in the makeup process1 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 it4 ,beading the lashes consists in placing a small bead of cosmetique on the extreme tip of each lash4 ,this is best done on the upper lashes only1 leaving the lower ones free4 ,the ,lockwood ,cosmetic ,stove is a small affair that holds a piece of candle and a baby-size frying-pan1 or skillet1 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 fireman4 ,there are some heating devices that you are not permitted to use in any theatre1 and persistence in their use after being once cautioned has caused arrest more than once4 ,illustration3 ,,class ,,in ,,stage ,,makeup ,,at ,,the ,,ned ,,wayburn ,,studios ,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 jail1 causing the curtain to be lowered and the audience dismissed4 ,the stage fireman1 assigned to every first class theatre during a performance1 has authority to enforce all ordinances intended to prevent fire and eliminate fire risk in playhouses1 even to go to the extremity of arresting offenders against the public's safety4 ,so be careful to use only a ,lockwood ,cosmetic ,stove or some equally safe affair in your dressing room4 ,you light the candle1 place a small amount of ,roger and ,gallet black cosmetique in the little pan and heat it over the candle flame till melted4 ,take up some of this molten cosmetique on the flat end of your orange wood stick and apply it with a deft quick stroke to the upper lashes1 painting each one separately and without clotting1 so that a little bead hangs to the tip of each upper lash4 ,use care not to drop any of the black on your makeup4 ,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 spot lights4 ,ninth stage4 ,red dots in the inner corners of the eye4 ,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 eye1 but on the lid--not in the eye--to space the eyes and make them look to be the distance of one eye apart4 ,keep these dots well away from the nose1 or they will tend to make you look crosseyed from the front4 ,tenth stage4 ,rouging the lips4 ,stein's moist lip rouge1 medium4 ,if the lips are left their natural color the footlights bleach them white and colorless4 ,shape the upper lip into a cupid's bow and round out the lower lip4 ,dip the little finger into the rouge and press it tightly against the lips1 being careful not to smear it2 open the mouth and draw the upper lip tight over the teeth4 ,when necessary the upper lip can be shortened in appearance by blending and putting the cupid's bow a little higher4 ,do not put color on the lips beyond the angle of the nose1 otherwise it will make your mouth appear very large4 ,a blonde should not apply the rouge full strength1 as it is too dark for her4 ,the lips should not be heavily painted1 and the line about the edges should be soft and smooth4 ,eleventh stage4 ,finish with a little powder1 dusting the face very gently1 using a swan's-down puff4 ,put a very little powder on the lines about the eyes1 but not enough to dull them4 ,now look in your mirror with critical eyes4 ,your handiwork should have resulted in a velvety1 soft yet rich complexion that will stand the strong lights of the modern theatre4 ,what you have just put on is known as a grease-paint makeup4 ,there is also a cream makeup1 so called1 but it is less desirable for the modern professional stage4 ,it fails to give the right effect for a real musical show with powerful lights4 ,i have used both and do not hesitate to give this opinion based on my own experience4 ,there is also a dry makeup1 with powder1 known in theatrical parlance as a lazy makeup1 suitable only for a dumb chorus girl who has no interest in her work1 who comes in late and does not care whether she appears to advantage or not4 ,to complete any makeup1 apply liquid white with a soft sponge to the neck1 chest1 arms and other exposed flesh that is not already made up4 ,if1 as in some of the modern revues1 the legs are not covered with stockings or tights1 they too must have an application of liquid white4 ,to look right1 any flesh that is exposed must be made up1 because the lights bleach the exposed flesh1 making it appear bloodless and giving one a gruesome1 corpse-like color4 ,you are wise if in the matter of makeup you study your own face4 ,experiment1 and note the results4 ,when you are certain you have acquired the best for your own purposes1 practice it often1 till you can put it on properly and always with the same result4 ,don't seek to look made-up1 ever1 but to look your best for the part you are playing1 always4 ,if the makeup ingredients are in evidence to the audience you have not created the proper illusion and must practice making up until you acquire skill4 ,it usually takes about one-half hour to put a good makeup on after you have perfected the process with your own features4 ,removing ,makeup4 ,first remove the beads of cosmetic from the lashes4 ,then get rid of the little red spot in the inner corner of the eye4 ,work this toward the nose with cold cream4 ,then take plenty of cold cream on the fingers of both hands and massage the face thoroughly1 to soften the makeup all over4 ,wipe it off with cheesecloth or an old towel1 that you can throw away4 ,now wash the face with warm water and soap1 dry thoroughly1 apply a bit of powder1 and you are all ready to dress4 ,,some ,,makeup ,,notes ,you makeup for the lights of the theatre1 which nowadays are very strong1 and may come from many directions and in various colors4 ,the switchboard controlling all the lights is in the first entrance of the stage1 and the electrician in charge has his plots and cues all carefully planned for each act4 ,he does not throw lights on or off for the fun of it or at his pleasure1 but exactly as carefully designed and mapped by the show's producing director4 ,the front lights are those in the body of the house as distinguished from the stage4 ,on the stage we have the footlights in red1 white and blue1 a row of each1 and overhead are the border lights in the same three colors4 ,there is the first border1 second1 third--sometimes even seven border lights1 according to the size of the theatre stage4 ,the spotlight is an arc light4 ,it has usually a color wheel that revolves so that either red1 blue1 straw1 light straw1 or pink or any other color may be projected onto the spot on the stage that it is to illuminate and emphasize4 ,there are dimmers for the footlights and the border lights4 ,with these you can go from daylight effects to sunset1 to moonlight1 dawn1 etc41 with gentle gradation4 ,there are two kinds of moonlights on the stage4 ,number #bi blue in the spotlight gives a summer moonlight2 number #ce is best for a winter moonlight scene4 ,good gelatines1 or mediums as they are called1 are made by the ,gelatine ,products ,company1 in ,brooklyn1 or may be had from ,kliegl ,bros41 the ,new ,york ,calcium ,light ,co41 the ,display ,stage ,lighting ,co41 all first-class concerns in ,new ,york ,city4 ,under strong blue lights the under-rouge in the makeup will come to the surface1 which is not desirable1 so get to your dressing room and powder your makeup down if you are going to be under a blue light4 ,the makeup will stand a white spotlight or a pale yellow1 but will not look well under too much blue and never well under green4 99 99 99 99 99 ,put liquid white on with a soft sponge4 ,put this on only exposed flesh that is not otherwise made up1 as the arms4 ,never put powder on the arms4 ,it comes off on everything it touches4 ,liquid white is far preferable in every way4 99 99 99 99 99 ,the baby brush for blending facial makeup is one of the most important tools in the makeup box4 ,if you try to buy one in a small town they will insist upon your buying a tray and comb1 and everything else that goes with the baby set--everything1 practically1 but the baby4 ,better buy the outfit than try to go without the brush1 but it is still wiser to supply yourself with the brush in time4 ,you can buy it separately in the large cities4 99 99 99 99 99 ,never put your mirror in your makeup box1 for powder and grease will ruin the best mirror made4 ,the mirror furnished with the ,ned ,wayburn professional makeup box is almost non-breakable2 it is clear as well as strong1 and in every way one of the best for its purpose4 ,it will stand up where you want it4 99 99 99 99 99 ,never makeup while in your street clothes or in stage costume4 ,a drop of cosmetique on satin slippers or silk stockings will never come out4 ,a washable kimono or bath-robe is the best garment to wear4 ,long fingernails will cut and ruin thin stockings4 ,don't ever wear the fingernails pointed4 99 99 99 99 99 ,in using the #f;,b ,venus pencil to darken the upper eyelid1 use the side and not the point of the pencil4 ,do not use a pencil sharpener1 for it leaves too sharp a point4 ,keep your pencil free from grease4 ,wipe it often4 99 99 99 99 99 ,rouge will fade under bright lights4 ,much depends upon the condition of one's health as to how long rouge will keep its color on the face4 ,there will be certain times when rouge will disappear rapidly and you will have to renew the outer rouge1 perhaps before the act is over4 99 99 99 99 99 ,do not throw powder at your face1 nor rub it in or smear it4 ,pat it on gently with the pad and use the blending brush4 99 99 99 99 99 ,the tiny dot of rouge placed in the inner corner of each eye is to fix the distance of the eyes apart4 ,when the eyes are finished they should appear to be about the distance of one eye apart4 99 99 99 99 99 ,rarely is makeup used in the nostrils4 ,a big nose will look very wide if made up1 but a small and very straight nose can stand a very little number #ah rouge in the nostril--not lip rouge1 which would be too dark4 ,but it is very seldom that the nostrils are made up4 99 99 99 99 99 ,unless very careful in removing makeup1 your face will feel raw and chafed when you go out in the wind4 ,take time and plenty of cold cream in the removal of makeup1 and dry and powder your face before exposing it to outdoor weather4 99 99 99 99 99 ,if you wish to you can leave the mascaro on the eyelids1 working over and under it in removing the rest of the makeup1 and so use the mascaro on the street4 ,on matinee days you will see shadowy eyes on ,broadway1 as some of the ladies of the cast keep the mascaro on till the evening performance4 ,illustration3 ,,nw ,illustration3 #ajj1jjj4jj ,,worth ,,of ,,dancing ,,costumes ,,immediately ,,available4 ,,stage ,,costumes ,on the stage1 as on the street1 effective costuming is a matter of good taste4 ,the dancer must be particular always to appear in a costume in keeping with the idea and character of the dance4 ,the producer will be certain to adhere to this rule in all cases where the company supplies the stage costumes1 as is customary4 ,in vaudeville1 or in a home-talent show1 where the dancer furnishes the outfit1 the same rule of fitness and appropriateness must be observed1 or the resulting incongruity will greatly mar the presentation4 ,have your stage costumes prepared with the idea of creating proper atmosphere for the dance you are giving or the scene in which the dance appears4 ,there are special designers of stage costumes in all the large cities1 here and abroad4 ,bakst1 the ,russian artist1 is a name all have come to know because of the bizarre effects he creates for the stage4 ,in ,london1 ,comelli was an outstanding name as costume designer for the ,drury ,lane productions2 ,erte1 in ,paris1 and there are many others abroad4 ,new ,york has several concerns of the first grade whose work along these lines is in evidence in the best theatres throughout the country and overseas4 ,illustration ,the first step in costume making for the stage is made when the costume designer and the scenic artist are brought together under the producing director to arrange and settle upon a definite color scheme for each act and scene1 so that colors of costumes and stage settings shall be in full harmony throughout4 ,this is most important for the pictorial effects and is given careful study4 ,with the color schemes effectively planned1 there follows a further conference between producer and costume designer1 in which plot1 locale1 atmosphere1 characters1 lyrics1 music1 and everything else with a bearing on the dance or play in contemplation is fully gone over and considered4 ,the personality of the principals is given attention1 and the various possible effects of the ensemble or chorus groupings1 evolution and pictures are carefully planned1 with regard to lights and color effects4 ,the designer thus consulted submits pencil sketches of his ideas4 ,the next step is a water color design in the actual colors to be employed4 ,the accepted costume plate in color becomes now the working basis for the actual process of manufacturing the garments4 ,the cost of these color plates for each design is at least five dollars1 but usually more1 as high as #be4jj sometimes1 before a garment is cut or a stitch taken1 the price for a costume plate or design depending a good deal upon the standing or reputation of the designers4 ,materials as well as colors are given careful thought4 ,sometimes the artist's design is made around a sample of the actual materials1 though usually the color idea is developed first and the goods to be used in the garments considered later4 ,the quality of the material for stage costumes should be the very best to be had regardless of cost4 ,it is unquestionably true that the best is the cheapest in every way4 ,not only do costumes of cheap fabrics not hold together1 and the colors fade out when exposed to the strong modern stage lights1 and repairs and renewals become a frequent necessity1 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 consequence4 ,illustration3 ,a ,,corner ,,of ,,wardrobe ,,room ,it is human nature for a well-groomed man or woman1 on the stage or off1 to be in better spirits and a better mental attitude for the very reason that they are correctly attired4 ,cheap garments and inferior costumes detract from the dancer's ability to do the best work1 however unconscious of this fact the dancer may be4 ,so ,i contend that it pays to use the best material and employ the best workmanship1 if only to keep the performers up to pitch and put the show over in a way that spells success4 ,then1 too1 there is the audience to be considered4 ,they know the difference between silk and cotton1 and are quick to judge the show by the appearance of the costumes that greet them on the stage4 ,it is little less than an insult to modern ,american audiences to expect them to pay modern prices for seats in the theatre and then parade a lot of second-rate costumes before them as your idea of something that will get by without detection or adverse comment4 ,the cost of costumes varies1 of course1 and the range is wide4 ,professional costumes worn in ,broadway productions under my direction have been made for as little as #bc4jj and as high as #aejj4jj for an individual costume4 ,chorus costumes have been shown on ,broadway costing #ej4jj to #djj4jj for each girl in the ensemble4 ,however1 a satisfactory chorus costume can be produced today for around #ge4jj and that for a principal about #ajj4jj4 ,there are large and satisfactory rental establishments in ,new ,york1 ,chicago1 ,philadelphia1 ,boston1 and others of our prominent cities where costumes can be rented for almost any character of show1 in single garments or for a complete production4 ,in the east1 among the best are ,brooks or ,eaves1 of ,new ,york1 and ,van ,horn of ,philadelphia4 ,in the wardrobe department of the ,ned ,wayburn ,studios there is carried a varied line of up-to-date costumes well over a hundred thousand dollars in actual cash value4 ,there is one set of twelve dancing costumes there alone worth #dhjj4jj1 or approximately #djj4jj per costume4 ,any of my stock of costumes is available on a rental basis for amateur shows when my organization is employed to stage the productions1 and an expert wardrobe mistress goes along with the outfit to insure proper adjustment and fitting of all the costumes to their wearers4 ,the complete costume when rented from any concern includes headdress1 bloomers and parasols 7if the character calls for them71 besides the gown or costume proper1 but never includes wigs1 shoes1 stockings or tights1 which must be purchased outright4 ,in our studio work and during the rehearsal period on the stage we recommend the ,ned ,wayburn rompers as a form of practice dress best suited for ladies' use1 except in our foundation technique and acrobatic dancing classes1 in both of which the bathing suit is given the preference4 ,illustration3 ,,nw ,illustration3 ,,mildred ,,leisy ,,wearing ,,type ,,of ,,practice ,,costume ,,worn ,,for ,,ballet ,,dancing4 ,illustration3 ,,polly ,,archer ,,wearing ,,costume 7,,bathing ,,suit7 ,,for ,,limbering ,,and ,,stretching1 ,,and ,,acrobatic ,,dancing4 ,illustration3 ,,olive ,,brady ,,wearing ,,practice ,,romper ,,suggested ,,for ,,use ,,in ,,all ,,classes ,,except ,,those ,,in ,,ballet ,,dancing4 ,,dancing ,,tempos ,illustration ,one must possess an inherent sense of rhythm in order to become a successful stage dancer4 ,to be able to walk or dance to music in perfect time1 and find enjoyment in doing it1 is one of the first essentials4 ,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 music1 whether or not the walker has the dancing sense that is so necessary to perfection in the art4 ,in dancing1 the term rhythm refers to the coincidence of movement and music1 and is the symmetrical regulation of time and the periodical repetition of the same arrangement4 ,the measure of speed in music and dancing is designated as tempo4 ,it is the time in which a musical composition is written1 and is shown upon the staff by figures4 ,of the many kinds of dance measures1 the most common are what are known as #b-d1 #c-d1 #d-d1 and #f-h4 ,music3 ,march1 ,stars and ,stripes ,forever ,john ,philip ,sousa ,used by ,permission of ,the ,john ,church ,company1 ,owner of the ,copyright ,music3 ,march1 ,over ,there ,,geo4 ,m4 ,,cohan4 ,copyright by ,leo ,feist1 ,inc41 ,used by ,special ,permission ,among the #b-d rhythms1 the principal ones are the ,march1 which is indicated either in ,alla ,breve 7,c71 as ,the ,stars and ,stripes ,forever1 or in #b-d1 as the more rollicking ,over ,there1 or the well known ,cake ,walk1 ,georgia ,camp ,meeting4 ,by increasing the tempo of the #b-d ,march it becomes the ,one ,step dance4 ,music3 ,cake ,walk1 ,georgia ,camp ,meeting ,mills ,copyright by ,,mills4 ,marches are also written in #f-h4 ,then they are called ,two ,steps1 as ,the ,handicap ,march1 and ,sousa's ,washington ,post ,march4 ,music3 ,pizzicato ,polka by ,leo ,delibes ,among the other #b-d rhythms are the ,polka1 suitable for ,ballet work4 ,the ,pizzicato ,polka is a very good example of this type4 ,the ,gallop and ,can ,can are in a very fast #b-d tempo4 ,music3 ,can-,can from ,orpheus ,offenbach ,waltzes are in #c-d1 played sometimes in a lively tempo1 one in a bar1 or slow1 #c in a bar4 ,three o',clock in the ,morning1 a ballroom waltz is in the slow tempo1 while ,in the ,good ,old ,summertime is more rapid1 adapted for fast movements and waltz clogs4 ,valse ,coppelia1 played one in a bar1 is the type for dainty ,ballet work4 ,the stately ,minuet is in #c-d time4 ,music3 ,waltz1 ,three o'clock in the ,morning by ,julian ,robledo ,copyright by ,west's ,,ltd4 ,london ,eng4 ,leo ,feist ,sole ,agt4 ,music3 ,waltz1 ,in the good old ,summertime ,,geo4 ,,evans ,copyright by ,,haviland4 ,music3 ,waltz from ,ballet ,coppelia ,,leo ,,delibes4 ,music3 ,minuet by ,mozart ,the ,gavotte1 played #d in a bar1 is principally suitable for ,ballet1 while the ,song and ,dance 7,narcissus71 on account of its rhythm1 is mainly adapted for the soft shoe and its kindred dances4 ,it is also in #d-d4 ,the ,fox ,trot is written ,alla ,breve1 #b in a bar in moderate tempo4 ,it has a somewhat strict rhythm1 while the ,charleston1 played usually in the same tempo1 is rhythmically different4 ,as one can notice1 it has an anticipated second beat4 ,perhaps the most popular music for the ,charleston dance is the ,charleston number from ,runnin' ,wild4 ,music3 ,song and ,dance ,rhythm ,narcissus ,nevin ,music3 ,,fox ,,trot4 ,i ,,love ,,you by ,,harry ,,archer ,copyright by ,leo ,feist1 ,inc41 ,used by ,special ,permission ,music3 ,charleston ,cecil ,mack ,jimmy ,johnson ,copyright ,,mcmxxiii by ,harms1 ,inc41 ,n4,y4 ,there are a great many varieties of national dances1 all having a peculiar rhythm of their own1 portraying the character of their people4 ,among these are the ,american characteristic dances1 as ,the ,rube ,dance and the peculiar rhythm of the ,stop ,buck1 the ,essence played in moderate #f-h tempo1 as in ,comin' ,through the ,rye4 ,music3 ,essence1 ,coming ,thru' the ,rye4 ,among the ,irish ,dances1 the most popular are the ,jig1 a fast #b-d2 and the ,reel1 a fast #f-h4 ,the ,scotch have their ,highland ,fling1 a fast #d-d1 and there is the ,hornpipe4 ,music3 ,irish ,jig ,music3 ,irish ,reel 7,rory ,o',more7 ,music3 ,highland ,fling4 ,music3 ,scotch ,hornpipe ,the ,spanish dancers are particularly fond of the ,waltz1 played lively1 and when still more increased in tempo it becomes the ,fandango1 a wild and merry dance4 ,the ,tango is in #b-d1 played in moderately slow tempo2 its rhythm is also adapted for the ,habanera4 ,music3 ,valse ,espana 7,fandango7 ,waldteufel ,music3 ,tango 7,habanera7--,paul ,dupont ,copyright ,sam ,fox ,cleveland ,o4 7,rosita ,tango ,fox ,trot7 ,the ,italians have their ,tarantella4 ,it is played very fast4 ,it is supposed to cure the bite of the tarantula1 hence the furious tempo4 ,the ,egyptian 7,oriental7 ,dance is of a more sensuous type1 either moderately fast in #b-d or slow 7in #f-h74 ,the ,soft ,shoe ,dance is played #d in a bar in ,schottisch tempo4 ,music3 ,,tarantella--,,burchenal ,music3 ,egyptian ,ballet 7fast movement7 ,a4 ,,luigini ,most any #b-d ,march movement is suitable for buck dances1 but they must be in syncopated rhythm with characteristic melodies and accompaniments and not what is called straight marches1 but must have the right atmosphere musically in order to inspire the dancer4 ,music3 ,egyptian ,ballet 7slow movement7--,a4 ,,luigini ,there are a number of very good dance albums published annually with popular dance melodies and piano arrangements4 ,among the best are those published by ,leo ,feist1 ,inc41 ,jerome ,h4 ,remick ,company1 ,shapiro1 ,bernstein ,company1 ,harms1 ,inc41 and ,m4 ,witmark ,sons1 all of ,new ,york4 ,illustration ,,diet ,,and ,,dancing ,illustration ,there are three kinds of people who should use care in all that they put into their bodies in the way of food and drink3 ,the thin1 the just right1 and the stouts4 ,that seems to cover about everybody on earth1 doesn't it8 ,well1 that is just the idea4 ,it is my way of saying that everyone1 everywhere--you and ,i and the other folks1 will be better looking and in better health and better spirits1 more capable every way1 if we pay attention to our diet4 ,this treatise is intended for men as well as for women and is equally applicable to both4 ,it is addressed to the ladies1 for reasons that surely are obvious1 but the rebuilding of the figure is accomplished by the same methods in both sexes4 ,remember this1 and substitute man for woman in your reading and application of this chapter if you are a male4 ,incidentally1 it is not stage dancers alone who need to be told what is best for them1 but as our professional dealings here in the studios are with dancers1 we are directing our advice to them4 ,for really the need is greater in the case of the lady whose job and salary depend upon her bodily appearance and health and mental condition1 than it is in the case of any other of her sex4 ,the lady of society wishes to look at her best1 and usually succeeds in doing so1 but her job doesn't depend upon it1 as yours does4 ,illustration3 ,,scene ,,from ,,ned ,,wayburn',s ,,honeymoon ,,cruise ,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 market4 ,the thin1 slight1 under-nourished woman will heed my words on this subject with satisfaction4 ,her procedure is pleasant and easy1 comparatively4 ,she can and will improve rapidly if she is determined to do so and will stick to what ,i tell her4 ,the just right woman wants to remain in her perfect form1 and the words here printed will serve as a sign-post to direct her in the way that is best for the accomplishment of that desirable end4 ,her task is easiest of all4 ,the stout woman who would regain the more pleasing figure that nature intended she should have can do so if she will1 but her inclination to indolence and indulgence must be overcome--by herself1 not by anything anyone else can do for her--and she must make up her mind that she has a real task before her1 and one that calls for all her will power and stern determination4 ,and she must be patient1 for in her case results are apt to be slow4 ,but let her be encouraged3 ,some of the most admired women of the stage have experienced her same difficulty with too abundant flesh and have perfected themselves by this identical plan set forth here4 ,so it has been done1 and can be done in your case2 but it all depends upon you1 your zeal and your stick-to-it-iveness4 ,to see how your present weight conforms to the proper standard1 ,i present here a table of average weights based on heights and age4 ,in this table the weights are taken in scant costume1 a single garment and no shoes4 ,any table of this kind can be only approximate1 however1 for the frame and general build vary in different people and the bone structure must be considered in fixing the weight4 ,,standard ,,table ,,of ,,average ,,heights ,,and ,,weights ,,of ,,men ,,and ,,women ,,of ,,various ,,ages ,,women ,heights ,weights #ae-ai #bj-bd #be-bi #cj-cd #ce-ci #dj-dd #de-di #ej-ed #ee-ei ,ft4 ,in4 yrs4 yrs4 yrs4 yrs4 yrs4 yrs4 yrs4 yrs4 yrs4 #d #aa #aaj #aac #aaf #aai #abb #abf #abi #aca #acb #e #j #aab #aae #aah #aba #abd #abh #aca #acc #acd #e #a #aad #aag #abj #abc #abf #acj #acc #ace #acg #e #b #aag #abj #abb #abe #abi #acc #acf #ach #adj #e #c #abj #abc #abe #abh #acb #acf #aci #ada #adc #e #d #abc #abf #abi #acb #acf #aci #adb #add #adf #e #e #abf #abi #acb #acf #adj #adc #adf #adh #aej #e #f #acj #acc #acf #adj #add #adg #aea #aeb #aec #e #g #acd #acg #adj #add #adh #aea #aee #aeg #aeh #e #h #ach #ada #add #adh #aeb #aee #aei #afb #afc #e #i #ada #ade #adh #aeb #aef #aei #afc #aff #afg #e #aj #ade #adi #aeb #aee #aei #afb #aff #agj #agc #e #aa #aej #aec #aee #aeh #afb #aff #agj #agd #agg #f #j #aee #aeg #aei #afb #afe #afi #agc #agg #ahb ,,men ,heights ,weights #ae-ai #bj-bd #be-bi #cj-cd #ce-ci #dj-dd #de-di #ej-ed #ee-ei ,ft4 ,in4 yrs4 yrs4 yrs4 yrs4 yrs4 yrs4 yrs4 yrs4 yrs4 #d #aa #aaa #aag #abb #abe #abg #acj #acb #acc #acd #e #j #aac #aai #abd #abg #abi #acb #acd #ace #acf #e #a #aae #aba #abf #abi #aca #acd #acf #acg #ach #e #b #aah #abd #abh #aca #acc #acf #ach #aci #adj #e #c #aba #abg #aca #acd #acf #aci #ada #adb #adc #e #d #abd #aca #acd #acg #adj #adb #add #ade #adf #e #e #abh #ace #ach #ada #add #adf #adh #adi #aej #e #f #acb #aci #adb #ade #adh #aej #aeb #aec #aed #e #g #acf #adb #adf #adi #aeb #aed #aef #aeg #aeh #e #h #adj #adf #aej #aed #aeg #aei #afa #afb #afc #e #i #add #aej #aed #aeh #afb #afd #aff #afg #afh #e #aj #adh #aed #aeh #afc #afg #afi #aga #agb #agc #e #aa #aec #aeh #afc #afh #agb #age #agg #agh #agi #f #j #aeh #afc #afi #agd #agh #aha #ahc #ahd #ahe #f #a #afc #afh #age #ahj #ahd #ahg #aij #aia #aib #f #b #afh #agc #aha #ahf #aia #aid #aig #aih #aii #f #c #agc #agh #ahg #aib #aig #bja #bjd #bje #bjf ,illustration3 ,,frances ,,white ,now first of all1 weigh yourself and see how near you come to the standard1 and take note how many pounds you have to add or subtract to reach the perfect mark4 ,weigh yourself at regular intervals1 every ,sunday or ,monday1 but weekly1 if possible1 and keep a record of your weights and the dates they are taken4 ,first ,i am going to direct the too thin as to the best method for them to put on flesh1 fill out hollows1 become symmetrical and graceful and pleasing to the eye4 ,,how ,,to ,,gain ,,weight #a4 ,if you are thin1 have an examination by a competent physician to be sure you have no organic trouble1 before you try to put on flesh4 #b4 ,calm yourself4 ,learn to accept the trivial annoyances and the small misfits of life as a matter of course4 ,to give them attention beyond their deserts is to wear the web of your life to the warp4--,hubbard4 #c4 ,exercise and air4 ,take at least #aj minutes of ,ned ,wayburn exercises every morning as soon as you get up4 ,begin with a small number of movements and increase gradually4 ,be in the open air as much as possible4 #d4 ,sleep4 ,resistance is markedly lowered by a lack of sufficient sleep4 ,have a rest period during the day if possible4 ,do not sleep longer than eight hours4 ,for every hour you are in bed over that time the fat piles on or else you are losing flesh4 #e4 ,avoid unnecessary exertion4 ,don't talk too much4 ,delete the details4 ,never talk about your ailments except to your physician4 ,you pay him to listen 7or should74 #f4 ,avoid tea1 coffee and nicotine and other stimulants4 #g4 ,masticate your food thoroughly and leave your troubles behind when you go to the table4 #h4 ,,eat4 ,stretch your stomach and train it to take care of more food4 ,you must eat three meals each day at regular intervals4 ,they must consist of what your system requires and not just what tastes good on your palate4 ,never eat between meals4 ,give your digestive apparatus a chance to function as it should1 three times daily1 at the same time each day1 always giving it an opportunity to rest as well4 #i4 ,,eat4 ,eat whether you enjoy it or not4 ,you will enjoy it later4 ,don't heed the advice that you should not eat as a matter of duty4 ,you should4 #aj4 ,,eat4 ,but no second helpings4 ,i have seen printed advice never to eat unless you enjoy your food and to avoid eating as a mere duty4 ,i tell you to discard that advice4 ,do eat whether you enjoy it or not1 and do eat as a matter of duty4 ,once the food is in your system1 whether you like it or not1 a large part of it will be assimilated4 ,perhaps not so well nor so readily1 for we know that the enjoyment of food adds to the efficiency of the digestive juices4 ,there is a small bird called the ortolan1 which is highly esteemed by the ,italian gourmands4 ,when it is fat it is very delicious1 but as it feeds normally only once a day1 when the sun rises1 it naturally has no fat on it4 ,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 manner3 ,they put a lantern at a little window in the room4 ,the ortolans1 thinking the sun has risen1 hop around and eat4 ,the lantern is withdrawn and they are left in darkness four or five hours4 ,now the lantern is again put in place4 ,the ortolans1 evidently an unsuspicious1 guileless type of bird1 thinking the sun has risen again to perform its duty by telling them it is time to eat1 hop down from their perches and busy themselves very seriously and dutifully with their breakfast4 ,apparently they do not keep track of time and do not suspect that only four hours of the #bd have elapsed4 ,this same sun rises for them four or five times during the day and each time they obey its summons and gallantly eat4 ,the result is that they are converted into little balls of delicious fat4 ,you can get a lesson from these birds4 ,,diet ,,to ,,increase ,,weight ,thick soups4 ,thick gravies4 ,plenty of butter and sugar4 ,fruits4 ,the best fruit to fatten is bananas1 eaten slowly with cream and sugar4 ,any kind of stewed fruits1 cooked with sugar4 ,orange juice1 with plenty of sugar4 ,grapefruit1 with plenty of sugar4 ,any kinds of berries1 with plenty of cream and sugar4 ,cereals4 ,oatmeal1 ,cream of ,wheat1 ,corn ,flakes4 ,avoid bran foods4 ,meats4 ,anything fried is good4 ,roast beef1 roast veal1 roast pork1 roast ham1 veal chops1 pork chops4 ,no lamb4 ,must have steaks rare4 ,ham and eggs4 ,vegetables4 ,white potatoes1 creamed1 hashed1 any kind of fried potatoes1 sweet potatoes fried1 mashed potatoes with butter4 ,beets are fattening boiled--not pickled4 ,spaghetti1 macaroni1 boiled onions1 spinach1 creamed1 creamed carrots1 lima beans1 peas4 ,bread4 ,white bread1 fresh bread1 hot tea biscuits1 plenty of butter4 ,pastries4 ,pies1 cakes1 puddings1 bread puddings1 any sort of ,french pastry1 and candy 7in moderation74 ,beverages4 ,sweet milk1 cocoa1 chocolate1 malted milk4 ,perhaps one cup of coffee a day1 not too strong1 with plenty of cream4 ,weak tea with cream and sugar4 ,keep your system well flushed4 ,drink plenty of water1 about #de ounces a day1 say nine tumblerfuls4 ,a glass of water before and after each meal1 one in the middle of the morning1 one in the afternoon1 and another just before going to bed1 are essential4 ,this induces perspiration1 which opens the pores and lets out the impurities1 the worn out tissues1 and keeps the system healthy1 incidentally relieving the kidneys4 ,never take any liquids during a meal4 ,this interferes with the work of the digestive juices and prevents the proper assimilation of the food4 ,there is no hardship involved in selecting one's meals from this extensive and comprehensive menu1 and if proper eating were all that is necessary to perfect your figure the process would be a joy indeed4 ,but we are seeking to make you not only pleasant to look upon1 but also physically adapted to a stage career1 which means that vigor1 strength1 endurance1 wind and flexibility are demanded as well1 so1 in order to accomplish both1 we unite exercise to diet1 and the combination of the right food and habits and the ,ned ,wayburn ,foundation ,technique brings about the direct result2 you become shapely1 graceful1 strong1 and accomplished in a great art1 all as the result of the same instruction1 and simultaneously4 99 99 99 99 99 ,,ned ,,wayburn',s ,,daily ,,menus ,,for ,,the ,,underweight ,,monday ,,breakfast ,shredded wheat with sliced banana1 #a_/b cup thin cream or top milk and #a rounding teaspoon sugar2 poached egg2 #b slices toast1 #b squares butter2 coffee with #a_/b cup hot milk or cream and sugar as desired4 ,,luncheon ,cream of tomato soup2 #c saltines2 ,swiss cheese and rye bread sandwich2 #a square butter2 prune whip1 soft custard sauce2 #a glass milk4 ,,dinner ,vegetable soup2 roast beef with gravy2 baked potato2 lima beans2 ,french roll2 #b squares butter2 hearts of lettuce1 ,french dressing2 ice cream1 chocolate sauce2 coffee if desired4 ,,tuesday ,,breakfast ,baked apple 7large7 with #a tablespoon cream2 scrambled eggs with #b slices bacon2 #a cornmeal or graham muffin2 #a square butter2 coffee as above4 ,,luncheon ,club sandwich with mayonnaise2 lemon meringue pie2 coffee with half cup hot milk4 ,,dinner ,fillet of sole1 ,tartar sauce2 boiled potato2 lettuce and tomato salad1 ,french dressing2 #b slices bread2 #b squares butter2 ice cream2 glass of milk4 ,,wednesday ,,breakfast ,grapefruit with sugar2 #a_/b cup oatmeal with #a_/d cup cream and #a rounding teaspoon sugar2 #b boiled eggs2 #a slice toast2 #a square butter2 cocoa4 ,,luncheon ,lamb chops 7#b72 creamed asparagus on toast2 tomato and lettuce salad1 mayonnaise2 #b rolls2 #b squares butter2 #a_/b cantaloupe4 ,,dinner ,broiled steak with gravy2 scalloped or mashed potatoes2 buttered beets2 #b slices whole wheat bread2 #b squares butter2 ice cream2 glass of milk4 ,,thursday ,,breakfast #a orange2 #c griddle cakes with #b squares butter and #c tablespoons syrup2 coffee as in breakfast 7#a74 ,,luncheon ,fruit salad1 mayonnaise2 raisin bread and cream cheese sandwich2 doughnut2 glass of milk4 ,,dinner ,substantial soup such as minestrone1 chowder1 petite marmite or pot au feu2 roast chicken or duck with stuffing and gravy2 candied sweet potatoes2 green peas2 #b rolls or bread2 #a square butter2 raw fruit1 honey-dew melon or #a_/b cantaloupe2 coffee4 ,,friday ,,breakfast #f stewed prunes and juice2 cornflakes with #a_/b cup top milk or cream and #a teaspoon sugar2 #b slices hot buttered toast and marmalade or jam2 #a glass milk4 ,,luncheon ,cream of pea soup2 ham omelette2 ,french fried potatoes2 #b slices buttered toast or bread2 strawberry ice cream2 tea as desired4 ,,dinner ,breaded veal cutlet or roast leg of veal2 spaghetti with tomato sauce2 string beans2 celery2 ,french roll2 #a square butter2 apple brown ,betty1 hard sauce2 glass milk or coffee with hot milk4 ,,saturday ,,breakfast #a serving strawberries1 raspberries or sliced peaches with #b tablespoons cream and #a teaspoon sugar2 #a_/b cup wheatena with #d tablespoons cream and #a teaspoon sugar2 #c slices bacon2 #a ,french roll2 #a square butter2 cocoa4 ,,luncheon ,chicken or egg salad with mayonnaise2 #b rolls2 #b squares butter2 baked apple with cream2 glass of milk4 ,,dinner ,cream of asparagus soup2 baked ham2 potato salad2 mayonnaise2 fresh green or red cabbage1 cooked2 #b slices rye bread2 #a square butter2 raspberry sherbet or peach ice cream4 ,coffee4 ,,sunday ,,breakfast #a glass orange juice2 #c tablespoons grapenuts with #d tablespoons cream2 cocoa2 creamed eggs on toast4 ,illustration3 ,,ned ,,wayburn ,,show ,,girls1 ,,follies ,,of #aibb4 ,,luncheon ,macaroni and cheese2 spinach with oil and vinegar2 #b slices whole wheat bread2 #b squares butter2 chocolate cornstarch pudding with cream4 ,,dinner ,beef stew with vegetables2 red beet or cabbage salad1 ,french dressing2 #b rolls2 #b squares butter2 strawberry short cake2 glass of milk or coffee with hot milk4 ,note3 ,if underweight is marked1 it may be advantageous to take additional nourishment at #aj ,a4,m4 and #d ,p4,m41 such as a glass of milk or cocoa with #b graham crackers and a glass of hot milk and crackers at bedtime4 ,this will add #gej to #ajjj calories to the day's total4 ,any one of the above breakfasts contains #hjj calories4 ,any one of the above luncheons contains #ajjj calories4 ,any one of the above dinners contains #abjj calories4 ,this gives a day's total of approximately #cjjj calories of heat or energy4 99 99 99 99 99 ,,how ,,to ,,lose ,,weight ,to get rid of superfluous avoirdupois is one of the necessary steps to beauty4 ,a ponderous actress has a limited field4 ,certain character parts1 a few vaudeville acts1 a singing turn1 or a burlesquing of her own abnormality 7if she has the personality to carry it off with71 and there her availability for stage purposes ends4 ,but you cannot dance and waddle at the same time4 ,it isn't done4 ,if you aspire to be the kind of stage dancer that the public demands and that we produce in our courses1 you will have to submit to diet and exercise1 the only coin of the realm that will buy physical beauty and perfect development4 ,there is no other way4 ,medicines for this purpose are dangerous1 because they contain poisons1 like arsenic and mercury4 ,make up your mind to either abandon all hope of a dancing career1 or to faithfully follow the prescribed routine of proper exercise and non-fattening foods4 ,if you continue to take into your body the foods that build fatty tissue1 no exercise alone will dispose of the excess fat that is sure to result4 ,while our exercises in the studio do help greatly1 they cannot entirely correct a basically wrong condition unless supplemented by proper diet4 ,and diet alone is not sufficient1 either2 you must have the exercises along with it4 ,,diet ,,to ,,decrease ,,weight ,you must partake of no soups1 nothing that is fried1 no gravies4 ,the only meats that you will be permitted to eat are roast lamb1 lamb chops1 broiled or boiled white fish1 or white meat of chicken or turkey2 no other meats of any kind1 no other fish of any kind4 ,vegetables4 ,you may have any green vegetables1 especially plain spinach1 carrots1 string beans1 lettuce1 celery1 onions1 sliced tomatoes1 never any stewed tomatoes or beets4 ,but you can have beet tops4 ,radishes are hard to digest4 ,you are not permitted to have any pastry1 and by that is meant pie1 cakes or cookies2 no candies of any kind2 no ice cream or ice cream sodas1 no sarsaparilla or ginger ale1 no liquor1 no smoking1 no cigarettes4 ,you are not to take any liquids while having your meals4 ,you are not to partake of whole milk1 cream1 or white bread4 ,use little or no sugar or butter4 ,the only kind of bread that you are permitted to eat is the whole-wheat bread1 gluten bread1 or whole rye bread4 ,you may take stale bread toasted4 ,gluten bread is good when toasted4 ,you are prohibited from taking coffee4 ,you may take very weak tea--very weak--but there should be no sugar in the tea1 nor should there be any cream in it4 ,you may have a slice of lemon in your tea4 ,lemon juice can be squeezed on the lettuce instead of using sugar or rich dressing4 ,vinegar on the lettuce or spinach1 and plenty of it1 is permissible4 ,buttermilk is excellent1 and so is postum1 but the postum should be taken without sugar and used with hot skimmed milk1 not cream4 ,for fruits3 take baked apple1 applesauce1 grapefruit1 orange juice1 raspberries1 blueberries1 huckleberries1 a few strawberries--not many--occasionally4 ,about potatoes3 no potatoes except a baked white potato1 occasionally--no sweet potatoes1 no ,french fried1 home fried1 hashed or creamed potatoes--no mashed potatoes2 the only kind you are permitted to partake of being the well-baked white potato1 and you may eat the skins if you like1 but do not butter the potato4 ,for cereals3 take bran1 bran flakes or hominy--but the hominy must be cooked for one hour and a half4 ,that is the best cereal for your diet4 ,the hominy should be flavored with about one-half teaspoonful of currant jelly1 put into the hominy and stirred up1 just to give it a little taste4 ,do not use any cream1 milk or sugar on your hominy1 which is really the most nutritious cereal when cooked this length of time4 ,i am reproducing here the ,ned ,wayburn daily menu for a reducing diet4 ,it is one ,i have worked out carefully and studiously and used successfully on many of my pupils and myself4 ,by means of this diet and my studio exercise ,i reduced myself from #bfb pounds to #bjg pounds in twelve weeks--a loss of #ee pounds1 and felt better when ,i got through than ,i did when ,i began1 but1 ,i do not advise anyone taking off weight too fast4 ,with my method of reducing all of the unhealthy fatty tissue will be gotten rid of before the remaining firm muscular tissue will be distributed about the body4 ,you may get thinner in the face first1 and about the thighs last4 ,be patient2 it may take you six months or longer4 ,unless you have gland trouble or some other serious disorder it will go in time1 provided you will work to get rid of it and stick to the diet for not less than three months4 ,those taking the conditioning work lose an average of about one pound per week1 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 tissue1 those underweight frequently losing five pounds before they begin to show any gain4 ,it will surely bring back youthful buoyancy and insure your health and figure for the future4 ,after you have succeeded in getting down to the right poundage you can go on my balanced diet for those who have reduced1 but you will still have to do about ten minutes of my exercises every morning1 and you must never over-eat again4 99 99 99 99 99 ,,ned ,,wayburn',s ,,daily ,,reducing ,,menus ,,monday ,,breakfast ,orange 7without sugar7 #a medium2 #a poached egg on thin slice toast2 #a small pat butter2 coffee with #a teaspoon sugar and #a_/b tablespoon cream or coffee with #a_/d cup hot skimmed milk4 ,,luncheon ,lettuce1 tomato and cream cheese salad1 with #a_/b tablespoon ,french dressing2 #b thin slices whole wheat bread2 #a small pat butter2 #a glass skimmed milk4 ,,dinner ,bouillon1 clear2 lean roast beef2 #a medium baked potato2 spinach2 #a small pat butter2 pear or apple4 ,,tuesday ,,breakfast #a_/b grapefruit 7without sugar72 #a egg and #a thin slice crisp bacon2 #a thin slice toast2 #a small pat butter2 coffee with hot skimmed milk4 ,,luncheon ,cheese sandwich2 asparagus salad with #a_/b tablespoon mayonnaise2 tea with lemon4 ,,dinner ,roast or broiled chicken 7no stuffing or gravy72 green peas2 lettuce and cucumber salad with #a_/b tablespoon ,french dressing2 baked apple 7no cream74 ,,wednesday ,,breakfast #c_/d cup strawberries with rounding teaspoon powdered sugar2 #a_/b cup oatmeal with #a_/d cup skimmed milk and #a level teaspoon sugar2 glass of skimmed milk4 ,,luncheon ,cream of tomato soup2 medium serving cold meat2 #b thin slices rye bread2 #a small pat butter2 #a_/b small cantaloupe4 ,,dinner ,broiled sirloin steak1 moderate serving2 #a ear corn on cob2 tomato and lettuce salad1 with #a_/b tablespoon ,french dressing2 #a small pat butter2 cup custard 7small74 ,,thursday ,,breakfast #a apple2 #a egg omelet2 #a bran muffin2 small pat butter2 coffee with hot skimmed milk4 ,,luncheon ,macaroni and cheese2 lettuce with ,french dressing2 fruit gelatine pudding 7clear74 ,,dinner ,beef or lamb stew with vegetables2 #b thin slices whole wheat bread2 small pat butter2 tapioca cream pudding2 black coffee4 ,,friday ,,breakfast #a peach1 with #a rounding teaspoon powdered sugar2 shredded wheat with #a_/b cup milk2 #b thin crisp slices bacon2 thin slice dry toast4 ,,luncheon #a ,french lamb chop2 #a medium baked potato2 lettuce with #a_/b tablespoon ,french dressing2 lemon ice4 ,,dinner ,vegetable soup2 broiled halibut or other white fish with lemon2 #a medium baked potato2 #a slice bread2 #a small pat butter2 ,french ice cream 7small serving74 ,,saturday ,,breakfast #a_/b orange2 #a ,french roll2 small pat butter2 glass of skimmed milk4 ,,luncheon ,clam or corn chowder2 #c saltines2 moderate serving peach or strawberry ice cream1 or apple1 cream1 or custard pie4 ,,dinner #b small lamb chops or #a large one2 tomato salad with ,french dressing2 mashed turnips2 #a thin slice whole wheat bread2 #a small pat butter2 raw peach4 ,,sunday ,,breakfast #a banana2 #c_/d cup cornflakes2 #a_/b cup skimmed milk2 #a slice toast2 #a small pat butter4 ,,luncheon ,egg or chicken salad2 #a slice bread2 #a small pat butter2 #a small piece loaf cake1 or #b plain cookies2 tea with lemon1 no sugar4 ,,dinner ,hamburger steak with tomato sauce 7#b cakes72 string beans or asparagus2 #a thin slice rye bread2 #a small pat butter2 glass of skimmed milk or coffee with skimmed milk2 raw apple1 orange or pear4 ,note3 ,if overweight is excessive omit all desserts given in menus except raw unsweetened fruits4 ,any one of the above breakfasts contains #cej calories of heat or energy4 ,any one of the above luncheons contains #ejj calories4 ,any one of the above dinners contains #fej calories4 ,the day's total will be #aejj calories4 99 99 99 99 99 ,you will no doubt be interested in hearing the story of a young lady1 ,miss ,ann ,constance1 who came to me a little over a year ago to be reduced4 ,she was sixteen years old1 was five feet five inches in height and weighed one hundred and seventy-nine pounds4 ,at the end of nine months1 under the treatment ,i am recommending for those who are overweight1 she tipped the scales at one hundred and nineteen pounds4 ,her photographs1 in this book1 taken before and after1 will tell the story better than ,i can in words4 ,miss ,constance is in better health today than she has ever been before in her life2 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 ,studios4 ,she is1 however1 only one of many girls whom my diets and exercises have helped4 ,illustration3 ,,ann ,,constance4 7,before she entered the ,ned ,wayburn ,studios47 ,illustration3 ,,ann ,,constance4 7,after she entered the ,ned ,wayburn ,studios47 ,we have never failed in reducing any of our pupils who came to us for that purpose1 but we have to have their cooperation1 of course4 ,quite recently we had a very puzzling case that challenged the ,sherlock ,holmes in us1 and ,i think it will interest you to know how we solved it4 ,a young lady of really huge proportions1 resident of another city1 called on me at the studio accompanied by her mother1 and placed herself in my charge for reducing4 ,i studied her1 arranged a special diet for her and she entered the class in limbering and stretching4 ,i watch the progress of all my pupils1 and expect them to record the change in their weights every week4 ,i watched this young lady with especial care1 and was dumbfounded to notice that she was steadily gaining in weight4 ,she never lost a pound but kept on adding fat to more fat all the time1 notwithstanding that she was working her head off in the classroom--when she came to class4 ,she skipped seven lessons of the twenty in the first month's course1 reporting for only thirteen1 finally insisting that the lessons were not doing her any good4 ,i felt that there must be something wrong and wrote the mother of the girl about it1 as she had requested me to do4 ,she told me that the girl had a charge account at a certain hotel where she took her meals4 ,i asked the mother if it would be possible for me to get the meal checks signed by her daughter1 which would show just what she had eaten4 ,the meal checks were turned over to me4 ,i found that the girl had been eating the prohibited things2 that about once in two weeks she had followed my diet1 and at every other time she had eaten everything she liked--enormous meals1 consisting of starchy foods and all sorts of desserts--mostly sweets4 ,i also found out that she had been taking some of the other girls at the studio along with her1 fattening them up4 ,the mother was inclined to be easy with the girl4 ,i called her father's attention to the matter1 because the girl paid no attention at all to me1 and as far as ,i could see was hurting the school4 ,of course she was only fooling herself4 ,i insisted that we were not going to fail with her1 and her father came to ,new ,york to see me4 ,about this time the girl was taken ill1 suffering with acute indigestion and finally the mumps4 ,on my advice her father took her home4 ,lately ,i have heard from the young lady1 and she wants to re-enter the school4 ,if ,i decide to take her back1 she will have to keep strictly to her diet and attend regularly1 which ,i believe she is now ready to do1 as she has gained much weight since leaving here4 ,lillian ,russell was a beautiful woman1 with a personality and a stage presence4 ,she was fond of the good things in life1 and was obliged to watch carefully a tendency to embonpoint4 ,she has gone on record as saying that lots of walking1 lots of dancing1 and two meals a day was all the reducing exercise she ever employed4 ,she advised a light breakfast1 no luncheon1 and a good dinner1 with no between-meals1 no piecing1 no candy4 ,the chief trouble with this plan is1 that one is apt to become ravenous by dinnertime and over eat at that meal1 and thus undo what you are attempting4 ,the best way is to follow the ,ned ,wayburn diet faithfully1 and take three meals each day1 just as ,i have suggested4 ,,dancing ,,and ,,good ,,health ,illustration ,the dance is its own justification4 ,it needs no excuse1 nor do the many millions who share its delights need to be told how beneficial it is to them4 ,they know that they are healthier and happier men and women1 and therefore get more out of life and give more to others1 because they dance4 ,if the purpose of life is1 in the words of an immortal document1 the pursuit of happiness1 surely those who train their bodies to move in harmony with natural laws are fitting themselves for capacity to enjoy all that life brings4 ,to live well requires good physical health1 for which a prime requisite is an abundance of pleasant exercise4 ,not alone to those who are free from the necessity of the various forms of exertion that are termed work1 but to every human being1 exercise is as necessary as food4 ,to those whose daily callings involve substantial physical labor1 the need for exercise is just as great as for those of lighter employments4 ,and nowhere can there be found so satisfactory a bodily exercise as in the dance4 ,sports1 outdoor games1 horseback riding1 etc41 have their place1 but are available to a comparatively small percentage of all the people4 ,now that the introduction of the automobile has turned ,america into a nation of riders on soft cushions1 the need for proper exercise has become more important than ever4 ,to live well1 breathe well1 sleep well1 the body demands activities that will develop and strengthen it4 ,the most delightful form in which this want can be supplied is in the dance4 ,the universal desire of mankind is for enjoyment2 the qualification of physical1 mental and aesthetic needs4 ,to enjoy requires the possession of the ,roman prime essential2 a sound mind in a sound body4 ,so closely are physical and mental health related1 so complex the reactions of a disordered nervous system on bodily health1 or the effect on the mind of physical weakness1 that the wisest doctors do not pretend to say this illness is either wholly mental or physical4 ,they do know that some violation of the laws of right living1 some neglect to follow natural impulses1 is chiefly responsible for the long list of ills that afflict mankind4 ,and they are unanimously agreed that proper diets and an abundance of exercise are far better than cures2 they prevent disease4 ,it is not necessary to go into physiological details to explain why the well-nourished body demands suitable exercise4 ,that it does is an admitted fact4 ,the question that confronts the millions who know that their bodily condition is not what it should be is3 ,what must ,i do to make myself stronger1 and capable of enjoying life better8 ,the obvious answer is3 ,dance4 ,in dancing there is found a form of exercise that stimulates circulation of the blood to the remotest finger tip2 that develops1 under proper training1 every muscle2 that aids digestion to perform its functions of supplying nourishment to every tissue of the body1 and brings to the dancers the glow of vigor and animation4 ,these effects of the dance have long been proved by the experience of millions of men and women4 ,other millions who have not yet tried it will sooner or later make the experiment4 ,they will find that life takes on a new outlook1 that instead of listless indifference they are actively interested in many things that they formerly ignored2 that with restored bodily vigor they have quickened minds and better appreciation of all their daily contacts with their fellows1 and that they are enjoying each day's existence with a zest never known before4 ,the dance is a physical1 mental and moral upbuilding4 ,it brings a greater capacity for success in the daily tasks and duties4 ,it stimulates and restores4 ,it shows the door to the glooms and welcomes gladness4 ,it brings self-confidence in undertaking new enterprises1 and banishes the mental depressions that result from bodily ills4 ,it forms new circles of agreeable companions1 and affords opportunities for congenial friendships4 ,it avoids wasted expenditures for nauseous drugs and doctor's bills4 ,it puts humanity in harmony with fundamental natural laws1 and makes of all who resort to it healthier1 happier and better men and women4 ,illustration3 ,,nw ,,showmanship ,illustration ,do you know what repeaters are in the language of the stage8 ,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 time1 perhaps many times1 and bring their friends to enjoy it with them4 ,there are many more repeaters on occasions when attractions have real merit of one kind or another than the casual public dreams of4 ,the show manager watches for them and spots them1 and rejoices greatly when he finds them abundantly in evidence1 night after night1 for he knows then that he has displayed real showmanship in his selection of a cast1 a play1 and in its rendition4 ,the frequent return of a pleased patron accompanied by his companions attests the success of a show in stronger terms than any other one thing could possibly do4 ,i go on record as saying that no show was ever a real financial success without it produced repeaters4 ,it is a real test of genuine showmanship1 recognized as such the world over by every shrewd theatrical manager4 ,good showmanship consists of the ability to anticipate the verdict of the playgoing public4 ,the successful showman must have his fingers on the public pulse in matters that concern entertainment4 ,he cannot afford to guess4 ,it is too expensive4 ,he must correctly diagnose the case in advance of prescribing for its needs if he expects to be successful4 ,the wise showman always plans his play to have the very widest possible appeal1 for the public is many sided1 and a single narrow idea will fail to touch it at all points1 as it must do if it is to have a popular acceptance4 ,he knows1 being a wise showman1 that people come to his playhouse for entertainment1 pleasure1 laughter and relaxation1 and not for a learned discourse on some abstract or wearisome theme4 ,there are proper places for the lecture and the big wind1 but that place is not in the theatre of the wise showman4 ,it is his business to create his proffered entertainment into a valuable piece of property that shall declare actual cash dividends at the box office4 ,that is being a successful showman1 and he who does this exhibits real showmanship4 ,the successful stage dancer must possess showmanship4 ,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 uninformed4 ,it takes showmanship on the part of the dancer to get fully in touch with the audience1 get down to their level1 if you like to say it that way1 and never go over their heads4 ,successful dancers always use good judgment in their offerings4 ,the same kind of dance does not do for vaudeville1 musical comedy1 revue and opera4 ,each requires its own kind of dance4 ,the revue has its own audience1 the musical comedy one of another character1 vaudeville still a third kind1 and opera still another4 ,here is where the dancer's showmanship comes in--to recognize this difference and adapt the offering to the audience before whom he or she appears4 ,dancers who would profit to the fullest extent in their profession must learn how to absorb this essential element known as showmanship1 in the various ways in which it may be done4 ,reading along right lines is very important4 ,read the dramatic reviews and criticisms in the daily press1 and read regularly the leading theatrical weeklies4 ,identify yourself with your profession in this way2 read shop and talk shop4 ,make it a point to see and study other dancers1 in vaudeville1 musical comedy1 opera and revue4 ,meet your fellow dancers in their own habitat1 behind the scenes4 ,the actual experiences that you are recommended to undertake in your own behalf in the chapter ,i have called ,making a ,name will be invaluable aids to you in harvesting a lot of the best grade of showmanship4 ,travel will help you learn a lot4 ,the traveled and successful theatrical person is always alert1 quick1 bright1 posted in all important matters that concern the profession and all who are connected with it4 ,those who take my courses as students of dancing are given a wide mental as well as physical training1 to prepare them to cultivate showmanship that shall complement their skill as dancers when they become professionals4 ,i call my lectures inspirational talks1 for ,i do want what ,i say about their future careers to be inspiring to them1 and encouraging and beneficial4 ,i speak to my pupils from many years of stage experience1 and ,i know if what ,i say is heeded and given full consideration they will be better dancers and secure better engagements1 and do so in less time1 as a result4 ,illustration3 ,,helen ,,fables ,good showmanship in dancing consists also in being able to sell one's own personality in a dance4 ,select your offerings to suit your public4 ,put in the effective tricks in your exits that are so important in inviting applause4 ,and learn to leave your audience hungry for more of you4 ,let them go away with a wish that they might see more of your dancing4 ,that is your cue in successful showmanship1 my dancers4 ,let the audience come back to see the same show again in order to once more enjoy your pretty work4 ,that means repeaters1 and repeaters1 as ,i told you1 mean successful showmanship1 and both artistic and financial success4 ,it is never good showmanship on the part of the dancer1 or of an actor or actress in any part1 to let the audience know that you know they are out there4 ,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 world1 who may be among those present at any performance1 you never can tell when--and they1 remember1 are hiring good dancers now and then4 ,their judgment of how you handle an audience is worth consideration4 ,and bear in mind1 too1 that the most important part of your dance is the very end of it1 the finish1 upon which always depends the applause and the recall4 ,you like to earn your bow1 and that is right4 ,take your bow in front of the audience gracefully and quickly4 ,don't milk the audience dry by your bows4 ,never do that4 ,get general applause1 but don't work up a lot of bows4 ,come right back1 bow modestly and do a short dance1 to acknowledge the applause4 ,such good work as that will stand the inspection and secure the approval of every theatrical manager whose approbation you value4 ,an audience does not want to see you take bows4 ,bows simply gratify the vanity of the artist4 ,so1 you see1 there is quite a bit of showmanship for the dancer to study and acquire1 and it is very much worth while for all stage dancers to put it into practice1 early in their career4 ,there are entertainment values that the showman himself must be able to create from his available material1 which he will find and develop in dialogue1 lyrics1 tuneful music1 voice1 singing1 dancing1 characterization1 costumes1 settings1 scenery1 properties1 lighting1 and everything else connected in any way with the stage picture or the presentation of his offering4 ,the publicity and exploitation of the show will tax his showmanship from another angle and is of great importance to the success of the play or the artist4 ,the selection of proper music also has much to do with the appeal to the auditors4 ,no musical show can ever be made a success without beautiful1 appealing melodies1 or song hits1 as we call them4 ,and now one final word of advice to my dancers3 ,three minutes is long enough for your solo dance4 ,concentrate your efforts4 ,do not present a long-drawn-out and padded dance that will weary everyone4 ,brevity is the soul of good dancing as well as of wit1 and you will be wise to heed this from the very start of your professional stage career4 ,never show a dance to any prospective employer unless your dance has been thoroughly set and properly rehearsed with whoever is to play the music1 pianist or orchestra4 ,never offer any excuses at such a time4 ,be sure of yourself1 and only do one dance1 your very best one4 ,,who',s ,,who ,,in ,,the ,,show ,illustration ,to the members of an audience attending a theatrical performance it may appear as though the actors were the entire show and the only principals concerned with the carrying on of the affair4 ,of course the man in the box office1 the ticket taker1 and the ushers have been in evidence1 and there is the orchestra and its leader4 ,others than these have not been seen or heard1 and so perhaps are given no consideration4 ,who the others may be1 or if there are any others1 and of what their services to and interests in the show may consist1 would puzzle many theatre-goers to determine with any degree of accuracy4 ,let me take you behind the scenes1 as you may call it1 but back-stage1 as we say in the theatre-world1 in this matter and disclose the forces that move the puppets on the stage2 the powerhouse that generates the current that moves the whole machinery of production4 ,the intricacies of theatre management may come as a surprise to you4 ,chief of all comes the owner1 the promoter1 known to the profession as the ,theatrical ,manager4 ,he it is who selects the author of his contemplated production1 and also the writer of the lyrics and the composer of the musical score4 ,he engages the producer1 the creative genius who realizes the possibilities of the production and directs and rehearses it1 and the principal actors and singers1 and some of the members of the chorus as well1 but the producing director usually recruits his own chorus and dancers4 ,a most important step is the choice the manager is to make of a producer1 or production director1 on whom is to devolve the entire handling of all matters back of the curtain line from the day of his selection to the rising of the curtain on the initial public performance4 ,he is well aware of the importance of this choice1 and places his reliance only on a man known to be thoroughly experienced and competent in this line of work4 ,having selected him1 the theatrical manager steps out of the picture and the producing director assumes control4 ,and this control is absolute in his domain4 ,not even the power behind the throne1 the man who placed him in his position1 is allowed to interfere in any way whatsoever with his orders or plans4 ,the wise theatrical manager possesses full knowledge of this and keeps hands off4 ,should he venture to countermand a single order of his producer1 the latter would be certain to say ,take your show and direct it yourself1 and walk out4 ,and the reason why no producer of the first magnitude will brook interference1 opposition or disobedience from any source is1 that he is held strictly responsible to the owner for the form that the show takes and for the manner in which it is performed4 ,his own reputation is always at stake in every production of which he accepts control4 ,he makes the show a success1 if he is that kind of a producer1 and is entitled to the credit of successful accomplishment4 ,if1 on the other hand1 he gains a reputation of breaking rather than of making the show1 his career is abbreviated in short order4 ,his job depends upon making good2 he is the realizer1 the dominating and master-mind of the show4 ,let us name some of the duties that devolve upon the ubiquitous producer3 ,he must know by heart the book1 lyrics and music of the entire play1 and bring out to the full1 in all of the actors1 principals and chorus1 every possibility that their parts1 acts1 songs1 dances and groupings permit or demand4 ,all the comedy must be developed and emphasized1 and the personality of the cast studied and properly brought to the fore4 ,the principal artists engaged for the production are under his sole direction4 ,he creates all solo and ensemble dances2 gives all readings of the dialogue1 sets the dialogue syllable by syllable1 devises nearly all the entrances and exits for everyone on the stage1 indicates the tempo for all songs and dances4 ,he must be capable of inspiring the lyric writer and composer1 the costume designer and the scenic artist4 ,he must possess imagination1 suggest the locale1 color and architecture--the atmosphere--of all scenes1 select the color schemes for all costumes and scenery4 ,he makes up all orders for scenery1 costumes and properties1 and must1 to that end1 know both qualities and costs2 prices per yard of silks1 satins1 and every kind of material required in the production1 whether for wardrobe or in the scenic effects4 ,he must order the correct number and size of shoes1 stockings1 tights1 wigs--everything1 in short1 that the company supplies to the players1 which is usually all save the street clothes which they wear into the theatre4 ,the orders for properties include all furniture1 rugs1 bric-a-brac1 draperies1 and everything else that serves to dress the stage or the performers4 ,if period furniture is called for1 the producer must be competent to say what is correct for the locale and the period4 ,he must furthermore make out a plot for the switchboard1 to control every lighting cue4 ,there will be a front light plot for the floods and spot-lights as well as separate plots for side-lights1 overhead lights1 and all the rest1 to be thrown on or off at a certain cue4 ,this necessitates his knowing how many and what colors he requires in front of each lamp for his many different lighting effects4 ,for each act the location on the stage of all scenery and furniture must be definitely determined1 as well as the exact place for each performance1 and the producer determines the location of the same1 and the different heads of the mechanical staff mark the stage ground-cloth in colored crayons or water-colors for the guidance of the stage carpenter1 property man1 and electricians1 upon whom devolves the duty of setting the stage1 props and electrical equipment4 ,the producer is absolute monarch behind the curtain line1 his dominion extending not only over the actors1 singers and dancers--the entire company--but also over all members of the mechanical staff and the orchestra4 ,he alone is responsible to the owner for the successful presentation of the performance4 ,his is a man's size job4 ,how many ,american producers of the supreme type1 capable of the bigger things1 are there in the ,united ,states8 ,i know five4 ,and ,i know them all4 ,five out of #aaj1jjj1jjj people4 ,how many do you know of8 ,illustration3 ,w4,c4 ,,fields ,the ,stage ,manager takes the show from the ,producer after the opening performance and is thereafter responsible for everything connected with the show back of the curtain line4 ,he it is who presses the buttons that run the curtain up and down1 and gets the performance under way and keeps it moving1 changing the scenery and lights exactly as arranged by the ,producer4 ,he is accountable to the ,company ,manager for the way every performance is given1 and maintains a close supervision over the principal artists and the chorus1 sees to it that they stick to their script and do not interpolate matter of their own or guy each other or the audience4 ,actors or actresses who are insincere in the parts assigned to them should be barred from the professional stage4 ,there is evidence of guying an audience at times in some of the best companies on the part of some players of established reputations who should be ashamed of themselves1 and who certainly should be punished for such offenses4 ,i have known some star comedians to go on the stage intoxicated1 which is an unpardonable offense1 and for which such persons should be driven out of the show business4 ,if an actor would dare do such a thing in a company directed by me1 ,i would go before the curtain and denounce him to the audience and refund the price of admission4 ,an actor who would do a thing like that is called a ham1 which means a common person with no mentality or breeding1--a type that is practically extinct now in the theatre4 ,the ,stage ,manager is responsible for every facial makeup1 and will personally pass upon each individual's appearance4 ,he is usually an actor of long experience1 and knows makeup thoroughly1 but not the straight makeup for youth as taught in the ,ned ,wayburn ,studios which is the makeup ,i perfected when glorifying the celebrated ,follies beauties4 ,he is capable of maintaining discipline1 and is the watch dog behind the curtain4 ,he commands respect by reason of his knowledge1 experience and good judgment4 ,he has presence of mind and is able to handle any emergency that comes up4 ,he must thoroughly know his business4 ,he is versatile4 ,like the several instructors in my studios1 who have had long stage experiences and specialized training for their jobs1 the ,stage ,manager is able to answer any question that can come up concerning stage matters1 and he is able to understudy and play most any part in an emergency4 ,the ,assistant ,stage ,manager is under the ,stage ,manager4 ,in the larger productions there are often two assistants4 ,he has charge of the chorus1 male and female1 and is required to make all calls1 to get the principals and chorus to the stage4 ,he calls half hour1 thirty minutes before the overture time1 fifteen minutes1 fifteen minutes before the overture time1 and overture1 and when the overture is called everybody in the opening of the first act must come to the stage4 ,he does the clerical work for his department and keeps the record of attendance1 etc4 ,the ,musical ,director1 who is the leader of the orchestra1 is responsible to the ,stage ,manager for the way in which all music is played at every performance1 as well as for the correct rendition of all vocal numbers on the stage4 ,every tempo throughout the play is his personal responsibility1 and the composer exacts of him the most careful and effective execution of the score as written4 ,it is he1 too1 who conducts all music rehearsals4 ,he and his entire orchestra are members in good standing of the ,american ,federation of ,musicians1 and the amount and time of their service in the theatre are definitely agreed upon and duly set forth in a signed contract in established legal form and binding upon both parties4 ,all shows carrying scenery require the services of a ,stage ,carpenter1 who is the custodian of all scenery and scenic effects1 drops1 solid drops1 cut drops1 leg drops1 gauze drops1 borders1 exteriors1 interiors1 ceilings--all flat stuff and set stuff4 7,i am using the usual stage nomenclature for these1 assuming that you will know the meanings of most of them1 can guess at others1 and won't care especially if one or two are not in your vocabulary4 ,stage jargon has crept pretty well into the understanding of the general public1 till now most theatrical terms are matters of common knowledge47 ,the scenery is set for each scene on the exact floor marking indicated by the producer4 ,stage-hands1 known as ,grips in stage parlance1 set the scenes4 ,there is usually a second stage carpenter1 or second-hand assigned to work at the side of the stage opposite the stage carpenter1 and a boss flyman1 whose station is up above in the fly-gallery4 ,he gives the flymen the cues to lower and raise the scenery as required1 upon receiving signals by buzzer or light-flashes from the stage4 ,the property man1 known as ,props1 has charge of the furniture1 rugs1 pianos1 telephones1 everything of this nature1 as well as of all hand-props1 such as bric-a-brac1 books1 flowers1 fruit1 food for stage banquets1 table silver and china1 everything in fact that the play requires--even to a prop baby or any animals required4 ,it is his duty to see that all props are in place for each act1 ready to the hand of each player as the action calls for them4 ,there is also an ,assistant ,property ,man1 who has charge of the clearers1 the men who set the props and clear off the trappings after each act1 preparatory to setting the scene for the act following4 ,at the close of the last act of the play the stage is again cleared1 both of props and scenery1 to permit unobstructed passageway4 ,this is a state requirement1 enacted as a fire-prevention measure4 ,the ,chief ,electrician operates the switchboard and is the custodian of all lights on the stage2 that is1 of all portable lamps1 of all that actually light4 ,a lamp that is merely a prop or a decoration and not used to yield light is under the control of props and no electrician will touch it4 ,the ,assistant ,electrician has the responsibility of all lamps in the theatre other than those on the stage4 ,nobody ever touches a light in the theatre4 ,a call goes out for the electrician if anything goes wrong with a light anywhere4 ,nobody ever shifts or moves any part of the scenery except the stage carpenter or the crew under him4 ,none but props ever places a piece of furniture on the stage4 ,if you want a chair moved half an inch you must call the property man to do it1 otherwise the several unions involved will immediately and without any question stage a drama of their own that is not down on the bills2 one that may really turn out to be next door to a tragedy1 since the penalty for failing to observe union requirements would undoubtedly be to stop the performance1 walk off the stage and fine the stage-hand who was guilty of over-stepping the bounds #ajj4jj and ban him from the union4 ,every musical production has its wardrobe mistress1 and sometimes1 if large enough1 her assistant1 both good seamstresses4 ,the dressing room assigned to them is called the wardrobe4 ,all costumes are in the care and charge of the wardrobe mistress4 ,she alters and keeps them in repair1 and sends out to be pressed or cleaned when occasion demands4 ,the wardrobe women also have a union4 ,the ,company ,manager represents the owner of the show and controls the front of the house4 ,he has nothing whatever to do with matters back of the curtain line1 which are strictly within the province of the producer or stage manager4 ,he has enough cares and important duties of his own without going back stage to find more to add to them4 ,moreover1 any effort on his part to dictate to the producing end would cause an immediate rupture4 ,he knows that1 and attends strictly to his own affairs4 ,probably in no other craft1 trade or profession is the line so carefully drawn between the business end and the producing end as in the show business4 ,it is the ,company ,manager who is the custodian of the funds1 handles all the finances and acts as paymaster4 ,he maintains a close supervision over the sale of tickets sold at each performance and with the aid of the resident house manager and house treasurer counts up the tickets directly after the sale has stopped for each performance1 usually after the curtain goes up on the second act4 ,he makes up the payroll at the end of every week and pays the company on ,saturdays during either the matinee or evening performance1 as is required by the standard theatrical contracts4 ,the ,company ,manager is the watch dog of the show from front4 ,the box office receipts tell him a story that he must heed1 and he is quick to catch its warning4 ,there comes a time when even the most successful play must be withdrawn from the stage or continue at a financial loss4 ,he is a wise company manager who can correctly determine the exact point to call a halt and terminate a run for the best interests of the owner and all others concerned4 ,and it is because he can do this that he holds the important position that he does4 ,he is almost invariably an experienced showman4 ,furthermore1 his multiple duties require him to be a diplomat if he would maintain his standing for preeminence4 ,when the company travels1 he arranges the transportation1 provides rail or other transportation1 supervises and controls everything connected with the entire trip4 ,he is held financially responsible1 and signs many contracts4 ,the ,company ,manager handles everything connected with money and transportation and is an important cog in the wheels of things theatrical4 ,there is a press representative connected with the show who finds plenty to do in attending to all newspaper advertising and advance writeups1 publicity1 photographs1 billboard posters1 photograph lobby frames and other display matter1 as well as all other printing1 including the newspaper ads and the distribution of printed matter4 ,the fixing of the prices for tickets1 which is most important1 is usually his duty1 provided he is a shrewd showman4 ,the ,press ,representative1 or ,director of ,publicity1 or ,agent as he is known professionally1 is generally found about two weeks in advance of the company arranging every detail to anticipate a successful opening or presentation in each city1 or stand1 as it is called4 ,so much for the personnel of the show's management and working crew4 ,now we will say our company has just arrived in town and taken over the theatre in which it is to appear for an engagement4 ,it finds at the theatre a resident house manager1 a resident house treasurer1 in charge of the local box office1 and his assistant treasurer1 who acts at times as relief for his chief1 opens the box office in the morning1 and sells the gallery tickets at show time4 ,there is a house music director1 a permanent chief usher and the other ushers1 front ticket takers1 an advertising agent1 bill poster1 a day and night stage door tender1 who are usually watchmen1 who are custodians of the building1 besides the janitor and cleaners4 ,illustration3 ,,ray ,,dooley ,there is no conflicting of authority by reason of the arrival of our show upon the scene4 ,it is understood by all hands that the show staff takes precedence of the house staff1 and all work together for the general good1 to put over a perfect and complete performance and get the public's patronage and approval4 ,one thing you will do well to remember if you ever become a member of any theatrical business or mechanical staff3 ,if you have occasion to purchase anything for the show or theatre at any time1 be sure to get the company's stage manager's ,,ok1 or order or voucher of some kind in advance4 ,it is an invariable rule of the craft that any purchase of over five cents made without this formal sanction will not be paid by the management1 but will be considered as a donation--however involuntary--on your part4 ,there is one very important man behind the curtain at every performance on every stage1 whose rule is arbitrary and absolute1 and who is not on the company payroll4 ,this is the house fireman1 a city officer1 with the power of the city and state behind him4 ,the fire regulations are posted in plain sight on every stage4 ,no smoking is one peremptory order that admits of no violation4 ,woe unto the actor or actress1 principal or chorus girl1 who tries to sneak a smoke in a dressing room1 if found out6 ,the fireman is using his nose as well as his eyes1 and the familiar odor of a surreptitious cigarette will lead him straight to the culprit4 ,mr4 ,fireman is authorized by law to enter any dressing room under such circumstances1 and no matter what the state of your toilet1 he will exercise his authority1 enter your room--and remove you forthwith4 ,fine or imprisonment1 or both1 are the legal penalties for violation of the no smoking law1 and for using a flame or canned fuel1 in most theatres4 ,principals have before now been taken off the stage in the midst of a performance and landed in jail1 necessitating the dismissal of the audience4 ,it is a mighty important man who can do a thing like that1 and consequently the fireman commands the profoundest respect of every member of every company1 from the chief all the way down the line4 ,no man is ever employed back of the curtain line in any first class theatre who is not known to be of good character4 ,those who are old in the theatrical business know this fact4 ,if you harbor any other idea of these men1 get it right out of your mind4 ,every theatre manager today demands that his employees be qualified in respect to character as well as in ability4 ,now that ,i have taken you back of the curtain line and out into the front office and shown you just how the wheels go 'round that make the show go1 you have become aware that there is something more in the theatre business than a mere group of good actors and singers and dancers doing their best to please you up on the stage4 ,the more the machinery of the stage is kept out of sight1 the better the management and the greater the satisfaction1 both to the folks behind the curtain and the audience out front4 ,your attention should not be distracted from the play1 the opera1 the spectacle1 by the intrusion of any noise or the appearance of anything or anyone not concerned with the actual presentation4 ,the drop curtain or the tableau curtain should move silently and without revealing the human agents that manipulate them4 ,scenes and sets should be made in silence and out of view of the spectators4 ,no person should ever be in evidence on the stage1 not even momentarily1 save only the actors1 whose presence you expect and welcome4 ,otherwise the illusion is interrupted1 perhaps destroyed--and ours is an art where illusion holds a major place in imparting pleasure4 ,such an extraneous element would also break the continuity4 ,it is not tolerated in the best houses4 ,so you see there is a definite reason why the men behind the guns in the battery of the stage are out of sight and so1 often1 out of mind4 ,the hard work of the producer and his faithful subordinates is shown only in the superior attainments of his troupe and the ensemble as presented to your vision4 ,they1 themselves1 the men who finance1 prepare1 rehearse and drill the show into shape1 are seldom in evidence--never on the stage4 ,illustration3 ,,nw ,,professional ,,coaching ,,and ,,producing ,,for ,,amateur ,,entertainments ,illustration ,i am often called upon to put on an amateur show1 and the call is not confined to ,new ,york alone1 but extends to many far distant cities4 ,these are usually community or social affairs1 charity organizations1 college shows1 or entertainments by the employees of some large establishment4 ,once ,i have put a show across for these lovers of theatrical activities1 the habit of continuing the plan of giving a show seems to have become established1 for with many cities and clubs and associations the call continues year after year1 an annual or periodical production under my direction being demanded4 ,this indicates that ,i have been successful in directing the non-professional in a theatrical way1 and ,i am sure it is so1 for ,i have handled the whole situation and the company just as ,i would if they were going on the professional stage1 taken personal charge of everything1 coached principals and subordinates1 put the show across1 and been on hand to see the results4 ,spread here before you is the story of just how ,i organize1 coach1 develop and handle an amateur company in a musical comedy or revue performance to occupy a full evening's time on a theatre stage2 from the first call of an untrained troupe of inexperienced actors to the final curtain of the actual1 completed performance4 ,illustration3 ,,moonlight ,,ballet1 ,,follies ,,of #aibc ,first of all1 ,i make a call for anyone and everyone who would like to take part in the entertainment4 ,this call is usually made in a hall1 sometimes in the ballroom of a hotel1 but usually in a large hall where there is a good floor and a piano4 ,i always have a pianist in attendance4 ,i take the people who are going to take part in the ensemble first and arrange them according to their height1 always having the shortest person to my left4 ,sometimes a great many people will try out for a thing of this kind4 ,i have had as many as three and four hundred at many of the calls1 and possibly more than that4 ,i have always arranged them1 as ,i say1 from my left according to their height4 ,then ,i get them to stand in a huge semi-circle before me1 as large a semi-circle as the hall will permit1 and if ,i have too many for that one semi-circle1 ,i put the others behind them into other semi-circles4 ,i begin by placing my first semi-circle shoulder to shoulder4 ,i watch their shoulder heights and their head-lines all the way along the semi-circle4 ,the semi-circle will begin at my left1 cover the whole side of the hall--whichever is the longest side--and the end of the semi-circle will be at my extreme right4 ,i have my table and chair in the center1 but near the wall opposite this semi-circle4 ,the pianist ,i usually have on my left-hand side1 if it is convenient4 ,he must have his piano turned in such a position that by looking slightly over his shoulder he can see me as well as the group4 ,i number the entire group1 beginning with number one and running consecutively from my left as far as they will go4 ,then they are required to sit down in the same order4 ,each person must have a seat and they occupy the same seat at each call1 after the elimination process4 ,before ,i do anything else ,i have their names taken1 with addresses and telephone numbers2 the first and last names directly opposite the number that ,i have given them4 ,then they stand up and ,i arrange them in straight lines across4 ,sometimes ,i will have eight in a line across1 and ,i may have six lines of eight to begin with2 sometimes eight lines of ten1 and perhaps as many as twelve in a line1 all depending on the shape and size of the hall4 ,after they have been arranged in perfectly straight lines one directly behind the other1 the next thing ,i do is to teach them the eight different directions1 which are so important4 ,let me recall them to you3 7#a7 left oblique1 7#b7 left1 7#c7 left oblique back1 7#d7 back1 7#e7 right oblique back1 7#f7 right1 7#g7 right oblique1 and 7#h7 front4 ,they are taken through these directions until ,i am sure they understand them thoroughly4 ,then ,i divide the foot into four different parts1 just as ,i do in my courses3 the toe 7the end of the shoe71 the ball 7the half-sole71 the heel1 and the flat4 ,i always make them stand with their knees together1 their heels together1 the left toe pointed to left oblique1 the right toe pointed to right oblique1 hands down at their sides1 the weight equally distributed between the two feet1 heads up1 and looking straight front on a line with their eyes4 ,i insist upon their standing this way4 ,every time they come to their places on the floor during rehearsal1 ,i remind them of it4 ,now1 ,i begin to show them simple movements in order to get them to shift their weight easily and to give them confidence4 ,first the hopping step4 ,when they do this ,i can immediately tell just how far they can go in my dancing--by giving them what ,i call the hopping test4 ,they hop on the ball of the left foot eight times and they repeat that eight more times1 on the ball of the right foot to a #d_/d tempo4 ,then they hop on the ball of the left foot for eight counts1 and alternately for eight on the right foot1 through a number of refrains or popular choruses4 ,i caution them to be careful about bending the knee when they land the weight of the body on the floor1 because many of them have never danced before in their lives4 ,they know nothing about it1 but by bending their knee they make a cushion for their weight1 and they must land on the ball of the foot1 not on the heels4 ,after ,i try them out doing that1 ,i put them in a circular formation1 where everybody can see me1 for ,i stand in the middle of the ring4 ,i turn them toward the left hand1 and ,i start them around in a circle on the hopping steps2 left hop1 right hop1 left1 #b1 #c1 #d2 right hop1 left hop1 right #b1 #c1 #d2 alternately through1 in time with the music of a popular #d_/d tune4 ,this test has never failed with me4 ,i can immediately find the clumsy1 awkward ones and select the apt ones4 ,this1 of course1 ,i do in my mind1 making mental notes of their numbers4 ,after ,i get them back in a straight line at the end of the hall ,i call out the numbers of those who have qualified1 but ,i do not hurry to do this because many times they are nervous at a first tryout4 ,so ,i encourage them as much as ,i dare to4 ,one has to be tactful at such times4 ,but right away you can find your awkward people and also those who have a natural grace4 ,i can pick them out immediately4 ,they move around in a circle4 ,many times ,i will stop them and divide them into smaller groups1 all the time noting the ones that get it and the ones that don't4 ,i will get to know number #a4 ,i will watch her or him1 and ,i will say to myself1 #a1 #c1 #e1 #h1 #i1 #ad1 #af and #ah have it2 the rest haven't4 ,then ,i ask them to sit down4 ,i can find out just about the way they are going to do my work from this little tryout4 ,i never individualize my criticism4 ,the main idea is to find out the ones who are interested4 ,there are always some people who come to these calls who are out for a lark1 and they must be eliminated at the first call4 ,after the hopping test ,i am able to pretty well decide just which ones are going to get the ensemble work--and very often you will find some splendid natural dancer in a group like this4 ,then ,i have another little test that ,i use in a #b-d movement4 ,two hops on the left1 two hops on the right1 two on the left and two on the right4 ,get them to do that to a #b-d tempo4 ,after ,i determine in my own mind those who are most apt1 ,i ask the members present if they have ever done anything in the way of any individual stunt1 either a dance or a song1 or if they ever played a part in amateur theatricals4 ,usually a few will stand up1 and ,i bring them around my table one at a time to get an idea of what they have done4 ,i get them to write down their names and addresses and exactly what they have done or what they think they can do1 gradually getting the whole thing on paper4 ,in this way ,i am getting all of the available talent organized4 ,in the meantime ,i am watching the members of the ensemble4 ,i am trying them out in some of the simple routines4 ,i gradually work them into it before they realize it4 ,i get them all enthused about it1 and through long experience ,i am able to tell which group is going to be what ,i call my dancing girls or boys4 ,they will be the smallest ones1 five foot one1 five foot two1 three and four4 ,then ,i pick out those who are a little slow in picking up the steps1 and they will be the mediums1 the sort of in between ones4 ,then ,i pick out the very best type of show girl1 usually the taller girls1 who can't move as fast as the smaller girls1 but who have grace and good figures1 and who are good looking4 ,until ,i have the three final groups1 of course1 ,i make all the members of the ensemble dance4 ,the show-girl will be more dignified perhaps1 with a stately bearing4 ,naturally ,i pick out the girls who have natural aptitude to do my work properly and make them the real dancers4 ,i have eight1 twelve or sixteen of these in a set1 never any more4 ,then the others who don't dance quite so well will be the mediums1 and then the show-girls who can stand in the back of the stage1 or at the corners1 and dress the stage or do parade numbers1 or walking numbers4 ,after ,i get these sets worked out ,i give them their next call and take the principals in hand4 ,then ,i have copies of the manuscript1 and usually carry along three sets of the parts4 ,if it is a play1 ,i have the play completely read4 ,if it is a revue1 ,i have all of the skits and numbers with me4 ,i have the principals come in and sit down in a semi-circle before me while ,i seat myself behind the table on which ,i keep my papers and the brief case in which ,i carry the scripts1 parts1 etc41 and we have a meeting similar to the meeting that was held with the ensemble4 ,the pianist is there1 and they bring along their songs4 ,whoever is going to be the stage manager of the company is also there4 ,he is usually one of my coaches that ,i carry with me4 ,the local casting director and usually the president or chairman1 also sit at the table at the left side of me1 with my own assistant 7the coach7 at my right4 ,now1 those who want to read parts for me are put at one side into one group2 that is1 those who wish to try to handle important parts in the dialogue4 ,then ,i place another group together which expects to do solo dancing--at the other side4 ,they are called principal dancers4 ,then ,i make a separate group of those who expect to sing1 or to do any sort of a musical specialty1 or any kind of a stunt that might be included in the show4 ,i have had the greatest variety of specialties in a show4 ,i have had them do magic1 burlesque magic1 play ukuleles1 and all sorts of stunts which ,i have placed effectively in a show4 ,we had a man in the ,princeton show who did a little trick with a cigarette that was a scream4 ,i saw him standing around1 and ,i asked him if he could do a specialty4 ,i don't think so1 he said4 ,he was smoking a cigarette at the time1 and he said ,this is the only thing ,i can do4 ,he took the cigarette from his mouth1 broke it in two1 lit both ends of it1 and he was smoking with both ends of the cigarette sticking out of his mouth4 ,then he put another cigarette in his mouth and did the same1 and finally he lit the third cigarette without using his fingers but from the other butts in his mouth4 ,well1 ,i had him do this stunt in the second act1 in a proper spot1 and it stopped the show every performance4 ,some of those connected with the show told me before the show that they didn't think what he was doing was going to get over1 but ,i told them in as nice a way as ,i could to mind their own business1 as ,i always do1 and ,i put this bit in4 ,i put a #ej-;ampere spotlight 7very strong7 on his face1 and he did just this little trick beautifully4 ,well1 there was more talk about that than anything else in the whole show4 ,it had commercial value and it helped the box office4 ,people went especially to see him do it4 ,we had stunts there that had been planned for a year1 and they didn't get as much favorable comment as this one little trick did4 ,of course1 it was properly fitted in1 cued in1 as we call it1 just as everything else has to be in the right spot4 ,illustration3 ,,will ,,rogers ,i only point this out to you to tell you that sometimes in arranging your recitals or shows--whatever you may call them--you will find a lot of talent which you would otherwise overlook unless you go about it the thorough way that ,i do4 ,i do the same with a professional organization1 because after all ,i am a builder of entertainments and ,i must know entertainment values in order to make a success of my business4 ,i must be able to recognize and fully realize talent when it is present4 ,you must have a lot of patience to do this work4 ,some people are able to do lots of things that will prove entertaining4 ,after all1 what you are concocting is an entertainment4 ,you should always aim to present something different1 something original or novel that will surprise and amuse your audience1 not the hackneyed old stunts that everyone has seen time and again4 ,after ,i get them divided into groups and get their names down1 ,i go through the tests for principals4 ,i will always hear the songs first2 but before you hear them sing they have to put down on paper what they have ever done before1 how much training they have had1 and so on4 ,then they go over to the piano and sing4 ,but ,i usually try to be tactful and let amateur singers tryout for me with no one listening1 to spare them embarrassment4 ,from the piano they come up to the table and sit down before me4 ,as they are sitting before me1 ,i note their appearance4 ,i engage them in conversation4 ,i note their teeth1 mannerisms and personalities1 incidentally classifying them in my mind and casting them in my mind's eye4 ,if they are in any way possible and ,i feel that they should be given a chance1 ,i make a note of it and the songs ,i want them to try4 ,then ,i grade them1 number #a1 number #b1 #c1 #d and so on4 ,all of those who are trying for the leading parts are graded as they should be1 but always on paper so that ,i will not forget or overlook anyone4 ,after ,i am through with them ,i go through the solo dancers the same way and mark them and what they can do4 ,i get them down on paper4 ,as ,i see them dance ,i find out which is the best dancer1 with the idea of placing her or him in the show to good advantage4 ,that's the important thing in planning your show4 ,they all have to be placed in a certain sequence in the show4 ,if the best numbers are all in the first act1 you kill the act or acts that follow4 ,the success of any show is in the way it is laid out4 ,it is the placement of the personalities1 and what they are given to do--when they do it--that makes or mars the entertainment4 ,one with a great deal of personality can go into your show1 and if not cast properly he or she will kill the rest of the show4 ,casting must be done with good judgment and common sense4 ,after ,i have my list of singers and dancers worked out1 then ,i pick the people who are capable of playing the parts4 ,some of them may have had previous experience1 but never perhaps professional coaching4 ,now the reason why these amateur shows are usually so rotten is on account of the incompetent coaches who put them on4 ,it is always the fault of the stager if the show doesn't go over4 ,some of them are terrible4 ,they don't know anything about the show business4 ,they don't know how to lay out a show4 ,they don't know how to put on the dancing4 ,they don't know a comedy scene when they see one4 ,they do not understand how to rehearse dialogue or how to set the inflections of the voices which make the lines get over as they should4 ,these coaches are usually people without any actual staging experience1 consequently they are not competent to rehearse anybody4 ,amateur organizations all over the country are beginning to realize the necessity for professional stage direction in order to register success1 both artistically and financially4 ,it is not nearly so costly to employ my organization as it is to have some other which is only giving a very poor imitation of us1 which means a thoroughly competent staff of real producing directors1 who are up to the minute with their dance routines and everything else required4 ,if you will take the trouble to investigate you will no doubt discover that the coach you have employed has been to my school for a very short time1 just in order to get our latest dances and ideas in staging4 ,why get this service at second hand8 ,it will cost no more to get it from me direct4 ,before you let them read a part for you1 you should first hand them a copy of their part and tell them to go to one side and sit down and read it through thoroughly4 ,some of them don't know anything about a part4 ,a copy of a part is typewritten1 and the dialogue that they are to speak begins at the margin4 ,the cue that they speak on begins about an inch away and there is a dotted line in front of the cue1 but always what they are to say starts at the margin when parts are properly typewritten4 ,parts are made up of what we call speeches4 ,it may be four lines or four words or two words or even one word4 ,yes is a speech4 ,what they should know is what their speeches are4 ,what they have to say is called a speech1 and in parenthesis must always be the stage business or what they are to do4 ,stage directions should always be in parenthesis4 ,they are sometimes typed in red ink on the first copies of the parts4 ,when they study the dialogue1 they should try to fathom the speech2 that is1 they should form a mind's eye picture of what the line conveys to the audience4 ,that is how ,i teach them to study4 ,they read a sentence4 ,a sentence is supposed to express a complete thought4 ,they must get the proper inflection by reading it out loud4 ,no method of expression is brought into play yet4 ,by that ,i mean no pantomimic by-play or facial expression4 ,they are only reading at first4 ,in most of the amateur shows1 the players never do anything else but read the parts4 ,they read1 crossing back and forth whenever the coach thinks they ought to cross1 and it doesn't mean a thing4 ,i watched that very thing in an amateur show not so long ago1 and it was inane4 ,nobody should move from one place on the stage to another without a reason for moving4 ,there is a reason for every inflection of the voice4 ,a person with common sense will read a part intelligently1 but only a person with a dramatic spark inside of the body will be able to act a part naturally4 ,if the dramatic spark is not there1 no human being will put it there4 ,if it is there1 a real director will discover it and awaken it and make much of it4 ,after this first reading rehearsal1 where the parts should be cast1 more than one person can be tried out for the different parts4 ,i make a call for the dialogue rehearsal where ,i walk them through the action1 holding the parts in their hands as they walk through the physical action of the play4 ,you will find that each one has his or her own idea as to how it should be done4 ,i have them speak their lines distinctly and slowly at first4 ,while this is going on ,i do not allow any visitors4 ,not one word is spoken except by the person who is reading the lines1 or myself4 ,i make notes as to who reads the parts best4 ,many times you will find that the local folks will have ideas about who is to play this part or that part4 ,i pay no attention to them at all4 ,i always use my own judgment about such things2 in fact1 about everything concerning the production4 ,i don't allow anybody else to dominate the show or arrange anything for me4 ,but you must know your business before you can assume such an attitude4 ,after the dialogue rehearsal is over1 all the participants are carefully marked1 noting the ones who are most natural and apt at the dialogue2 those who have resonant voices that will dominate the auditorium as well as those who have positive personalities4 ,you know there are a great many negative people on the stage2 they never get anything over4 ,i always have tried to pick personalities that will go over4 ,i can take a crowd of professionals or amateurs and place them before me in a semi-circle1 seated2 get them to read a play for me and immediately pick those who will score a success4 ,this1 of course1 is the result of years of experience1 yet if you try this you will have some with strong personalities dominating your little semi-circles4 ,they will usually dominate your show4 ,there is always one personality that dominates everybody4 ,it might be a comedian1 it might be a singer1 it might be a dancer1 but there is always some personality that sticks out1 and after all1 such a personality must be reckoned with and properly cast1 otherwise it may even dominate the play4 ,it usually does4 ,if properly cast it may carry the play to success4 ,a rehearsal usually lasts about three hours4 ,accomplish something every minute of the time4 ,get on with the business of rehearsal--no discussions or arguments4 ,when rehearsal is over make your next call for these people1 at a definite time and do not change it4 ,after dividing all of your people into groups as ,i have said1 make separate calls for principals and the ensemble4 ,for instance1 take your dialogue and principals' songs ,monday1 ,wednesday and ,friday evenings1 from #g3cj until #aj3cj1 or thereabouts2 and the chorus or ensemble sets ,tuesday1 ,thursday and ,saturday at about the same time4 ,i think you will find that you can accomplish a great deal on ,sundays4 ,i usually call the principals and members of the chorus the first ,sunday at #b o'clock1 and keep them until six1 unless there are religious scruples against rehearsing on ,sunday1 which is really not considered sacrilegious4 7,i was brought up in the ,episcopal ,church and sang in the choir as a boy47 ,then ,i run right through the play as fast as ,i can1 to teach them the sequence of it4 ,then ,i usually call the principal singers back ,sunday evening and give them a good rehearsal on the business of the numbers4 ,at the first rehearsal for the chorus ,i have the musical coach teach them the music and lyrics by ear1 one phrase at a time4 ,provide a complete copy of the lyrics for every member of the chorus2 we usually collect them at the end of each rehearsal4 ,do not allow any talking1 laughing or playing at any of your rehearsals2 make everybody concerned take everything seriously from the very beginning4 ,they will welcome it1 since it saves time for everybody4 ,put them under the strictest discipline2 get rid of those who do not want to take you seriously2 do not be annoyed by them1 as they jeopardize your chances of success4 ,sometimes ,i carry my own musical coach1 and ,i have found out that when ,i don't carry my own pianist ,i always have trouble with my work4 ,i have never found anybody who can play the piano for my rehearsals to suit me unless they have played professional rehearsals before4 ,they must have a certain touch to inspire me1 so a good pianist means a lot4 ,insist upon one who reads easily and who can play by ear as well4 ,if you have a rotten piano player the numbers will usually turn out to be terrible4 ,there must be something in the way the number is played to make the members of the chorus want to dance4 ,after we get the numbers taught--that is1 the songs--then ,i start to teach the ensembles to dance the different routines4 ,i pick out what ,i would say would be the hit number of the show1 the best popular tune1 something that appeals to me1 that has a production idea in the lyric4 ,it is usually in #d-d tempo1 what ,i call the song-hit tempo4 ,i pick out this one song and we try a simple soft-shoe movement to the chorus of it4 ,our routines fit any #cb-;bar chorus4 ,i work with the song for a while1 then give them a #e-minute rest4 ,then ,i may pick out a waltz number and try a few steps to that #c_/d tempo4 ,but first of all they are in a ring in a circle around me1 and they first are required to walk in time to each tune in the show4 ,illustration3 ,,dorothy ,,dickson ,,and ,,carl ,,hyson ,i show them how to walk in time to the music4 ,you begin with your left foot and walk #h steps in strict time with the music1 then you take four steps in half-time1 counting one-and on each side1 taking a step on the flat of your left foot for the count of #a1 then bringing the ball of the right foot up behind the left heel and touching the floor with the ball of that foot for the count of and2 the same with the right foot1 and so on4 ,the complete movement being in strict time and #d-;and for half-time4 ,there may be eight1 twelve1 sixteen or sometimes twenty-four numbers1 and the people are made to walk around in circular formation in time with the music1 until they walk gracefully without any awkward mannerisms4 ,now1 there will always be somebody who will start with the wrong foot4 ,someone will always be out of time4 ,some of them are born without a sense of rhythm4 ,they don't belong in the show and they must be eliminated if you are going to make a success of the ensemble work2 only people who do modern dancing well should attempt the dancing4 ,we go along and teach our regular routines1 whatever ,i lay out for the show1 but working on every number at the same time1 doing maybe four steps for one number1 four for another1 and so on1 until ,i have laid out the whole show in my mind4 ,i never lay a show out in advance4 ,i do my best work on the spur of the moment4 ,i have tried the other way1 but whatever is cut and dried is never any good4 ,i must be inspired at rehearsals4 ,when those who are going to be the principals have learned the songs1 ,i talk to them and try them out on a few little test steps to see what they can do4 ,some of them are usually able to do some little dance movements4 ,then ,i make them stand behind the ensemble and do the work ,i have taught them1 not in front of the chorus where they would be embarrassed if they missed a step1 but behind the lines where they can be picking up the work4 ,then ,i eventually get them out in front1 and they usually do about the same dance as the ensemble1 because if they don't the ensemble shows them up4 ,and you don't get your precision effect4 ,you must always get in an effective finish to every number1 either a final picture or an exit4 ,if you want the chorus to get a hand1 bring them on for the encore1 and let the chorus exit big on the encore1 but first get your effective finish4 ,then you have them all back for the encore1 then exit the chorus if you like1 and let the soloist stay on and let her or him do a solo dance if it is going to be strong enough4 ,there are different ways to finish a number and you have to use your own judgment4 ,be patient when you handle the principals and chorus1 but persistent4 ,shape up the dialogue right away1 and take the entire show through as soon as you can--the first ,sunday as ,i suggested1 if possible4 ,make them run through the show no matter how it looks4 ,they must stand up for the ensembles and go through what they have learned1 no matter how rough it is1 and the principals must do whatever they are supposed to do to the best of their abilities4 ,don't take no or ,i'm not prepared or anything like that for an answer4 ,accept no excuses2 go through with it4 ,the more you go through the sequence the better they will be at the performance4 ,along about that time ,i am thinking about the pictorial effects4 ,i will have worked out a costume plot for the principals and chorus by this time4 ,by a costume plot ,i mean an assignment of dresses1 costumes1 for both the chorus and principals4 ,i make out two separate plots1 one for the members of the chorus and one for the principals1 in sequence from the opening number of the show down to the end of the show4 ,if ,i have thirty-six or forty-eight members in the chorus1 ,i put their names in and the costumes that they wear for each number1 in the order that they are worn4 ,these plots are then typewritten according to the sequence of the show4 ,this is most important4 ,they show every change in costume that every one of the ensemble makes during the performance4 ,the same thing with the principals4 ,always figure the time you have allowed each person to change costume1 otherwise you will strike a snag which may ruin the performance4 ,the show is taking a definite form by this time4 ,i then start to give them formations or groupings on the scene4 ,when the curtain goes up sometimes they are discovered on the scene4 ,some scenes ,i arrange for the purpose of obtaining a good1 effective picture1 according to the architecture and atmosphere of the scene1 or ,i may give them some very effective entrance movement coming down a staircase1 through an arch or gateway1 or over a fence4 ,this is influenced by the set4 ,i sometimes arrange surprise entrances1 or little surprise exits which are inspired by the lyrics or music4 ,sometimes ,i may use a personality in the ensemble and give her an entrance or exit last4 ,i resort to any sort of producer's magic1 as ,i call it1 to get an effect or to provoke applause1 always keeping the costumes and the color schemes in mind4 ,of course1 ,i have my own bag of tricks with which ,i can insure the success of any musical play that has any sort of entertainment appeal1 and you1 no doubt1 will have yours in time1 with experience4 ,during the dialogue rehearsals1 ,i make the principals speak the dialogue in time1 the same as the dances are done in time4 ,they are not allowed to use their own conception of how the lines should be spoken unless ,i think their conception is better than mine4 ,every syllable they utter will have to dominate the entire auditorium4 ,that is something that the coach must understand4 ,when the house is full1 the audience makes a difference in the acoustics4 ,your people in the show don't know anything about that1 and so you must govern the volume of the dialogue and set every inflection1 attitude of the body1 and gesture definitely4 ,but never let them use gestures that are obvious4 ,we will next assume that up to this time we have been working in a hall4 ,now to perfect the dialogue it is sometimes necessary to go over one speech fifty times or a hundred times1 to get a certain inflection and to set the accompanying stage business4 ,stage business--all of it--creates some dramatic value for the performance4 ,that has to be worked out1 if you want to get effective pieces of business1 much depending upon the brain power and the experience of the coach1 whether he is able to devise effective business or not4 ,sometimes you will find it indicated in the script4 ,for a man to make a success at this business he must have inventive ability4 ,he must thoroughly understand dialogue1 how to time it and set it4 ,they must pick up their cues1 and at the proper moment1 and not make stage waits between lines4 ,sometimes the line is one that calls for a laugh4 ,sometimes there is a line preceding it1 preparing the audience for what is to follow4 ,we call that a feed line4 ,where the period comes there should be a slight pause4 ,we time that4 ,the actor counts to himself1 #a1 #b before proceeding with the next line1 that gives a laugh a chance to get under way4 ,if you don't give a line like that a chance1 it doesn't get over and the point is lost4 ,it doesn't get the laugh that you expect1 and it would if the coaching is done properly4 ,rehearsing dialogue is very tricky work4 ,you must be very strict when you rehearse it4 ,if anybody on the stage should move1 if a chair is moved or if a door is opened at the wrong time while the dialogue is going on1 it would detract from the line and kill the play4 ,no one can move while a line is spoken unless it is some kind of a line that doesn't call for a point4 ,but if it is a comedy point that you want to put over1 or any other kind of an effective point1 the characters must be still and the line must be delivered1 and after the period1 after the end of the line1 you can break the picture and move4 ,many a play is killed because people don't understand how to rehearse dialogue1 don't understand how to get scenes over2 amateur coaches teaching wrong business4 ,i saw wrong business ruin a whole show once in ,baltimore4 ,the chorus was walking up and down stage trying to get a lyric over1 with no sense of direction4 ,they didn't know where they were going or why4 ,the coach just told them to walk up and down4 ,the soloist's back was toward the audience at times2 she was facing right2 she was facing left2 in every conceivable direction except the right one to get a song over4 ,of course the number failed4 ,the soloist should have been in the center of the stage so the lyric could have been heard and followed by everyone in the audience4 ,get the verse and the first chorus over so that the audience gets the idea of the song4 ,it creates atmosphere for the number4 ,if you walk sideways and your face is sideways1 the audience doesn't get the lyric4 ,when ,i rehearse a show the faces are at least three-quarters to the audience1 when a person sings or speaks4 ,nobody must ever have their back to the audience when a line is spoken4 ,if they sing a song or speak a line1 everything must be done for the benefit of the audience4 ,that must be kept in mind from the time you first begin to rehearse the company4 ,whether it is a professional or an amateur company makes no difference4 ,they are trained in the same way4 ,now1 let us say we have finally perfected the play4 ,they know the lyrics1 they know the numbers1 they know the business that occurs during the dialogue1 and they know the business of the ensembles4 ,by this time the play has actually taken form1 and it is time to rehearse it with the scenery4 ,when the scenery is added1 both the ensemble and the principals who do the numbers all report in their practice clothes4 ,insist upon that4 ,this insures their getting right down to business without stalling1 as nearly all people on the professional or amateur stage are disposed to do4 ,go through the sets1 get effective groupings so that you get the most natural and effective pictures and it all conforms to the architecture of the sets4 ,after you have finished rehearsing with the scenery1 commence to give them the hand-props4 ,sometimes ,i use important hand-props in dialogue before ,i take on the scenery4 ,that has to be carefully worked out and considered4 ,otherwise ,i work the scene rehearsals in with hand-props4 ,you will find that most every one who has to handle a prop will fumble it1 will be terribly awkward with it4 ,if they have to pick a chair up and set it some place else1 they will drag it across the floor and make a noise with it4 ,they can't pick it up and set it down without any noise4 ,this must be rehearsed4 ,if they have to handle some hand-prop1 they will drop it at the wrong time4 ,most people are very clumsy in the presence of an audience4 ,rehearse them with hats4 ,gentlemen have very often come on the stage in amateur performances and worn their hats in drawing rooms in the presence of ladies4 ,i have seen them take them off and place them in the most ridiculous places1 even in professional shows4 ,figure all of this out and rehearse it carefully4 ,i have had awful times just trying to teach them to sit down and stand up properly4 ,illustration3 ,a ,,corner ,,in ,,one ,,of ,,the ,,ladies' ,,dressing ,,rooms ,after the scenery and props come the costumes4 ,we never have any trouble unless somebody is trying to rehearse everything at the same time4 ,not even in an amateur show do ,i do that4 ,i won't allow it4 ,the sequence of final rehearsals is in this order2 the scenery1 the props1 the costumes1 the lights1 the orchestra4 ,you often have trouble with your costumes unless you get them from a good concern4 ,there are two or three first-class establishments in ,new ,york where you can rent most anything4 ,i have given the names of some in a preceding chapter4 ,there is one big firm in ,new ,york that has recently bought over a million dollars' worth of costumes from the ,charles ,frohman ,estate1 including some wonderful period costumes4 ,i always seem to be able to get about what ,i have wanted for amateur productions from certain big ,new ,york establishments in this line of business2 those who make costumes for the ,famous ,players1 ,griffith1 and the very best moving picture and theatrical companies4 ,they have made many things for ,marion ,davies and her ,cosmopolitan pictures4 ,i had a telegram from a girl in ,minneapolis the other day4 ,she had to have a certain costume1 because her engagement depended upon it4 ,she was to work three weeks at #aej a week1 and she couldn't do it without the proper costumes4 ,i had one of my men pick out the costumes for her4 ,they cost her #de for the entire three weeks4 ,they were sent to her by parcel post ,c4,o4,d4 by one of these firms4 ,we have an art department in our studios where we make our own designs for settings and costumes4 ,when amateurs or professionals write to me or wire me1 ,i am usually able to put them in touch with the right people and help to get just what they need4 ,any of these can be gotten at reasonable prices4 ,the prices range from #e1 #f1 #g4ej1 #aj1 #ab and #ae a week for each costume1 depending1 of course1 upon the quality of costume4 ,i used a marvelous costume once worn by ,ethel ,barrymore in one production1 and ,i think ,i paid #ae for the rent of it4 ,a costume like that would cost #aejj to have it made4 ,after ,i am through with the costumes1 ,i begin to do the lighting4 ,i will use certain lights that will affect the sets1 the scenery4 ,other lights will be used for the characters4 ,i use the side lights1 overhead lights1 border lights1 and front lights4 ,the spot-lights are used to pick up the characters2 sometimes ,i use ,x-ray border lights down stage overhead to pick up the costumes4 ,these lights are not focused on the scenery at all4 ,the other lights are worked to tone the scenery to the desired effect1 either to obscure it or to bring it out vividly4 ,be very careful of the kind of light you use on the costumes4 ,if you have trouble with the scenery or the costumes1 you can usually disguise them and make them look entirely different by some sort of trick lighting effect4 ,i remember one time staging a production at the ,winter ,garden4 ,the management set a limit of #bc for each costume2 that's all they would allow4 ,i had about sixty-four girls in that ballet1 and it was staged by ,theodore ,kosloff1 who is now in ,los ,angeles4 ,he was formerly at the ,empire ,theatre in ,london1 when ,i lived in ,london4 ,he couldn't speak a word of ,english at that time4 ,he had to sail for ,europe before he finished staging this ballet1 and he turned the ballet over to me1 with a friendly request that ,i personally finish it for him1 which ,i gladly did4 ,he had explained what he wanted in costumes1 and the management finally ordered some costumes made at the above price4 ,i just wish you could have seen what came in4 ,when you are used to spending #aej1 #age1 and as much as #a1ejj on chorus costumes alone you can imagine what we got for #bc4 ,when the girls put them on ,i was obliged to put colored lights on them1 red1 blue1 dark amber1 and ,i did finally manage to get a very beautiful effect1 which you can do if you find that your costumes are not up to the mark4 ,experiment with your colors until you get the desired effect4 ,after we get through with our costumes and lights1 we are ready to add the orchestra4 ,that is the last thing of all4 ,i bring the orchestra in for a reading rehearsal1 with the composer and musical director1 and we correct whatever orchestra parts there may be wrong and smooth out the music4 ,we always have a special orchestra rehearsal without scenery1 without costumes1 without the principals1 without the lights1 without any stage hands being around1 and we perfect the musical end of the show with the orchestra and company prior to the dress rehearsal4 ,then we have the final full dress rehearsal1 orchestra1 stage hands1 costumes1 lights1 props1 scenery1 facial makeups1 everything complete4 ,we make them up for the dress rehearsal thinking that they will remember how to make up for the opening performance1 but we always find that they can't do it1 and about half past four or five in the afternoon of the opening performance we begin to make them up again4 ,then we are all ready for the opening performance1 and we drive them through this at a terrific pace1 not allowing anyone or anything to slow the performance up1 which would be fatal4 99 99 99 99 99 ,when you sit in front and see a show going along prettily and smoothly1 you little think of the amount of brain work1 foot work and executive power and force that has been necessary behind the curtain to make the performance what it is6 ,does it pay8 ,here is a recent newspaper clipping3 ,the ,kansas ,city ,junior ,league ,follies1 recently produced for a week's run at the ,shubert ,theatre1 ,kansas ,city1 under the personal direction of ,mr4 ,ned ,wayburn1 resulted in a net profit to them of #ac1hdd4jj4 ,illustration3 ,,nw ,illustration3 ,a ,,private ,,lesson ,,with ,,music1 ,,being ,,supervised ,,by ,,mr4 ,,wayburn 7,,at ,,window7 ,,private ,,instruction ,illustration ,usually our beginner pupils at the studios enter themselves in a class1 of either one or another of the types of stage dancing that are so popular1 and proceed regularly along the lines of class instruction4 ,then1 in nearly every class1 there will be those who eat up the work1 who advance rapidly and get ahead of the others1 because of special capability or unusual capacity along the line they are studying4 ,others go along at a natural pace1 developing at the average rate1 and in the end come out as well schooled as their speedier companions4 ,for them the regular routine of class instruction is sufficient and effective4 ,their progress is safe and sane4 ,still others lag4 ,this condition is present in every walk of life1 in every school1 profession1 trade4 ,some always get behind1 fail to grasp the meaning of their teacher's talk1 are deficient in initiative ability and so may not interpret his steps in their own actions4 ,i do not like to think or say that any of our pupils are lazy or indifferent2 ours is no place for either laziness or indifference4 ,but whatever the reason1 the fact persists1 a certain small proportion of nearly every class in our studios fails to advance as rapidly as their sister mates are doing4 ,if this element will recognize its own shortcomings and is sufficiently ambitious to desire to succeed1 the remedy lies in the direction of private instruction4 ,so1 too1 in the case of the fast learners1 those who are really getting ahead of the majority of their mates2 they will profit measurably by taking our private instruction4 ,we have special studios and special instructors for just this purpose4 ,professionals come to us without solicitation1 for new steps1 new tricks1 or new touches to old dances1 and a few private lessons here sends them out with new stuff to please their public4 ,the student who has come to an impasse1 who finds she is not progressing in class as she wishes to1 and the student who is very facile at her work and her learning1 and knows herself capable of going ahead more rapidly than class routine permits--these are the two who will do well to consider the taking of private lessons4 ,the average pupil may well be content with her class work if she is going along in good fashion1 and for her1 private instruction is not so essential4 ,she may wish it later on as conditions change1 but at present the ensemble instruction1 with its unison work and the gentle competitions of fellow-students doing the same stunts1 may be all that she requires4 ,ask your instructor if he thinks you will best remain in class1 or take private lessons1 or do both4 ,and ask me4 ,both the teacher and ,i will be perfectly frank with you and advise you for your own best interest4 ,at the desk in the main office you will learn what hours are available for private lessons1 and you will be assigned an hour1 an instructor and a private studio1 if you and ,i decide that you will benefit by this course4 ,,experience ,illustration ,if ,i hadn't had many years of stage experience myself1 ,i'd not be competent to instruct any one on the subject4 ,i am not only a teacher of dancing1 ,i am also a dancer1 and can do all the steps as well as tell you how to do them4 ,my experience as a stage dancer began in a store basement in ,chicago1 where ,i tried to imitate the best dancers ,i had seen at a ,variety show4 ,i put on wooden shoes and whistled my own clogs and jigs for hours at a time1 till ,i brought myself by main strength1 and no personal instruction1 to a point where ,i could exhibit my home-made steps to a professional dancer4 ,that is a hard way to get experience4 ,you are more fortunate than you may realize in having everything that you have to do to become a dancer all worked out systematically for you1 and told you and shown you by a simple method which anyone can learn1 with perfect music and everything else that modern science can devise to aid you4 ,in the old days the beginner in dancing went direct to the stage door and stated his or her desire to become a dancer4 ,the applicant was sometimes accorded a tryout4 ,if he or she appeared awkward or was slow to catch the tempo1 or not physically developed to please the eye1 that was the end of it4 ,there was no time to waste in helping to overcome minor defects1 no personal interest shown whatever4 ,he or she was dismissed summarily without any advice of a helpful nature4 ,if the candidate exhibited qualities that recommended her or him to the producer1 he or she was given a stage training in chorus work following a tryout4 ,the training was obtained in rehearsals1 conducted for weeks1 without compensation4 ,the instructor might become impatient at any evidence of slowness of comprehension or execution2 he might resent tardiness1 absence1 or slight infringement of stringent rules1 and in such cases dismissal was the usual penalty4 ,the young lady or gentleman aspiring to become a stage dancer in that day and age paid a considerable price for the experience1 as you may readily imagine4 ,contrast then with now4 ,you are acquiring this needed preliminary experience to fit you for a stage career in our courses under conditions that recommend them to ladies and gentlemen4 ,there are no subordinates in our courses4 ,all are equal4 ,there is discipline1 of course4 ,you will find discipline on the stage when you advance that far4 ,but discipline won't hurt you1 not our kind4 ,we ask for silence1 attention1 practice1 and the conduct that ladies and gentlemen naturally observe4 ,if you are a lady of social prominence1 studying for the grace and beauty and health that our lessons impart1 and not intending to favor the stage with your presence1 you are accorded the same treatment that all others receive4 ,this is a pure democracy if ever there was one4 ,by the old way of obtaining training and stage experience a young lady was kept for years in a subordinate place1 and if she at last worked her way up out of the chorus into solo dancing1 it was by main strength1 a vivid personality1 aggressiveness and untiring effort4 ,our first and primary instruction in the courses takes the place of the years of disappointing hard work that formerly prevailed4 ,you are not held down4 ,your personality is encouraged and developed4 ,you have to do your part1 of course2 we are not going to make stars of you if you don't help us do it4 ,but the experience you must have is ready and waiting1 and is based on a knowledge of things theatrical1 gleaned and gathered through a series of years of personal experience exclusively in that field4 ,so much for the easier preliminary experience4 ,now you have passed the portals of our studio1 fitted and trained1 a solo dancer1 worthy of entertaining a public who waits to pay for the pleasure of seeing you do your turn4 ,on the way through the courses you have had some small samples of what an audience is like4 ,there have been the visitors' days when your work was on exhibition1 and a ,frolic before your fellow students in our own ,demi-,tasse ,theatre1 or perhaps some neighborhood or church entertainments near your home4 ,those have all been good experience for you4 ,now1 as you enter upon a professional career1 you must be content with a moderate start4 ,i know how far you have advanced and what you may reasonably expect to do in your first1 your starting engagement4 ,come to me before you commit yourself to any manager's care1 if you possibly can arrange to do so4 ,in a small vaudeville act you may be able to command #dj to #ej a week as a beginner doing a specialty4 ,you may have a year of doing three or four shows a day on small-time1 as it is called1 which is splendid experience for you4 ,then you may advance to bigger time1 playing two shows a day with bigger pay1 and then1 having improved yourself and your act as you go along1 you are in line for the still higher grade theatres1 where your work will get the eye of some production manager who will offer you a really worthwhile engagement in a production1 as a ,broadway show is called4 ,you cannot become a star in three or four months4 ,it is only the foolish ones who dream of such a possibility4 ,it takes time and experience to get on at a big time house like the ,palace ,theatre in ,new ,york ,city1 which is recognized as ,broadway's best showroom for the vaudeville artist4 ,look at the history of the stars you know4 ,evelyn ,law worked four years before she reached her present ,broadway fame4 ,ann ,pennington has been working fifteen years1 ,fred and ,adele ,astaire nearly fourteen years--and ,i can name all the stars on ,broadway and tell you exactly how long it took them to reach the pinnacle of their present success4 ,so expect for yourself a moderate position on the start until experience has developed you and the public learned to like you1 and then your advancement should be rapid and easy4 ,do you know that as the result of my years of experience ,i originated all the solo and ensemble dances taught in my courses8 ,because of the same experience ,i conceive and create all of the novelties1 settings1 costumes1 ideas and theatrical effects that are used in all the productions1 professional and amateur1 that ,i stage4 ,there is no other school that can duplicate our service1 since there is no other producing director of any standing in the theatrical world connected with such an organization as mine4 ,you are invited to benefit by my experience in every way4 ,it is a part of your education here that you are not asked to pay for4 ,i tender it freely to all who become members of my family of pupils4 ,not only are you dancing routines of my own constructing1 and listening or reading at times to my class room talks on subjects bearing oh stage-craft and showmanship1 but also you are earnestly invited to consult with me about your personal ambitions and desires4 ,illustration3 ,,marion ,,davies ,i have literally helped thousands of good girls and boys to make millions of dollars for themselves1 in the aggregate1 and have brought a lot of happy hours to many million people who have willingly paid their good money to see my pupils in their perfect work on the stage4 ,profit by my experience2 let me help you with my knowledge4 ,this will make your experience easier for you1 and the more quickly fit you for the lofty position that a perfectly worthy ambition prompts you to seek4 ,illustration3 ,,nw ,,inspiration ,illustration ,when you present yourself as a pupil it is to be inferred that you are already inspired with a desire to become a dancer of the first quality4 ,that is good and as it should be4 ,without inspiration no one has ever accomplished anything worth while in any line of endeavor4 ,stage dancing is never a matter of luck or breeding2 it is the direct result of hard work under competent instruction1 with your being inspired to bring forth the very best that is in you4 ,all of us here at the ,ned ,wayburn ,studios are inspired with a desire to create a career for you1 if you desire one4 ,whether we succeed in our endeavor or not depends upon you4 ,we will do our part faithfully1 earnestly and joyfully1 and furnish you such an opportunity as no other generation of aspirants for stage honors and success ever possessed4 ,our courses themselves1 as well as our scientific method of developing you1 are really inspiring to the new student with the primary inspiration of desiring a successful1 honorable and profitable career4 ,as you approach the studio building from ,broadway you note that its appearance is attractive4 ,it is new1 clean1 impressive2 and on the large second and third floor main windows1 and on the ,broadway and #fjth ,street corner windows1 you note the signs1 the lettering that stands out1 to tell you that you have arrived at the haven of your dreams and hopes4 ,you step off ,broadway and enter the corridor of the studio building through the main entrance on #fjth ,street1 where elevators await you1 to convey you the single flight up to the second floor1 and you step directly into our main business office4 ,here is found further inspiration1 for stage dancing is here treated as a business and in a business-like way1 and our business office indicates that fact to the newcomer at the very first glance4 ,the prospective pupil approaches the long counter4 ,she is greeted by ,mrs4 ,wayburn1 who acts as hostess1 or chaperon1 or it may be by some other principal or employee1 whose business it is to welcome and greet the new arrivals who come to us daily4 ,your introduction of yourself is followed naturally by your questions as to this or that which you wish to know about our terms and methods1 to confirm your own understanding of the matter4 ,these are answered fully and courteously4 ,our greeters welcome your inquiries4 ,ask us just what you want to know1 and their response will be politely given4 ,anyone behind the counter thoroughly understands dancing4 ,are you from out of the city1 and do you wish to be directed to a suitable hotel1 boarding house1 studio apartment or private residence for your domicile while here8 ,we have a list of desirable and investigated places to suit all purses and all needs1 and are glad to pass the information on to our students4 ,your questions being answered to your satisfaction1 you decide to enroll4 ,the booking secretary invites you behind the counter1 where an enrollment card and contract is made out and signed4 ,this contract stipulates the number of lessons you are to receive and the kind of stage dancing you are to take4 ,you take the work just as ,i have personally laid it out in the courses4 ,the matter of tuition is arranged1 and you1 as one of us1 are invited to accompany a guide to the various classrooms1 studios1 offices and other departments of the two large floors--and absorb inspiration for your future work from what you observe in the way of modern facilities and actual instruction being given to live classes4 ,there is nothing more inspiring to the new pupil than to see our various dancing classes in action4 ,in fact1 a view of our classes in progress of work is inspiring to anyone1 professional or non-professional4 ,the girls do their class work with a vim and snap that betokens their interest and their intention to make good4 ,they are a smiling happy lot of young ladies that it does one good to look at4 ,especially is this true of the advanced classes2 the beginners' classes are busy learning the ,a1 ,b1 ,c's of dancing1 and these rudiments are absorbing4 ,but to watch the beginners today1 and then see the same pupils a few weeks later as they advance in ease of movement and in a completer understanding of their work1 is most inspiring of all--inspiring to you who see them and to the progressing pupils themselves4 ,if it were possible or practical to let the public in to look at our classes at work1 our present large quarters would soon prove inadequate to give foot room to the great number of inspired ladies who would wish to enroll here and join in the gayeties4 ,there is contagion in watching our best students at their play4 ,our new pupil is escorted also into my private office1 there to be welcomed by me personally4 ,a large and richly furnished room is this1 its walls decorated with photographs of stage stars of universal fame who have been developed by me1 and incidentally helped up the ladder of fame4 ,here is inspiration on every hand4 ,in her progress through the two floors of the studios our newcomer is absorbing inspiration continually4 ,to enumerate some of the features that make an impression on her receptive mind as she proceeds from room to room3 ,there is the ,call ,board in the main office4 ,now in the theatre the ,call ,board is an established institution1 placed handily to the stage door and inspected daily by all members of the company for such information as the management wishes to impart4 ,our ,call ,board serves a similar purpose1 and we encourage its daily perusal by all the students4 ,we post thereon press notices that our graduates send us of their own success as reported in the newspapers2 also notices of my own producing activities in many cities2 the date of the next makeup classes2 information of every nature that concerns the studio or its clientele4 ,there is the ,grand ,ball ,room1 the most complete room for its purpose that was ever constructed2 its floors clear-maple1 its walls full-length mammoth mirrors2 its windows large1 its ventilation perfect and easily regulated2 its double rows of practice bars2 its clocks regulated and wound electrically by the ,western ,union ,telegraph ,co4 every hour1 striking to announce the opening and closing of the class instruction4 ,in this ,grand ,ball ,room1 the large ,ballet studio1 the various classroom and private instruction and rehearsal studios1 the gymnasium1 and especially in the ,demi-,tasse ,theatre1 which is a corporate part of our studios1--in all these there is accumulated a fund of inspiration that suffices to start the new student with a hopeful and expectant spirit of future accomplishment that is a prime essential to her success4 ,on the day in which instruction is to start1 the pupil returns to the studio and is assigned to a dressing room4 ,here she finds expert maid service1 the maids being on continuous duty during all instruction periods4 ,she is accommodated with a locker1 if one is required1 with her individual key4 ,she is introduced to the row of modern shower baths1 and finds accompanying them every form of up-to-date sanitary appliances and fixtures4 ,she is now at home1 a full-fledged member of the happy family1 and her education in her chosen art is about to commence4 ,she takes her seat in her first classroom4 ,she finds herself surrounded by a number of other young ladies who1 like her1 have come here imbued with the laudable ambition to advance their interests in health1 beauty1 accomplishment of grace1 and to fit themselves for an independent and lucrative career1 not one of whom is any more advanced than she is4 ,her inspiration is furthered by this contact with those who are to become her fellow classmates4 ,she takes note of the heavy felt floor-pads beneath her feet1 the practice bars along the wall1 etc41 and is thus assured that every care is being taken here for her security from harm as well as for her comfort and advancement4 ,her instructor1 she finds1 is a professional dancer of wide stage experience1 who knows every one of the actual steps he is teaching1 for he executes them before her1 aiding her eyes by a living example1 while he at the same time informs her understanding by telling her what each step and motion is and why it is done4 ,his every word and action is inspirational4 ,she feels now that she is on the highroad to success4 ,presently1 ,i enter the room and proceed to organize the class for service1 following which ,i address them on matters concerned with their courses1 seeking to instill into each prospective star an ambition to reach out for perfection4 ,and from this hour the inspiration is enhanced with each new day's progress4 ,as ,i often say1 in one of my class talks1 ,inspiration plus perspiration equals one good dancer4 ,illustration3 ,,charlotte ,,greenwood ,,atmosphere ,atmosphere is something that one feels but cannot see4 ,atmosphere on the stage is created by means of stage settings1 costumes1 electrical lighting effects1 music1 orchestration1 and certain stage decorations as properties1 all combined into one complete whole4 ,illustration ,every attitude of the body that one assumes in front of an audience on the stage creates a certain dramatic atmosphere4 ,every gesture1 every expression of the face1 every move of the body aids to create atmosphere4 ,characteristic attitudes of the body1 characteristic walks1 characteristic dancing also creates atmosphere4 ,in order that a solo and an ensemble dance may get over with an audience it must have atmosphere4 ,this atmosphere must be figured out in a scientific way4 ,it requires unusual creative faculties to produce anything original or atmospheric in the way of a solo or ensemble dance for the stage today4 ,no novice without experience can properly create perfect atmosphere1 for it requires a thorough knowledge of stage-craft and showmanship1 as well as of stage dancing and the technique of the stage1 to create an atmosphere in which a solo or ensemble dance1 or a song number will live4 ,without atmosphere the dance becomes all perspiration and no sense4 ,there must be a definite idea behind a dance or underneath it4 ,everything must be done to embellish the theme or general idea4 ,no idea must be overproduced2 just enough must be done in the way of creating atmosphere for a dance to allow it to get over properly4 ,in other words1 it must be fully realized and produced properly1 in a skillful1 artistic way4 ,the first step in creating atmosphere is the selection of proper music1 which will give real inspiration4 ,without inspiration nothing worthwhile is ever accomplished in the way of stage dancing4 ,machine-like dancers never get over4 ,one must learn to inject one's own personality into each dance1 in order to radiate an atmosphere that will bring success4 ,this important subject of atmosphere is taken up in all our courses1 and practically and thoroughly demonstrated and taught4 ,great care must be exercised that a dance is not overproduced1 because if the scenery1 costumes1 in other words1 the background1 is allowed to dominate the dance itself1 the dance will fail4 ,the pupil must always dominate the costume and the entire stage setting or surroundings in order to get the dance over4 ,lavish production and accessories of any kind sometimes will interfere with the success of the pupil1 or dancer4 ,in other words1 a too lavish production will detract from the dance itself and from the one who is performing the dance4 ,so it really takes a person of artistic perception1 who has become practical through actual experience1 to set a dance properly and surround it as it should be surrounded4 ,many a novice will have good ideas1 perhaps1 for atmosphere1 but through lack of experience will not be able to get those ideas over on the stage4 ,it takes1 therefore1 practical stage direction to realize all the possibilities of stage atmosphere in a practical way4 ,the subject of atmosphere as it relates to the future success of our students1 is given proper attention in our courses4 ,i personally present it before the classes in talks from time to time1 and demonstrate its meaning and purpose practically1 by use of settings1 lights and properties on the stage of my own ,demi-,tasse theatre1 connected with the studios4 ,the recognition of atmosphere and its need in connection with stage performances is a mental process1 an idealization that not every material mind is capable of grasping readily4 ,probably no pupil would think of enrolling in a course that had atmosphere for its sole subject2 yet it is an important matter to all students of the stage1 and my plan of introducing it incidentally in my classroom talks1 and at the same time showing them by a practical stage demonstration just what it means to them personally1 has put it before our pupils in such an interesting and material way that they cannot fail to absorb some knowledge of its benefits4 ,every producing stage director must possess an innate or an acquired sense of what we designate as atmosphere1 in order to put on a production in a perfect1 pleasing and profitable way4 ,my many unqualified stage successes demonstrate my possession of this essential element1 which ,i try to unite with originality and artistic perception1 as well as a sure conception of what a fickle public will welcome and approve by its patronage4 ,hence1 my talks on atmosphere are of more than usual value4 ,illustration3 ,,nw ,,dancing ,,children ,when you are teaching a child something that suggests play1 and that at the same time is beneficial to health and beauty1 and is also the real foundation for a future career1 you are accomplishing much in an easy and pleasing way4 ,illustration ,the activities in our ,saturday classes for little tots do all of this4 ,they are called dancing classes1 and they become that1 but the gradation from romping play into systematic dancing instruction is accomplished practically without consciousness on their part1 and thus they learn the rudiments of stage routine almost without knowing it4 ,illustration3 ,,children',s ,,saturday ,,hour ,i don't know of any bunch of children anywhere that have a happier time than do our littlest pupils in their dainty lessons in the studios4 ,they love every bit of the work4 ,in the first place1 it is adapted to their years1 and their instructors are both competent and kindly2 and while it is quite a problem to handle a roomful of little folks bent on mischief1 and direct their playing along systematized lines1 we do it1 and before they know it the little feet are stepping in unison to bright music1 and gradually there is awakened a pride in perfect performance1 and the little playmates become little dancers1 each trying his best to equal or excel his or her fellows4 ,i go on record as saying that the age of eight years is the most favorable for the beginning of a dancing career1 for then the young pupil has a mind sufficiently developed to easily comprehend instruction1 and a body readily responsive to training4 ,yet we take children from four to seven years of age for specialized training which prepares them properly in the fundamentals and technique that is so necessary4 ,occasionally some five-year-old dancing marvel is discovered4 ,young years are learning years the world over1 and right training in foundation work for the future great dancer1 as taught in our studios1 is so attractive in itself and so suggestive of real fun to the little learner1 that both child and parents give it their hearty approval4 ,dancing teachers in other cities send promising children to ,new ,york to study for professional careers2 mothers bring the little dancers to ,new ,york1 anxious to put them on the stage at once4 ,but that is not possible1 as a state law prohibits any child under sixteen from appearing before a paid audience to sing or dance1 while permitting them to go on for dialogue parts only1 if they are past ten years4 ,producers demand birth certificates and live up to the law4 ,there is in ,new ,york ,city a ,gerry ,society1 which controls the situation and is sharply on the alert4 ,here in ,new ,york ,city there is a professional school for stage children1 which many attend4 ,the great majority of the children who come to our studios for dancing instruction are from families who do not want the children to take up stage careers1 but wish them to be properly and thoroughly trained in every type of dancing1 which incidentally brings out all the natural grace in the body1 develops health1 poise1 charm of manner1 personality and symmetrical bodies4 ,parents naturally desire to see their little ones graceful1 accomplished1 pleasing in deportment1 and able to exhibit a few clever steps in home or amateur entertainments--a parent's proper pride4 ,others1 especially professional stage people1 active or retired1 enter their young folks in my courses with a view to their ultimately becoming professional stage dancers4 ,they know the emoluments4 ,they know that one daughter on the dancing stage is worth ten in the parlor--financially4 ,they know1 too1 that old adage as the twig is bent1 and the rest of it1 so they start their twigs straight and in fertile soil with faith that in this way their child's future is well and happily provided for4 ,a knowledge of stage dancing is a life insurance policy that pays big dividends during one's lifetime4 ,the dancer is her own--and perhaps her parents'--beneficiary4 ,we have tots here in the studio at our ,saturday classes as young as four4 ,usually1 however1 they are five1 six1 or over4 ,in their primary work we give them all sorts of jolly exercises--walking1 running1 galloping1 and for the tiniest we have skipping special1 baby work1 body building and dancing games4 ,our ,junior class for children 7ages four1 five1 six and seven7 devotes half an hour to very mild physical training and limbering and stretching work on the heavy felt pads1 and then there is half an hour of dancing games4 ,the hour thus passes all too quickly with our interested little pupils4 ,as they show proficiency in this work we give them the actual dancing steps which are arranged in effective routines4 ,all of the technique is necessary and beautiful and they love to go through it before the big wall mirrors and see themselves in graceful poses4 ,illustration3 ,,ned ,,wayburn ,,and ,,two ,,tiny ,,pupils3 ,,herbert ,,colton1 #f2 ,,patty ,,coakley1 #e ,those whose little bodies are especially adapted to it are allowed to take up so-called acrobatic dancing1 and it is not surprising that the heels-over-head idea appeals as it does to the juvenile mind4 ,it is action such as they crave1 doing cartwheels1 splits1 back-bends and many showy tricks1 and they just love it4 ,they are never forced in this work1 but really accomplish it themselves under painstaking instructions4 ,children eight1 nine1 ten and eleven years of age are assigned to the intermediate classes1 beginners or advanced1 according to the proficiency or talent that they show me4 ,those twelve1 thirteen1 fourteen and fifteen years of age are placed in the ,children's ,senior ,classes1 either beginners or advanced4 ,i1 personally1 grade them and supervise all of their instruction4 ,when they reach the age of sixteen1 the girls are put in the adult girls' classes and the boys at sixteen are given private lessons from then on4 ,there are no mixed adult classes4 ,one thing we are very careful and considerate about is1 putting a child on her toes in the ballet work4 ,we find cases where teachers elsewhere have forced this too soon1 before the child's feet and ankles were prepared for it4 ,mothers are sometimes to blame for that1 for they are eager to see their little daughters do this pretty work2 but we insist upon proper foundation work first1 developing the child gradually1 and then1 when the strength is there1 we know we should be able to do the rest not only without danger of permanent injury but with assurance of pleasing and perfect success4 ,children thus gradually get instruction in five basic types of dancing1 i4e41 musical comedy1 tap and step1 acrobatic1 ballet1 including classical1 character1 toe1 interpretive1 and exhibition dancing4 ,they may develop best along one of these types1 and choose to follow that one out to a real professional quality1 or they may acquire a good working knowledge of all and thus have a diversity of accomplishments4 ,then when they reach the age limit of sixteen that permits them legally to enter upon the profit-taking period1 they are ready to respond4 ,i watch the little folks with their instructors every ,saturday4 ,they are graduated according to their ages at first1 and then graded according to ability1 usually at the end of each term 7every twelfth or thirteenth week74 ,the youngest group gets one hour's work1 all their little bodies can stand1 while those between eight and fifteen inclusive get two hours instruction each ,saturday4 ,their mothers1 guardians or governesses are in a spacious waiting room4 ,we are making a lot of children happy1 and at the same time laying a foundation for their health and beauty1 and perhaps for their financial prosperity4 ,the future great dancers of the next two decades are somewhere in this lot of little ones2 which ones it will be is unknown to them or to us1 but all are given an equal opportunity1 and many will make good4 ,illustration3 ,,nw ,,dancing ,,hands ,illustration ,it is not only the rhythmic movements of the feet and legs that constitute a dancer4 ,every stage dancer employs as well her face1 hands and arms in giving expression to grace1 beauty1 and the many interpretations of her pantomimic art4 ,watch the next dancer or group of dancers you see at a show1 and it may surprise you to discover how much the hands and arms have to do in adding to the effectiveness of the presentation4 ,it is a compliment to the dancer's artistry that you have been absorbedly pleased by the complete effect1 with no thought on your part of analyzing the structure in detail4 ,but let her put her hands and arms out of the picture and note the disastrous result4 ,you then realize emphatically how much the motions of the entire person1 of the limbs and the torso and head1 are interdependent to create the grace and rhythm that complete the perfect dance4 ,the various functions of the hand as detailed are3 #a1 to define or indicate2 #b1 to affirm or deny2 #c1 to mold or detect2 #d1 to conceal or reveal2 #e1 to surrender or hold2 #f1 to accept or reject2 #g1 to inquire or acquire2 #h1 to support or protect2 #i1 to caress or assail4 ,how these several functions are naturally evolved from the various movements of the hand will be readily understood when one reads the definitions3 #a4 7a7 ,to define3 first finger prominent2 hand moves up and down1 side to earth2 7b7 to indicate3 first finger prominent2 hand points to object to be indicated4 #b4 7a7 ,to affirm3 hand1 palm down1 makes movement of affirmation up and down2 7b7 to deny3 hand1 palm down1 makes movement of negation from side to side4 #c4 7a7 ,to mold3 hand makes a movement as if molding a soft substance1 as clay2 7b7 to detect3 rub the thumb across the fingers as if feeling a texture held between them4 7,a movement often made when following a train of thought47 #d4 7a7 ,to conceal3 bring the palm of the hand toward you1 the fingers at the same time gently closing on palm2 7b7 to reveal3 reverse the above movement1 exposing palm4 #e4 7a7 ,to surrender3 closed hand opens1 palm down1 action as if dropping something on the ground2 7b7 to hold3 the hand closes as if to retain something4 #f4 7a7 ,to accept3 fingers close on upturned palm as if receiving something2 7b7 to reject3 fingers unclose from down-turned palm as if throwing something away4 #g4 7a7 ,to inquire3 a tremulous movement of the outstretched fingers as in the blind2 palm down2 7b7 to acquire2 hand drawn toward you1 fingers curved toward down-turned palm4 #h4 7a7 ,to support3 palm up1 making a flat surface as if supporting a weight2 7b7 to protect3 palm down2 a movement of fingers as if covering what you protect4 #i4 7a7 ,to caress3 a movement of stroking up and down1 or sideways4 ,if sideways1 one caresses the animal nature2 7b7 to assail3 palm down2 the fingers make a convulsive movement of clutching4 ,illustration3 ,,gertrude ,,lawrence ,in other words1 the hands give expression or emphasis to the thought that it is desired to convey1 both in speaking and in the pantomime of the dance and the screen4 ,learn1 therefore1 to use your hands correctly in every dance4 ,there is an idea to be put across in every step from your entrance--your first greeting to your audience--through the measured cadence of your dance steps1 to the final exit--your appeal for approval4 ,while you acquire the necessary dance steps to make you a perfect dancer1 also learn the hand and arm movements that complement your steps and perfect the picture into its most pleasing possibilities1 movements that shall develop the idea of the dance you are portraying and carry it across the footlights4 ,as soon as you get command of your foot work and master the technical steps of your routine1 put your hands and arms into action and develop their connection with your dancing steps so that both shall coordinate as one1 and thus your dance will grow into a complete and perfect expression in the easiest way4 ,do not neglect your hand-action4 ,it is a positive necessity to successful dancing1 and the time to give it attention is while you are learning the rudiments of your art4 ,this work is taught in the ,ned ,wayburn ,modern ,americanized ,ballet ,technique4 ,illustration3 ,,nw ,,dancing ,,feet ,illustration ,good dancers will take good care of their feet--the tools of their trade4 ,they are essential factors in your salary--drawing power4 ,treat them kindly1 and they will thank you and remain your meal ticket for many years4 ,a hot foot bath followed by a careful pedicuring it seems unnecessary to recommend1 for that is a daily habit with all dancers and other ladies4 ,if your feet are tired and cry aloud for care1 prepare a bath for them of common baking soda and warm water1 using two tablespoonfuls of soda to a bowl of warm water4 ,this will reduce the swelling of the feet and ease them greatly4 ,now rub them with a cut lemon4 ,this freshens them and also makes them white and pretty4 ,allow the lemon juice to dry on them1 then apply cold cream and massage them thoroughly4 ,now wipe off all surplus cream and dust them with talcum powder4 ,put on soft house shoes and you will feel like a new person4 ,massage with olive oil is splendid for tired swollen feet2 soaking them in salt water is also good4 ,here is a favorite foot balm you can have put up at the drug store3 ,calomel1 ten grains2 carbonate of zinc1 one dram2 oil of eucalyptus1 five drops2 ointment of rose water1 one ounce4 ,first bathe your feet in cold salt water1 then rub in the balm1 massaging it well into the feet at night1 and powder freely with talcum in the morning4 ,when the feet swell from long standing or tedious rehearsals1 relief can be had by dissolving the following powder in the foot bath3 ,borax1 two ounces2 rock salt1 two ounces2 alum1 one ounce4 ,if your feet are tender1 soak them in this bath for ten minutes1 and then dry thoroughly3 ,hot water1 five quarts2 boric acid1 #bjj grams2 tannin1 five grams4 ,for removing callous spots1 soak the feet in hot water for ten or fifteen minutes1 then take a piece of pumice stone and rub the callous spot4 ,do this every night4 ,during the day keep a piece of cotton which has been covered with cold cream on the spot to keep it soft4 ,this will remove any callous in a short time4 ,can you think of a dancer with corns8 ,what torture the idea suggests6 ,a limping1 crippled dancer would be distressing to gaze upon1 and even a minute corn could create this condition4 ,it simply isn't done4 ,for a dancer to tolerate a corn is a confession of carelessness1 of personal neglect1 and indifference to everything concerning her art4 ,to prevent corns and most other foot troubles1 wear shoes that fit your feet4 ,a too loose shoe makes corns just as quickly as does a tight shoe1 for when shoes are too large there is a constant friction1 which develops a corn4 ,and see to it also that your stockings fit your feet4 ,a short stocking cramps the foot1 and a loose stocking wrinkles and rubs in spots4 ,the first thing to do for a corn is to relieve it from all pressure4 ,the druggist has an abundance of corn cures1 most of which are effective1 but if you choose to have one made up to order1 here is a sure cure3 ,salicylic acid1 twenty grains2 alcohol1 one-eighth ounce2 flexible collodion1 one ounce4 ,mix and apply to hard surface of corn with a small brush4 ,do this once or twice daily for three days1 then soak the feet in hot water1 and a layer of skin will come off4 ,repeat till corn is gone4 ,tight shoes two sizes too small for you do not make your feet look small2 in fact1 they make the feet look larger1 and you haven't freedom to walk or dance4 ,tight shoes and high-heeled shoes are injurious to the health4 ,the circulation of your whole body is interfered with by wearing them1 and cold feet1 corns1 bunions and many other painful troubles result4 ,wear comfortable shoes if you would have freedom in dancing and all other exercises4 ,whatever shoes you wear1 have them comfortable1 so you can forget your feet as you step joyously forth to trip a measure in your chosen profession4 ,illustration3 ,,nw ,,dancing ,,shoes ,illustration ,each type of dancing demands its own fashion in footwear1 and the novice while learning and rehearsing requires a foot covering differing materially from that to be worn later in the perfected dance on the professional stage4 ,it is very desirable for the newcomer into the dancing world to acquire knowledge of the correct shoes to be worn to facilitate action1 make the learning as easy as possible and keep the feet in perfect condition4 ,in taking up this subject ,i shall tell in simple language what is the best and most practical way to dress the feet for the various occasions that arise in dancing4 ,one general rule can be laid down for everyone and all occasions3 ,have your shoes fit your feet4 ,do not simply buy a pair of shoes4 ,ascertain the size and width of shoes that correctly fit you1 and ask for your shoes by these specifications4 ,go to a first-class shoe dealer4 ,don't buy a shoe merely because it is pretty4 ,cheap shoes are often the most expensive1 and if poorly made may injure the feet4 ,the above advice applies to every shoe you buy1 for house1 sports1 street or evening wear1 as well as for dancing4 ,for the courses1 consider the type of dancing you are taking and dress your feet with shoes suitable for that kind of work4 ,if your foot is short and fat1 buy a short vamp shoe2 if your foot is long and narrow1 get shoes with a long vamp4 ,stiff soles being bad for the arches and hard to work in1 be sure to get flexible soles4 ,illustration3 ,,types ,,of ,,dancing ,,shoes ,,toe ,,shoe ,,with ,,padded ,,box ,,toe1 ,,used ,,for ,,toe ,,dancing4 ,,soft ,,ballet ,,shoe1 ,,for ,,ballet1 ,,limbering ,,and ,,stretching ,,and ,,acrobatic ,,lessons4 ,,stage ,,shoe ,,with ,,extra ,,flexible ,,shank1 ,,used ,,for ,,high ,,kick1 ,,etc4 ,,cut-,,out ,,sandal1 ,,for ,,oriental ,,character ,,and ,,ballet ,,work4 ,,mary ,,jane ,,type ,,of ,,shoe ,,for ,,tap ,,and ,,step ,,dancing4 ,,laced ,,type ,,of ,,shoe ,,for ,,tap ,,and ,,step ,,dancing4 ,a ,,split ,,clog ,,shoe ,,with ,,fiber ,,half ,,sole ,,attached1 ,,for ,,advanced ,,tap ,,work4 ,,type ,,of ,,shoe ,,suggested ,,for ,,girls ,,doing ,,acrobatic ,,dancing4 ,,greek ,,character ,,low ,,ballet ,,shoe4 ,,russian ,,boot4 ,,greek ,,character ,,high ,,ballet ,,shoe4 ,,type ,,of ,,man',s ,,shoe ,,sometimes ,,used ,,for ,,acrobatic ,,dancing4 ,for the toe dancer there are toe shoes which have a padded box toe4 ,these come in black and white kid and in pink satin4 ,this toe shoe and the regular soft ballet shoe1 which is used for ballet technique1 should both be a perfectly snug fit1 the toes of the foot coming to the very end of the shoe4 ,to do this requires a shoe about two sizes smaller than one's regular street shoes4 ,nothing is better for the limbering and stretching foundation technique1 as given in the ,ned ,wayburn courses1 than the soft ballet shoe with a quarter-inch lift at the heel4 ,for acrobatic dancing this type of shoe is also recommended1 though many prefer an elk sole cut out sandal1 which is also the choice for ,oriental ballet dancing4 ,these sandals if too large will bulge at the sides1 hence care in their fitting is desirable4 ,the most commonly used shoe for girls doing acrobatic and soft shoe work and one that is excellent for this purpose1 is a black kid flat1 as it is known1 which has a low heel and flexible sole2 a sensible1 comfortable shoe1 such as your feet thank you for4 ,for tap and step dancing there are several types of shoes1 the most common being that known as the ,mary ,jane or juvenile shoe with ankle strap and button or buckle4 ,another favorite is the laced low shoe1 known as the oxford1 made for both men and women4 ,the solid clog shoe has a full wood heel1 arch and sole1 and is used for very advanced clog dancing2 not to be worn by beginners1 but only the most accomplished professional solo dancers4 ,there is also a low show for ,tap dancing called the ,split-clog shoe1 used by very advanced pupils only1 never by beginners1 the half-sole being wood and the heel wood1 as well1 but most professional dancers prefer what is known as the ,haney metal plate on the end of the shoe to bring out the taps1 or else a wood-fibre half-sole1 but no beginner should be worrying about this4 ,just remember1 that you must never try to learn to dance in a ,french1 ,cuban or military heel1 as they act as a handicap or brake4 ,no one can learn with them because they pitch one forward at the wrong angle and impair the health4 ,illustration3 ,fibre ,toe ,illustration3 ,coin ,jingle ,illustration3 ,heel ,jingle ,there are several attachments1 called jingles1 taps1 fiber half soles1 and the like1 that the expert dancer in this type of work will wish to have on his dancing shoes1 and ,i shall tell you about them here1 but it is best to avoid their use while you are learning the dances4 ,after you have mastered your stuff and qualified yourself without them1 then have them put on1 but not until after you have become a real dancer4 ,there is a coin jingle1 as it is called1 a brass disc about the size of a quarter of a dollar set loosely on the shoe shank1 that sounds like two coins striking together at every shake4 ,the heel jingle is a brass plate set into the shoe near the heel with a loose disc inside it from which extends a plug that as you step falls and hits the floor4 ,the regulation stage shoe has a very flexible shank and a ,french heel4 ,it is not a desirable shoe for the student of dancing because of the heel4 ,but for high kicking and similar types of stage dancing after one has acquired a knowledge of the art1 it is very satisfactory4 ,be sure it is comfortable and fits well4 ,there are other shoes that come naturally into use on the stage for certain types of dancing4 ,there is the low ballet shoe of the ,greek type1 and a similar one in the high ballet type4 ,what is known as the ,russian boot finds its place in some dances4 ,it is often red1 green1 or white1 to match the costume4 ,variations of this boot are the ,spanish1 ,gypsy or ,hungarian1 ,cowboy1 and others4 ,there is also a high-laced close fitting boot with a very low heel and soft sole used by men1 as a rule1 in certain kinds of acrobatic dancing4 ,when you get into theatrical footwear1 there is practically no limit to the possibilities and the variations4 ,period shoes of all times and nations--,grecian1 ,roman1 ,egyptian1 etc41--make the list almost endless4 ,but really the only dancing shoes you will first concern yourself with are those ,i have designated as belonging to the learners' work for foundation technique1 acrobatic1 musical comedy1 tap and step1 ballet and toe dancing4 ,in the exhibition dancing the usual ball room shoes are preferred4 ,if the dance is done in character1 that will determine the style of the shoes4 ,i want to sound a warning about ,french-heeled shoes and high-heeled shoes in general1 such as ladies find so fashionable4 ,a pretty female foot is charming1 and one's feet should be dressed in the most becoming manner4 ,but high-heeled shoes do not make a pretty foot4 ,it is impossible to walk gracefully or safely in them1 and as for dancing1 no one can ever hope to become a dancer who wears such clumsy foot-gear while attempting to learn the art4 ,the persistent wearing of high-heeled shoes does much to bring about female troubles4 ,it is conducive to ill health1 crooked figures1 weak ankles1 and many internal ills4 ,there are crippled ladies of mature years whom ,i know1 who frankly admit that their condition is due solely to the wearing of high-heeled shoes in their younger years1 to make their feet look pretty4 ,i want to make my abhorrence of high ,french heels as strong as ,i can4 ,you cannot wear them in my studios4 ,i will not permit them1 for to wear them indicates that you will never learn to dance1 and there is no use in wasting your time in trying4 ,after you have learned1 in suitable and proper shoes1 how to do your dances1 then a shoe with a baby ,french heel will be permitted for musical comedy dancing1 and a shoe with a low common-sense 7not necessarily ugly7 heel for tap and step dancing4 ,fortunately1 it is not necessary to wear ,french-heeled shoes in order to have pretty feet4 ,there are an abundance of attractive shoes on the market that one can choose with assurance of enhancing the beauty of their feet1 without this deforming heel4 ,if one uses the words sensible or solid comfort when speaking of shoes--women's shoes especially--it suggests something sloppy and unattractive1 and some young women will have none of it4 ,there is no intention to advocate the wearing of such shoes1 nor any others that are not attractive and good looking4 ,get becoming shoes for every occasion1 by all means1 but see to it that they do not have the fatal1 high ,french heels4 ,before you take a single lesson in the dancing art1 dress your feet with proper shoes properly fitted1 and thank me for starting you right4 ,most large cities have shoe stores with dancing shoe departments1 but if you are not able to supply your needs locally1 write to the ,ned ,wayburn ,studios for information and it will be forthcoming4 ,but please bear in mind that no shoes are dealt in at the studios and no direct orders for shoes will be considered4 ,,the ,,quest ,,of ,,beauty ,illustration ,every person desires health1 vigor1 grace1 poise--and ,i know of no woman who would object to personal beauty of form and face4 ,beauty of face may or may not consist of bewitching features and perfect complexion2 many a woman is admired for her good looks while her features may not be considered classically correct4 ,the quality of one's complexion can be improved by exercise and correct diet1 and1 for stage or social purposes1 by the proper makeup4 ,beauty of form is a matter of training4 ,the female form divine can be improved and kept at the divine standard if the possessor wills it1 goes at it right and persists in the effort4 ,bodily health is a factor in all beauty4 ,get your body healthy1 and the rest of the way to beauty is easy4 ,when ,i state that stage dancing1 as taught in the ,ned ,wayburn courses1 is a developer of health and vigor1 a sure road to grace1 poise and personal beauty of form and face--in a word1 a maker of beautiful and attractive women--,i am making a statement of fact that is irrefutable1 based on actual and frequent occurrence4 ,you never saw a properly trained dancer who was not in perfect physical condition4 ,many ladies learn my dances for the benefits to be derived from the training2 young ladies and others not so young2 the stouts and the thins1 especially1 and both profit alike by the health-producing activities they find in our courses4 ,these ladies neither need nor desire a stage career2 what they do want is freedom from awkwardness1 a bit of pleasant reducing or filling out of hollows1 a lasting development of the foundation of beauty4 ,they come from professional1 industrial and social circles4 ,an hour a day1 except ,saturdays and ,sundays1 for a few weeks1 and we have their blessing forevermore4 ,illustration3 ,,janet ,,stone ,,and ,,nick ,,long1 ,,jr4 ,and while on the subject of beauty1 here is another thing3 ,a girl has a pretty face4 ,on the strength of her beauty she thinks she would make a success as an actress4 7,hollywood is overflowing with this type of girl47 ,she is a good home dancer1 and surely dancing on the stage is no different6 ,perhaps she is right in her estimate of herself1 and then again she may be mistaken1 for it requires more than mere physical appearance to be a top notcher in anything outside of an exclusively beauty show4 ,not that any lady's pulchritude is a handicap to a stage career or in any way undesirable4 ,on the contrary1 the stage has always welcomed beautiful women1 and will continue to do so4 ,but1 here is another girl in the same social set who makes no claim to being a beauty1 and does not think of herself as being of a type that lends charm to the stage--and this ,cinderella may possess the very qualities that go to make the professional actress and dancer1 and yet let the opportunity pass because of her failure to recognize her own value4 ,her face1 with proper makeup under our skilled direction1 with the correct treatment of its features1 consideration of the stage lighting1 and her hair becomingly and appropriately dressed1 may far outclass that of the pretty girl who has only aspiration without the necessary qualities to back it4 ,in other words1 beauty of the street and the home is a vastly different thing from beauty on the stage behind the footlights4 ,so do not worry at what your mirror tells you4 ,if you have the other qualities that make for professional success1 my courses will instruct you fully as to the way to look your best1 and you will be surprised at the latent possibilities for personal beauty that we will discover for you4 ,illustration3 ,,nw ,,who',s ,,afraid6 ,illustration ,i have never known a graduate of our courses to have a bad case of stage fright4 ,this doubtless is attributable to the fact that our pupils are thoroughly grounded in all their stage work before going before a critical audience4 ,they know their steps and routines perfectly1 have mastered the physical side of dancing4 ,their first dancing is done before their class1 their instructor and myself4 ,once a month we have ,visitors' ,day1 for relatives and friends1 here in the studio4 ,our students appear in action before them1 and at other times before some neighborhood or church benefit audience4 ,they are properly dressed for their part1 and their makeup is right when they go behind the footlights for their first professional performance--all of which gives the necessary self-confidence that carries the dancer through the trying ordeal of a first appearance4 ,,stage ,,fright--,,what ,,it ,,is ,,and ,,how ,,to ,,overcome ,,it ,when you step out upon the stage to do your turn for the first time1 you will be very grateful to me for having instilled into your mind the necessity for doing your work over and over till it has become second nature to you4 ,you will thank me1 too1 for the long series of foundation work1 limbering and stretching exercises1 that you have gone through1 that have kept you from being muscle-bound1 given you confidence as well as ability1 and left you without fear of not being able to go through with what you have undertaken4 ,this and the knowledge that your costume and makeup are perfect1 are of the greatest help in begetting that confidence that overcomes the danger of stage fright1 not only on a first but also on all subsequent appearances4 ,knowing that you look right is half the battle2 the other half is the certainty that you know what you are about to do and know it perfectly4 ,stage fright is the uncontrollable fear of an audience4 ,it is the result of excessive nervousness4 ,the orator1 the actor and the singer experience this dread more often than does the dancer or the instrumental musician4 ,the mouth becomes dry and the throat contracts as the speaker or singer attempts to get his voice across the footlights and out to the audience4 ,one's voice becomes faint and unnatural1 weak and uncontrollable4 ,those who afterwards have become the world's great actors and singers have many of them been overcome with stage fright1 and even left the stage on a first appearance4 ,richard ,mansfield was one of these4 ,he fainted from stage fright at his first appearance1 yet he afterwards became one of the greatest dramatic stars in the world4 ,the stage dancer does not have this difficulty with her voice1 and if trained right while acquiring her art should never be subjected to the bugaboo of fear4 ,but ,i am going to lay down some general rules here for the prevention and control of stage fright that will give you confidence and also serve to instruct you how to act if the worst does happen and nervousness gets the best of you4 ,in chorus work1 of course1 there is little danger4 ,your mates will carry you along if you miss a step or break your routine1 and you'll soon get back all right4 ,in solo work1 don't try to look at your audience nor single out any individuals4 ,don't glue your gaze on the orchestra leader1 though he alone is the audience of which you have any right to be at all conscious4 ,he and his baton are your friends and are giving you your tempo4 ,be aware of them incidentally but not conspicuously1 and forget the rest of the folks in front entirely4 ,forget yourself1 forget everything but the music that fills your ears1 and let your dancing absorb you completely4 ,radiate an air of conscious certainty in all you do4 ,smile4 ,look happy4 ,your dance is a good one and you know how to do it ,well4 ,you know you do4 ,pretty soon a ripple of applause starts4 ,it grows and fills that big half-dark place down there before you4 ,that is a tonic4 ,your stage fright or your fear of it is gone for good4 ,your audience has accepted you4 ,now you glow with the happiness that is yours by every right4 ,applause is to you and your art as the shower and the sun are to the flowers4 ,you live on it4 ,without it you are a failure4 ,suppose you had let your fear master you4 ,suppose you had quit cold1 got cold feet1 let yourself be scared out of your wits1 and not braved the thing you feared4 ,that would have been a calamity4 ,your promising career would have ended before it began1 after all your expenditure of time and money for lessons4 ,don't let anything scare you4 ,go on when your turn comes4 ,keep going4 ,no matter what happens1 don't give up--keep right on till you get your nerve back4 ,i saw a young singer come out in front of a large audience once1 get her cue from the orchestra1 and stop dead4 ,she looked out over the crowded auditorium4 ,the leader held his baton suspended in air4 ,wait1 she said4 ,i've forgotten it4 ,the audience was dead silent1 understanding just what had happened1 and very sympathetic4 ,the orchestra leader spoke a single word to her4 ,oh1 yes6 she smiled1 and her voice swelled out into the song she had so nearly forgotten4 ,did she get a hand8 ,i'll say she did1 and a couple of encores and a press notice next morning that told all about it1 and her career was launched4 ,she had presence of mind and control of herself4 ,cultivate this by first gaining perfect control of every muscle in your body1 by persistent practice of all of your dancing exercises1 technique and dance routines2 great confidence in your ability will come with this4 ,i am going to advise you to do as ,i have always done1 and that is1 write your routines down and keep them4 ,each has a name4 ,ask your instructor1 he can tell you the name for every step4 ,write these routines in sequence1 and remember each one4 ,go through each one every day1 no matter how many you collect4 ,the more of them you have the richer you are1 for they are valuable4 ,you will be a solo dancer one of these days and with this list you have you can make up your own routines1--take a step from this one and that one and build a new dance for yourself4 ,after a year or two you'll find this easy to do1 and it gives you a chance to work in your own personality4 ,in writing down the routines in the first place1 while still in the courses1 as ,i have advised1 you are helping yourself become fit1 so fit and so familiar with your work that you couldn't get stage fright if you wanted to4 ,so in doing this you are really accomplishing two very important things1 enlarging your dance vocabulary and making yourself stage-fright proof4 ,always go on the stage with the firm conviction that you are going to do well and make a hit4 ,say to yourself with deep feeling1 ,i shall do well tonight4 ,i shall have a big success4 ,everything will go just as ,i want it to4 ,illustration3 ,,cleo ,,mayfield ,this is called auto-suggestion1 if you want to know1 and it is a self-starter1 too1 and makes the wheels of success go 'round4 ,step on it6 ,it is good for every performance4 ,be satisfied with small beginnings at first4 ,exhibit your work in public whenever you can1 to gain confidence and experience4 ,keep your eye on ,broadway and work toward that great thoroughfare1 of course--all dancers do that--but don't think of making your first appearance there4 ,the farther away from ,broadway you make your first appearance the better it will be4 ,learn the art of costuming yourself for your part1 and learn the art of makeup4 ,they come next in importance to the actual dances themselves that you are patiently practicing4 ,when you start out1 take with you a knowledge of dress and makeup as well as of dancing1 and when you are mistress or master of these three arts and make use of them properly1 you can go on the professional stage without dread of being overcome by stage fright4 ,no real artist ever is1 although any great artist will be a little bit nervous perhaps before making the first entrance in a new play on an important first night4 ,but the sight of the audience cures that4 ,illustration3 ,,nw ,,the ,,dance ,,and ,,the ,,drama ,illustration ,the art of acting as it has been known for thousands of years1 derives from the dance1 and is a direct evolution from the representation of the emotions as portrayed by the primitive dancers4 ,joy1 anger1 love1 jealousy1 hatred1 revenge1 triumph and defeat were all interpreted in the ,grecian dances of the period antedating the introduction of the speaking actors1 who told in words and gestures the stories that had formerly been conveyed through the dance4 ,the victorious warriors returned from battle danced to show how they had fought and destroyed the enemy4 ,the hunter described in a dance how he had slain wild animals4 ,the traveller who had visited what to him were distant lands1 told of the strange people he had met by imitating them while he danced4 ,gradually there was evolved the addition of spoken words supplementing the action1 accompanied by appropriate gestures and facial expression4 ,man had discovered his ability to become for the moment another person1 and to interpret certain emotions more vividly than through the medium of the dance4 ,the stage became the opportunity not only for the representation of elemental forces and actions1 but also for the principal creations of the imagination4 ,while the slowly developing drama departed widely from the limitations of its origin1 there has1 nevertheless1 remained an association with the dance that will continue for all time4 ,especially is this true of the lighter branch of the drama1 comedy1 and the modern combination known as musical comedy or comic opera4 ,in the popular stage entertainments of the day dancing forms an important feature of a large percentage of all productions that appear in the leading theatres4 ,in many of the classical plays1 by great dramatists1 that are annually chosen for revivals1 the dance appears1 and the actor or actress who cannot dance misses many opportunities for profitable engagements4 ,there has always been a kinship between the dance and the legitimate drama1 and many prominent stars began their apprenticeship for the stage in the ranks of musical comedy or as vaudeville dancers4 ,with few exceptions it will be found that the men and women who have achieved success on the stage are enthusiastic devotees of dancing1 and they will agree that to those intending to make acting their life work a thorough training in the art of the dance is an essential part of their education4 ,illustration3 ,,nw ,,personality ,,in ,,the ,,dance ,illustration ,every individual possesses something that for lack of a better word is termed personality2 something elusive and evasive1 that cannot easily be defined or explained1 but nevertheless remains the essential quality that distinguishes its possessor from every other human being4 ,but while all may have the potentiality for some distinct and special attribute1 unfortunately for by far the greater number this is never developed or expressed1 and they pass through their uneventful1 monotonous existence1 without even realizing their capacity for being or doing something outside the routine of their daily occupations4 ,in this era of the newest of sciences1 psychoanalysis1 which is attracting the study and investigation of millions1 much attention is being given to the explanation of the failure of so many persons to find an outlet for hidden capacities by the well-worn inferiority complex4 ,the flower of personality1 we are told1 is born to blush unseen because of an individual's belief that he or she is in some way inferior4 ,despite all the books that have been written1 and the good advice that has been given1 urging the development of self-confidence as the starting point for worthy accomplishment1 there is still all too prevalent an attitude of timidity and hesitation that says in effect3 ,i can't be what ,i would like to be1 so what's the use of trying4 ,this inability or unwillingness to believe in one's self2 the disposition to doubt one's powers1 to admit defeat before trying1 is nowhere more clearly apparent than in the attitude of many persons who possess the physical and mental qualifications that with proper training would bring distinction and profit as exponents of the dance4 ,they admire the successful dancers2 they feel that they too are capable of expressing themselves through this art4 ,but1--and here comes the cold water that quenches the spark of their ambition1--they are timid2 afraid of failure2 they fear that they haven't the persistence and capacity for application that is needed to assure success4 ,perhaps they do make an attempt1 but the work is hard1 they just know that they won't be able to stick it out1 and after a few futile efforts they give it up1 and spend the rest of their lives wondering what they might have accomplished if they had persevered4 ,to these too easily discouraged persons the message of the dance is3 ,what others have done you can do4 ,you have the physique1 or at least it can be developed4 ,you have the intelligence to accept instruction4 ,you have the patience needed for the continued repetition of movement that makes perfection4 ,you have an individuality that can be expressed in the subtle shadings and delicate touches that growing skill will enable you to show in every graceful movement4 ,you have in you the capacity for artistic and harmonious expression of your personality4 ,why not develop it8 ,i cannot emphasize too strongly the importance of personality in a successful stage career4 ,along with the actual mastering of the dancing steps and the acquisition of health and a beautiful body1 comes just as surely the development of one's personal qualities4 ,and because each person has an individuality which is distinctive from that of everyone else1 all must select the type of dancing which is best suited to their own personalities4 ,that is why the performance of stars like ,evelyn ,law1 ,marilyn ,miller1 ,ann ,pennington1 ,gilda ,gray and ,fred and ,adele ,astaire leaves a lasting impression4 ,every step1 every movement is designed to drive home the characteristics of their individuality4 ,even more important than the actual dancing steps they do is the manner in which they execute them--the individuality that they express4 ,it is the almost indefinable factor called personality which lifts one out of the ranks of the chorus and makes the solo dancer4 ,in this book ,i am trying to help you develop your personality1 in the same way that ,i have discovered and developed that quality in so many of today's theatrical stars4 ,most emphatically ,i want to impress upon you that it is not chorus work you are learning in my courses4 ,it is professional and individual dancing1 that when mastered gives one that certain something that one lacked before1 a feeling of having accomplished assurance of success4 ,illustration3 ,,al ,,jolson ,anyone who masters the dances takes on a certain confident feeling in time1 after exercising great patience in practice4 ,with this confidence1 the happy pupil radiates a new magnetic personality which the audience feels--but more about this later on1 when you will learn just how one's self is injected into the dances1 until they are vitalized and become the living embodiment of the emotions and spirit of the dancer4 ,this is putting one's own personality into the dance1 and is one secret of every great artist's success1 which we seek to instill into the minds of all our students4 ,illustration3 ,,nw ,,dancing ,,and ,,ease ,,of ,,manner ,illustration ,man is a gregarious animal1 and eagerly seeks the company of his fellows4 ,in civilized society men and women gathered to dine1 to converse1 to dance1 to play games1 to watch others indulging in various sports or pastimes4 ,out of this intermingling at social gatherings there has gradually developed an accepted code of conduct termed good manners1 which are as stringently binding as any law enacted by a legislature4 ,and there are penalties for violation of this code1 that are surely imposed upon the luckless offender1 ranging all the way from a snub1 a sound or gesture of disapproval1 to social ostracism4 ,manners maketh man is an ancient aphorism that has a very wide application4 ,while the forms and standards of what constitute good manners change with the times1 their essential basis is always the same--a deference to1 and consideration for1 those with whom one is thrown in contact4 ,courtesy1 politeness1 helpfulness1 and other evidences of good breeding and careful training1 are the outgrowth of a desire for eliminating selfish instincts4 ,the rude man or woman is an egotist1 seeking to assert his or her individuality without regard for the sensibilities of others4 ,aside from the willful violation of those unwritten laws that have come to govern social intercourse1 there are many who err because of excessive self-consciousness1 which makes it difficult or impossible to put themselves at ease among those with whom they would like to associate4 ,they are painfully aware of their own surplus ego2 they are constrained and awkward2 they feel that in some way they are outsiders1 that1 as the slang phrase puts it1 they do not belong4 ,it is probable that more social failures are due to this trait than to any other cause4 ,against this self-conscious attitude a thorough training in the dance is a most effective remedy4 ,the shy1 constrained1 awkward boys and girls mingle with their companions on terms of ordered freedom and equality4 ,they are taught grace of movement2 the spontaneous expression of their individuality is modified by contact with their associates2 they acquire a graceful walk and carriage4 ,to follow the various movements of the dance in harmony with the music takes their thoughts away from themselves1 and provides an escape from the dread self-questioning3 ,am ,i doing the right thing8 ,success in mastering the technique of the dance brings assurance and poise1 and adds immeasurably to the capacity for adjustment to environment that marks the well-mannered members of what is in the true sense of the word good society4 ,illustration3 ,,nw ,,dancing ,,and ,,civilization ,illustration ,solemn professors are discussing the question ,what is ,civilization8 the answers ranging all the way from an increase in man's power over material things that add to his comfort and happiness1 up to the development of higher ethical standards of personal conduct4 ,to one the civilized man is he who has brought to his service the hidden forces of nature1 and by steam and electricity has girdled the earth1 vastly increased the production of wealth1 and by superior methods of transportation has brought all regions of the globe into close contact4 ,to another the mark of civilization is the diffusion of valuable knowledge1 the spread of popular education1 and the sharing by a whole people of the culture and scholarship of the great creative minds4 ,to yet another the real test of civilization is in the cultivation of a greater capacity for enjoyment of all that life has to offer4 ,and a fourth affirms that only those are truly civilized who have learned the laws of right living and conduct1 so that in seeking the fullest development and expression of their natures they are careful to avoid infringing on the rights and welfare of their fellow men4 ,leaving the definition of civilization for future settlement1 it may be taken for granted that a civilized society is one in which order and individual rights to life1 personal liberty1 and lawfully acquired property are respected2 in which the rule of brute strength is supplanted by the higher law of reason and social justice and in which the people are free to develop their artistic and aesthetic tastes into a complete and harmonious whole4 ,applying this standard to the world's history there are found great civilized communities that at various periods have emerged from primitive barbarism1 have flourished for ages1 have left their records of high achievement in architecture1 sculpture1 painting and other arts1 in imperishable literature1 and in religions that phrase the highest exaltation of human thought and ideals4 ,such are the civilizations of ancient ,egypt1 ,india1 ,greece and ,rome1 where the conditions attained were as greatly in advance of those prevailing at the time in practically all the other regions of the earth1 as are those of modern ,europe and ,america compared with the black tribes of ,africa4 ,to the student of social customs in various ages it is significant that the peoples of the most civilized countries were eager in their search for the higher enjoyments1 and that among them the dance was regarded as one of the most important forms of self expression4 ,along with the greater accumulation of wealth2 the erection of great palaces1 temples and other enduring movements2 the mastery of form1 line1 and color by the sculptor and painter2 the progress in music and literature toward higher levels1 came the recognition of the dance as one of the greater arts1 worthy of encouragement by rulers and statesmen4 ,the fact that at the period of highest civilization in the four countries referred to the dance was held to be an important and honorable art1 is testimony to its inherent value as a means of satisfying the universal desire for human expression of the beauty of form and harmonious movement4 ,it is not a mere coincidence that the most enlightened peoples of all ages have regarded the dance not only as an amusement or diversion1 but as exemplifying the eternal laws that bind mankind to its earthly environment4 ,poets1 philosophers1 scholars1 leaders and teachers of men1 have at the times that they have been most highly regarded because of their special qualities or abilities1 joined in rendering homage to the dancer as an interpretative artist4 ,coming down to modern times and our own country1 it is found that as ,america has vastly increased in population1 wealth1 knowledge and material comfort1 along with the widest extension of popular education of any great nation on the earth1 there has arisen a greatly increased and steadily-growing interest in the dance1 both as means of individual enjoyment1 and as an artistic entertainment ranking high among all forms of creative effort4 ,with the growth of great cities and industrial centers social activities have been greatly multiplied1 and of these the dance is easily the most popular4 ,at all seasons2 at the winter resorts of the ,south1 or the seashore1 and in the mountains in summer1 the story is the same2 dancing is the one diversion that never palls1 and is constantly engaged in everywhere4 ,golf1 with its hundreds of thousands of devotees1 has brought with it the country club1 where the dance flourishes until the wee sma' hours4 ,in the home1 in hotels1 restaurants and supper clubs1 the dance reigns supreme4 ,learning to dance has become a part of the boy's or girl's education1 along with the ordinary school studies4 ,not to dance is to be distinctly outside of practically all social circles in ,american cities and towns1 and each year finds the number of one's dancing acquaintances increasing4 ,from the select few who are assumed to be smart society1 down to the multitudes who make no social pretentions1 everyone dances1 and enjoys it4 ,if a poll could be taken of the population over twelve years of age in any ,american city1 asking for their favorite amusement1 it would doubtless be found that dancing comes first4 ,illustration3 ,,ned ,,wayburn',s ,,private ,,office ,in the field of public entertainment dancing holds an equally prominent place4 ,the musical comedies1 vaudeville acts1 and other theatrical productions in which the dance is the chief or an important feature1 testify to the popular appreciation of the highly skilled and highly paid artists who delight the public eye4 ,the motion picture is reputed to have seriously affected the prosperity of the legitimate drama1 but it does not appear to have lessened the interest of amusement seekers in shows of which dancing is an essential part4 ,the percentage of theatrical productions in which dancing figures has in recent years steadily increased1 and the financial success of so many of this class of entertainments proves that the public knows what it wants1 and is getting it4 ,the enthusiastic crowds attracted by the great dancing artists also testify to the growing appreciation by the ,american people of what is distinctively the product of advanced culture and the higher civilization4 ,as population grows1 and as the percentage of urban residents1 as compared with the dwellers in rural districts1 increases1 there will be an ever-increasing interest taken in the dance and all that pertains to it4 ,,dancing ,,and ,,cheerfulness ,for the good are always the merry1 says ,william ,butler ,yeats1 ,ireland's foremost living poet1 in ,the ,fiddler of ,dorney4 ,this is an old truth1 too often ignored or forgotten4 ,there are1 unhappily1 many persons who have conceived the strange notion that goodness means a gloomy outlook toward the world and those who inhabit it4 ,to them this earth is a vale of tears2 everything is evil and steadily growing worse2 if every prospect pleases it only emphasizes their conviction that man is vile4 ,natural instincts that prompt mankind to rejoice and be glad1 to lift up their voices in cheerful songs1 or to express their abundant vitality by joyous dances1 are to them evidence of sin and depravity4 ,if they could have their way they would abolish every manifestation of happiness1 and carry their conviction that man is doomed to endless pain and woe into the life beyond4 ,illustration ,that this peculiar idea of the relation of goodness to happiness at one time represented the prevailing sentiment of what are termed the enlightened peoples1 is undeniably true4 ,yet always there has been a saving remnant that protested against the solemn1 serious1 and sad railers against mirth and merriment1 and at last these dissenters are finding that they are rapidly becoming the majority4 ,no longer are normal men and women ashamed to show that they are glad to be alive2 that they believe that they were meant to be happy and should seek happiness2 that they do not agree that goodness means repression of natural impulses4 ,perhaps they are less concerned with abstract standards of conduct than were their ancestors4 ,for them life is a joyous adventure1 and they wish so to live that they may experience to the full all that it has to offer4 ,not the least encouraging sign of the changed and changing attitude of humanity toward the old repressions and fears1 is the world-wide extension of interest in all forms of popular amusement4 ,people no longer think that to be good--or moral--whatever those words may mean1 is to be a doleful machine1 wearily going the rounds of earning a livelihood4 ,they question the authority of those who try to inflict upon them their narrow standards of life4 ,they ask questions4 ,they want to know many things4 ,why1 they ask1 should it be a virtue to wear a gloomy face1 to shun pleasure1 to avoid their impulses to sing1 play or dance8 ,they have capacity for enjoyment4 ,why should they starve their natures1 and go without pleasures that are rightfully theirs8 ,it has often been said that ,americans have not as a rule known how to play4 ,they are changing all that1 and as the level of education and intelligence rises1 as wealth accumulates and is more widely diffused1 as old inhibitions lose their force1 this country is destined to become the great playground of the world4 ,the ,american people are above all else cheerful and optimistic4 ,they know what they can do because they know what has been done1 ever since their brave pioneer forefathers cleared the forests1 subdued the wilderness1 spread out across the wide prairies1 and established the mightiest empire of the earth4 ,the present and all coming generations that enjoy the fruits of pioneer labor and sacrifices have a right to be joyous4 ,they are free1 prosperous and filled with vitality1 vim1 pep and go4 ,they want more from life than any other people4 ,there are among them no country peasants1 or city proletariat1 no class distinctions1 no artificial aristocracy4 ,strong1 confident1 fearless1 they work not merely1 as the masses in other lands1 for a bare existence1 but as a means for providing the comforts and pleasures to which they feel they are entitled4 ,whether people are cheerful because they dance1 or dance because they are cheerful1 may not easily be decided4 ,one thing is certain1 that if from an assemblage of men and women there should be selected those with smiling1 happy faces1 by far the greater percentage would be found to be dancers4 ,for the good are always the merry1 the lighthearted1 free from care and worry1 who sing1 or dance1 or play because of their superabundance of vital energy1 and because in so doing they are in harmony with the primal laws of being4 ,illustration3 ,,nw ,illustration3 ,,little ,,old ,,new ,,york1 ,,follies ,,of #aibc ,,dancing ,,and ,,country ,,life ,illustration ,for more than a generation the problem of checking the steady drift of the young people from ,american farms into the cities has occupied the attention of statesmen1 able editors1 farm leaders and economists4 ,it is universally agreed that agriculture is the basic industry upon which the prosperity of manufacturing and commerce depends4 ,when the farmers are prosperous their demands for all kinds of manufactured goods sets in motion the wheels of industry1 labor is fully employed and merchants find increased sales to the rural communities and factory workers4 ,when1 as happened five years ago1 there is a widespread depression among the farmers1 it is felt by manufacturers1 railways1 merchants and industrial workers in every field4 ,today1 as one hundred years ago1 when ,thomas ,jefferson wrote that agriculture was the most important of all industries1 the welfare of the ,american people as a whole is indissolubly bound up with the existence of a large and prosperous agricultural interest4 ,president ,roosevelt twenty years ago recognized the importance of keeping on the farms the young and vigorous ,american men and women who are needed to maintain the enormous food supplies required by the vast populations of the great cities and industrial centers1 and appointed a ,country ,life ,commission to investigate and report on the conditions that were making life on the farms unattractive as compared with the cities4 ,one of the reasons found by the ,commission for the increasing flow of country youth cityward was the lack of social activities and amusements in the rural districts1 and the consequent desire to migrate to localities where a denser population brought wide opportunities for social diversions4 ,curiously enough1 the dance as a means of promoting sociability among the farm population was not discussed1 possibly because of an old-fashioned prejudice against dancing that still prevails in many rural regions4 ,why certain good people should object to the dance1 innocent1 joyous and beneficial as it is in practically all its manifestations and associations1 can only be explained on the grounds given by ,lord ,macaulay from the ,british ,puritan's objection to the sport of bear-baiting4 ,the ,puritan condemned bear-baiting1 not because it gave pain to the bear1 but because it gave pleasure to the spectators4 ,there was a time when it was considered frivolous and wicked to be happy1 and dancing and many other innocent amusements were put under the ban4 ,this narrow view of life is1 fortunately1 becoming outgrown1 and no power is now invoked to prevent pleasure-seekers finding diversion in sports1 games1 or the dance4 ,with the gradual disappearance of the ancient view of pleasure as akin to sinfulness1 there is no good reason why dancing should not become as popular in the rural districts as it is in the cities4 ,the automobile and good rural roads have combined to make possible social gatherings in central localities that would have been impossible twenty years ago4 ,improved farm machinery and implements have shortened working hours on the farm1 so that the evenings are no longer devoted to finishing up the day's work4 ,then there are the long winter evenings when the heart of youth calls to youth1 and when in every village or country hamlet there should be assembled joyous groups1 finding in the dance an escape from the routine of daily cares4 ,picnics and outings would take on new attractions1 and under the spur of rivalry the simpler forms of dancing would evolve into its more artistic branches4 ,there would be something to look forward to outside the family circle2 new acquaintances and agreeable companions4 ,with the dance would come a wider knowledge and love of music that would stimulate its study and practice4 ,in many thousands of farm homes the radio is now installed1 and programs of dance music are arranged that make it possible for millions to join in moving to the strains of the best metropolitan bands and orchestras4 ,the contrast between the city residents and their country cousins is in no respect more marked than in their walk and carriage4 ,watch the city crowds1 as with heads up1 chins in1 and shoulders back1 they step out briskly along the sidewalks4 ,they know how to walk4 ,they may be going somewhere in a hurry1 or sauntering to see and be seen1 but in either case they carry themselves as individual personages4 ,they have been taught grace of movement1 and their self-confidence expresses their individuality4 ,compare with them a group of rural walkers4 ,too often the latter slouch carelessly and drag limbs that are awkward and aimless4 ,they are frequently bent and listless1 as though walking were hard labor imposed as a penalty4 ,they do not know how to hold their arms to keep them in accord with their bodily progress4 ,it is not an injustice to the country folk to say that by their walk they can nearly always be distinguished from the city resident4 ,instruction in even the simplest forms of the dance1 and practice in their movements1 will bring about a far-reaching change4 ,the country boys and girls will learn to hold themselves erect1 they will quickly see the difference between the sort of progress by what has been described as a process of falling over and recovering one's balance1 and real walking by a coordinated entity4 ,they will take pride in well developed bodies1 and will show in every movement the results of the training that has enabled them to become proficient in the dance4 ,is it not possible that the answer to the old query3 ,how you goin' to keep them down on the farm8 may be found in the advice3 ,teach them to dance8 ,perhaps you are asking yourself1 ,what has country dancing to do with stage dancing8 ,and ,i will answer you3 ,just this3 ,the city has no monopoly of talent in any field4 ,the candidate for dancing honors and emoluments comes as often from rural communities as from metropolitan4 ,but first1 whether in city or hamlet1 there must be present in the aspirant the true love of dancing as an art1 a sense of rhythm1 an urge to step to music1--and these he or she discovers only as the ballroom dancing in the home community develops them4 ,this is no lure2 it is a true word3 ,there are young ladies and gentlemen in all localities who1 if they but knew it1 could rise to heights worth while1 because possessed of genuine talent needing only correct training to develop its possibilities to the full4 ,the country-bred girls and boys in our courses have equal opportunity with their city cousins1 and both are thriving alike4 ,illustration3 ,,rita ,,owen ,,dancing ,,as ,a ,,social ,,accomplishment ,illustration ,some years ago the editor of a great ,new ,york newspaper1 who was nationally known as one of the foremost personalities of his era1 invited a group of his friends to his home to enjoy a performance by the then celebrated ,spanish dancer ,carmencita4 ,after the plaudits of the delighted guests had died away1 a lady eminent in society inquired of her appreciative husband3 ,why didn't we ever think of arranging for something of this kind8 ,and her worser half agreed that for the future they would follow their host's example1 and make dancing by great artists a feature of their social entertainments4 ,ever since that time there has been an increasing demand by those whose wealth1 culture and good taste have made them the dominant force in ,american society1 for the services of the leading exponents of the creative art of the dance4 ,to the ballrooms of the great mansions that adorn every city of any considerable size there have come brilliant assemblages of the men and women who by reason of their special qualifications are recognized as social leaders1 to see1 enjoy and appreciate the charm and beauty of woven paces and of weaving arms4 ,the hosts whose invitation includes the announcement special dances by ,miss ---- or ,mr4 ---- know that there will be few declinations because of other engagements4 ,the fortunate ones who are able to command the presence of any of the well known stars in the dancing firmament at a social gathering1 are assured that their guests will carry away with them only pleasant recollections of a delightful occasion4 ,even to those who may have often seen the artist in public performances1 there is an additional charm in the dances as given in the more intimate conditions of a private gathering4 ,the knowledge that the audience appreciates every detail1 down to the slightest touch1 stimulates the dancer to the highest mood of artistic endeavor4 ,art1 wrote ,william ,morris1 is the expression of man's joy in his work4 ,emphatically is this true of the dancer's art1 and the exaltation of joyousness into perfect harmony of motion comes only when the artist knows that the message conveyed is understood by the onlookers4 ,to those who wish to make their impress upon society by distinctive gatherings1 the artist affords an ever new and always pleasing entertainment4 ,as knowledge of the illimitable possibilities of the dance expands1 there is certain to be a growing demand for the types of dancers whose gifts make them peculiarly adapted to the exercise of their art at social functions4 ,illustration3 ,,nw ,,universal ,,appreciation ,,of ,,the ,,dance ,illustration ,the chief reason why dancing as a public entertainment will always maintain its present popularity1 and will be in even greater demand in the future than in the past1 is to be found in the fact that to appreciate and enjoy to the fullest degree the work of the creative dancer requires no special knowledge of the art itself on the part of the spectator4 ,there are many who do not understand or appreciate classical music4 ,to many others the speaking drama makes no appeal4 ,still others care nothing for the motion picture1 and cannot be induced to witness a performance on the screen4 ,but everyone--men and women1 young or mature1 can enjoy the beauty1 harmony1 and exhilaration of a well conceived and well executed dance4 ,there is something in the nature of us all that responds immediately to the message that the dancer conveys4 ,perfection of form1 grace of movement1 harmony of action with appropriate music1 all combine to make up a spectacle that thrills and inspires4 ,to slightly paraphrase ,robert ,browning3 ,others may reason and welcome1 ,but seeing the dance1 we know4 ,as was said of the ,athenians of old1 the ,american people are always looking for something new4 ,they are quick to take up this or that fad in dress1 games1 sports or amusements1 and after a brief time throw it aside4 ,there is nothing of the fancy of the hour in the popular acceptance of the dance1 either for personal practice1 or as a stage entertainment4 ,what has been seen in all the ,american cities during the past ten or twenty years--the steady growth in popularity of the dance in all its forms--is no whim that will presently pass4 ,on the contrary1 nothing can be more certain than that each year will find a greater increase in dancing1 both by the people themselves1 and for them by the artists of the profession4 ,it was said for a long time by visiting foreigners that ,americans had not learned how to enjoy themselves4 ,this may have been true at one time1 but it is not today4 ,the chief object of life1 it has been discovered1 is to live abundantly and joyously4 ,everything that helps to make living more cheerful1 healthful and agreeable2 that satisfies aesthetic needs2 that ministers to the sense of beauty and harmony1 will be encouraged and developed1 and as one important means to these ends1 the dance must of necessity flourish and endure4 ,illustration3 ,,nw ,,the ,,melting ,,pot ,,of ,,the ,,dance ,illustration ,a great deal is being talked and written about changing the millions who have come to this country from foreign lands1 or are the children of immigrants1 into #ajj per cent ,americans4 ,so far as the advocacy of measures for this purpose is based on a sincere desire to bring home to everyone living under the national flag a knowledge of the essential principles of our government and institutions1 this is worthy of the encouragement and aid of all patriotic citizens4 ,there is1 however1 another aspect of the ,americanization movement1 that is not so admirable4 ,this is the attack on ideas1 manners1 customs and amusements peculiar to certain foreign peoples1 not because they are necessarily wrong1 or antagonistic to genuine ,americanism1 but merely because they are different4 ,according to some of these self-constituted authorities the way to instill patriotism and love of country into the benighted aliens is to persuade them to abandon all that links them with the land of their ancestors1 and become exactly like the prevailing type of ,bangor1 ,maine1 ,augusta1 ,georgia1 or ,portland1 ,oregon4 ,oliver ,wendell ,holmes tells how when he was a boy living in ,cambridge1 ,mass41 there was a constant warfare between the boys of his district and those who lived down by the water front1 who were regarded as foreigners1 because they seemed to be in some way different4 ,he concluded that most of the racial antagonisms and hatreds that so often lead to quarrels and war are due to the same notion2 that the foreign man is inferior because his ways are different from ours4 ,against the narrow ideas that would reject many things of great value because they are of foreign origin1 there is need for a wise and discriminating selection of the best that all regions of the earth have to offer in the domain of science1 literature1 music1 painting1 the dance1 and other arts1 and their combination with the results attained by ,american creative effort4 ,in no respect is there a more urgent need for the development of a truly ,american art spirit than in the wide field offered by artistic dancing1 yet it would surely be a mistake to ignore all that has been learned and accomplished in the long experience of other peoples4 ,a foolish prejudice against foreign dances should not be allowed to prevent the incorporation of their best features into what will ultimately be the distinctive ,american school4 ,that there assuredly will be an essentially ,american type of dancing in all its branches1 that will reach heights far above that yet achieved by any other country1 cannot be doubtful4 ,as the increase of wealth1 not only for a few1 but for the great mass of the people1 gives more leisure1 creates new desires1 and brings increased capacity for enjoyment1 it is inevitable that more and more will the public appreciation of the dance call for still greater advances4 ,as the various races from other lands have mingled their several qualities and gifts1 and have produced the highest civilization on a broad scale that the world has ever seen1 so will the creators of new and more beautiful dance forms utilize the characteristic dances of all nations in achieving what will be the #ajj per cent ,american dance4 ,,your ,,opportunities ,illustration ,those of you who are perfecting yourselves for a stage career are naturally giving consideration to your future as you advance in the courses1 and are wondering just how you will go about it to get well placed in your chosen line of work4 ,i am going to tell you how some have tried to do this1 and then tell you the best1 surest and safest way4 ,and do not for a moment think that ,i am guessing about what ,i tell you4 ,i know the theatrical world and theatrical ways and methods1 and ,i know the managers1 the producers1 and all the principals connected with our profession1 and they know me4 ,so ,i am not guessing when ,i say that your personal interests in all matters connected with the stage will be best conserved by entrusting them to me4 ,in our classes here in the studio there is apt to be one or more dominating spirits who become anxious to go around the booking offices and seek for a tryout and an engagement4 ,it is true that to go to any office and say that you are a recent or prospective graduate of the ,ned ,wayburn ,studios is a good recommendation1 and you may get a hearing and a tryout on the strength of it4 ,but please be advised by me and let me give you the tryout first when ,i am sure you are ready for it4 ,your teacher should first be given a chance to see what you can do individually4 ,his advice is invaluable and impartial4 ,when he reports that you are advanced sufficiently to deserve consideration for a solo role1 then come and dance for me4 ,i am glad to have you do this1 and shall always give you my decision honestly and fairly1 and let me add1 freely--no charge whatever4 ,if ,i see that you are deficient in any way1 ,i will be frank and tell you so1 and will also suggest what you should do to correct your fault4 ,in other words1 you will get constructive criticism1 and kindly advice1 in my office1 whereas anything short of perfection shown to a booking agent or possible employer would be apt to insure abrupt dismissal4 ,they would give you no helpful advice1 and you would prejudice yourself1 for your effrontery1 in their eyes for any future engagement you might seek4 ,so be advised by me4 ,i respect an ambition that prompts you to go out and hunt an engagement1 but1 believe me1 yours is not the best way4 ,there are agents and agents4 ,some would do right by you1 and perhaps some would be unscrupulous4 ,i am not going on record in this book with any details that would seem to reflect in the least on anyone1 so ,i'll not enlarge upon this subject here4 ,but ,i will tell you more about this if you come to my office and ask me to4 ,now if any pupil in the school asks you to go around the theatrical agencies1 please don't do it1 but come and tell me4 ,perhaps some day you both will come to me and say ,thank you4 ,illustration3 ,,ada ,,may 7,,weeks7 ,oftentimes we send out groups of our students1 two1 four1 six or eight1 to go on the professional stage for something special4 ,sometimes they are paid2 sometimes it is done gratuitously2 but the experience alone is worth money to them4 ,the regular theatrical season opens about ,labor ,day and lasts till around ,decoration ,day4 ,summer engagements begin about the first ,monday in ,june and end about the last ,saturday in ,august4 ,calls are sent out about the middle of ,april for summer work1 and about the middle of ,july for the winter or regular season4 ,if you are able to qualify1 you will get the benefit of these calls for dancers1 and when you go with my recommendation1 it will be only to the best managers4 ,i will inform you fully as to the best forms of contract for you to sign in every case1 and make no charge for this4 ,you know1 when you engage to go with a show1 you do not simply take the manager's word for it that he will employ you for so many weeks at so much a week1 nor does the manager simply take your ,yes1 ,i'll come1 and let it go at that4 ,this matter of entering his employ is a business affair1 a transaction of importance to you both1 and calls for a signed agreement that binds him1 the manager1 as to his responsibility to you1 and binds you as to your duties to him4 ,it is a legal document1 binding on both parties1 the manager and you--and let me tell you right here1 you feel mighty big with your first stage contract duly signed and delivered1 and in your pocket1 and while you may in future seasons get contracts that specify much larger salaries than your first one does1 no contract will ever seem so big and important to you as this first one1 the start1 the goal of your ambition4 ,i love to see my pupils with their first professional contracts6 ,they are so happy and hopeful2 the world opens up new delights for them2 they have arrived4 ,the reward of their untiring exertions here in the courses is at hand1 and they have earned it and deserved it4 ,good for you6 ,i feel like saying2 and ,i am truly happy to think that ,i have been in some degree instrumental in bringing this about4 ,my experience has been paid for4 ,i have learned to profit by my own mistakes1 and ,i can and will save you all the risk in closing deals that involve so much--perhaps your entire future stage career4 ,i can and will do this1 if you let me4 ,illustration ,,stage-,,craft ,illustration ,when my pupils become professional dancers and sign up for their first stage engagement they will wish not to be or appear ignorant of the marvelous mechanism that is the modern theatrical stage4 ,not that they will learn it all from any book1 but my knowledge of things back stage will be of help1 and ,i have jotted down here some of them for that purpose4 ,the rest of it the new entrant upon the real stage will absorb in time1 but with the help of my condensed explanation herein no one who reads need appear lost or totally bewildered in the new environment back of the curtain line4 ,let me tell you some of the important things that every pupil of mine who contemplates a professional career should know about the theatre1 the building itself and the stage upon which you expect to present your offerings to the public4 ,illustration3 ,proscenium ,arch1 the ,frame of the ,stage ,pictures ,in the first place1 the theatre building is divided into two parts1 the auditorium and the stage4 ,the dividing line is known as the curtain line4 ,in stage parlance the auditorium side of the dividing line is the front of the house1 or out front1 and the stage side is always back stage4 ,the proscenium arch of the stage makes the frame for the pictures on the stage4 ,the opening means to the professional the width across stage at the proscenium arch1 and varies according to the size of the auditorium and the line of sight of the auditors4 ,it may be thirty feet1 forty1 or even more1 as is the case in the ,new ,york ,hippodrome and other large city theatres4 ,the height is sometimes the same as the width1 or slightly less1 the complete frame of the arch being usually of an oblong shape1 possibly thirty-five feet wide and twenty-five feet high4 ,illustration3 ,diagram of a ,modern ,theatre ,the fire laws require a fireproof curtain1 which is on the outer or audience side of the two or more curtains that hang on the stage side of the proscenium arch4 ,next to this asbestos affair is the act curtain1 that raises and lowers1 and is usually painted on fire-proofed or heavy duck canvas4 ,there may be used instead or in addition to the act curtain1 what is known as a tableau curtain1 that works in a traveler above1 which can be drawn straight off stage1 both ways1 parting in the middle1 or be pulled to a drape at each side4 ,this is always made of material and sometimes painted in aniline dye2 if painted in water color or oil it would crack4 ,there is never any curtain in front of the arch or proscenium4 ,the footlights and the apron are in front of the fireproof curtain4 ,the apron may be deep or shallow1 and at its front edge is the footlight trough and a masking piece1 fireproof always1 to shield the eyes of the audience and reflect the footlights onto the stage4 ,the footlights follow the front curvature of the apron1 when it is curved1 as is usually the case1 although many of the modern stages have no apron at all1 the footlights running in a straight line across1 sometimes within a foot of the fire curtain4 ,the stage itself extends from the curtain line to the back wall of the theatre1 and from left wall to right wall4 ,under the roof of the stage1 anywhere from sixty-five to ninety feet above the floor1 there is a horizontal lattice work of steel or iron covering the entire spread of the stage1 and known as the gridiron4 ,the space on top of the gridiron is called the rigging loft4 ,the roof of the stage over the rigging loft is a huge skylight1 opened or closed from the stage4 ,the skylight is made light-proof for matinee performances4 ,on the gridiron are rigged the blocks and pulleys through which pass the lines attached to all the scenery that goes up in the air1 or up in the flies1 which is the name given the space between the top of the proscenium arch and the gridiron4 ,to take scenery up1 is flying it1 in stage language1 leaving the sight of the audience2 whatever goes up flies1 and whatever is carried off to one side or back is struck4 ,the stage manager1 when he wants the scene taken away1 gives the order strike to the stage hands1 or grips1 as they are called1 who are on the stage level1 and he pushes a button for the head-flyman in the fly-gallery to fly whatever scenery goes up4 ,illustration3 ,,grand ,,ball ,,room ,,in ,,ned ,,wayburn ,,studios ,there is a fly-gallery1 as it is called1 usually ten to fifteen feet wide1 some twenty-five to thirty-five feet above the stage level and extending from the front to the back walls of the stage on one side1 against the side wall1 usually of steel and concrete4 ,then there is the paint-bridge1 perhaps five feet wide1 extending across the stage at the back wall from side to side1 on a line with the fly-gallery4 ,sometimes there is a paint-frame attached to the back wall on which scenery is painted4 ,it is movable up and down4 ,sometimes twenty to twenty-five feet above the stage level is a light-gallery1 on each side of the stage running parallel to the fly-gallery1 but under it4 ,these galleries are for the purpose of holding calcium lights and operators4 ,running from the back wall of the stage to the proscenium wall all the way of the fly-gallery on the front edge nearest the stage is the pin-rail1 very strong and imbedded in the wall front and back of the stage2 it holds all the scenery that goes aloft4 ,when the scenery is raised1 the lines1 as the ropes or cables are called in stage language1 are pulled down and tied off to this pin-rail4 ,these lines attached to the scenery are usually in sets of three1 sometimes four1 and extend straight up through the blocks in the gridiron and across the gridiron down to the pin-rail in the fly-gallery4 ,as they are usually fastened to three or four different points on each piece of scenery they are necessarily of three or four different lengths1 but the lines are tied and handled as one at the pin-rail1 and pulled all together4 ,in a set of three lines1 the line nearest the pin-rail is called the short line1 the next one the middle line1 the far one the long line4 ,trim it1 you hear the order given4 ,this means to level whatever piece of scenery it is4 ,tie it off is the way they direct that the lines be made fast to the pin-rail4 ,in rainy or damp weather the ropes get longer2 in dry they shrink2 then it is necessary to trim the drops1 letting out the lines and tying them over before the performance4 ,this is done under the direction of the master mechanic or stage carpenter4 ,often there is a counterweight or bag attached to the lines above the fly-gallery to help carry the weight of the heavy scenery as it is sent aloft to its resting place in the flies1 out of sight of the audience and out of the way of everybody on stage4 ,the various drops are known on the stage as solid1 cut or leg drops4 ,borders about forty feet long by twelve feet deep1 hung horizontally1 mask in the top of all scenery1 and hide the flies from the audience on the lower floor1 and may be interior1 exterior1 foliage1 straight1 arched1 or sky borders 7plain blue74 ,in troughs hung across the stage by steel cables from the gridiron1 their height regulated from the fly-gallery1 are the various border lights1 each usually in three circuits1 red1 white and blue4 ,these are hung at intervals of about six feet1 the first being about that distance back of the act curtain and the others spaced about every six feet to the back wall of the stage4 ,on the average practical modern stage there will be anywhere from four to seven border lights4 ,on the stage1 between the curtain line and first border light1 are the first entrances1 known as left first entrance and right first entrance4 ,the right and left of the stage are always the dancer's right and left as she or he faces the audience4 ,about six feet back of this is located the second entrance1 and about each six feet interval is a successively numbered entrance1 as third entrance1 etc4 ,in a full-stage setting the last entrance to the rear is called upper entrance4 ,a scene in the space covering the entire first entrance is spoken of as being in one2 in the second entrance1 in two4 ,when one passes out of sight of the audience he is off stage4 ,the various entrances and exits are designated in writing and print by characters that carry their meaning plainly1 as ,,rue 7right upper entrance71 ,l#b;,e 7left second entrance74 ,so1 too1 with spoken directions on the stage4 ,when you are told to exit ,,lue1 for instance1 you are supposed to know that you are to go off stage at the left upper entrance4 ,no one in the theatre ever speaks of standing in the wings2 always it is in the entrance4 ,the prompt side in a theatre is usually the left first entrance1 though sometimes it is on the other side1 where are located the electric switchboard controlling every light in the building1 under the personal direction of the chief electrician1 and a series of buttons above a shelf or prompt desk attached to the wall about the height of a bookkeeper's desk1 where the stage manager makes his headquarters during each performance1 the stage manager being like the captain or skipper of the ship4 ,all signals are given by the stage manager1 the buttons usually placed immediately above or at one side of the prompt desk1 within easy reach controlling buzzers1 lights or bells that tell as plainly as shouted words could do what is to be done and who is to do it4 ,sometimes lights flash to give directions and warnings1 instead of the buzzer sounding4 ,every action of the stage hands below and aloft is directed in this manner from one central point of control by one master mind1 the stage manager of the show4 ,the orchestra usually has a music room of its own somewhere under the stage or in the cellar of the theatre1 where the musicians congregate before the performance and during their waits4 ,a buzzer or bell warning to them is said to ring the orchestra in1 and they are usually allowed about three minutes to get into their places in the orchestra pit after it sounds4 ,there is also a drop signal buzzer or light to give the head flyman in the fly-gallery the signals that indicate when to raise and lower certain drops1 or hanging pieces4 ,a bell would be heard by the audience and detract from the performance4 ,a curtain buzzer or light gives the warning and go signals to the stage hands in the fly-gallery who are called flymen1 for raising and lowering the curtains or other scenery1 like drops1 borders1 and any other pieces of scenery that have been hung to fly4 ,in some modern theatres the switchboard and its operator are raised some ten feet above the stage4 ,in such a case a buzzer signal from the stage manager's prompt desk directs the manipulation of the lights for the guidance of the chief electrician in his elevated perch1 these signals being given at a certain cue in the performance1 and he knows from his cue sheet1 always before him1 just what lights are required on each succeeding cue4 ,stage dressing rooms are by law required to be separated from the stage proper by a permanent wall4 ,access to them is usually found near the front wall of the stage1 seldom along the back wall4 ,in modern city theatres dressing rooms are in tiers1 as in the ,new ,amsterdam ,theatre1 ,new ,york1 where there are seven floors of dressing rooms reached by a private elevator used for no other purpose4 ,the modern stage dressing rooms in city theatres have every known arrangement for comfort1 sanitation and convenience4 ,stage artists have no business in the front of the house1 nor1 conversely1 have those whose employment is in the front of the house any business on the stage4 ,both keep their separate places at all times4 ,artists are always required to enter and leave the theatre through the stage door4 ,all first-class managers forbid the artists to be seen in the front of the house4 ,members of the company usually are required to report for matinee performances about #a3cj ,p4,m4 and for evening shows about #g3cj ,p4,m41 but always before the half hour is called1 which is thirty minutes before the overture is played4 ,the stage watchman1 known as the stage door tender1 is always at the stage door before and during a performance and permits none to pass in who are not directly connected with the stage end of the theatre1 the day stage door tender being on duty usually from #g ,a4,m4 to #g ,p4,m41 and the night stage door tender from #g ,p4,m4 to #g ,a4,m4 ,the night watchman goes his rounds regularly throughout the night at required intervals1 registering on a time-clock from different stations throughout the theatre building2 all outer doors and windows are locked about one-half hour after the evening performance4 ,no messages1 calls1 telegrams or information of any character from outside is permitted to enter the theatre for any actor or actress who is inside and hence secluded from all outside contact and purely in the realm of the playhouse4 ,this and absolute exclusion of all interlopers is one of the strictest rules of the theatre1 and woe to him who attempts its violations1 or to the doorkeeper who permits it4 ,any messages received are given to the artist after the performance4 ,no person who is not a member of the company should ever be permitted to visit a dressing room during a performance1 only afterwards2 such a contact takes the mind of the artist off her or his work4 ,men who have obtained wrong ideas about members of the theatrical profession and have boldly sought to force their presence onto the stage have been summarily dealt with before now--and in some cases ,i have helped in the good work myself4 ,sometimes1 after the performance1 relatives1 friends or escorts are permitted to enter the stage door and there await the street-clad and departing performers4 ,but strangers and would-be stage-door ,johnnies are always barred out4 ,there is no green room in the modern ,american theatre4 ,we have all read about a meeting place in the rear of the stage that went by this title in the old ,english novels and biographies4 ,they may exist still in some foreign theatres1 ,i am not sure--but ,i doubt it4 ,what ,i am sure of is that the ,american stage is sacred to its artists1 principals and subordinates alike1 and to its stage manager and the stage hands who keep things moving behind the curtain line4 ,it is a business and not a game4 ,a theatrical life is taken seriously by all who wish to succeed in it4 ,no triflers need apply nowadays4 ,after every performance the stage is cleared of all obstacles1 scenery and everything else4 ,the last member of the company out of each dressing room is required to put the light out1 lock the dressing-room door and leave the key to the room with the stage door tender who is held responsible for the contents of the rooms4 ,the act curtain and the asbestos curtain are raised4 ,a single electric bulb or pilot light on a portable iron stand about three feet high is placed centre of the stage near the footlights1 and casts its beam across the stage and throughout the auditorium4 ,the show is over and the fire-laws are obeyed4 ,illustration3 ,,marilyn ,,miller ,,making ,a ,,name ,illustration3 ,,sally ,,with ,,marilyn ,,miller ,,marilyn ,,miller ,,in ,,sally ,one may see big electric signs carrying bright-light messages similar to the above placed conspicuously over theatre entrances in all cities of any magnitude4 ,such signs convey to the passing populace the interesting information that here is located a certain play1 and also that in this play a certain person appears as a main attraction4 ,now to the passerby whose knowledge of things theatrical is merely cursory1 scant or non-existent1 the two signs given above may have exactly the same meaning1 bear the same message in both cases4 ,but to all those in the know as to stage matters the two signs tell two entirely different stories1 and the location of the names of the play and the actor convey important information in the theatre code that the wise ones interpret at a glance4 ,here are the two readings as the stage-wise render them1 and when ,i have told you about this you will catch the point at once and ever after be able to read the signs with a clear conception of their import3 ,the name at the top of each sign is starred2 the other is featured4 ,in one1 the play is given the star position and ,miss ,miller is featured2 in the other1 ,marilyn ,miller is starred and the play featured4 ,well1 what of that8 you ask4 ,just this1 and here is where the importance of it all comes in3 ,the one that is starred carries the burden of the success of the show4 ,if the play is starred1 its failure does not reflect on the person featured2 but if the actor is starred and failure follows1 the actor and not the play is considered responsible1 the actor not having proven a magnet1 not having drawn business on the strength of his or her name4 ,the personal difference to the actor is really very great1 yet to star is the actor's great ambition4 ,no one should ever be starred unless popular enough to attract plenty of patronage and thereby insure packed houses4 ,this applies not alone in the signs over the door1 but also in all the theatre's publicity4 ,pick up today's newspaper1 and look at the stage announcements4 ,mary ,pickford in-- you don't care what the play is when you see the star's name4 ,the star carries the play1 in such a case4 ,rose-,marie1 with ,mary ,ellis and ,william ,kent4 ,you are glad to go and see the featured pair1 but in this case the play is given the star position1 it having registered success1 the profits from this musical play having been as high as #ah1jjj4jj per week during its run in one ,new ,york theatre4 ,now the point of all this1 that has to do with the stage dancer1 is1 ,how did ,marilyn ,miller get a name that entitled her to this conspicuous exploitation1 and how can ,i go about it to become equally well-known and famous1 myself8 ,you are wise to ask this question seriously early in your stage career1 and if you have or develop the quality that makes for stardom you can read this chapter with confidence that it is an accurate and correct account of how many a stage celebrity has progressed from an unknown and unheralded place in the theatrical world1 to one where ,broadway producing managers have solicited the privilege of elevating her or his name over the doors of their playhouses4 ,bear in mind that your name is to you what a trademark is to a manufacturer4 ,and1 to continue the analogy1 you cannot establish a name in a day or two1 any more than the manufacturer can make his trademarked goods universally known in a short period4 ,you are starting out now with the laudable ambition to make a name for yourself1 and have still to seek your first engagement4 ,you know your dances1 are continuing your practice1 and have confidence in your ability to make good4 ,don't hurry to get yourself before any producing manager until you have had a little experience in some hideaway place1 like at a church or charity benefit performance1 some local entertainment1 or club affair1 anything of this nature1 that will enable you to try yourself out before a small or friendly audience1 test your ability to overcome stage fright1 and get hold of yourself before a crowd4 ,having done this away from ,broadway and gained assurance1 then an appearance in some regular theatre1 preferably at some benefit performance1 usually given ,sundays1 should come next1 where the dancer is sure to be seen by someone who has the authority and position to offer an engagement4 ,any sort of an engagement with a reputable management is a good beginning and should be accepted without expectation of a fancy salary1 an opportunity being what one always needs in order to prove one's ability4 ,if you do not succeed in creating a demand for your services at appearances like this1 do not become discouraged2 make up your mind to keep on trying until you do attract the attention of the right manager4 ,always be willing to make any sacrifice as far as remuneration is concerned for an opportunity to appear to advantage1 and be everlastingly grateful to whoever gives you your first opportunity1 or foothold which enables you to establish yourself4 ,send a brief letter to the offices of various managers announcing your forthcoming appearance4 ,enclose a good full-length photograph1 preferably in stage costume1 the best you can afford1 i4e41 taken by the best photographer you can get4 ,some of these managers or their representatives will be there and see your performance4 ,be sure you are making good before you try to interest any of the big managers4 ,it is better for you to be seen by the manager before an audience than in an empty theatre4 ,be satisfied to make a small beginning for the experience1 provided you get a chance to do your best dance4 ,this will help you establish yourself1 but it is going to take a long time to prove your ability4 ,travel1 and make territory for yourself4 ,go in a vaudeville act1 if offered such an engagement4 ,keep on small time for a year1 if necessary1 and get your name known in a certain territory for a pleasing entertainer4 ,get on with some act1 big or little1 as a solo dancer1 at a reasonable salary1 and expect the first two weeks to be at half salary1 as is usual4 ,do not demand a large salary until managers are clamoring for your services--make it an inducement for someone to employ you in the beginning4 ,when you start on a road tour your first inquiry of your company manager will be for a copy of the route4 ,you want to know where you are going1 what towns your itinerary takes you to1 so that friends can be advised in advance of your location day by day1 and letters and communications reach you with certainty4 ,illustration3 ,,one ,,scene ,,from ,,ned ,,wayburn',s ,,demi-,,tasse ,,revue4 ,to the trouper1 a town is a stand4 ,a week's showing in a place is spoken of as a week stand2 the first and last half of the week is each a three-day stand1 or four-day stand1 or the first or last-half4 ,then there is a two-day stand and a one-night stand1 which are self-explanatory4 ,a run is a greater period than a week stand1 and you hear of a two-week run1 an eight-week run1 six months run1 and one year run1 etc4 ,there is a solid season1 a theatrical year of forty weeks1 of travel1 experience and development1 beginning about ,labor ,day and ending about ,decoration ,day1 and a summer season beginning about the first ,monday in ,june and ending about the last ,saturday in ,august4 ,your work and progress is being watched unknown to you at every performance4 ,the manager back home finally knows all about your work through reports which are kept in the main booking office and to which he and all other managers on his particular circuit have access4 ,now you are ready to try for something bigger and better1 ready for big time vaudeville1 perhaps in your own act2 if not that1 then in someone else's act4 ,your second year's advancement is based on the weekly report that has been sent to headquarters regarding your reception by the public and the way in which your act has got over4 ,big time may mean ,chicago1 ,boston1 ,philadelphia1 and any or all the larger cities on the various circuits4 ,it may include the ,keith-,albee ,palace ,theatre in ,new ,york1 the ,mecca of all vaudeville artists4 ,it is at the ,palace that you know you and your act are seen by every revue1 musical comedy1 or dramatic manager1 casting director whose business it is to pick and engage artists4 ,there is no school like vaudeville for the dancer1 singer1 actor or actress in any line of musical work4 ,most of the brightest stars in the theatrical firmament have graduated from vaudeville into greater things1 and many of them return to the vaudeville stage for a flier now and then4 ,it is there that you come in contact with different wise audiences in different cities and learn how to handle them4 ,you watch your fellows in their various acts1 note the bills as they change every week1 or usually twice weekly1 and your audience with them4 ,you are in two1 three or four shows a day in your short time1 and learning how to get over better at every show4 ,the vaudeville audience knows what's what4 ,you can't fool them4 ,you've got to do your best for them all the time--and you will1 or you will not remain in vaudeville1 where you have to make good every performance4 ,it is an invaluable experience1 your first stage years1 and you will gather lasting benefit from your active vaudeville appearances4 ,you must not complain of the number of shows you are required to give daily--the more you give the more practice you get before a paid audience1 and remember you are gaining experience while being paid for it4 ,you may follow a season of this with a road show over your former territory another year1 and you will find your old friends in the audience ready to boost you4 ,you are on the right road to the making of a name1 which after all is what you are after4 ,for although they will not remember your name yet1 if you really pleased them they will remember your offering2 about your third trip around they will learn your name and never forget it--provided you make good4 ,if you fail1 the audience will forget you2 but not the manager4 ,once you fail in his opinion1 he will never forget or forgive it4 ,he will never give anyone who fails a second chance4 ,that is show business4 ,your fourth year should find you in a ,new ,york production in some good company4 ,for ,new ,york is always the objective point1 since the best and most opportunities are always there4 ,there follows naturally a year on the road in the same company1 as the show abandons ,new ,york for a tour of the larger cities4 ,always make the road trip in order to create territory for yourself1 to establish a following1 to make a still bigger name and demand for you1 which means a larger salary eventually4 ,you are sufficiently established now1 after five successful years1 to be able to expect another ,new ,york engagement1 under the same management in all likelihood but with a new vehicle4 ,this ,new ,york engagement and another year on tour with the same play puts you seven years along the way to a name in the big lights1 and your name has been growing day by day1 until it is now known in good territory1 and consequently1 through wise exploitation--publicity--it has become a magnet and attracts patronage4 ,when the time comes that your name is to go up in front of the theatre1 choose to be featured at first rather than starred4 ,if anything must fail1 let it be the show1 and not you4 ,don't risk failing to draw business to the box office4 ,there will come a time somewhere along in your progress to fame when you will need a business manager or an agent versed in all matters of a theatrical nature1 favorably known to all the large producing managers1 and able to advance your fortunes materially by protecting and looking after your interests4 ,he is entitled to receive ten percent of your earnings from whatever source1 and the services he can render you are well worth it4 ,nearly every successful actor and actress has a manager4 ,stage celebrities have not the time1 let alone the experience and ability1 to promote their own business interests1 watch for opportunities to secure the choice engagements1 and attend to the very necessary publicity and negotiations for contracts for the future4 ,the reputable agent or artist's manager is always on the ground and in touch with the best managements and things theatrical daily4 ,but no such representative worth while will bother with you until you have made good4 ,the best artist managers or agents know in advance what is being planned for the coming theatrical season4 ,they are in close contact with the very high-ups in the theatrical world1 men whose contracts you hope to sign on the dotted line soon4 ,a good agent may save you several years' time in advancing to a stellar position4 ,he knows the value of publicity1 which often is half the battle in getting yourself before the public4 ,you must have publicity1 whether or not you secure a representative to attend to it for you4 ,interesting newsy stories about you1 with effective art studies of yourself in costume accompanying them1 are gladly accepted by many newspapers and magazines4 ,the rotogravure sections of ,sunday papers contain many pictures of theatrical folks4 ,a beautiful picture will usually carry a story1 and you are wise to get a few good ones rather than many cheap prints4 ,every first-class theatre has its own press agent1 and every production of any size its own press representative4 ,both are glad to cooperate with you if you have real ability1 and help you with the preparation of your stories and photographs and getting them into the daily newspaper4 ,there are also many publicity concerns who make it a business to keep your name and picture in the public eye at a moderate charge4 ,but you must be able to make good first4 ,neither publicity nor anything else will avail to establish a permanent name for you unless you are prepared to deliver the goods4 ,duds and dumb ones never make a big noise in the world4 ,there is no star name awaiting the inferior person in this profession4 ,all the front-page publicity in christendom won't do the trick if you haven't back of you real talent and something the public is clamoring for4 ,and you cannot hope to fool the wary producer by any false representation or exaggerated claims4 ,you are not wasting your time while on the way to the bigger things4 ,seven years may seem a long time to wait1 but you are not starving on the way1 and you are really not waiting at all4 ,you start with a reasonable salary that advances from year to year and engagement to engagement1 as you deserve it4 ,you must build all the way on solid rock1 then the structure that you finally rear1 because of its firm foundation will endure forever4 ,build up a public interest in yourself if you expect any producing manager to pay you what you are worth4 ,perhaps he will never pay you what you think you are worth1 but if you bring money into the house he knows he must pay you well in his own interest4 ,and believe me1 he knows whether you are an asset or a liability to his show4 ,you have simply got to prove to the box office that you are producing--not stage money--but the real stuff4 ,there is such a thing in stage lingo as an overnight hit4 ,someone suddenly stops the show in a town2 that is1 gets an unusual number of recalls4 ,but wait a while before you decide that you are ready to star on the strength of that4 ,your next audience or the audience in the next town may not be so enthusiastic over your act4 ,an overnight hit is seldom continued beyond the single performance4 ,it is pleasant while it lasts1 but it doesn't last long4 ,you must perform consistently and make a hit at every performance1 with every audience4 ,be patient1 you who would star and see your name go up in the bright lights on the ,great ,white ,way4 ,do not get discouraged4 ,you will meet with obstacles on the route to fame undoubtedly1 as others have done1 and1 like the others who have finally arrived1 you must overcome them one at a time as they appear1 by sheer force of willpower1 determination1 pluck or whatever you desire to call it4 ,if you are a weakling and lack strength of character do not ever take up a stage career1 for you will get many a bump2 so be prepared to stand it4 ,for only those who are determined to succeed will ever reach the top1 where there is plenty of room always4 ,illustration3 ,,nw ,illustration3 ,,marilyn ,illustration3 ,,rita ,,howard ,,forms ,,of ,,stage ,,contracts ,illustration ,i offer no apology for posting the inexperienced ones about to enter upon a stage career as to how best to make the start4 ,the signing of a mutual contract1 entering into a legal engagement on the part of manager and dancer to perform certain duties and pay certain salaries for a stated period of time1 is of sufficient importance to have serious consideration4 ,i want my pupils to know in advance just what a proper stage contract looks like1 how it reads1 and what they will be called upon to sign as party of the second part when the hoped for time comes that their dances are to have public presentation on the professional stage4 ,to this end1 ,i reproduce here the wording of various forms of approved contracts now in general use by ,american ,theatrical managers1 and commend their reading to all who are interested in the intimate side of stage affairs4 ,the theatrical law requires that a chorus girl or boy be paid not less than #cj4jj per week in ,new ,york ,city and #ce4jj outside of ,new ,york1 besides their transportation4 ,this is the lowest salary4 ,all first class managers pay choristers not less than #dj4jj per week in ,new ,york and #ej4jj on the road4 ,the salary always includes transportation1 but not living expenses1 which you are required to pay4 ,some chorus girls receive as much as #ge4jj or #ajj4jj weekly1 depending upon what they can do1 their appearance1 personality1 etc4 ,about the smallest salary ever offered a solo dancer with a vaudeville act would be #ej4jj in ,new ,york and #fj4jj on tour1 while the majority of solo dancers without name or reputation would receive #ge4jj1 #he4jj or #ajj4jj per week1 to start1 provided they really can do a real dance in a professional manner and put it over with some personality4 ,one who receives #ajj4jj per week in ,new ,york should receive #abe4jj on tour4 ,after one's salary reaches #abe4jj per week it can be increased on a sliding scale to #aej4jj and #age4jj on tour1 then #bjj4jj in ,new ,york and #bej4jj on tour4 ,from #bej4jj to #cjj4jj4 ,after reaching #cjj4jj it generally jumps to #djj4jj1 from #djj4jj to #ejj4jj1 after that to #gej4jj1 then #ajjj4jj to #abej4jj1 thence to #aejj4jj a week1 and then to ten percent of the gross receipts1 usually a star's contract1 though contracts and terms vary4 ,a salary is fixed for one theatrical year and usually increased each year as indicated1 but is never increased at all unless there is a demand for your services by reason of the fact that you have made a hit and registered genuine success4 ,illustration3 ,,cinderella ,your ,name 99 99 99 99 99 ,transcriber's ,note3 ,in the following contract forms1 the original has rows of dots representing the blanks to be filled in4 ,in this e-book1 each set of dots has been replaced with a long dash 7----74 ,,form--,,ind3 ,e4,m4 ,,no4 #c ,,this ,,contract ,,must ,,not ,,be ,,issued ,,to ,,the ,,chorus ,,equity ,,minimum ,,contract ,standard ,form issued by the ,actors' ,equity ,association 7,affiliated with the ,american ,federation of ,labor7 #de ,west #dgth ,street1 ,new ,york ,city ,,los ,,angeles ,,office #fdab ,hollywood ,blvd4 ,,san ,,francisco ,,office ,theodore ,hale1 #cfi ,pine ,st4 ,,chicago ,,office #ajcb ,capitol ,bldg4 ,,kansas ,,city ,,office ,gayety ,theatre ,bldg4 ,to be used by ,independent ,new ,york ,managers and others playing same class of attractions4 ,,agreement made this ---- day of ----1 #ai--1 between ---- 7,,manager7 and ---- 7hereinafter called ,,actor74 ,regulations and ,rules ,over ,leaf ,regulations covering rehearsals1 notice of termination before and during rehearsals1 lost rehearsals1 individual termination1 closing of play and season1 clothes1 number of performances1 lost performances1 transportation1 lay-off1 method of giving notice and other matters are set forth in the ,regulations on the reverse side of this page and in ,rules ,governing ,minimum ,standard ,contract1 on the pages following1 and except as hereinafter provided1 are a part hereof4 ,agreement of ,employment #a4 ,the ,manager engages the ,actor to render service in part of ---- 7,here insert name of part2 also if ,actor is required to understudy47 in the play now called ---- 7,here insert present title of play7 and the ,actor hereby accepts such employment upon the terms herein set forth4 ,opening ,date #b4 ,the date of the first public performance shall be the ---- day of ----1 #ai--1 or not later than fourteen days thereafter4 ,employment hereunder shall begin on the date of the beginning of rehearsals1 and shall continue until terminated by notice given as herein provided and not otherwise4 ,compensation #c4 ,the ,manager agrees to pay the ,actor the sum of ---- ,dollars 7----7 each week on ,saturday thereof1 from and after the date named in ,paragraph #b1 and until this agreement is duly terminated4 ,duties of the ,actor #d4 ,the ,actor agrees to be prompt at rehearsals1 to pay strict regard to makeup and dress1 to perform his services in a competent and painstaking manner1 to abide by all reasonable rules and regulations of the ,manager1 and1 except as otherwise herein provided1 to render services exclusively to the ,manager from the date of beginning of rehearsals1 and shall not render services to any other person1 firm or corporation without the consent of the ,manager4 #e4 ,the ,manager agrees that he has notice that the ,actor herein is a member of the ,actors' ,equity ,association and as such member is bound to conform to its lawful rules and regulations1 and that it is a lawful rule and regulation of said ,association that1 as far as the ,manager herein is concerned1 the ,actor is to work only in companies operated by the ,manager herein when all members of said company or companies are members of the ,actors' ,equity ,association in good standing and continue to be such during the entire term of employment hereunder4 ,and the ,manager agrees that the ,actor shall not be required to work hereunder in violation of said rule or other lawful rule of said ,association1 and further agrees to the full extent to which said agreement is lawful that all actors in the company in which the ,actor herein is employed1 shall be and shall continue throughout the term hereof to be members in good standing of the ,actors' ,equity ,association1 except as provided in paragraph #cg of the ,rules4 ,should the ,manager employ any non-member of the ,actors' ,equity ,association1 or any member not fully paid up or not in good standing1 or one who fails to continue himself in good standing1 or should the ,manager breach any covenant herein made1 the ,actor may 7the ,actors' ,equity ,association consenting7 not only terminate this agreement forthwith1 but the ,manager also agrees to pay the ,actor all sums due to the date of termination1 plus his return fare and plus1 as liquidated damages1 no present basis for calculation existing1 a sum equal to two weeks' salary4 ,arbitration #f4 ,in event that any dispute shall arise between the parties as to any matter or thing covered by this agreement1 or as to the meaning of any part thereof1 then said dispute or claim shall be arbitrated4 ,the ,manager shall choose one arbitrator and the ,actors' ,equity ,association the second4 ---- shall be the third4 ,these three shall constitute the ,board and the decision of a majority of the arbitrators shall be the decision of all and shall be binding upon both parties and shall be final4 ,the ,board shall hear the parties and within seven 7#g7 days shall decide the dispute or claim4 ,the ,board shall determine by whom and in what proportion the cost of arbitration shall be paid1 and the parties hereby constitute said ,board their agents and agree that its decision shall constitute an agreement between them1 having the same binding force as if agreed to by the parties themselves4 ,further1 that they and each of them will1 if required1 sign such individual arbitration agreement as to make said arbitration comply with a legal arbitration under the laws of the ,state of ,new ,york1 and the rules of the ,supreme ,court thereof1 and that judgment upon the award may be entered in the ,supreme ,court of the ,state of ,new ,york4 ,the oath of the members of the ,board of ,arbitration shall not be necessary unless specifically requested by one of the parties4 ,,in ,,witness ,,whereof we have signed this agreement on the day and year first above written4 ---- ,,manager ---- ,,actor ,,regulations 7,to be printed on ,independent ,standard ,minimum ,contract7 ,rehearsals ,a4 7#a7 ,the ,actor1 if required1 shall give four weeks' rehearsal without pay 7in case of musical comedy1 revue or spectacular production1 five weeks71 and obligates himself to be ready to rehearse four 7or five7 weeks before the date mentioned in ,paragraph #b on face of contract hereof2 if further rehearsals are required then for each additional week or part thereof the ,manager shall pay the ,actor full compensation1 as provided in ,paragraph #c on face of contract hereof on ,saturday night of each week4 7#b7 ,it is agreed that rehearsals shall be continuous from the date of the first rehearsal to the date of the first public performance of the play1 as stated in ,paragraph #b on the face hereof4 ,notice of ,termination ,before ,rehearsal ,b4 ,this contract may before the beginning of rehearsals be terminated as follows3 7#a7 ,if the contract be signed and entered into prior to two months before the specific date mentioned in ,paragraph #b on face hereof2 ,by the ,manager giving to the ,actor written notice and paying him two weeks' salary4 ,if1 however1 previously to giving such written notice and making such payment1 the ,manager shall have given to the ,actor written notice that the play will not be produced or that the ,actor will not be called for rehearsals1 and the ,actor thereafter secures a new engagement under which payments to him are to begin not later than the date specified in ,paragraph #b on the face hereof1 then and in that event1 instead of said two weeks' salary1 the only sum1 if any1 which the ,manager need pay the ,actor1 shall be the amount1 if any1 by which said two weeks' salary exceeds two weeks' salary of the ,actor under said new engagement4 7#b7 ,if the contract be signed and entered into within two months of the specific date mentioned in ,paragraph #b on the face hereof and the play is not placed in rehearsal or is abandoned1 the ,manager shall pay the ,actor a sum equal to one week's salary4 ,notice of ,termination ,during ,rehearsal ,c4 ,this contract may during rehearsals be terminated as follows3 7#a7 ,at any time during the first seven days' rehearsals of the ,actor by either party by giving written notice1 if this contract be signed and entered into within two months of the specific date mentioned in ,paragraph #b on the face hereof1 except in case the ,actor be re-engaged by the ,manager for a part which he has previously played1 in which event he shall be paid two weeks' compensation2 or 7#b7 ,any time after the first seven days' rehearsals of the ,actor by the ,manager giving written notice to the ,actor and by paying him forthwith a sum equal to two weeks' compensation4 7,note3 ,in the above two subdivisions 7,c-#a and ,c-#b71 wherever the word seven appears in reference to the probationary period of rehearsals the word ten shall be substituted if the ,actor be employed in a musical comedy1 revue or spectacular production47 7#c7 ,the ,actor may cancel the contract by giving written notice and with the same paying to the ,manager a sum equal to two weeks' compensation4 ,individual ,termination ,after ,opening ,d4 ,either party may terminate this contract at any time on or after the date of the first public performance of the play by giving the other party two weeks' written notice4 ,e4 7#a7 ,if the play runs four weeks or less1 the ,manager may close the play and company without notice1 and terminate the right of the ,actor to further compensation1 provided he has paid the ,actor for all services rendered to date1 and in no event less than two weeks' compensation4 7#b7 ,if the play shall run more than four weeks1 the ,manager shall give one week's notice of the closing of the season of the play and company1 or pay one week's compensation in lieu thereof4 ,clothes ,f4 7#a7 ,if the ,actor be a man1 he shall furnish and pay for such conventional morning1 afternoon and evening clothes as are customarily worn by civilians of the present day in this country1 together with wigs and footwear necessarily appurtenant thereto4 ,all other wigs1 footwear1 costumes1 clothes1 appurtenances and properties1 including those peculiar to any trade1 occupation or sport1 to be furnished by the ,manager4 7#b7 ,if the ,actor be a woman1 all wigs1 gowns1 hats1 footwear and all properties shall be furnished by the ,manager4 7#c7 ,it is understood that in every case where the ,manager furnishes costumes1 if the notice of cancellation of this ,contract be given by the ,actor1 he or she shall reimburse the ,manager for the necessary and reasonable expense to which he may actually be put in having costumes altered or rearranged for the successor1 and repay for current shoes4 ,notices 7,g7 ,all communications which refer to the company in general shall be posted upon the call-board4 ,notice to the ,manager must be given to him personally or to his company or ,stage ,manager4 ,number of ,performances ,work 7,h7 7#a7 ,eight performances shall constitute a week's work4 7#b7 ,a week's compensation shall be paid even if a less number than eight performances are given1 except as herein otherwise provided in ,paragraph ,j4 7#c7 ,a sum equal to one-eighth of the weekly compensation shall be paid for each performance over eight in each week4 7,this also applies to understudies47 7#d7 ,it is assumed that ,sunday rehearsals and performances will take place only where it is lawful1 and the ,actor shall not be required to perform in the play and part above named on ,sunday in any theatre except those where ,sunday performances were customarily given on ,may #a1 #aibd4 ,lost ,performances 7,i7 ,the ,actor shall travel with the company by such routes as the ,manager may direct1 and the ,actor shall not demand compensation for any performance lost through unavoidable delay in travel which prevents the giving of performances by the company4 7,j7 7#a7 ,it is further agreed if the company cannot perform because of fire1 accident1 strikes1 riot1 act of ,god1 the public enemy1 or for any other cause of the same general class which could not be reasonably anticipated or prevented1 or if the ,actor cannot perform on account of illness or any other valid reason1 then the ,actor shall not be entitled to any salary 7except as otherwise herein specified7 for the time during which said services shall not for such reason or reasons be rendered4 ,should any of the foregoing conditions continue for a period of ten days or more1 either party may terminate the contract and the ,manager will pay for all services to date and transportation back to ,new ,york ,city4 7#b7 ,strikes1 within the meaning of this ,paragraph1 is construed to mean any strike of any name or nature which shall prevent the ,manager from giving performances in the usual course of his business in any of his theatre or theatres4 ,lost ,rehearsals 7,k7 ,if the ,manager is prevented from giving rehearsals because of fire1 accident1 riot1 strikes1 illness of star or prominent member of the cast1 act of ,god1 public enemy or any other cause of the same general class which could not reasonably be anticipated or prevented1 then the time so lost shall not be counted as part of the four 7or five1 as the case may be7 weeks' rehearsal period herein provided4 ,after the fourth 7or fifth1 as the case may be7 week of rehearsal1 including any lay-off period on the above account1 the ,manager will pay half salaries for two weeks1 at the end of which time the ,actor shall be free1 unless the ,manager wishes to continue the services of the ,actor and pays him full salary therefor4 ,transportation 7,l7 ,the ,manager agrees to transport the ,actor when required to travel1 including transportation from ,new ,york ,city to the point of opening and back to ,new ,york ,city from the point of closing2 also the ,actor's personal baggage up to two hundred pounds weight4 7,m7 ,the ,manager shall reimburse the ,actor for all loss or damage to his property used and_/or to be used in connection with the play while it is wholly or partly in the possession or control or under the supervision of the ,manager or of any of his representatives and also when such baggage and property has been in any way shipped1 forwarded or stored by the ,manager or any of his representatives1 but the ,actor shall have no claim if the loss or damage occurs while the baggage or property is under his control4 ,upon payment of said loss or damage the ,manager shall be subrogated to all rights of the ,actor therefor4 7,n7 7#a7 ,if individual notice of termination is given by the ,manager he agrees to pay the ,actor in cash the amount of the cost of transportation of the ,actor and his baggage back to ,new ,york ,city whether the ,actor returns immediately or not4 7#b7 ,if this contract is cancelled by the ,actor1 he agrees to pay his own railroad fare back to ,new ,york ,city and to reimburse the ,manager for any railroad fare the ,manager may have to pay for the ,actor's successor up to an amount not exceeding railroad fare from ,new ,york ,city to the point where said successor joins the company1 whether for rehearsal or for playing4 7#c7 ,if the company is organized outside of ,new ,york ,city1 the name of such place is herein agreed to be substituted for ,new ,york ,city in ,paragraph ,l1 ,n-#a and ,n-#b and elsewhere4 7,o7 ,the ,manager shall not be responsible for any loss occurring to the personal baggage of the ,actor whose duty it is1 if he desires to protect himself against loss1 to insure the same4 7,p7 ,the ,actor herein may play in any benefit performance given by or under the auspices of the ,actors' ,equity ,association4 ,deputies of said ,association will be permitted in each company and a duly authorized representative shall have the right to be on the stage before and after rehearsals and before and after performances1 and said ,association may represent its members in any dispute which may arise with the managers4 ,actors will be tentatively engaged on their paid up cards only1 which card will be prima facie evidence of membership in said ,association until the ,manager is otherwise notified4 ,,rules ,,governing ,,minimum ,,standard ,,contracts 7,to be printed on ,independent ,standard ,minimum ,contracts7 #a4 ,should the ,manager of any production consider the same ,spectacular and therefore entitled to five weeks of free rehearsals1 he shall notify the ,actors' ,equity ,association before the beginning of rehearsals and advise fully as to the nature of the production and secure its allowance of his claim4 #b4 ,rehearsals begin with the date when the ,actor is first called4 ,if the ,manager chooses to start with a reading to the company1 or substantial part thereof1 said reading is a part of and begins the rehearsal period4 #c4 ,in case of company rehearsals being held before opening at a place different from that of organization1 the ,manager shall pay the ,actor his reasonable living expenses during said rehearsals1 except that the ,manager shall be allowed two days of free rehearsal in cities within one thousand miles of ,new ,york ,city and one additional day free for each additional one thousand miles or fraction thereof4 #d4 ,if the ,actor shall absent himself from rehearsals for seven days or more by reason of illness1 the ,manager may cancel this contract without payment for service to date4 ,the ,association may1 in its discretion1 upon appeal by the ,manager1 reduce this period4 #e4 ,contracts between ,manager and ,actor shall be deemed to be entered into between the said parties on the date when the terms of the contract are agreed upon between the parties1 and contracts must be issued and signed as of that date4 #f4 ,if after joining a company1 which has opened and is on tour1 an ,actor is dismissed at rehearsals within the seven day probationary period 7provided the seven day probationary period has not already been deleted from his contract7 the ,manager shall pay to the ,actor his transportation both ways and for each day of rehearsal a sum equal to one-fourteenth of the weekly salary agreed upon1 said rehearsals to be deemed continuous and to begin not later than the day after the ,actor's arrival4 ,in case the ,actor is dismissed after the seven day probationary period1 the ,manager shall pay the ,actor two weeks' salary and his transportation both ways4 #g4 ,if the full rehearsal period to which the ,manager is entitled be not used by him before the date of opening1 he may employ the balance thereof immediately before the ,new ,york opening1 provided that said ,new ,york opening takes place within six weeks of the original opening of the play4 #h4 ,all performances for which admission is charged 7except bona fide benefits7 are to be counted and considered as performances under the ,minimum ,standard ,contract4 #i4 ,if the employment under any contract relates to the second or subsequent season of any play then the period of free rehearsals is three weeks instead of four1 but this provision shall not obtain if #ej per cent or more of the cast were not members of the production the preceding year4 ,illustration3 ,a ,,third ,,floor ,,corridor #aj4 ,if the play for which the ,actor is engaged is rehearsed seven days or less and then rehearsals are discontinued or postponed1 or if the production is abandoned during rehearsals on or before the seven day probationary period would have expired1 the ,manager shall pay the ,actor as follows3 ,if the contract has been signed or entered into within two months of the date mentioned in ,paragraph #b of the ,standard ,minimum ,contract1 a sum equal to one week's salary1 otherwise a sum equal to two weeks' salary4 #aa4 ,in case the play is abandoned before rehearsals or the ,actor is entitled to compensation under the preceding paragraph1 payment shall be made by the ,manager to the ,actor not later than three weeks prior to date of opening specified in ,paragraph #b of the main contract4 #ab4 ,seven days' rehearsals means seven consecutive calendar days1 counting ,sunday 7when ,sunday is used for rehearsals71 and said seven days terminate with the dismissal of rehearsal on the seventh day as herein reckoned4 #ac4 ,if the part of an ,actor who shall have been dismissed before the end of the rehearsal on the seventh day shall be cut out1 the ,manager shall pay to the ,actor a sum equal to one week's salary4 #ad4 ,the ,manager shall use reasonable care that his press department shall not announce the engagement of the ,actor until after the seven day probationary period1 and shall drop the name of the ,actor from advertising and publicity matter as soon as is possible after the ,actor leaves the company4 #ae4 ,if the ,actor is not allowed to work out any notice properly given under his contract the amount to which he is entitled to shall be paid forthwith upon the giving of the notice4 #af4 ,the right of the ,manager to close a play and company without a week's notice within four weeks after the opening date does not apply to the second or subsequent season thereof4 #ag4 ,notices of termination or closing given at or before the end of the performance on ,monday night1 effective at the end of the ,saturday night following1 shall be deemed one week's notice and such notice effective at the end of ,saturday week following shall be deemed two weeks' notice4 #ah4 ,the essence of this contract is continuous employment and a play once closed shall not be re-opened during the same season within eight weeks of the date of previous closing1 without the consent of the ,actors' ,equity ,association4 ,such consent1 if given1 shall be upon such terms and conditions as may be considered just and equitable by such ,association4 #ai4 ,except in a case of notice given on ,monday1 as otherwise provided in these rules1 a week's notice shall be seven calendar days and two weeks' notice fourteen calendar days4 #bj4 ,should the ,manager require the ,actor to purchase his clothes from a special tailor or shall require exclusive or unique designs or unusually expensive clothes1 then the ,manager shall pay for such clothes1 anything to the contrary in ,clause ,g of the ,standard ,minimum ,contract notwithstanding4 #ba4 ,the ,actor shall be responsible for transporting his own baggage to and from the station or theatre in ,new ,york ,city4 ,the ,manager will pay the cost of or reimburse the ,actor for such transportation anywhere on ,manhattan ,island4 #bb4 ,should the ,citizens' ,jury provided for in ,new ,york decide adversely to the continuance of a production because salacious or against public morals1 the ,actor shall forthwith terminate his employment without notice1 payment or penalty4 #bc4 ,should the production in which the ,actor is engaged be complained of as being in violation of any statute1 ordinance or law of the ,united ,states1 any state or any municipality in any state and should a claim or charge be made against the ,actor on account of his being engaged in such production1 either civil or criminal1 the ,manager shall defend the ,actor at his own expense1 or shall pay any and all reasonable charges laid out or incurred by the ,actor in his defense1 and the ,manager agrees to indemnify the ,actor against any loss or damage which he may suffer on account of being engaged in any such production4 ,this rule shall not apply to any case or any set of conditions where its enforcement would be illegal or against public policy4 #bd4 ,the ,manager shall have the right to lay off his company the week before ,christmas and ,holy ,week4 ,should such lay off take place the ,manager shall not during said lay off period be entitled to the services of the company except for a run-through rehearsal on the day of re-opening1 and except further that additional rehearsals may be allowed by the ,actors' ,equity ,association in case of illness of the star or prominent member of the company or change of cast4 #be4 ,if in any production the star or featured member of the cast shall be ill and a lay off shall take place on that account1 ,actors receiving less than #ajj4jj weekly 7but no others7 shall be paid by the ,manager an amount equal to their board and lodging for the first week4 ,if said lay off continues beyond one week1 half salaries shall be paid to the entire company for each day the ,actors are retained up to and including two further weeks4 ,from and after the beginning of the fourth week the ,manager shall either pay full salaries to all members of the company or may abandon the production4 #bf4 ,when understudies are employed or there is a change in the cast1 announcement shall be made to this effect1 either by a slip in the program1 or by announcement from the stage at the rise of the curtain1 or by conspicuously posting a notice to that effect a reasonable time before the rise of the curtain1 at the box office4 #bg4 ,in case after the opening of the play and after at least two weeks' employment1 the ,manager shall desire a lay off for the purpose of re-writing or making changes in the cast or any other reason deemed sufficient by him1 he may apply to the ,actors' ,equity ,association for the right to do so4 ,if the ,association agrees to such lay-off it may do so upon such terms and conditions as may seem equitable to it under the circumstances4 ,but in any event if a change or changes in the cast is made the ,actor or ,actors dismissed and not employed upon the renewed run of the play shall be paid at least one week's additional salary4 #bh4 ,musical comedies1 revues or spectacular plays shall immediately after a ,new ,york run be allowed one day's lay off before the opening in either ,boston or ,chicago4 ,this does not apply to premieres1 i4e41 original openings in those cities4 #bi4 ,should the ,actor deem that he has any claim against the ,manager under his contract he shall present the same to the ,actors' ,equity ,association or to the ,manager or both within two months after the time when such claim has arisen1 unless he shall give to the ,board of ,arbitration good and sufficient reason for any delay after such period of two months4 #cj4 ,should either party give the other any notice under his contract which terminates the same at any future date and should the ,actor have or secure a new engagement he shall be permitted to attend the rehearsals under the new engagement as may be necessary and as do not conflict with his performances under his then existing contract4 #ca4 ,the actual salary of the ,actor agreed upon shall be stated in the contract and a lesser or fictitious salary shall not be stated in the contract4 #cb4 ,unless special consent otherwise is given by the ,manager1 understudies shall be present at each performance4 #cc4 ,tryouts during ,may1 ,june and ,july are permissible where the ,manager agrees to pay and pays one week's salary for two weeks' rehearsals and an additional half week's salary for each additional week of rehearsal1 one week's salary to be guaranteed4 ,payment for part of a week's rehearsal shall be pro rata4 #cd4 ,sunday performances referred to in ,regulations1 under ,subdivision #d of ,paragraph ,h1 are regular dramatic and musical productions and do not include vaudeville1 recitals1 concerts and the like4 #ce4 ,equity will raise no objection to the trying out of vaudeville acts in revues or similar type of productions for one performance1 provided the act understands and is agreeable to this arrangement and provided further that this entails on the company no rehearsals4 #cf4 ,the actor shall be required to work only with a manager who employs members 7who are and continue to be members in good standing7 of the ,actors' ,equity ,association1 exclusively1 in his company or companies4 #cg4 ,the parties have notice that1 pursuant to special resolution of the ,actors' ,equity ,association1 there is on file at its office an exempt list containing the names of non-members of said ,association with whom the actor herein will work1 thus creating an exception under paragraph #e on the face of this agreement4 ,the parties know they may examine this list at any time and therefore know the names of non-members with whom the actor herein will work while the resolution of the ,association creating said exempt list continues in force2 and the actor is not required to work with any other non-member in any company4 ,illustration3 ,,nw 99 99 99 99 99 ,,equity ,,minimum ,,contract ,standard ,form as ,agreed ,upon by the ,managers ,protective ,association1 ,inc4 and the ,actors' ,equity ,association 7,affiliated with the ,american ,federation of ,labor7 #aae ,west #dgth ,street1 ,new ,york ,city ,,los ,,angeles ,,office #fdab ,hollywood ,blvd4 ,,san ,,francisco ,,office ,theodore ,hale1 #cfi ,pine ,st4 ,,chicago ,,office #ajcb ,capitol ,bldg4 ,,kansas ,,city ,,office ,gayety ,theatre ,bldg4 ,to be used with members of the ,managers ,protective ,association1 ,inc4 only4 ,,agreement made this ---- day of ----1 #ai--1 between ---- 7,,manager7 and ---- 7hereinafter called ,,actor74 ,the regulations on the other side hereto are a part hereof1 as though printed herein at length4 ,to insure in this contract a sufficient degree of flexibility to meet the contingencies and necessities of theatre production as the same may arise1 separately printed ,rules ,governing ,minimum ,standard ,contract are also made a part hereof as though printed herein at length4 ,agreement of ,employment #a4 ,the ,manager engages the ,actor to render services in part of ---- 7,here insert name of part2 also if ,actor is required to understudy7 in the play now called ---- 7,here insert present title of play7 and the ,actor hereby accepts such employment upon the terms herein set forth4 ,opening ,date #b4 ,the date of the first public performance shall be the ---- day of ----1 #ai--1 or not later than fourteen days thereafter4 ,employment hereunder shall begin on the date of the beginning of rehearsals1 and shall continue until terminated by notice given as herein provided and not otherwise4 ,compensation #c4 ,the ,manager agrees to pay the ,actor the sum of ---- ,dollars 7----7 each week on ,saturday thereof1 from and after the date named in ,paragraph #b1 and until this agreement is duly terminated4 ,regulations on ,reverse ,side ,regulations covering rehearsals1 notice of termination before and during rehearsals1 lost rehearsals1 individual termination1 closing of play and season1 clothes1 number of performances1 lost performances1 transportation1 lay-off1 method of giving notice and other matters are set forth in the ,regulations on the reverse side of this page and in ,rules ,governing ,minimum ,standard ,contract1 and except as hereinafter provided are a part hereof4 ,duties of the ,actor #d4 ,the ,actor agrees to be prompt at rehearsals1 to pay strict regard to makeup and dress1 to perform his services in a competent and painstaking manner1 to abide by all reasonable rules and regulations of the ,manager1 and1 except as otherwise herein provided1 to render services exclusively to the ,manager from the date of beginning of rehearsals1 and shall not render services to any other person1 firm or corporation without the consent of the ,manager4 #e4 7a7 ,the ,actor's employment hereunder is conditional upon the membership of the companies of the ,manager being in accordance with the ,equity ,association rules1 set forth in the agreement between the ,actors' ,equity ,association and the ,managers' ,protective ,association1 ,inc41 dated ,may #ab1 #aibd1 and the ,actor shall not be required to work hereunder in violation of any such rules4 ,should at any time the membership of any such company fail to be in accordance with any such rules1 or should the ,manager fail to comply with any of the provisions of paragraphs ,,seventh or ,,eighth of said agreement1 the ,actor shall at his option1 provided the ,actors' ,equity ,association consents1 be released from this agreement and the ,manager agrees to pay to him and he may recover from the ,manager1 all sums due to date of said release plus his return fare1 as provided in the transportation clause1 plus1 as liquidated damages1 a sum equal to two weeks' salary4 ,any claim under this paragraph must be made by the ,actor through and with the consent of the ,actors' ,equity ,association and any dispute regarding the same shall be arbitrated under the provisions of this agreement4 7b7 ,this agreement is dependent upon and subject to all the terms and conditions of said agreement with the ,managers' ,protective ,association1 ,inc41 dated ,may #ab1 #aibd4 ,arbitration #f4 ,in event that any dispute shall arise between the parties as to any matter or thing covered by this agreement1 or as to the meaning of any part thereof1 then said dispute or claim shall be arbitrated4 ,the ,manager shall choose one arbitrator and the ,actors' ,equity ,association the second4 ---- shall be the third4 ,these three shall constitute the ,board and the decision of a majority of the arbitrators shall be the decision of all and shall be binding upon both parties and shall be final4 ,the ,board shall hear the parties and within seven 7#g7 days shall decide the dispute or claim4 ,the ,board shall determine by whom and in what proportion the cost of arbitration shall be paid1 and the parties hereby constitute said ,board their agents and agree that its decision shall constitute an agreement between them1 having the same binding force as if agreed to by the parties themselves4 ,further1 that they and each of them will1 if required1 sign such individual arbitration agreement as to make said arbitration comply with a legal arbitration under the laws of the ,state of ,new ,york1 and the rules of the ,supreme ,court thereof1 and that judgment upon the award may be entered in the ,supreme ,court of the ,state of ,new ,york4 ,the oath of the members of the ,board of ,arbitration shall not be necessary unless specifically requested by one of the parties4 ,,in ,,witness ,,whereof we have signed this agreement on the day and year first above written4 ---- ,,manager ---- ,,actor ,,regulations 7,to be printed on ,standard ,minimum ,contract7 ,rehearsals ,a4 7#a7 ,the ,actor1 if required1 shall give four weeks' rehearsal without pay 7in case of musical comedy1 revue or spectacular production1 five weeks71 and obligates himself to be ready to rehearse four 7or five7 weeks before the date mentioned in ,paragraph #b on the face of contract hereof2 if further rehearsals are required then for each additional week or part thereof the ,manager shall pay the ,actor full compensation1 as provided in ,paragraph #c on face of contract hereof on ,saturday night of each week4 7#b7 ,it is agreed that rehearsals shall be continuous from the date of the first rehearsal to the date of the first public performance of the play1 as stated in ,paragraph #b on the face hereof4 ,notice of ,termination ,before ,rehearsal ,b4 ,this contract may before the beginning of rehearsals be terminated as follows3 7#a7 ,if the contract be signed and entered into prior to two months before the specific date mentioned in ,paragraph #b on face hereof2 7a7 ,by the ,manager giving to the ,actor written notice and paying him two weeks' salary4 ,if1 however1 previously to giving such written notice and making such payment1 the ,manager shall have given to the ,actor written notice that the play will not be produced or that the ,actor will not be called for rehearsals1 and the ,actor thereafter secures a new engagement under which payments to him are to begin not later than the date specified in ,paragraph #b on the face hereof1 then and in that event1 instead of said two weeks' salary1 the only sum1 if any1 which the ,manager need pay the ,actor1 shall be the amount1 if any1 by which said two weeks' salary exceeds two weeks' salary of the ,actor under said new engagement4 7#b7 ,if the contract be signed and entered into within two months of the specific date mentioned in ,paragraph #b on the face hereof and the play is not placed in rehearsal or is abandoned1 the ,manager shall pay the ,actor a sum equal to one week's salary4 ,notice of ,termination ,during ,rehearsal ,c4 ,this contract may during rehearsals be terminated as follows3 7#a7 ,at any time during the first seven days' rehearsals of the ,actor by either party by giving written notice1 if this contract be signed and entered into within two months of the specific date mentioned in ,paragraph #b on the face hereof1 except in case the ,actor be re-engaged by the ,manager for a part which he has previously played1 in which event he shall be paid two weeks' compensation2 or 7#b7 ,any time after the first seven days' rehearsals of the ,actor by the ,manager giving written notice to the ,actor and by paying him forthwith a sum equal to two weeks' compensation4 7,note3 ,in the above two subdivisions 7,c-#a and ,c-#b71 wherever the word seven appears in reference to the probationary period of rehearsals the word ten shall be substituted if the ,actor be employed in a musical comedy1 revue or spectacular production47 7#c7 ,the ,actor may cancel the contract by giving written notice and with the same paying to the manager a sum equal to two weeks' compensation4 ,d4 ,either party may terminate this contract at any time on or after the date of the first public performance of the play by giving the other party two weeks' written notice4 ,individual ,termination ,after ,opening ,e4 7#a7 ,if the play runs four weeks or less1 the ,manager may close the play and company without notice1 and terminate the right of the ,actor to further compensation1 provided he has paid the ,actor for all services rendered to date1 and in no event less than two weeks' compensation4 7#b7 ,if the play shall run more than four weeks1 the ,manager shall give one week's notice of the closing of the season of the play and company1 or pay one week's compensation in lieu thereof4 ,clothes ,f4 7#a7 ,if the ,actor be a man1 he shall furnish and pay for such conventional morning1 afternoon and evening clothes as are customarily worn by civilians of the present day in this country1 together with wigs and footwear necessarily appurtenant thereto4 ,all other wigs1 footwear1 costumes1 clothes1 appurtenances and properties1 including those peculiar to any trade1 occupation or sport1 to be furnished by the ,manager4 7#b7 ,if the ,actor be a woman1 all wigs1 gowns1 hats1 footwear and all properties shall be furnished by the ,manager4 7#c7 ,it is understood that in every case where the ,manager furnishes costumes1 if the notice of cancellation of this ,contract be given by the ,actor1 he or she shall reimburse the ,manager for the necessary and reasonable expense to which he may actually be put in having costumes altered or rearranged for the successor1 and repay for current shoes4 ,notices 7,g7 ,all communications which refer to the company in general shall be posted upon the call-board4 ,notice to the ,manager must be given to him personally or to his company or ,stage ,manager4 ,number of ,performances ,work 7,h7 7#a7 ,eight performances shall constitute a week's work4 7#b7 ,a week's compensation shall be paid even if a less number than eight performances are given1 except as herein otherwise provided in ,paragraph ,j4 7#c7 ,a sum equal to one-eighth of the weekly compensation shall be paid for each performance over eight in each week4 7,this also applies to understudies47 7#d7 ,it is assumed that ,sunday rehearsals and performances will take place only where it is lawful1 and the ,actor shall not be required to perform in the play and part above named on ,sunday in any theatre except those where ,sunday performances were customarily given on ,may #a1 #aibd4 ,lost ,performances 7,i7 ,the ,actor shall travel with the company by such routes as the ,manager may direct1 and the ,actor shall not demand compensation for any performance lost through unavoidable delay in travel which prevents the giving of performances by the company4 7,j7 ,it is further agreed if the company cannot perform because of fire1 accident1 strikes1 riot1 act of ,god1 the public enemy1 or for any other cause of the same general class which could not be reasonably anticipated or prevented1 or if the ,actor cannot perform on account of illness or any other valid reason1 then the ,actor shall not be entitled to any salary 7except as otherwise herein specified7 for the time during which said services shall not for such reason or reasons be rendered4 ,should any of the foregoing conditions continue for a period of ten days or more1 either party may terminate the contract and the ,manager will pay for all services to date and transportation back to ,new ,york ,city4 ,lost ,rehearsals 7,k7 ,if the ,manager is prevented from giving rehearsals because of fire1 accident1 riot1 strikes1 illness of star or prominent member of the cast1 act of ,god1 public enemy or any other cause of the same general class which could not reasonably be anticipated or prevented1 then the time so lost shall not be counted as part of the four 7or five1 as the case may be7 weeks' rehearsal period herein provided4 ,after the fourth week of rehearsal1 including any lay-off period on the above account1 the ,manager will pay half salaries for two weeks1 at the end of which time the ,actor shall be free1 unless the ,manager wishes to continue the services of the ,actor and pays him full salary therefor4 ,transportation 7,l7 ,the ,manager agrees to transport the ,actor when required to travel1 including transportation from ,new ,york ,city to the point of opening and back to ,new ,york ,city from the point of closing2 also the ,actor's personal baggage up to two hundred pounds weight4 7,m7 ,the ,manager shall reimburse the ,actor for all loss or damage to his property used and_/or to be used in connection with the play while they are wholly or partly in the possession or control or under the supervision of the ,manager or of any of his representatives and also when such baggage and property has been in any way shipped1 forwarded or stored by the ,manager or any of his representatives1 but the ,actor shall have no claim if the loss or damage occurs while the baggage or property is under his own control4 ,upon payment of said loss or damage the ,manager shall be subrogated to all rights of the ,actor therefor4 7,n7 7#a7 ,if individual notice of termination is given by the ,manager he agrees to pay the ,actor in cash the amount of the cost of transportation of the ,actor and his baggage back to ,new ,york ,city whether the ,actor returns immediately or not4 7#b7 ,if this contract is cancelled by the ,actor1 he agrees to pay his own railroad fare back to ,new ,york ,city and to reimburse the ,manager for any railroad fare the ,manager may have to pay for the ,actor's successor up to an amount not exceeding the railroad fare from ,new ,york ,city to the point where said successor joins the company1 whether for rehearsal or for playing4 7#c7 ,if the company is organized outside of ,new ,york ,city1 the name of such place is herein agreed to be substituted for ,new ,york ,city in ,paragraphs ,l1 ,n-#a and ,n-#b and elsewhere4 7,o7 ,the ,manager shall not be responsible for any loss occurring to the personal baggage of the ,actor whose duty it is1 if he desires to protect himself against loss1 to insure the same4 7,p7 ,strikes1 within the meaning of ,paragraph ,j hereof1 is construed to mean any strike of any name or nature which shall prevent the ,manager from giving performances in the usual course of his business in any of his theatre or theatres4 ,illustration3 ,,by ,,the ,,south ,,sea ,,moon1 ,,follies ,,of #aibb ,,rules ,,governing ,,minimum ,,standard ,,contracts 7,to be printed on ,standard ,minimum ,contracts7 #a4 ,should the ,manager of any production consider the same ,spectacular and therefore entitled to five weeks of free rehearsals1 he shall notify the ,actors' ,equity ,association before the beginning of rehearsals and advise fully as to the nature of the production and secure its allowance of his claim4 #b4 ,rehearsals begin with the date when the ,actor is first called4 ,if the ,manager chooses to start with a reading to the company1 or substantial part thereof1 said reading is a part of and begins the rehearsal period4 #c4 ,in case of company rehearsals being held before opening at a place different from that of organization1 the ,manager shall pay the ,actor his reasonable living expenses during said rehearsals1 except that the ,manager shall be allowed two days of free rehearsals in cities within one thousand miles of ,new ,york ,city and one additional day free for each additional one thousand miles or fraction thereof4 #d4 ,if the ,actor shall absent himself from rehearsals for seven days or more by reason of illness1 the ,manager may cancel this contract without payment for service to date4 ,the ,association may1 in its discretion1 upon appeal by the ,manager1 reduce this period4 #e4 ,contracts between ,manager and ,actor shall be deemed to be entered into between the said parties on the date when the terms of the contract are agreed upon between the parties1 and contracts must be issued and signed as of that date4 #f4 ,if after joining a company1 which has opened and is on tour1 an ,actor is dismissed at rehearsals within the seven day probationary period 7provided the seven day probationary period has not already been deleted from his contract7 the ,manager shall pay to the ,actor his transportation both ways and for each day of rehearsal a sum equal to one-fourteenth of the weekly salary agreed upon1 said rehearsals to be deemed continuous and to begin not later than the day after the ,actor's arrival4 ,in case the ,actor is dismissed after the seven day probationary period1 the ,manager shall pay the ,actor two weeks' salary and his transportation both ways4 #g4 ,if the full rehearsal period to which the ,manager is entitled be not used by him before the date of opening1 he may employ the balance thereof immediately before the ,new ,york opening1 provided that said ,new ,york opening takes place within six weeks of the original opening of the play4 #h4 ,all performances for which admission is charged 7except bona fide benefits7 are to be counted and considered as performances under the ,minimum ,standard ,contract4 #i4 ,if the employment under any contract relates to the second or subsequent season of any play then the period of free rehearsals is three weeks instead of four1 but this provision shall not obtain if #ej per cent or more of the cast were not members of the production the preceding year4 #aj4 ,if the play for which the ,actor is engaged is rehearsed seven days or less and then rehearsals are discontinued or postponed1 or if the production is abandoned during rehearsals on or before the seven day probationary period would have expired1 the ,manager shall pay the ,actor as follows3 ,if the contract has been signed or entered into within two months of the date mentioned in ,paragraph #b of the ,standard ,minimum ,contract1 a sum equal to one week's salary1 otherwise a sum equal to two weeks' salary4 #aa4 ,in case the play is abandoned before rehearsals or the ,actor is entitled to compensation under the preceding paragraph1 payment shall be made by the ,manager to the ,actor not later than three weeks prior to date of opening specified in ,paragraph #b of the main contract4 #ab4 ,seven days' rehearsals means seven consecutive calendar days1 counting ,sunday 7when ,sunday is used for rehearsals71 and said seven days terminate with the dismissal of rehearsal on the seventh day as herein reckoned4 #ac4 ,if the part of an ,actor who shall have been dismissed before the end of the rehearsal on the seventh day shall be cut out1 the ,manager shall pay to the ,actor a sum equal to one week's salary4 #ad4 ,the ,manager shall use reasonable care that his press department shall not announce the engagement of the ,actor until after the seven day probationary period1 and shall drop the name of the ,actor from advertising and publicity matter as soon as is possible after the ,actor leaves the company4 #ae4 ,if the ,actor is not allowed to work out any notice properly given under his contract the amount to which he is entitled to shall be paid forthwith upon the giving of the notice4 #af4 ,the right of the ,manager to close a play and company without a week's notice within four weeks after the opening date does not apply to the second or subsequent season thereof4 #ag4 ,notices of termination or closing given at or before the end of the performance on ,monday night1 effective at the end of the ,saturday night following1 shall be deemed one week's notice and such notice effective at the end of the ,saturday week following shall be deemed two weeks' notice4 #ah4 ,the essence of this contract is continuous employment and a play once closed shall not be re-opened during the same season within eight weeks of the date of previous closing1 without the consent of the ,actors' ,equity ,association4 ,such consent1 if given1 shall be upon such terms and conditions as may be considered just and equitable by such ,association4 #ai4 ,except in a case of notice given on ,monday1 as otherwise provided in these rules1 a week's notice shall be seven calendar days and two weeks' notice fourteen calendar days4 #bj4 ,should the ,manager require the ,actor purchasing his clothes from a special tailor or shall require exclusive or unique designs or unusually expensive clothes1 then the ,manager shall pay for such clothes1 anything to the contrary in ,clause ,g of the ,standard ,minimum ,contract notwithstanding4 #ba4 ,the ,actor shall be responsible for transporting his own baggage to and from the station or theatre in ,new ,york ,city4 ,the ,manager will pay the cost of or reimburse the ,actor for such transportation anywhere on ,manhattan ,island4 #bb4 ,should the ,citizens' ,jury provided for in ,new ,york decide adversely to the continuance of a production because salacious or against public morals1 the ,actor shall forthwith terminate his employment without notice1 payment or penalty4 #bc4 ,should the production in which the ,actor is engaged be complained of as being in violation of any statute1 ordinance or law of the ,united ,states1 any state or any municipality in any state and should a claim or charge be made against the ,actor on account of his being engaged in such production1 either civil or criminal1 the ,manager shall defend the ,actor at his own expense1 or shall pay any and all reasonable charges laid out or incurred by the ,actor in his defense1 and the ,manager agrees to indemnify the ,actor against any loss or damage which he may suffer on account of being engaged in any such production4 ,this rule shall not apply to any case or set of conditions where its enforcement would be illegal or against public policy4 #bd4 ,the ,manager shall have the right to lay off his company the week before ,christmas and ,holy ,week4 ,should such lay off take place the ,manager shall not during said lay off period be entitled to the services of the company except for a run-through rehearsal on the day of re-opening1 and except further that additional rehearsals may be allowed by the ,actors' ,equity ,association in case of illness of the star or prominent member of the company or change of cast4 #be4 ,if in any production the star or featured member of the cast shall be ill and a lay off shall take place on that account1 ,actors receiving less than #ajj4jj weekly 7but no others7 shall be paid by the ,manager an amount equal to their board and lodging for the first week4 ,if said lay off continues beyond one week1 half salaries shall be paid to the entire company for each day the ,actors are retained up to and including two further weeks4 ,from and after the beginning of the fourth week the ,manager shall either pay full salaries to all members of the company or may abandon the production4 #bf4 ,when understudies are employed or there is a change in the cast1 announcement shall be made to this effect1 either by a slip in the program1 or by announcement from the stage at the rise of the curtain1 or by conspicuously posting a notice to that effect a reasonable time before the rise of the curtain1 at the box office4 #bg4 ,in case after the opening of the play and after at least two weeks' employment1 the ,manager shall desire a lay off for the purpose of re-writing or making changes in the cast or any other reason deemed sufficient by him1 he may apply to the ,actors' ,equity ,association for the right to do so4 ,if the ,association agrees to such lay-off it may do so upon such terms and conditions as may seem equitable to it under the circumstances4 ,but in any event if a change or changes in the cast is made the ,actor or ,actors dismissed and not employed upon the renewed run of the play shall be paid at least one week's additional salary4 #bh4 ,musical comedies1 revues or spectacular plays shall immediately after a ,new ,york run be allowed one day's lay off before the opening in either ,boston or ,chicago4 ,this does not apply to premieres1 i4e41 original openings in those cities4 #bi4 ,should the ,actor deem that he has any claim against the ,manager under his contract he shall present the same to the ,actors' ,equity ,association or to the ,manager or both within two months after the time when such claim has arisen1 unless he shall give to the ,board of ,arbitration good and sufficient reason for any delay after such period of two months4 #cj4 ,should either party give the other any notice under his contract which terminates the same at any future date and should the ,actor have or secure a new engagement he shall be permitted to attend the rehearsals under the new engagement as may be necessary and as do not conflict with his performances under his then existing contract4 #ca4 ,the actual salary of the ,actor agreed upon shall be stated in the contract and a lesser or fictitious salary shall not be stated in the contract4 #cb4 ,unless special consent otherwise is given by the ,manager1 understudies shall be present at each performance4 #cc4 ,tryouts during ,may1 ,june and ,july are permissible2 the actor to receive employment commencing with the opening date for at least one-half the time spent in rehearsals2 minimum employment one week4 #cd4 ,sunday performances referred to in ,regulations1 under ,subdivision #d of ,paragraph ,h1 are regular dramatic and musical productions and do not include vaudeville1 recitals1 concerts and the like4 #ce4 ,equity will raise no objection to the trying out of vaudeville acts in revues or similar type of productions for one performance1 provided the act understands and is agreeable to this arrangement and provided further that this entails on the company no rehearsals4 99 99 99 99 99 ,,form ,i4,r4 ,,no4 #a ,,this ,,contract ,,must ,,not ,,be ,,issued ,,to ,,the ,,chorus ,actors' ,equity ,association 7,affiliated with the ,american ,federation of ,labor7 #de ,west #dgth ,street1 ,new ,york ,city ,,los ,,angeles ,,office #fdab ,hollywood ,blvd4 ,,san ,,francisco ,,office ,theodore ,hale1 #cfi ,pine ,st4 ,,chicago ,,office #ajcb ,capitol ,bldg4 ,,kansas ,,city ,,office ,gayety ,theatre ,bldg4 ,,run-,,of-,,the-,,play ,,standard ,,contract ,for ,independent ,new ,york ,managers and others playing the same class of attractions ,,agreement made this ---- day of ----1 #ai--1 between ---- 7hereinafter called ,manager7 and ---- 7hereinafter called ,actor74 ,the ,,regulations and ,,rules contained on the reverse side are a part hereof as though set forth on this page in full4 ,agreement of ,employment #a4 ,the ,manager hereby hires the ,actor to render services1 as such in the part of ----1 in the play hereinafter mentioned1 and the ,actor hereby accepts the said engagement2 such hiring to be subject to the terms hereinafter set forth4 ,period of ,employment #b4 ,the term of employment shall be the ,run of the ,play now called ---- during the season of #ai-- #ai-- which said season is agreed to ,,be ,,the ,,period ,,between ,,the ,,first ,,day ,,of ,,september ,,and ,,the ,,following ,,first ,,day ,,of ,,june4 ,opening ,date #c4 ,the date of first public performance shall be the ---- day of ----1 #ai--1 or not later than fourteen days thereafter4 ,employment hereunder shall begin upon the date of beginning of rehearsals1 which date shall be not earlier than four weeks prior to the date of first public performance4 ,compensation #d4 ,the ,manager agrees1 as compensation for services hereunder1 to pay the ,actor from and after the date named in ,paragraph #c and continuing for and during the run of the production for which the ,actor is engaged1 the sum of ---- ,dollars 7----7 each and every week 7on ,saturday74 ,guaranteed ,period #e4 ,the ,manager agrees and guarantees that under this contract he will give the ,actor not less than ---- consecutive weeks' work1 commencing with the date of the first public performance1 and pay him therefor4 ,rehearsals #f4 ,the ,actor1 if required1 shall give four weeks' rehearsal without pay2 if further rehearsals are required1 then1 for each additional week or part thereof1 the ,manager shall pay the ,actor1 on ,saturday of that week1 at the rate of the full salary mentioned in paragraph four4 ,rehearsals shall be considered to be continuous from the date of the first rehearsal to the date of the first public performance of the play as provided in paragraph three4 ,if the above play is a musical play1 or a spectacular production1 then1 wherever the word ,four appears in this paragraph and in paragraph three the word ,five shall be substituted4 ,notice of ,closing #g4 ,the ,manager shall give one week's notice of the closing of the production and company for which the ,actor is engaged4 ,duties of the ,actor #h4 ,the ,actor agrees to be prompt at rehearsals1 to pay strict regard to makeup and dress1 to perform the services herein required in a competent and painstaking manner1 to abide by all reasonable rules and regulations1 and to render services exclusively to the ,manager from the date of beginning of rehearsals1 and not to render services to any other person1 firm or corporation without the consent of the ,manager4 ,miscellaneous #i4 ,lay-offs1 unless caused through the fault of the ,actor1 shall not be counted as part of the guaranteed period4 #aj4 ,if the blank in paragraph five is not filled in1 and no guaranteed period is agreed upon1 the ,manager agrees that this contract shall call for a minimum guaranty of two weeks' employment from the date named in ,paragraph three hereof4 #aa4 ,the ,manager agrees that he has notice that the ,actor herein is a member of the ,actors' ,equity ,association and as such member is bound to conform to its lawful rules and regulations1 and that it is a lawful rule and regulation of said ,association that1 as far as the ,manager herein is concerned1 the ,actor is to work only in companies operated by the ,manager herein when all members of said company or companies are members of the ,actors' ,equity ,association in good standing and continue to be such during the entire term of employment hereunder4 ,and the ,manager agrees that the ,actor shall not be required to work hereunder in violation of said rule or other lawful rule of said ,association1 and further agrees to the full extent to which said agreement is lawful that all actors in the company in which the ,actor herein is employed1 shall be and shall continue throughout the term hereof to be members in good standing of the ,actors' ,equity ,association1 except as provided in paragraph #bd of the ,rules4 ,should the ,manager employ any non-member of the ,actors' ,equity ,association1 or any member not fully paid up or not in good standing1 or one who fails to continue himself in good standing1 or should the ,manager breach any covenant herein made1 the ,actor may 7the ,actors' ,equity ,association consenting7 not only terminate this agreement forthwith1 but the ,manager also agrees to pay the ,actor all sums due to the date of termination1 plus his return fare and plus1 as liquidated damages1 no present basis for calculation existing1 a sum equal to two weeks' salary4 ,arbitration #ab4 ,in event that any dispute shall arise between the parties as to any matter or thing covered by this agreement1 or as to the meaning of any part thereof1 then said dispute or claim shall be arbitrated4 ,the ,manager shall choose one arbitrator and the ,actors' ,equity ,association the second2 ---- shall be the third4 ,these three shall constitute the ,board and the decision of a majority of the arbitrators shall be the decision of all and shall be binding upon both parties and shall be final4 ,the ,board shall hear the parties and within seven 7#g7 days shall decide the dispute or claim4 ,the ,board shall determine by whom and in what proportion the cost of arbitration shall be paid1 and the parties hereby constitute said ,board their agents and agree that its decision shall constitute an agreement between them1 having the same binding force as if agreed to by the parties themselves4 ,further1 that they and each of them will1 if required1 sign such individual arbitration agreement as to make said arbitration comply with a legal arbitration under the laws of the ,state of ,new ,york1 and the rules of the ,supreme ,court thereof1 and that judgment upon the award may be entered in the ,supreme ,court of the ,state of ,new ,york4 ,the oath of the members of the ,board of ,arbitration shall not be necessary unless specifically requested by one of the parties4 ,,in ,,witness ,,whereof we have signed this agreement on the day and year first above written4 ---- ,,manager ---- ,,actor ,,regulations ,rehearsals ,a4 7#a7 ,the ,actor1 if required1 shall give four weeks' rehearsal without pay 7in case of musical comedy1 revue or spectacular production1 five weeks71 and obligates himself to be ready to rehearse four 7or five7 weeks before the date mentioned in ,paragraph three on face of contract hereof2 if further rehearsals are required then for each additional week or part thereof the ,manager shall pay the ,actor full compensation1 as provided in ,paragraph four on face of contract hereof on ,saturday night of each week4 7#b7 ,it is agreed that rehearsals shall be continuous from the date of the first rehearsal to the date of the first public performance of the play1 as stated in ,paragraph three on the face hereof4 ,clothes ,b4 7#a7 ,if the ,actor be a man1 he shall furnish and pay for such conventional morning1 afternoon and evening clothes as are customarily worn by civilians of the present day in this country1 together with wigs and footwear necessarily appurtenant thereto4 ,all other wigs1 footwear1 costumes1 clothes1 appurtenances and properties1 including those peculiar to any trade1 occupation or sport1 to be furnished by the ,manager4 7#b7 ,if the ,actor be a woman1 all wigs1 gowns1 hats1 footwear and all properties shall be furnished by the ,manager4 ,illustration3 ,,belle ,,baker ,notices ,c4 ,all communications which refer to the company in general shall be posted upon the call-board4 ,notice to the ,manager must be given to him personally or to his company or ,stage ,manager4 ,number of ,performances ,d4 7#a7 ,eight performances shall constitute a week's work4 7#b7 ,a week's compensation shall be paid even if a less number than eight performances are given1 except as herein otherwise provided in ,paragraph ,f4 7#c7 ,a sum equal to one-eighth of the weekly compensation shall be paid for each performance over eight in each week4 7,this also applies to understudies47 7#d7 ,it is assumed that ,sunday rehearsals and performances will take place only where it is lawful1 and the ,actor shall not be required to perform in the play and part above named on ,sunday in any theatre except those where ,sunday performances were customarily given on ,may #a1 #aibd4 ,e4 ,the ,actor shall travel with the company by such routes as the ,manager may direct1 and the ,actor shall not demand compensation for any performance lost through unavoidable delay in travel which prevents the giving of performances by the company4 ,lost ,performances ,f4 7#a7 ,it is further agreed if the company cannot perform because of fire1 accident1 strikes1 riot1 act of ,god1 the public enemy1 or for any other cause of the same general class which could not be reasonably anticipated or prevented1 or if the ,actor cannot perform on account of illness or any other valid reason1 then the ,actor shall not be entitled to any salary 7except as otherwise herein specified7 for the time during which said services shall not for such reason or reasons be rendered4 ,should any of the foregoing conditions continue for a period of ten days or more1 the ,actor may terminate the contract and the ,manager will pay for all services to date and transportation back to ,new ,york ,city4 ,lost ,rehearsals ,g4 ,if the ,manager is prevented from giving rehearsals because of fire1 accident1 riot1 strikes1 illness of star or prominent member of the cast1 act of ,god1 public enemy or any other cause of the same general class which could not reasonably be anticipated or prevented1 then the time so lost shall not be counted as part of the four 7or five1 as the case may be7 weeks' rehearsal period herein provided4 ,after the fourth week of rehearsal1 including any lay-off period on the above account1 the ,manager will pay half salaries for two weeks1 at the end of which time the ,actor shall be free1 unless the ,manager wishes to continue the services of the ,actor and pays him full salary therefor4 ,transportation ,h4 ,the ,manager agrees to transport the ,actor when required to travel1 including transportation from ,new ,york ,city to the point of opening and back to ,new ,york ,city from the point of closing2 also the ,actor's personal baggage up to two hundred pounds weight4 ,i4 ,the ,manager shall reimburse the ,actor for all loss or damage to his property used and_/or to be used in connection with the play while they are wholly or partly in the possession or control or under the supervision of the ,manager or of any of his representatives and also when such baggage and property has been in any way shipped1 forwarded or stored by the ,manager or any of his representatives1 but the ,actor shall have no claim if the loss or damage occurs while the baggage or property is under his own control4 ,upon payment of said loss or damage the ,manager shall be subrogated to all rights of the ,actor therefor4 ,j4 ,if the company is organized outside of ,new ,york ,city1 the name of such place is herein agreed to be substituted for ,new ,york ,city in ,paragraph ,h1 and elsewhere4 ,k4 ,the ,manager shall not be responsible for any loss occurring to the personal baggage of the ,actor1 whose duty it is1 if he desires to protect himself against loss1 to insure the same4 ,l4 ,the ,actor herein may play in any benefit performance given by or under the auspices of the ,actors' ,equity ,association4 ,deputies of said ,association will be permitted in each company and a duly authorized representative shall have the right to be on the stage before and after rehearsals and before and after performances1 and said ,association may represent its members in any dispute which may arise with the managers4 ,actors will be tentatively engaged on their paid up cards only1 which card will be prima facie evidence of membership in said association until the manager is otherwise notified4 ,,rules #a4 ,should the ,manager of any production consider the same ,spectacular and therefore entitled to five weeks of free rehearsals1 he shall notify the ,actors' ,equity ,association before the beginning of rehearsals and advise fully as to the nature of the production and secure its allowance of his claim4 #b4 ,rehearsals begin with the date when the ,actor is first called4 ,if the ,manager chooses to start with a reading to the ,company1 or substantial part thereof1 said reading is a part of and begins the rehearsal period4 #c4 ,in case of company rehearsals being held before the opening of the play at a place different from that of organization1 the ,manager shall pay the ,actor his reasonable living expenses during said rehearsals1 except that the ,manager shall be allowed two days of free rehearsals in cities within one thousand miles of ,new ,york ,city and one additional day free for each additional one thousand miles or fraction thereof4 #d4 ,if the ,actor shall absent himself from rehearsals for seven days or more by reason of illness1 the ,manager may cancel this contract without payment for service to date4 ,the ,association may1 in its discretion1 upon appeal by the ,manager1 reduce this period4 #e4 ,contracts between ,manager and ,actor shall be deemed to be entered into between the said parties on the date the terms of the contract are agreed upon between the parties1 and contracts must be issued and signed as of that date4 #f4 ,if the full rehearsal period to which the ,manager is entitled be not used by him before the date of opening1 he may employ the balance thereof immediately before the ,new ,york opening1 provided that said ,new ,york opening takes place within six weeks of the original opening of the play4 #g4 ,if the employment under any contract relates to the second or subsequent season of any play then the period of free rehearsals is three weeks instead of four1 but this provision shall not obtain if #ej per cent or more of the cast were not members of the production the preceding year4 #h4 ,notices of termination or closing given at or before the end of the performance on ,monday night effective at the end of the ,saturday night following1 shall be deemed one week's notice4 #i4 ,the essence of this contract is continuous employment and a play once closed shall not be re-opened during the same season within eight weeks of the date of previous closing1 without the consent of the ,actors' ,equity ,association4 ,such consent1 if given1 shall be upon such terms and conditions as may be considered just and equitable by such ,association4 #aj4 ,should the ,manager require the ,actor purchasing his clothes from a special tailor or shall require exclusive or unique designs or unusually expensive clothes1 then the ,manager shall pay for such clothes1 anything to the contrary in ,clause ,b of the ,standard ,run of the ,play ,contract notwithstanding4 #aa4 ,the ,actor shall be responsible for transporting his own baggage to and from the station or theatre in ,new ,york ,city4 ,the ,manager will pay the cost of or reimburse the ,actor for such transportation anywhere on ,manhattan ,island4 #ab4 ,should the ,citizens' ,jury provided for in ,new ,york decide adversely1 to the continuance of a production because salacious or against public morals the ,actor shall forthwith terminate his employment without notice1 payment or penalty4 #ac4 ,should the production in which the ,actor is engaged be complained of as being in violation of any statute1 ordinance or law of the ,united ,states1 any state or any municipality in any state and should a claim or charge be made against the ,actor on account of his being engaged in such production1 either civil or criminal1 the ,manager shall defend the ,actor at his own expense1 or shall pay any and all reasonable charges laid out or incurred by the ,actor in his defense1 and the ,manager agrees to indemnify the ,actor against any loss or damage which he may suffer on account of being engaged in any such production4 ,this rule shall not apply to any case or any set of conditions where its enforcement would be illegal or against public policy4 #ad4 ,the ,manager shall have the right to lay off his company the week before ,christmas and ,holy ,week4 ,should such lay off take place the ,manager shall not during said lay off period be entitled to the services of the company except for a run-through rehearsal on the day of re-opening1 and except further that additional rehearsals may be allowed by the ,actors' ,equity ,association in case of illness of the star or prominent member of the company or change of cast4 #ae4 ,if in any production the star or featured member of the cast shall be ill and a lay off takes place on that account1 ,actors receiving less than #ajj4jj weekly 7but no others7 shall be paid by the ,manager an amount equal to their board and lodging for the first week4 ,if said lay off continues beyond one week1 half salaries shall be paid to the entire company for each day the ,actors are retained up to and including two further weeks4 ,from and after the beginning of the fourth week the ,manager shall either pay full salaries to all members of the company or may abandon the production4 #af4 ,when understudies are employed or there is a change in the cast1 announcement shall be made to this effect1 either by a slip in the program1 or by announcement from the stage at the rise of the curtain1 or by conspicuously posting a notice to that effect a reasonable time before the rise of the curtain1 at the box office4 #ag4 ,in case after the opening of the play and after at least two weeks' employment1 the ,manager shall desire a lay off for the purpose of re-writing or making changes in the cast or any other reason deemed sufficient by him1 he may apply to the ,actors' ,equity ,association for the right to do so4 ,if the ,association agrees to such lay off it may do so upon such terms and conditions as may seem equitable to it under the circumstances4 ,but in any event if a change or changes in the cast is made the ,actor or ,actors dismissed and not employed upon the renewed run of the play shall be paid at least one week's additional salary4 #ah4 ,musical comedies1 revues or spectacular plays shall immediately after a ,new ,york run be allowed one day's lay off before the opening in either ,boston or ,chicago4 ,this does not apply to premieres1 i4e41 original openings in those cities4 #ai4 ,should either party give the other any notice permitted under this contract which terminates the same at any future date and should the ,actor have or secure a new engagement he shall be permitted to attend the rehearsals under the new engagement as may be necessary and as do not conflict with his performances under his then existing contract4 #bj4 ,should the ,actor deem that he has any claim against the ,manager under his contract he shall present the same to the ,actors' ,equity ,association or to the ,manager or both within two months after the time when such claim has arisen1 unless he shall give to the ,board of ,arbitration good and sufficient reason for any delay after such period of two months4 #ba4 ,the actual salary of the ,actor agreed upon shall be stated in the contract and a lesser or fictitious salary shall not be stated in the contract4 #bb4 ,sunday performances referred to in ,regulations under ,subdivision #d of ,paragraph ,d are regular dramatic and musical productions and do not include vaudeville1 recitals1 concerts and the like4 #bc4 ,the ,actor shall be required to work only with a ,manager who employs exclusively in his company or companies actors who are1 and who continue to be1 members in good standing of the ,actors' ,equity ,association4 #bd4 ,the parties have notice that1 pursuant to special resolution of the ,actors' ,equity ,association1 there is on file at its office an exempt list containing the names of non-members of said ,association with whom the actor herein will work1 thus creating an exception under paragraph #e on the face of this agreement4 ,the parties know they may examine this list at any time and therefore know the names of non-members with whom the actor herein will work while the resolution of the ,association creating said exempt list continues in force2 and the actor is not required to work with any other non-member in any company4 ,illustration3 ,,nw ,illustration3 ,,business ,,office1 ,,ned ,,wayburn ,,studios 99 99 99 99 99 ,,form ,m4,p4,a4,r4 ,,no4 #b ,,this ,,contract ,,must ,,not ,,be ,,issued ,,to ,,the ,,chorus4 ,actors' ,equity ,association 7,affiliated with the ,american ,federation of ,labor7 #aae ,west #dgth ,street1 ,new ,york ,city ,,los ,,angeles ,,office #fdab ,hollywood ,blvd4 ,,san ,,francisco ,,office ,theodore ,hale1 #cfi ,pine ,st4 ,,chicago ,,office #ajcb ,capitol ,bldg4 ,,kansas ,,city ,,office ,gayety ,theatre ,bldg4 ,,run-,,of-,,the-,,play ,,standard ,,contract ,for ,use by ,members of the ,managers' ,protective ,association ,,agreement made this ---- day of ----1 #ai--1 between ---- 7hereinafter ,called ,manager7 and ---- 7hereinafter ,called ,actor74 ,the ,,regulations and ,,rules contained on the reverse side are a part hereof as though set forth on this page in full4 ,agreement of ,employment #a4 ,the ,manager hereby hires the ,actor to render services1 as such1 in the part of ----1 in the play hereinafter mentioned1 and the ,actor hereby accepts the said engagement2 such hiring to be subject to the terms hereinafter set forth4 ,period of ,employment #b4 ,the term of employment shall be the ,run of the ,play now called ---- during the season of #ai-- #ai-- which said season is agreed to ,,be ,,the ,,period ,,between ,,the ,,first ,,day ,,of ,,september ,,and ,,the ,,following ,,first ,,day ,,of ,,june4 ,opening ,date #c4 ,the date of first public performance shall be the ---- day of ----1 #ai--1 or not later than fourteen days thereafter4 ,employment hereunder shall begin upon the date of beginning of rehearsals1 which date shall be not earlier than four weeks prior to the date of first public performance4 ,compensation #d4 ,the ,manager agrees1 as compensation for services hereunder1 to pay the ,actor from and after the date named in ,paragraph #c and continuing for and during the run of the production for which the ,actor is engaged1 the sum of ---- ,dollars 7----7 each and every week 7on ,saturday74 ,guaranteed ,period #e4 ,the ,manager agrees and guarantees that under this contract he will give the ,actor not less than ---- consecutive weeks' work1 commencing with the date of the first public performance1 and pay him therefor4 ,if the blank in this paragraph is not filled in1 and no guaranteed period is agreed upon1 the ,manager agrees that this contract shall call for a minimum guaranty of two weeks' employment from the date named in ,paragraph three hereof4 ,rehearsals #f4 ,the ,actor1 if required1 shall give four weeks' rehearsal without pay2 if further rehearsals are required1 then1 for each additional week or part thereof1 the ,manager shall pay the ,actor1 on ,saturday of that week1 at the rate of the full salary mentioned in paragraph four4 ,rehearsals shall be considered to be continuous from the date of the first rehearsal to the date of the first public performance of the play as provided in paragraph three4 ,if the above play is a musical play1 or a spectacular production1 then1 wherever the word ,four appears in this paragraph and in paragraph three the word ,five shall be substituted4 ,notice of ,closing #g4 ,the ,manager shall give one week's notice of the closing of the production and company for which the ,actor is engaged4 ,duties of the ,actor #h4 ,the ,actor agrees to be prompt at rehearsals1 to pay strict regard to makeup and dress1 to perform the services herein required in a competent and painstaking manner to abide by all reasonable rules and regulations1 and to render services exclusively to the ,manager from the date of beginning of rehearsals1 and not to render services to any other person1 firm or corporation without the consent of the ,manager4 ,miscellaneous #i4 ,lay-offs1 unless caused through the fault of the ,actor1 shall not be counted as part of the guaranteed period4 #aj4 7a7 ,the ,actor's employment hereunder is conditional upon the membership of the companies of the ,manager being in accordance with the ,equity ,association rules1 set forth in the agreement between the ,actors' ,equity ,association and the ,managers' ,protective ,association1 ,inc41 dated ,may #ab1 #aibd1 and the ,actor shall not be required to work hereunder in violation of any such rules4 ,should at any time the membership of any such company fail to be in accordance with any such rules1 or should the ,manager fail to comply with any of the provisions of paragraphs ,,seventh or ,,eighth of said agreement1 the ,actor shall at his option1 provided the ,actors' ,equity ,association consents1 be released from this agreement and the ,manager agrees to pay to him and he may recover from the ,manager1 all sums due to date of said release plus his return fare1 as provided in the transportation clause1 plus1 as liquidated damages1 a sum equal to two weeks' salary4 ,any claim under this paragraph must be made by the ,actor through and with the consent of the ,actors' ,equity ,association and any dispute regarding the same shall be arbitrated under the provisions of this agreement4 7b7 ,this agreement is dependent upon and subject to all the terms and conditions of said agreement with the ,managers' ,protective ,association1 ,inc41 dated ,may #ab1 #aibd1 omitting the ,equity ,minimum ,contract made a part of said agreement4 ,arbitration #aa4 ,in event that any dispute shall arise between the parties as to any matter or thing covered by this agreement1 or as to the meaning of any part thereof1 then said dispute or claim shall be arbitrated4 ,the ,manager shall choose one arbitrator and the ,actors' ,equity ,association the second3 ---- shall be the third4 ,these three shall constitute the ,board and the decision of a majority of the arbitrators shall be the decision of all and shall be binding upon both parties and shall be final4 ,the ,board shall hear the parties and within seven 7#g7 days shall decide the dispute or claim4 ,the ,board shall determine by whom and in what proportion the cost of arbitration shall be paid1 and the parties hereby constitute said ,board their agents and agree that its decision shall constitute an agreement between them1 having the same binding force as if agreed to by the parties themselves4 ,further1 that they and each of them will1 if required1 sign such individual arbitration agreement as to make said arbitration comply with a legal arbitration under the laws of the ,state of ,new ,york1 and the rules of ,supreme ,court thereof1 and that judgment upon the award may be entered in the ,supreme ,court of the ,state of ,new ,york4 ,the oath of the members of the ,board of ,arbitration shall not be necessary unless specifically requested by one of the parties4 ,,in ,,witness ,,whereof we have signed this agreement on the day and year first above written4 ---- ,,manager ---- ,,actor ,,regulations ,rehearsals ,a4 7#a7 ,the ,actor1 if required1 shall give four weeks' rehearsal without pay 7in case of musical comedy1 revue or spectacular production1 five weeks71 and obligates himself to be ready to rehearse four 7or five7 weeks before the date mentioned in ,paragraph three on face of contract hereof2 if further rehearsals are required then for each additional week or part thereof the ,manager shall pay the ,actor full compensation1 as provided in ,paragraph four on face of contract hereof on ,saturday night of each week4 7#b7 ,it is agreed that rehearsals shall be continuous from the date of the first rehearsal to the date of the first public performance of the play1 as stated in ,paragraph three on the face hereof4 ,clothes ,b4 7#a7 ,if the ,actor be a man1 he shall furnish and pay for such conventional morning1 afternoon and evening clothes as are customarily worn by civilians of the present day in this country1 together with wigs and footwear necessarily appurtenant thereto4 ,all other wigs1 footwear1 costumes1 clothes1 appurtenances and properties1 including those peculiar to any trade1 occupation or sport1 to be furnished by the ,manager4 7#b7 ,if the ,actor be a woman1 all wigs1 gowns1 hats1 footwear and all properties shall be furnished by the ,manager4 ,notices ,c4 ,all communications which refer to the company in general shall be posted upon the call-board4 ,notice to the ,manager must be given to him personally or to his company or ,stage ,manager4 ,number of ,performances ,d4 7#a7 ,eight performances shall constitute a week's work4 7#b7 ,a week's compensation shall be paid even if a less number than eight performances are given1 except as herein provided in ,paragraph ,f4 7#c7 ,a sum equal to one-eighth of the weekly compensation shall be paid for each performance over eight in each week4 7,this also applies to understudies47 7#d7 ,it is assumed that ,sunday rehearsals and performances will take place only where it is lawful1 and the ,actor shall not be required to perform in the play and part above named on ,sunday in any theatre except those where ,sunday performances were customarily given on ,may #a1 #aibd4 ,e4 ,the ,actor shall travel with the company by such routes as the ,manager may direct1 and the ,actor shall not demand compensation for any performance lost through unavoidable delay in travel which prevents the giving of performances by the company4 ,rules of ,travel and ,lost ,performances ,f4 7#a7 ,it is further agreed if the company cannot perform because of fire1 accident1 strikes1 riot1 act of ,god1 the public enemy1 or for any other cause of the same general class which could not be reasonably anticipated or prevented1 or if the ,actor cannot perform on account of illness or any other valid reason1 then the ,actor shall not be entitled to any salary 7except as otherwise herein specified7 for the time during which said services shall not for such reason or reasons be rendered4 ,should any of the foregoing conditions continue for a period of ten days or more1 the ,actor may terminate the contract and the ,manager will pay for all services to date and transportation back to ,new ,york ,city4 ,should the manager for any of the foregoing reasons close the company and later on reopen1 the ,actor shall be re-engaged upon the same terms herein specified1 should the ,actor desire such engagement4 ,illustration3 ,,pearl ,,regay ,lost ,rehearsals ,g4 ,if the ,manager is prevented from giving rehearsals because of fire1 accident1 riot1 strikes1 illness of star or prominent member of the cast1 act of ,god1 public enemy or any other cause of the same general class which could not reasonably be anticipated or prevented1 then the time so lost shall not be counted as part of the four 7or five1 as the case may be7 weeks' rehearsal period herein provided4 ,after the fourth week of rehearsal1 including any lay-off period on the above account1 the ,manager will pay half salaries for two weeks1 at the end of which time the ,actor shall be free1 unless the ,manager wishes to continue the services of the ,actor and pays him full salary therefor4 ,transportation ,h4 ,the ,manager agrees to transport the ,actor when required to travel1 including transportation from ,new ,york ,city to the point of opening and back to ,new ,york ,city from the point of closing2 also the ,actor's personal baggage up to two hundred pounds weight4 ,i4 ,the ,manager shall reimburse the ,actor for all loss or damage to his property used and_/or to be used in connection with the play while they are wholly or partly in the possession or control or under the supervision of the ,manager or of any of his representatives and also when such baggage and property has been in any way shipped1 forwarded or stored by the ,manager or any of his representatives1 but the ,actor shall have no claim if the loss or damage occurs while the baggage or property is under his own control4 ,upon payment of said loss or damage the ,manager shall be subrogated to all rights of the ,actor therefor4 ,j4 ,if the company is organized outside of ,new ,york ,city1 the name of such place is herein agreed to be substituted for ,new ,york ,city in ,paragraph ,h1 and elsewhere4 ,k4 ,the ,manager shall not be responsible for any loss occurring to the personal baggage of the ,actor whose duty it is1 if he desires to protect himself against loss1 to insure the same4 ,l4 ,the ,actor herein may play in any benefit performance given by or under the auspices of the ,actors' ,equity ,association4 ,m4 ,strikes1 within the meaning of ,paragraph ,f hereof1 are construed to mean any strike of any name or nature which shall prevent the ,manager from giving performances in the usual course of his business in any of his theatre or theatres4 ,,rules #a4 ,should the ,manager of any production consider the same ,spectacular and therefore entitled to five weeks of free rehearsals1 he shall notify the ,actors' ,equity ,association before the beginning of rehearsals and advise fully as to the nature of the production and secure its allowance of his claim4 #b4 ,rehearsals begin with the date when the ,actor is first called4 ,if the ,manager chooses to start with a reading to the company1 or substantial part thereof1 said reading is a part of and begins the rehearsal period4 #c4 ,in case of company rehearsals being held before the opening of the play at a place different from that of organization1 the ,manager shall pay the ,actor his reasonable living expenses during said rehearsals1 except that the ,manager shall be allowed two days of free rehearsal in cities within one thousand miles of ,new ,york ,city and one additional day free for each additional one thousand miles or fraction thereof4 #d4 ,if the ,actor shall absent himself from rehearsals for seven days or more by reason of illness1 the ,manager may cancel this contract without payment for service to date4 ,the ,association may1 in its discretion1 upon appeal by the ,manager1 reduce this period4 #e4 ,contracts between ,manager and ,actor shall be deemed to be entered into between the said parties on the date when the terms of the contract are agreed upon between the parties1 and contracts must be issued and signed as of that date4 #f4 ,if the full rehearsal period to which the ,manager is entitled be not used by him before the date of opening1 he may employ the balance thereof immediately before the ,new ,york opening1 provided that said ,new ,york opening takes place within six weeks of the original opening of the play4 #g4 ,if the employment under any contract relates to the second or subsequent season of any play then the period of free rehearsals is three weeks instead of four1 but this provision shall not obtain if #ej per cent or more of the cast were not members of the production the preceding year4 #h4 ,notices of termination or closing given at or before the end of the performance on ,monday night effective at the end of the ,saturday night following1 shall be deemed one week's notice4 #i4 ,the essence of this contract is continuous employment and a play once closed shall not be re-opened during the same season within eight weeks of the date of previous closing1 without the consent of the ,actors' ,equity ,association4 ,such consent1 if given1 shall be upon such terms and conditions as may be considered just and equitable by such ,association4 #aj4 ,should the ,manager require the ,actor to purchase his clothes from a special tailor or shall require exclusive or unique designs or unusually expensive clothes1 then the ,manager shall pay for such clothes1 anything to the contrary in ,clause ,b of the ,standard ,run of the ,play ,contract notwithstanding4 #aa4 ,the ,actor shall be responsible for transporting his own baggage to and from the station or theatre in ,new ,york ,city4 ,the ,manager will pay the cost of or reimburse the ,actor for such transportation anywhere on ,manhattan ,island4 #ab4 ,should the ,citizens' ,jury provided for in ,new ,york decide adversely to the continuance of a production because salacious or against public morals the ,actor shall forthwith terminate his employment without notice1 payment or penalty4 #ac4 ,should the production in which the ,actor is engaged be complained of as being in violation of any statute1 ordinance or law of the ,united ,states1 any state or any municipality in any state and should a claim or charge be made against the ,actor on account of his being engaged in such production1 either civil or criminal1 the ,manager shall defend the ,actor at his own expense1 or shall pay any and all reasonable charges laid out or incurred by the ,actor in his defense1 and the ,manager agrees to indemnify the ,actor against any loss or damage which he may suffer on account of being engaged in any such production4 ,this rule shall not apply to any case or any set of conditions where its enforcement would be illegal or against public policy4 #ad4 ,the ,manager shall have the right to lay off his company the week before ,christmas and ,holy ,week4 ,should such lay off take place the ,manager shall not during said lay off period be entitled to the services of the company except for a run-through rehearsal on the day of re-opening1 and except further that additional rehearsals may be allowed by the ,actors' ,equity ,association in case of illness of the star or prominent member of the company or change of cast4 #ae4 ,if in any production the star or featured member of the cast shall be ill and a lay off shall take place on that account1 ,actors receiving less than #ajj4jj weekly 7but no others7 shall be paid by the ,manager an amount equal to their board and lodging for the first week4 ,if said lay off continues beyond one week1 half salaries shall be paid to the entire company for each day the ,actors are retained up to and including two further weeks4 ,from and after the beginning of the fourth week the ,manager shall either pay full salaries to all members of the company or may abandon the production4 #af4 ,when understudies are employed or there is a change in the cast1 announcement shall be made to this effect1 either by a slip in the program1 or by announcement from the stage at the rise of the curtain1 or by conspicuously posting a notice to that effect a reasonable time before the rise of the curtain1 at the box office4 #ag4 ,in case after the opening of the play and after at least two weeks' employment1 the ,manager shall desire a lay off for the purpose of re-writing or making changes in the cast where the contracts of such individual actors permits him to take such action as to them or any other reason deemed sufficient by him1 he may apply to the ,actors' ,equity ,association for the right to do so4 ,if the ,association agrees to such lay off it may do so upon such terms and conditions as may seem equitable to it under the circumstances4 #ah4 ,musical comedies1 revues or spectacular plays shall immediately after a ,new ,york run be allowed one day's lay off before the opening in either ,boston or ,chicago4 ,this does not apply to premieres1 i4e41 original openings in those cities4 #ai4 ,should either party give the other any notice permitted under this contract which terminates the same at any future date and should the ,actor have or secure a new engagement he shall be permitted to attend the rehearsals under the new engagement as may be necessary and as do not conflict with his performances under his then existing contract4 #bj4 ,should the ,actor deem that he has any claim against the ,manager under his contract he shall present the same to the ,actors' ,equity ,association or to the ,manager or both within two months after the time when such claim has arisen1 unless he shall give to the ,board of ,arbitration good and sufficient reason for any delay after such period of two months4 #ba4 ,the actual salary of the ,actor agreed upon shall be stated in the contract and a lesser or fictitious salary shall not be stated in the contract4 #bb4 ,sunday performances referred to in ,regulations under ,subdivision #d of ,paragraph ,d are regular dramatic and musical productions and do not include vaudeville1 recitals1 concerts and the like4 99 99 99 99 99 ,,form #a;,b ,b ,,chorus ,,equity ,,minimum ,,contract ,standard ,form as agreed upon by the ,managers ,protective ,association1 ,inc4 ,chorus ,equity ,association 7,affiliated with the ,american ,federation of ,labor7 #aaj ,west #dgth ,street1 ,new ,york ,city ,,los ,,angeles ,,office #fdab ,hollywood ,blvd4 ,,san ,,francisco ,,office ,theodore ,hale1 #cfi ,pine ,st4 ,,chicago ,,office #ajcb ,capitol ,bldg4 ,,kansas ,,city ,,office ,gayety ,theatre ,bldg4 ,,agreement made this ---- day of ----1 #aib-1 between ---- 7hereinafter called ,manager7 and ---- 7hereinafter called ,chorus74 ,the regulations on the other side hereto are a part hereof1 as though printed herein at length4 ,to insure in this contract a sufficient degree of flexibility to meet the contingencies and necessities of theatre production as the same may arise1 separately printed ,rules ,governing ,chorus ,equity ,minimum ,contract1 ,standard ,form1 are also made a part hereof as though printed herein at length4 ,agreement of ,employment #a4 ,the ,manager engages the ,chorus to render services in ----1 7,here insert present title of play47 and the ,chorus hereby accepts such engagement upon the terms herein set forth4 ,opening ,date #b4 ,the date of the first public performance shall be the ---- day of ----1 #ai--1 or not later than fourteen days thereafter4 ,employment hereunder shall begin on the date of the beginning of rehearsals and shall continue until terminated by notice given as herein provided and not otherwise4 ,compensation #c4 ,the ,manager agrees to pay the ,chorus the sum of ---- ,dollars 7----7 each week1 in ,new ,york ,city1 and ---- ,dollars 7----7 each week outside of ,new ,york ,city1 on ,saturday thereof1 from and after the date named in paragraph #b and until this agreement is duly terminated4 ,the minimum salary of this contract shall be the sum of ,thirty 7#cj7 ,dollars weekly in ,new ,york ,city2 outside of ,new ,york ,city the minimum salary shall be the sum of ,thirty-five 7#ce7 ,dollars1 unless the production shall be designated by the ,chorus ,equity ,association of ,america1 as a ,number #b attraction1 in which case the road salary shall be ,thirty 7#cj7 ,dollars4 ,regulations ,on ,reverse ,side ,regulations covering rehearsals1 notice of termination before and during rehearsals1 lost rehearsals1 individual termination1 closing of play and season1 clothes1 number of performances1 lost performances1 transportation1 lay-off1 method of giving notice and other matters are set forth in the ,regulations on the reverse side of this page and in ,rules ,governing ,chorus ,equity ,minimum ,contract ,standard ,form1 and as hereinbefore provided are a part hereof4 ,duties of the ,chorus #d4 ,the ,chorus agrees to be prompt at rehearsals1 to pay strict regard to makeup and dress1 to perform his services in a competent and painstaking manner1 to abide by all reasonable rules and regulations of the ,manager1 and1 except as otherwise herein provided1 to render services exclusively to the ,manager from the date of beginning of rehearsals1 and shall not render services to any other person1 firm or corporation without the consent of the ,manager4 #e4 7a7 ,the ,chorus's employment hereunder is conditional upon the membership of the companies of the ,manager being in accordance with the ,chorus ,equity ,association rules1 set forth in the agreement between the ,chorus ,equity ,association and the ,managers' ,protective ,association1 dated ,may #ab1 #aibd1 and the ,chorus shall not be required to work hereunder in violation if any such company fail to be in accordance with any such rules1 or should the ,manager fail to comply with any of the provisions of ,paragraph ,seventh of said agreement1 or ,paragraph ,eighth of the ,managers' ,protective ,association-,actors' ,equity ,association basic agreement1 dated ,may #ab1 #aibd1 as modified and incorporated into said ,chorus ,equity ,association ,m4,p4,a4 basic agreement1 the ,chorus shall at his option1 provided the ,chorus ,equity ,association consents1 be released from this agreement and the ,manager agrees to pay to him and he may recover from the ,manager all sums due to date of said release1 plus his return fare1 as provided in the transportation clause1 plus1 as liquidated damages1 a sum equal to two weeks' salary4 ,any claim under this paragraph must be made by the ,chorus through and with the consent of the ,chorus ,equity ,association and any dispute regarding the same shall be arbitrated under the provisions of this agreement4 7b7 ,this agreement is dependent upon and subject to all the terms and conditions of said agreement with ,managers' ,protective ,association1 dated ,may #ab1 #aibd4 ,arbitration #f4 ,in event that any dispute shall arise between the parties as to any matter or thing covered by this agreement1 or as to the meaning of any part thereof1 then said dispute or claim shall be arbitrated4 ,the ,manager shall choose one arbitrator1 and the ,chorus ,equity ,association the second4 ---- shall be the third4 ,these three shall constitute the ,board and the decision of a majority of the arbitrators shall be the decision of all and shall be binding upon both parties and shall be final4 ,the ,board shall hear the parties and within seven 7#g7 days shall decide the dispute or claim4 ,the ,board shall determine by whom and in what proportion the cost of arbitration shall be paid1 and the parties hereby constitute said ,board their agents and agree that its decision shall constitute an agreement between them1 having the same binding force as if agreed to by the parties themselves4 ,further1 that they and each of them will1 if required1 sign such individual arbitration agreement as to make said arbitration comply with a legal arbitration under the laws of the ,state of ,new ,york and the rules of the ,supreme ,court thereof1 and that judgment upon the award may be entered in the ,supreme ,court of the ,state of ,new ,york4 ,the oath of the members of the ,board of ,arbitration shall not be necessary unless specifically requested by one of the parties4 ,,in ,,witness ,,whereof we have signed this agreement on the day and year first above written4 ---- ,manager4 ---- ,chorus4 ,,regulations 7,to be printed on ,chorus ,equity ,minimum ,contracts1 ,standard ,form7 ,rehearsals ,a4 7#a7 ,the ,chorus1 if required1 shall give four weeks' rehearsal without pay2 if further rehearsals are required then for each additional week or part thereof the ,manager shall pay the ,chorus half salary for the next two weeks and full salary thereafter4 ,all payments for rehearsals beyond the four weeks shall be made on or before the ,saturday of each week4 7#b7 ,it is agreed that rehearsals shall be continuous from the date of the first rehearsal to the date of the first public performance of the play1 as stated in ,paragraph #b on the face hereof4 ,notice of ,termination ,before ,rehearsal ,b4 ,this contract may1 before the beginning of rehearsals1 be terminated as follows3 7#a7 ,if the contract be signed and entered into prior to two months before the specific date mentioned in ,paragraph #b on the face hereof1 by the ,manager's giving the ,chorus written notice and paying him two weeks' salary4 ,if1 however1 previously to giving such written notice1 the ,manager shall have given to the ,chorus written notice that the play will not be produced or that the ,chorus will not be called for rehearsals1 and the ,chorus thereafter secures a new engagement under which payments to him are to begin not later than the date specified in paragraph #b on the face hereof1 then and in that event1 instead of said two weeks' salary1 the only sum1 if any1 which the ,manager need pay the ,chorus1 shall be the amount1 if any1 by which said two weeks' salary exceeds two weeks' salary to the ,chorus under said new engagement4 ,notice of ,termination ,during ,rehearsal ,c4 ,this contract may1 during rehearsals1 be terminated as follows3 7#a7 ,at any time during the first ten days rehearsal of the ,chorus1 by either party1 by giving written notice1 if this contract be signed and entered into within two months of the specific date mentioned in paragraph #b on the face hereof1 except in case the ,chorus be re-engaged by the ,manager for a ,chorus in which he has previously worked1 in which event he shall be paid two weeks' compensation2 or 7#b7 ,any time after the first ten days rehearsals of the ,chorus by the ,manager paying the ,chorus immediately a sum equal to two weeks' compensation2 or 7#c7 ,if this contract be signed and entered into prior to two months of the date mentioned in paragraph #b1 by the ,manager giving written notice to the ,chorus and paying two weeks' compensation4 7#d7 ,if the contract be signed and entered into within two months of the specific date mentioned in paragraph #b on the face hereof and the play is not placed in rehearsal or is abandoned1 the ,manager shall pay the ,chorus a sum equal to one week's salary4 ,individual ,termination ,after ,opening ,d4 ,either party may terminate this contract at any time on or after the date of the first public performance of the play by giving the other party two weeks' written notice4 ,termination ,by ,closing of ,play and ,season ,e4 7#a7 ,if the play runs four weeks or less1 the ,manager may close the play and company without notice1 and terminate the right of the ,chorus to further compensation1 provided he has paid the ,chorus for all services rendered to date1 and in no event less than two weeks' compensation4 7#b7 ,if the play shall run more than four weeks1 the ,manager shall give one week's notice of the closing of the season of the play and company1 or pay one week's compensation in lieu thereof4 ,clothes ,f4 ,all hats1 costumes1 wigs1 shoes1 tights and stockings shall be furnished the ,chorus by the ,manager4 ,notices ,g4 ,all communications which refer to the company in general shall be posted upon the call-board4 ,notice to the ,manager must be given to him personally or to his company or ,stage ,manager4 ,number of ,performances ,h4 7#a7 ,eight performances shall constitute a week's work4 7#b7 ,a week's compensation shall be paid even if a less number than eight performances are given1 except as herein otherwise provided in ,paragraph ,j4 7#c7 ,a sum equal to one-eighth of the weekly compensation shall be paid for each performance over eight in each week4 7,this also applies to understudies47 7#d7 ,it is assumed that ,sunday rehearsals and performances will take place only where it is lawful1 and the ,chorus shall not be required to perform in the play and part above named on ,sunday in any theatre except those where ,sunday performances were customarily given on ,may #ast1 #aibd4 ,lost ,performances ,i4 ,the ,chorus shall travel with the company by such routes as the ,manager may direct1 and the ,chorus shall not demand compensation for any performance lost through unavoidable delay in travel which prevents the giving of performances by the company4 ,j4 ,it is further agreed if the company cannot perform because of fire1 accident1 strikes1 riot1 act of ,god1 the public enemy1 or for any other cause of the same general class which could not be reasonably anticipated or prevented1 or if the ,chorus cannot perform on account of illness or any other valid reason1 then the ,chorus shall not be entitled to any salary 7except as otherwise herein specified7 for the time during which said services shall not for such reason or reasons be rendered4 ,should any of the foregoing conditions continue for a period of ten days or more the ,manager may terminate the contract by paying in cash for all services and transportation of the ,chorus back to ,new ,york ,city1 including sleeper4 ,lost ,rehearsals ,k4 ,if the ,manager is prevented from giving rehearsals because of fire1 accident1 riot1 strikes1 illness of star or prominent member of the cast1 act of ,god1 public enemy or any other cause of the same general class which could not reasonably be anticipated or prevented1 then the time so lost shall not be counted as part of the four weeks' rehearsal period herein provided4 ,after the fourth week of rehearsal1 including any lay-off period on the above account1 the ,manager will pay half salaries for two weeks1 at the end of which time the ,chorus shall be free1 unless the ,manager wishes to continue the services of the ,chorus and pays him full salary therefor4 ,transportation ,l4 ,the ,manager agrees to pay for transportation of the ,chorus when required to travel1 including transportation from ,new ,york ,city to the opening point and back to ,new ,york ,city from the closing point1 including sleepers4 ,the ,manager has the right to put two in a lower berth and only one in an upper berth4 ,the ,manager also agrees to pay the cost of transportation of the ,chorus' personal baggage up to #bjj pounds weight4 ,sleepers must be supplied for the ,chorus for all travel begun before five o'clock in the morning4 ,m4 7#a7 ,if individual notice of termination is given by the ,manager1 he agrees to pay the ,chorus in cash the amount of the cost of transportation and sleeper of the ,chorus and his baggage back to ,new ,york ,city1 whether the ,chorus returns immediately or not4 7#b7 ,if this contract is cancelled by the ,chorus1 he agrees to pay his own railroad fare back to ,new ,york ,city4 7#c7 ,if the company is organized outside of ,new ,york ,city1 the name of such place is herein agreed to be substituted for ,new ,york ,city in paragraphs ,l1 ,m-#a and ,m-#b and elsewhere4 ,n4 ,the ,manager shall not be responsible for any loss occurring to the personal baggage of the ,chorus1 whose duty it is1 if he desires to protect himself against loss1 to insure the same4 ,o4 ,strikes1 within the meaning of ,paragraph ,j hereof1 is construed to mean any strike of any name or nature which shall prevent the ,manager from giving performances in the usual course of his business in any of his theatre or theatres4 ,,rules ,,governing ,,chorus ,,equity ,,minimum ,,contracts ,,standard ,,form 7,to be printed on ,chorus ,equity ,minimum ,contracts1 ,standard ,form7 #a4 ,a list or lists of all members of the ,chorus of the play1 stating the full names and salaries of each member1 shall be filed by the ,manager with the ,chorus ,equity ,association not later than the termination of the first week of performance4 ,if the ,manager prefers1 triplicate copies of all ,chorus contracts may be so filed instead4 #b4 ,rehearsals begin on the day for which the individual ,chorus is called--whether he works or not--next following the second day of tryout4 ,if after the second day of tryout the ,chorus is required or permitted to work1 he shall be deemed to have been called for a rehearsal4 ,tryouts may1 if necessary1 be on two separate days1 one day for voice1 and one day for dancing and for general qualifications4 ,if said two days of tryout are not consecutive1 the ,chorus shall not be required to report for any purpose on the intervening days between such tryouts4 ,if the ,chorus is called for any day1 or works on any day1 after the second tryout day1 the probation period of ten days starts on that day4 #c4 ,in case of company rehearsals being held before opening at a place different from that of organization1 the ,manager shall pay the ,chorus his reasonable living expenses during said rehearsals1 except that the ,manager shall be allowed two days of free rehearsal in cities within one thousand miles of ,new ,york ,city and one additional day free for each additional one thousand miles or fraction thereof4 #d4 ,if the ,chorus shall absent himself from rehearsals for seven days or more by reason of illness1 the ,manager may cancel this contract without payment for service to date4 ,the ,association may1 in its discretion1 upon appeal by the ,manager1 reduce this period4 #e4 ,contracts between ,manager and ,chorus shall be deemed to be entered into between the said parties no later than the date of the first rehearsal1 and written contracts must be given and signed before the end of the ten-day probationary period for rehearsals4 ,if such written agreement is not offered to the ,chorus1 fully made out and ready for signatures1 on or before the tenth day of rehearsal1 the ,chorus1 at his option may terminate the employment1 in which event the ,manager shall pay to the ,chorus a sum equal to one week's minimum compensation4 ,if such contract has not been so offered within said ten day period 7and if the ,chorus has not then terminated the employment7 and such contract is not offered at the end of the twentieth day of rehearsal1 the ,chorus1 at his option1 may terminate the employment1 in which event the ,manager shall pay him a sum equal to two weeks' minimum compensation4 #f4 ,if after joining a company1 which has opened and is on tour1 a ,chorus is dismissed at rehearsals within the ten day probationary period 7provided the ten day probationary period has not already been deleted from his contract7 the ,manager shall pay to the ,chorus his transportation and sleeper both ways and for each day of rehearsal a sum equal to one-seventh of the weekly salary agreed upon1 said rehearsals to be deemed continuous and to begin not later than the day after the ,chorus's arrival4 ,in case the ,chorus is dismissed after the ten day probationary period the ,manager shall pay the ,chorus two weeks' salary and his transportation and sleeper both ways4 #g4 ,if the full rehearsal period to which the ,manager is entitled be not used by him before the date of opening1 he may employ the balance thereof immediately before the ,new ,york opening1 provided the said ,new ,york opening takes place within six weeks of the original opening of the play4 #h4 ,all performances for which admission is charged 7except bona fide benefits7 are to be counted and considered as performances under the ,chorus ,equity ,minimum ,contract4 #i4 ,if the employment under any contract relates to the second or subsequent season of any play1 then the period of free rehearsals is three weeks instead of four1 but this provision shall not obtain if #ej per cent or more of the cast were not members of the production the preceding year4 #aj4 ,if the play for which the ,chorus is engaged is rehearsed seven days or less and then rehearsals are discontinued or postponed1 or if the production is abandoned during rehearsals on or before the ten day probationary period would have expired1 the ,manager shall pay the ,chorus as follows3 ,if the contract has been signed or entered into within two months of the date mentioned in ,paragraph #b of the ,standard ,minimum ,contract1 a sum equal to one week's salary1 otherwise a sum equal to two weeks' salary4 #aa4 ,in case the play is abandoned before rehearsals or the ,chorus is entitled to compensation under the preceding paragraph1 payment shall be made by the ,manager to the ,chorus not later than three weeks prior to date of opening specified in ,paragraph #b of the main contract4 #ab4 ,ten days' rehearsals means ten consecutive calendar days1 counting ,sunday 7when ,sunday is used for rehearsals7 and said ten days terminate with the dismissal of rehearsal on the tenth day1 as herein reckoned4 #ac4 ,if the ,chorus is not allowed or required to work out any notice of dismissal properly given under his contract the amount to which he is entitled shall be paid forthwith upon the giving of the notice4 #ad4 ,the right of the ,manager to close a play and company without a week's notice within four weeks after the opening date does not apply to the second or subsequent season thereof4 #ae4 ,notices of termination or closing given at or before the end of the performance on ,monday night1 effective at the end of the ,saturday night following1 shall be deemed one week's notice2 and such notice effective at the end of ,saturday week following shall be deemed two weeks' notice4 #af4 ,the essence of this contract is continuous employment and a play once closed shall not be re-opened during the same season within eight weeks of the date of previous closing1 without the consent of the ,chorus ,equity ,association4 ,such consent1 if given1 shall be upon such terms and conditions as may be considered just and equitable by such ,association4 #ag4 ,except in a case of notice given on ,monday as otherwise provided in these rules1 a week's notice shall be seven calendar days and two weeks' notice fourteen calendar days4 #ah4 ,the ,chorus shall be responsible for transporting his own baggage to and from the station or theatre in ,new ,york ,city4 ,the ,manager will pay the cost of or reimburse the ,chorus for such transportation anywhere on ,manhattan ,island4 #ai4 ,should the ,citizens' ,jury provided for in ,new ,york decide adversely to the continuance of a production because salacious or against public morals1 the ,chorus shall forthwith terminate his employment without notice1 payment or penalty4 #bj4 ,should the production in which the ,chorus is engaged be complained of as being in violation of any statute1 ordinance or law of the ,united ,states1 any state or municipality in any state and should a claim or charge be made against the ,chorus on account of his being engaged in such a production1 either civil or criminal1 the ,manager shall defend the ,chorus at his own expense1 or shall pay any and all reasonable charges laid out or incurred by the ,chorus in his defense1 and the ,manager agrees to indemnify the ,chorus against any loss or damage which he may suffer on account of being engaged in any such production4 ,this rule shall not apply to any case or any set of conditions where its enforcement would be illegal or against public policy4 #ba4 ,the ,manager shall have the right to lay off his company the week before ,christmas and ,holy ,week without pay4 ,should such lay-off take place the ,manager shall not during said lay-off period be entitled to the services of the company except for a run-through rehearsal on the day of re-opening1 and except further that additional rehearsals may be allowed by the ,chorus ,equity ,association in case of illness of the star or prominent member of the company or change of cast4 ,illustration3 ,,eddie ,,cantor #bb4 ,if in any production1 the star or featured member of the cast shall be ill and a lay-off shall take place on that account1 ,chorus receiving less than #ajj weekly 7but no others7 shall be paid by the ,manager an amount equal to their board and lodging for the first week4 ,if said lay-off continues beyond one week half salaries shall be paid to the entire company for each day the ,chorus are retained up to and including two further weeks4 ,from and after the beginning of the fourth week the ,manager shall either pay full salaries to all members of the company or may abandon the production4 #bc4 ,in case after the opening of the play and after at least two weeks' employment the ,manager shall desire a lay-off for the purpose of re-writing or making changes in the cast or any other reason deemed sufficient by him1 he may apply to the ,chorus ,equity ,association for the right to do so1 which right shall be granted if the ,actors' ,equity ,association grants the same right1 and shall be granted upon the terms and conditions that are acceptable to the ,actors' ,equity ,association4 ,but in any event if a change or changes in the cast is made the ,chorus dismissed and not employed upon the renewed run of the play shall be paid at least one week's additional salary4 #bd4 ,musical comedies1 revues or spectacular plays shall immediately after a ,new ,york run be allowed one day's lay-off without pay before the opening in either ,boston or ,chicago4 ,this does not apply to premiers1 i4e41 original openings in those cities4 #be4 ,should the ,chorus deem that he has any claim against the ,manager under his contract1 he shall present the same to the ,chorus ,equity ,association or to the ,manager or both within two months after the time when such claim has arisen1 unless he shall give to the ,board of ,arbitration good and sufficient reason for any delay after such period of two months4 #bf4 ,should either party give the other any notice under his contract which terminates the same at any future date and should the ,chorus have or secure a new engagement he shall be permitted to attend the rehearsals under the new engagement as may be necessary and as do not conflict with his performance under his then existing contract4 #bg4 ,the actual salary of the ,chorus agreed upon shall be stated in the contract and a lesser or fictitious salary shall not be stated in the contract4 #bh4 ,unless special consent otherwise is given by the ,manager1 understudies shall be present at each performance4 #bi4 ,tryouts during ,may1 ,june and ,july are permissible where the ,manager agrees to pay and pays one week's salary for two weeks' rehearsals and an additional half week's salary for each additional week of rehearsal1 one week's salary to be guaranteed4 ,payment for part of a week's rehearsal shall be pro-rata4 #cj4 ,sunday performances1 referred to in the ,regulations1 under ,subdivision #d of paragraph ,h are regular dramatic and musical productions and do not include vaudeville1 recitals1 concerts and the like4 #ca4 ,chorus ,equity will raise no objection to the trying out of vaudeville acts in revues or similar type of productions for one performance1 provided the act understands and is agreeable to this arrangement and provided1 further1 that this entails on the company no rehearsal4 99 99 99 99 99 ,,form #b;,b ,,to ,,be ,,issued ,,only ,,to ,c4,e4,a4 ,,members ,,in ,,good ,,standing ,,chorus ,,equity ,,minimum ,,contract ,standard ,form ,issued by the ,chorus ,equity ,association 7,affiliated with the ,american ,federation of ,labor7 #bbi ,west #east ,street1 ,new ,york ,city ,,los ,,angeles ,,office #fdab ,hollywood ,blvd4 ,,san ,,francisco ,,office ,theodore ,hale1 #cfi ,pine ,st4 ,,chicago ,,office #ajcb ,capitol ,bldg4 ,,kansas ,,city ,,office ,gayety ,theatre ,bldg4 ,to be used by ,independent ,new ,york ,managers and others playing the same class of attractions ,,agreement made this ---- day of ----1 #aib-1 between ---- 7hereinafter called ,manager7 and ---- 7hereinafter called ,chorus74 ,regulations and ,rules ,over ,leaf ,regulations covering rehearsals1 notice of termination before and during rehearsals1 lost rehearsals1 individual termination1 closing of play and season1 clothes1 number of performances1 lost performances1 transportation1 lay-off1 method of giving notice and other matters are set forth in the ,regulations on the reverse side of this page and in ,rules ,governing ,independent ,chorus ,equity ,minimum ,contract ,standard ,form1 on the pages following1 and except as hereinafter provided are a part hereof4 ,agreement of ,employment #a4 ,the ,manager engages the ,chorus to render services in ----1 7,here insert present title of play47 and the ,chorus hereby accepts such engagement upon the terms herein set forth4 ,opening ,date #b4 ,the date of the first public performance shall be the ---- day of ----1 #ai--1 or not later than fourteen days thereafter4 ,employment hereunder shall begin on the date of the beginning of rehearsals and shall continue until terminated by notice given as herein provided and not otherwise4 ,compensation #c4 ,the ,manager agrees to pay the ,chorus the sum of ---- ,dollars 7----7 each week1 in ,new ,york ,city1 and ---- ,dollars 7----7 each week outside of ,new ,york ,city1 on ,saturday thereof1 from and after the date named in paragraph #b and until this agreement is duly terminated4 ,the minimum salary of this contract shall be the sum of ,thirty 7#cj7 ,dollars weekly in ,new ,york ,city2 outside of ,new ,york ,city the minimum salary shall be the sum of ,thirty-five 7#ce7 ,dollars1 unless the production shall be designated by the ,chorus ,equity ,association of ,america1 as a ,number #b attraction1 in which case the road salary shall be ,thirty 7#cj7 ,dollars4 ,duties of the ,chorus #d4 ,the ,chorus agrees to be prompt at rehearsals1 to pay strict regard to makeup and dress1 to perform his services in a competent and painstaking manner1 to abide by all reasonable rules and regulations of the ,manager1 and1 except as otherwise herein provided1 to render services exclusively to the ,manager from the date of beginning of rehearsals1 and shall not render services to any other person1 firm or corporation without the consent of the ,manager4 #e4 ,the ,manager agrees that he has notice that the ,chorus herein is a member of the ,chorus ,equity ,association and as such member is bound to conform to its lawful rules and regulations1 and that it is a lawful rule and regulation of said ,association that1 as far as the ,manager herein is concerned1 the ,chorus is to work only in companies operated by the ,manager herein when all members of said chorus of said company or companies are members of the ,chorus ,equity ,association in good standing and continue to be such during the entire term of employment hereunder4 ,and the ,manager agrees that the ,chorus shall not be required to work hereunder in violation of said rule or other lawful rule of said ,association1 and further agrees to the full extent to which said agreement is lawful that all chorus members in the company in which the ,chorus herein is employed1 shall be and shall continue throughout the term hereof to be members in good standing of the ,chorus ,equity ,association4 ,should the ,manager employ any non-member of the ,chorus ,equity ,association1 or any member not fully paid up or not in good standing1 or one who fails to continue himself in good standing1 or should the ,manager breach any covenant herein made1 the ,chorus member may 7,the ,chorus ,equity ,association consenting7 not only terminate this agreement forthwith1 but the ,manager also agrees to pay the ,chorus all sums due to the date of termination1 plus his return fare and plus1 as liquidated damages1 no present basis for calculation existing1 a sum equal to two weeks' salary4 ,arbitration #f4 ,in event that any dispute shall arise between the parties as to any matter or thing covered by this agreement1 or as to the meaning of any part thereof1 then said dispute or claim shall be arbitrated4 ,the ,manager shall choose one arbitrator1 and the ,chorus ,equity ,association the second4 ---- shall be the third4 ,these three shall constitute the ,board and the decision of a majority of the arbitrators shall be the decision of all and shall be binding upon both parties and shall be final4 ,the ,board shall hear the parties and within seven 7#g7 days shall decide the dispute or claim4 ,the ,board shall determine by whom and in what proportion the cost of arbitration shall be paid1 and the parties hereby constitute said ,board their agents and agree that its decision shall constitute an agreement between them1 having the same binding force as if agreed to by the parties themselves4 ,further1 that they and each of them will1 if required1 sign such individual arbitration agreement as to make said arbitration comply with a legal arbitration under the laws of the ,state of ,new ,york and the rules of the ,supreme ,court thereof1 and that judgment upon the award may be entered in the ,supreme ,court of the ,state of ,new ,york4 ,the oath of the members of the ,board of ,arbitration shall not be necessary unless specifically requested by one of the parties4 ,,in ,,witness ,,whereof we have signed this agreement on the day and year first above written4 ---- ,manager4 ---- ,chorus4 ,,regulations 7,to be printed on ,independent ,chorus ,equity ,minimum ,contract1 ,standard ,form7 ,rehearsals ,a4 7#a7 ,the ,chorus1 if required1 shall give four weeks' rehearsal without pay2 if further rehearsals are required then for each additional week or part thereof the ,manager shall pay the ,chorus half salary for the next two weeks and full salary thereafter4 ,all payments for rehearsals beyond the four weeks shall be made on or before the ,saturday of each week4 7#b7 ,it is agreed that rehearsals shall be continuous from the date of the first rehearsal to the date of the first public performance of the play1 as stated in ,paragraph #b on the face hereof4 ,notice of ,termination before ,rehearsal ,b4 ,this contract may1 before the beginning of rehearsals1 be terminated as follows3 7#a7 ,if the contract be signed and entered into prior to two months before the specific date mentioned in ,paragraph #b on the face hereof1 by the ,manager's giving to the ,chorus written notice and paying him two weeks' salary4 ,if1 however1 previously to giving such written notice1 the ,manager shall have given to the ,chorus written notice that the play will not be produced or that the ,chorus will not be called for rehearsals1 and the ,chorus thereafter secures a new engagement under which payments to him are to begin not later than the date specified in paragraph #b on the face hereof1 then and in that event1 instead of two weeks' salary1 the only sum1 if any1 which the ,manager need pay the ,chorus1 shall be the amount1 if any1 by which said two weeks' salary exceeds two weeks' salary to the ,chorus under said new engagement4 ,notice of ,termination ,during ,rehearsal ,c4 ,this contract may1 during rehearsals1 be terminated as follows3 7#a7 ,at any time during the first ten days rehearsal of the ,chorus1 by either party1 by giving written notice1 if this contract be signed and entered into within two months of the specific date mentioned in paragraph #b on the face hereof1 except in case the ,chorus be re-engaged by the ,manager for a ,chorus in which he has previously worked1 in which event he shall be paid two weeks' compensation2 or 7#b7 ,any time after the first ten days rehearsals of the ,chorus by the ,manager paying the ,chorus immediately a sum equal to two weeks' compensation2 or 7#c7 ,if this contract be signed and entered into prior to two months of the date mentioned in paragraph #b1 by the ,manager giving written notice to the ,chorus and paying two weeks' compensation4 7#d7 ,if the contract be signed and entered into within two months of the specific date mentioned in paragraph #b on the face hereof and the play is not placed in rehearsal or is abandoned1 the ,manager shall pay the ,chorus a sum equal to one week's salary4 ,individual ,termination ,after ,opening ,d4 ,either party may terminate this contract at any time on or after the date of the first public performance of the play by giving the other party two weeks' written notice4 ,termination by ,closing of ,play and ,season ,e4 7#a7 ,if the play runs four weeks or less1 the ,manager may close the play and company without notice1 and terminate the right of the ,chorus to further compensation1 provided he has paid the ,chorus for all services rendered to date1 and in no event less than two weeks' compensation4 7#b7 ,if the play shall run more than four weeks1 the ,manager shall give one week's notice of the closing of the season of the play and company1 or pay one week's compensation in lieu thereof4 ,clothes ,f4 ,all hats1 costumes1 wigs1 shoes1 tights and stockings shall be furnished the ,chorus by the ,manager4 ,notices ,g4 ,all communications which refer to the company in general shall be posted upon the call-board4 ,notice to the ,manager must be given to him personally or to his company or ,stage ,manager4 ,number of ,performances ,h4 7#a7 ,eight performances shall constitute a week's work4 7#b7 ,a week's compensation shall be paid even if a less number than eight performances are given1 except as herein otherwise provided in ,paragraph ,j4 7#c7 ,a sum equal to one-eighth of the weekly compensation shall be paid for each performance over eight in each week4 7,this also applies to understudies47 7#d7 ,it is assumed that ,sunday rehearsals and performances will take place only where it is lawful1 and the ,chorus shall not be required to perform in the play and part above named on ,sunday in any theatre except those where ,sunday performances were customarily given on ,may #ast1 #aibd4 ,lost ,performances ,i4 ,the ,chorus shall travel with the company by such routes as the ,manager may direct1 and the ,chorus shall not demand compensation for any performance lost through unavoidable delay in travel which prevents the giving of performances by the company4 ,j4 7#a7 ,it is further agreed if the company cannot perform because of fire1 accident1 strikes1 riot1 act of ,god1 the public enemy1 or for any other cause of the same general class which could not be reasonably anticipated or prevented1 or if the ,chorus cannot perform on account of illness or any other valid reason1 then the ,chorus shall not be entitled to any salary 7except as otherwise herein specified7 for the time during which said services shall not for such reason or reasons be rendered4 ,should any of the foregoing conditions continue for a period of ten days or more the ,manager may terminate the contract by paying in cash for all services and transportation of the ,chorus back to ,new ,york ,city1 including sleeper4 7#b7 ,strikes1 within the meaning of this ,paragraph1 is construed to mean any strike of any name or nature which shall prevent the ,manager from giving performances in the usual course of his business in any of his theatres4 ,lost ,rehearsals ,k4 ,if the ,manager is prevented from giving rehearsals because of fire1 accident1 riot1 strikes1 illness of star or prominent member of the cast1 act of ,god1 public enemy or any other cause of the same general class which could not reasonably be anticipated or prevented1 then the time so lost shall not be counted as part of the four weeks' rehearsal period herein provided4 ,after the fourth week of rehearsal1 including any lay-off period on the above account1 the ,manager will pay half salaries for two weeks1 at the end of which time the ,chorus shall be free1 unless the ,manager wishes to continue the services of the ,chorus and pays him full salary therefor4 ,transportation ,l4 ,the ,manager agrees to pay for transportation of the ,chorus when required to travel1 including transportation from ,new ,york ,city to the opening point and back to ,new ,york ,city from the closing point1 including sleepers4 ,the ,manager has the right to put two in a lower berth and only one in an upper berth4 ,the ,manager also agrees to pay the cost of transportation of the ,chorus's personal baggage up to #bjj pounds weight4 ,sleepers must be supplied for the ,chorus for all travel begun before five o'clock in the morning4 ,m4 7#a7 ,if individual notice of termination is given by the ,manager1 he agrees to pay the ,chorus in cash the amount of the cost of transportation and sleeper of the ,chorus and his baggage back to ,new ,york ,city1 whether the ,chorus returns immediately or not4 7#b7 ,if this contract is cancelled by the ,chorus1 he agrees to pay his own railroad fare back to ,new ,york ,city4 7#c7 ,if the company is organized outside of ,new ,york ,city1 the name of such place is herein agreed to be substituted for ,new ,york ,city in ,paragraphs ,l1 ,m-#a and ,m-#b and elsewhere4 ,n4 ,the ,manager shall not be responsible for any loss occurring to the personal baggage of the ,chorus1 whose duty it is1 if he desires to protect himself against loss1 to insure the same4 ,o4 ,strikes1 within the meaning of ,paragraph ,j hereof1 is construed to mean any strike of any name or nature which shall prevent the ,manager from giving performances in the usual course of his business in any of his theatre or theatres4 ,,rules ,,governing ,,chorus ,,equity ,,minimum ,,contracts ,,standard ,,form 7,to be printed on ,independent ,chorus ,equity ,minimum ,contracts1 ,standard ,form7 #a4 ,a list or lists of all members of the ,chorus of the play1 stating the full names and salaries of each member1 shall be filed by the ,manager with the ,chorus ,equity ,association not later than the termination of the first week of performance4 ,if the ,manager prefers1 triplicate copies of all ,chorus contracts may be so filed instead4 #b4 ,rehearsals begin on the day for which the individual ,chorus is called--whether he works or not--next following the second day of tryout4 ,if after the second day of tryout the ,chorus is required or permitted to work1 he shall be deemed to have been called for a rehearsal4 ,tryouts may1 if necessary1 be on two separate days1 one day for voice1 and one day for dancing and for general qualifications4 ,if said two days of tryout are not consecutive1 the ,chorus shall not be required to report for any purpose on the intervening days between such tryouts4 ,if the ,chorus is called for any day1 or works on any day1 after the second tryout day1 the probation period of ten days starts on that day4 #c4 ,in case of company rehearsals being held before opening at a place different from that of organization1 the ,manager shall pay the ,chorus his reasonable living expenses during said rehearsals1 except that the ,manager shall be allowed two days of free rehearsals in cities within one thousand miles of ,new ,york ,city and one additional day free for each additional one thousand miles or fraction thereof4 #d4 ,if the ,chorus shall absent himself from rehearsals for seven days or more by reason of illness1 the ,manager may cancel this contract without payment for service to date4 ,the ,association may1 in its discretion1 upon appeal by the ,manager1 reduce this period4 #e4 ,contracts between ,manager and ,chorus shall be deemed to be entered into between the said parties no later than the date of the first rehearsal1 and written contracts must be given and signed before the end of the ten-day probationary period for rehearsals4 ,if such written agreement is not offered to the ,chorus1 fully made out and ready for signatures1 on or before the tenth day of rehearsal1 the ,chorus1 at his option1 may terminate the employment1 in which event the ,manager shall pay to the ,chorus a sum equal to one week's minimum compensation4 ,if such contract has not been so offered within said ten day period 7and if the ,chorus has not then terminated the employment7 and such contract is not offered at the end of the twentieth day of rehearsal1 the ,chorus1 at his option1 may terminate the employment1 in which event the ,manager shall pay him a sum equal to two weeks' minimum compensation4 #f4 ,if after joining a company1 which has opened and is on tour1 a ,chorus is dismissed at rehearsals within the ten day probationary period 7provided the ten day probationary period has not already been deleted from his contract7 the ,manager shall pay to the ,chorus his transportation and sleeper both ways and for each day of rehearsal a sum equal to one-seventh of the weekly salary agreed upon1 said rehearsals to be deemed continuous and to begin not later than the day after the ,chorus's arrival4 ,in case the ,chorus is dismissed after the ten day probationary period the ,manager shall pay the ,chorus two weeks' salary and his transportation and sleeper both ways4 #g4 ,if the full rehearsal period to which the ,manager is entitled be not used by him before the date of opening1 he may employ the balance thereof immediately before the ,new ,york opening1 provided the said ,new ,york opening takes place within six weeks of the original opening of the play4 #h4 ,all performances for which admission is charged 7except bona fide benefits7 are to be counted and considered as performances under the ,chorus ,equity ,minimum ,contract4 #i4 ,if the employment under any contract relates to the second or subsequent season of any play1 then the period of free rehearsals is three weeks instead of four1 but this provision shall not obtain if #ej per cent or more of the cast were not members of the production the preceding year4 #aj4 ,if the play for which the ,chorus is engaged is rehearsed seven days or less and then rehearsals are discontinued or postponed1 or if the production is abandoned during rehearsals on or before the ten day probationary period would have expired1 the ,manager shall pay the ,chorus as follows3 ,if the contract has been signed or entered into within two months of the date mentioned in ,paragraph #b of the ,standard ,minimum ,contract1 a sum equal to one week's salary1 otherwise a sum equal to two weeks' salary4 #aa4 ,in case the play is abandoned before rehearsals or the ,chorus is entitled to compensation under the preceding paragraph1 payment shall be made by the ,manager to the ,chorus not later than three weeks prior to date of opening specified in ,paragraph #b of the main contract4 #ab4 ,ten days' rehearsals means ten consecutive calendar days1 counting ,sunday 7when ,sunday is used for rehearsals7 and said ten days terminate with the dismissal of rehearsal on the tenth day1 as herein reckoned4 #ac4 ,if the ,chorus is not allowed or required to work out any notice of dismissal properly given under his contract the amount to which he is entitled shall be paid forthwith upon the giving of the notice4 #ad4 ,the right of the ,manager to close a play and company without a week's notice within four weeks after the opening date does not apply to the second or subsequent season thereof4 #ae4 ,notices of termination or closing given at or before the end of the performance on ,monday night1 effective at the end of the ,saturday night following1 shall be deemed one week's notice and such notice effective at the end of ,saturday week following shall be deemed two weeks' notice4 #af4 ,the essence of this contract is continuous employment and a play once closed shall not be opened during the same season within eight weeks of the date of previous closing1 without the consent of the ,chorus ,equity ,association4 ,such consent1 if given1 shall be upon such terms and conditions as may be considered just and equitable by such ,association4 #ag4 ,except in a case of notice given on ,monday as otherwise provided in these rules1 a week's notice shall be seven calendar days and two weeks' notice fourteen calendar days4 #ah4 ,the ,chorus shall be responsible for transporting his own baggage to and from the station or theatre in ,new ,york ,city4 ,the ,manager will pay the cost of or reimburse the ,chorus for such transportation anywhere on ,manhattan ,island4 #ai4 ,should the ,citizens' ,jury provided for in ,new ,york decide adversely to the continuance of a production because salacious or against public morals1 the ,chorus shall forthwith terminate his employment without notice1 payment or penalty4 #bj4 ,should the production in which the ,chorus is engaged be complained of as being in violation of any statute1 ordinance or law of the ,united ,states1 any state or any municipality in any state and should a claim or charge be made against the ,chorus on account of his being engaged in such production1 either civil or criminal1 the ,manager shall defend the ,chorus at his own expense1 or shall pay any and all reasonable charges laid out or incurred by the ,chorus in his defense1 and the ,manager agrees to indemnify the ,chorus against any loss or damage which he may suffer on account of being engaged in any such production4 ,this rule shall not apply to any case or any set of conditions where its enforcement would be illegal or against public policy4 #ba4 ,the ,manager shall have the right to lay off his company the week before ,christmas and ,holy ,week without pay4 ,should such lay-off take place the ,manager shall not during said lay-off period be entitled to the services of the company except for a run-through rehearsal on the day of re-opening1 and except further that additional rehearsals may be allowed by the ,chorus ,equity ,association in case of illness of the star or prominent member of the company or change of cast4 #bb4 ,if in any production the star or featured member of the cast shall be ill and a lay-off shall take place on that account1 ,chorus receiving less than #ajj weekly 7but no others7 shall be paid by the ,manager an amount equal to their board and lodging for the first week4 ,if said lay-off continues beyond one week half salaries shall be paid to the entire company for each day the ,chorus are retained up to and including two further weeks4 ,from and after the beginning of the fourth week the ,manager shall either pay full salaries to all members of the company or may abandon the production4 ,illustration3 ,,ned ,,wayburn ,,studios ,,of ,,stage ,,dancing #bc4 ,in case after the opening of the play and after at least two weeks' employment the ,manager shall desire a lay-off for the purpose of re-writing or making changes in the cast or any other reason deemed sufficient by him1 he may apply to the ,chorus ,equity ,association for the right to do so1 which right shall be granted if the ,actors' ,equity ,association grants the same right1 and shall be granted upon the terms and conditions that are acceptable to the ,actors' ,equity ,association4 ,but in any event if a change or changes in the cast is made the ,chorus dismissed and not employed upon the renewed run of the play shall be paid at least one week's additional salary4 #bd4 ,musical comedies1 revues or spectacular plays shall immediately after a ,new ,york run be allowed one day's lay-off without pay before the opening in either ,boston or ,chicago4 ,this does not apply to premieres1 i4e41 original openings in those cities4 #be4 ,should the ,chorus deem that he has any claim against the ,manager under his contract1 he shall present the same to the ,chorus ,equity ,association or to the ,manager or both within two months after the time when such claim has arisen1 unless he shall give to the ,board of ,arbitration good and sufficient reason for any delay after such period of two months4 #bf4 ,should either party give the other any notice under his contract which terminates the same at any future date and should the ,chorus have or secure a new engagement he shall be permitted to attend the rehearsals under the new engagement as may be necessary and as do not conflict with his performance under his then existing contract4 #bg4 ,the actual salary of the ,chorus agreed upon shall be stated in the contract and a lesser or fictitious salary shall not be stated in the contract4 #bh4 ,unless special consent otherwise is given by the ,manager1 understudies shall be present at each performance4 #bi4 ,tryouts during ,may1 ,june and ,july are permissible where the ,manager agrees to pay and pays one week's salary for two weeks' rehearsals and an additional half week's salary for each additional week of rehearsal1 one week's salary to be guaranteed4 ,payment for part of a week's rehearsal shall be pro-rata4 #cj4 ,sunday performances1 referred to in the ,regulations1 under ,subdivision #d of ,paragraph ,h are regular dramatic and musical productions and do not include vaudeville1 recitals1 concerts and the like4 #ca4 ,chorus ,equity will raise no objection to the trying out of vaudeville acts in revues or similar type of productions for one performance1 provided the act understands and is agreeable to this arrangement and provided1 further1 that this entails on the company no rehearsal4 99 99 99 99 99 ,,agent',s ,,contract 7,usual form of contract required by artist's representative1 business manager or agent as he is called1 who negotiates with managers for the artist's services47 ,,this ,,agreement made this ---- day of ----1 #ai--1 between ----1 hereinafter called the ,manager1 and ----1 hereinafter called the ,artist4 ,,witnesseth3 ,in consideration of the covenants and conditions hereinafter contained1 the parties hereto have agreed and do hereby agree as follows3 #ast--,the ,artist engages the ,manager as ---- exclusive ,business ,manager and agrees to remain under his personal charge and supervision for a term of ---- years from the date hereof1 and in all matters and things connected with the theatrical engagements and motion pictures1 or in any wise affecting the rendition of the ,artist's services therein1 to be governed and controlled exclusively by the ,manager's judgment and discretion4 #bnd--,the ,manager accepts the engagement as ---- ,manager of the ,artist as above mentioned and agrees to manage1 take sole charge of1 supervise and control the development and exploitation of the ,artist as an ---- in theatrical productions and motion pictures1 and to use his best efforts to promote the ,artist's interests and enhance the value of ---- services4 ,the ,manager further agrees to give due publicity to the fact that the ,artist is under his personal direction and to render such other services as are customarily performed by the ,business ,manager of actors or actresses engaged in theatrical productions or in the production of motion pictures4 #crd--,the ,manager is authorized1 on behalf of the ,artist and in the ,artist's name1 to negotiate for and enter into a contract or contracts with theatrical managers and motion picture producers for the services of the ,artist at a minimum salary of ---- ,dollars per week1 or for such other compensation as may be mutually agreed upon between the parties4 ,the ,artist agreeing to conduct all negotiations through the ,manager and to advise him of all calls and offers of employment during the terms of this agreement4 #dth--,the ,manager will receive ten per cent 7#aj7 of all salaries1 compensation1 earnings or share of profits or receipts accruing to the ,artist during the term hereof1 or through any contract for the ,artist's services made during the term of this agreement1 said sum to be payable to the ,manager periodically as the compensation of the ,artist shall become due and payable1 and the ,artist does hereby assign1 transfer and set over unto the ,manager ten per cent 7#aj7 of all compensation for services received during the period of this agreement1 and the ,artist hereby authorizes and empowers any person1 firm or corporation for whom the ,artist shall render services as aforesaid1 to withhold and pay over to the ,manager ten per cent 7#aj7 of all compensation payable to the ,artist from time to time as such compensation shall become due4 #eth--,all advertisements1 announcements or publicity relating to the ,artist paid for or payable by the ,artist shall contain a statement or notice to the effect that the ,artist is under exclusive management or direction of said manager4 ,,in ,,witness ,,whereof1 the parties hereto have hereunto set their hands and seals the day and year first above mentioned4 ---- 7,l4,s47 ---- 7,l4,s47 ,in presence of3 ---- ,illustration3 ,,nw 99 99 99 99 99 ,,agent',s ,,agreement ,,agreement made this the ---- day of ----1 #ai--1 between ---- ,new ,york ,city1 hereinafter called the ,manager1 and ----1 hereinafter called the ,act4 ,,whereas the ,manager is engaged in the business of managing1 producing and exploiting theatrical1 motion picture and vaudeville enterprises and specialties1 and ,,whereas1 the said ,manager is acquainted with the producers of theatrical and motion picture enterprises and with persons desirous of obtaining the employment of theatrical and vaudeville specialties1 similar to the one owned by the ,act1 and ,,whereas1 the said ,manager has a wide experience and knowledge of the method of staging and producing specialties and theatrical and motion picture enterprises1 and also of the duties of a ,manager1 and ,,whereas the said ,act is engaged in rendering and producing a certain specialty in various cities and is constantly traveling and requires the services of a person to attend to the making of contracts and the proper advertising1 correspondence1 transportation1 music1 billing1 program and press matters of the said ,act2 ,,now therefore1 in consideration of the premises and the sum of ,one ,dollar by each of the parties to the other in hand paid and in consideration of the mutual covenants herein expressed1 it is agreed as follows3 ,,first3 ,the ,act hereby employs and engages the ,manager to render his services as personal representative and business manager for the ,act for a period of ---- or1 ---- from the date hereof1 and the ,manager hereby accepts said employment1 upon the following terms and conditions4 ,,second3 ,the ,manager agrees to attend to all correspondence of the ,act and to maintain an office at his own expense1 which the ,act may use1 and to arrange and to attend to the details in connection with the transportation1 advertising1 billing1 program and press matters and to attend to the delivery of the same at such theatres as the ,act may be engaged to play1 and to make and execute in the name of the ,act as its personal representative and ,manager any and all contracts in connection with the said ,act4 ,also to advertise and exploit and to procure and advertise reports of the said ,act and to otherwise popularize the same in such manner and such times as the ,manager deems best4 ,,third3 ,the ,act agrees to pay the said ,manager for his services as such a weekly salary of ---- during each week that the ,act may perform at a salary of ---- per week1 and less or more than such compensation in proportion to the salary earned by the ,act1 and to pay the ,manager such sums as he may disburse for other things necessary in managing said ,act4 ,,fourth3 ,the ,act in order to secure the ,manager the aforesaid salary hereby assigns the amount of such weekly compensation to the said ,manager and hereby authorizes said ,manager to draw and execute such assignment in the name of the ,act and hereby authorizes the managers of the theatres to deduct said compensation and pay the same to the ,manager from the money due the ,act4 ,,fifth3 ,the ,act further agrees that the ,manager shall be the sole and exclusive ,manager and representative of the ,act during the said period and that he shall not be required to devote all his time to or with said ,act4 ,,sixth3 ,the ,manager further agrees at his own expense and when necessary to employ employment agent or agencies in order to procure the best employment for the ,act and it is agreed that the ,manager is not to receive any compensation for procuring employment through said agents or agencies or otherwise4 ,,seventh3 ,it is further agreed that no oral agreement not included herein is binding on the parties hereto3 ,in witness whereof the parties hereunto have set their hands and seals this ---- day of ----1 #ai--4 ,it is understood that if the ,artist shall play vaudeville the 7,signed7 ---- 7,l4,s47 commission to us shall only be five 7#e7 per cent4 7,signed7 ---- 7,l4,s47 ,in the presence of ---- 99 99 99 99 99 ,,managerial ,,contract ,,this ,,agreement made this ---- day of ----1 #aib-1 between ,,ned ,,wayburn ,,office1 ,inc41 hereinafter called the ,manager1 and ----1 hereinafter called the ,artist4 ,,witnesseth3 ,in consideration of the covenants and conditions hereinafter contained1 the parties hereto have agreed and do hereby agree as follows3 #ast--,the ,artist engages the ,manager as ---- exclusive ,business ,manager and agrees to remain under his personal charge and supervision for a term of ---- years from the date hereof1 and in all matters and things connected with the theatrical engagements and motion pictures1 or in any wise affecting the rendition of the ,artist's services therein1 to be governed and controlled exclusively by the ,manager's judgment and discretion4 #bnd--,the ,manager accepts the engagement as ,manager of the ,artist as above mentioned and agrees to manage1 take sole charge of1 supervise and control the development and exploitation of the ,artist as a ---- in theatrical productions and in motion pictures1 and to use his best efforts to promote the ,artist's interests and enhance the value of ---- services4 ,the ,manager further agrees to give due publicity to the fact that the ,artist is under his personal direction and to render such other services as are customarily performed by the ,business ,manager of actors or actresses engaged in theatrical productions or in the production of motion pictures4 #crd--,the ,manager is exclusively authorized1 on behalf of the ,artist and in the ,artist's name to negotiate for and enter into a contract or contracts with theatrical managers and motion picture producers for the services of the ,artist for such period or periods of time as in his judgment the ,manager shall deem wise1 at a minimum salary of ---- ,dollars per week1 or for such other compensation as may be mutually agreed upon between the parties hereto1 the ,artist agreeing to conduct all negotiations exclusively through the ,manager and to advise him of all calls and offers of employment during the term of this agreement4 #dth--,the ,manager will receive ten percent 7#aj7 of all salaries1 compensation1 earnings or share of profits or receipts accruing to the ,artist during the term hereof1 or through any contract for the ,artist's services made during the term of this agreement1 or for any renewal of any contract which the manager negotiates during the period of this agreement1 said sum to be payable to the ,manager periodically as the compensation of the ,artist shall become due and payable1 and the ,artist does hereby assign1 transfer and set over unto the ,manager ten percent 7#aj7 of all compensation for services received during the period of this agreement1 and the ,artist hereby authorizes and empowers any person1 firm or corporation for whom the ,artist shall render services as aforesaid1 to withhold and pay over to the ,manager 7#aj7 ten percent of all compensation payable to the ,artist from time to time as such compensation shall become due4 #eth--,all advertisements1 announcements or publicity relating to the ,artist paid for or payable by the ,artist shall contain a statement or notice to the effect that the ,artist is under exclusive management or direction of ,,ned ,,wayburn ,,office1 ,,inc4 ,,in ,,witness ,,whereof1 the parties hereto have hereunto set their hands and seals the day and year first above mentioned4 ,in presence of ,,ned ,,wayburn ,,office1 ,inc41 ,by ---- ,l4,s4 ,president4 ---- ,l4,s4 ,illustration3 ,,curtain ,j4 ,,thomas ,,co41 ,,printers1 ,,chicago ,,daily ,,schedule ,,for ,,adult ,,girls 7,from ,monday to ,friday1 ,inclusive7 ,at ,ned ,wayburn ,studios of ,stage ,dancing1 ,new ,york #ahda ,broadway 7at ,columbus ,circle7 ,entrance on #fjth ,street ,new ,classes ,start ,monday of the ,first ,week of ,every ,month ,a4,m4 ,,morning #i3cj to #aj3cj ,advanced ,class in ,acrobatic ,dancing4 #aj3jj to #aa3jj ,advanced ,class in ,musical ,comedy ,dancing4 #aj3cj to #aa3cj ,beginners' ,class in ,limbering and ,stretching4 #aa3cj to #ab3cj ,beginners' ,class in ,musical ,comedy ,dancing4 #aa3cj to #ab3cj ,advanced ,class in ,tap and ,step ,dancing4 #ab3jj to #a3jj ,professional ,ballet ,class4 ,p4,m4 ,,afternoon #ab3cj to #a3cj ,beginners' ,class in ,tap and ,step ,dancing4 #a3jj to #b3jj ,intermediate ,ballet ,class4 #a3cj to #b3cj ,semi-professional ,class in ,musical ,comedy ,dancing4 #b3jj to #c3jj ,beginners' ,ballet ,class4 #b3cj to #c3cj ,professional ,class in ,musical ,comedy ,dancing4 #c3jj to #d3jj ,special ,conditioning ,class--7,reducing1 ,increasing ,weight74 #c3cj to #d3cj ,professional ,class in ,tap and ,step ,dancing4 #c3cj to #d3cj ,special ,dance ,ballet ,class4 ,,evening #e3cj to #f3cj ,professional ,class in ,tap and ,step ,dancing4 #f3cj to #g3cj ,advanced ,class in ,tap and ,step ,dancing4 #g3jj to #h3jj ,advanced ,class in ,acrobatic ,dancing4 #g3cj to #h3cj ,beginners' ,class in ,tap and ,step ,dancing4 #h3jj to #i3jj ,beginners' ,class in ,limbering and ,stretching4 #h3jj to #i3jj ,beginners' ,ballet ,class4 #h3cj to #i3cj ,beginners' ,class in ,musical ,comedy ,dancing4 ,special classes in ,how to ,make ,up--,the ,ned ,wayburn ,way--at #b3cj p4m4 on specified ,saturdays4 ,private lessons in all types of dancing or facial makeup at any time the ,studios are open1 only by appointment made in advance4 ,,saturday ,,classes ,,for ,,children ,at ,ned ,wayburn ,studios of ,stage ,dancing1 ,inc4 #ahda ,broadway 7at ,columbus ,circle7 ,entrance on #fjth ,street ,,mornings ,junior ,class-- 7,ages #d1 #e1 #f and #g years7--#a hour only #aj to #aa ,a4,m4--,body ,building and ,dancing ,games4 ,intermediate ,beginners' ,class-- 7,ages #h1 #i1 #aj and #aa years7--#b hours instruction4 #aj to #aa ,a4,m4 ,technique1 ,limbering and ,stretching ,ballet ,work1 ,deportment1 ,etc4 #aa to #ab ,a4,m4 ,ballet ,dances 7,toe1 ,classical1 ,etc47 ,musical ,comedy ,dances ,senior ,beginners' ,class-- 7,ages #ab1 #ac1 #ad and #ae year7--#b hours instruction #aa to #ab ,noon ,technique1 ,limbering and ,stretching ,ballet ,work1 ,deportment1 ,etc4 #ab to #a ,p4,m4 ,ballet ,dances 7,toe1 ,classical1 ,etc47 ,musical ,comedy ,dances ,,afternoons ,intermediate ,advanced ,class-- 7,ages #h1 #i1 #aj and #aa years7--#b hours instruction #a to #b ,p4,m4 ,ballet ,technique ,acrobatic ,technique #b to #c ,p4,m4 ,ballet ,dances 7,toe1 ,classical1 ,etc47 ,tap and ,step ,dances ,senior ,advanced ,class-- 7,ages #ab1 #ac1 #ad and #ae years7--#b hours instruction #a to #b ,p4,m4 ,acrobatic ,technique ,ballet ,technique #b to #c ,p4,m4 ,tap and ,step ,dances ,ballet ,dances 7,toe1 ,classical1 ,etc47