Ned Wayburn

“ There is nothing of the fancy of the hour in the popular acceptance of the dance, either for personal practice, or as a stage entertainment. 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 pass. On the contrary, nothing can be more certain than that each year will find a greater increase in dancing, both by the people themselves, and for them by the artists of the profession. ”

“ I cannot emphasize too strongly the importance of personality in a successful stage career. Along with the actual mastering of the dancing steps and the acquisition of health and a beautiful body, comes just as surely the development of one's personal qualities. And because each person has an individuality which is distinctive from that of everyone else, all must select the type of dancing which is best suited to their own personalities. That is why the performance of stars like Evelyn Law, Marilyn Miller, Ann Pennington, Gilda Gray and Fred and Adele Astaire leaves a lasting impression. ”

“ It may be jumping down a flight of steps on the toes, or a continued hopping on one toe for 16 counts to music, or a swinging of one leg back and forth, like a pendulum, in an acrobatic way while the dancer hops on one toe—such stunts as these are the applause-getters nowadays, and they are well worth applauding, too, for they are pleasing demonstrations of real skill, and are acquired by the dancer only after long and continued effort and practice. ”

“ One authority has styled dancing "the music of the eye." The dancer who neglects the difficult study which the arms require because she believes that the only necessity is brilliant execution in the legs, will be an imperfect artist. It is not enough to know how to dance with one's legs; the ballet must also be executed with the trunk of the body and the arms. Their movements must be graceful and in harmony with those of the legs, since they constitute a weight for the equilibrium of the body when it rests on one leg. ”

“ It is never good showmanship on the part of the dancer, or of an actor or actress in any part, to let the audience know that you know they are out there. The way you handle an audience will have much to do with the opinion of your work that will be held by the big men in the theatrical world, who may be among those present at any performance, you never can tell when—and they, remember, are hiring good dancers now and then. Their judgment of how you handle an audience is worth consideration. ”

“ Perhaps you are asking yourself, "What has country dancing to do with stage dancing?" And I will answer you:
Just this: The city has no monopoly of talent in any field. The candidate for dancing honors and emoluments comes as often from rural communities as from metropolitan. But first, whether in city or hamlet, there must be present in the aspirant the true love of dancing as an art, a sense of rhythm, an urge to step to music,—and these he or she discovers only as the ballroom dancing in the home community develops them. ”

“ You start with a reasonable salary that advances from year to year and engagement to engagement, as you deserve it. You must build all the way on solid rock, then the structure that you finally rear, because of its firm foundation will endure forever.
Build up a public interest in yourself if you expect any producing manager to pay you what you are worth. Perhaps he will never pay you what you think you are worth, but if you bring money into the house he knows he must pay you well in his own interest. And believe me, he knows whether you are an asset or a liability to his show. ”

“ DANCING HANDS IT IS not only the rhythmic movements of the feet and legs that constitute a dancer. Every stage dancer employs as well her face, hands and arms in giving expression to grace, beauty, and the many interpretations of her pantomimic art. Watch the next dancer or group of dancers you see at a show, and it may surprise you to discover how much the hands and arms have to do in adding to the effectiveness of the presentation. ”

“ Ever since that time there has been an increasing demand by those whose wealth, culture and good taste have made them the dominant force in American society, for the services of the leading exponents of the creative art of the dance. 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 leaders, to see, enjoy and appreciate the charm and beauty of "woven paces and of weaving arms." ”

“ You know there are a great many negative people on the stage; they never get anything over. I always have tried to pick personalities that will go over. I can take a crowd of professionals or amateurs and place them before me in a semi-circle, seated; get them to read a play for me and immediately pick those who will score a success. This, of course, is the result of years of experience, yet if you try this you will have some with strong personalities dominating your little semi-circles. They will usually dominate your show. There is always one personality that dominates everybody. ”

“ Perhaps nobody in the audience cares whether or not the dancer is enjoying the dance. But let me tell you, the dancer is having just as good a time up there on the stage as you are down in front; and probably you never gave the matter a thought!
The dancers' enjoyment of the art is an essential factor in the causes that lead to the popularity of our modern type of stage entertainment. To have acquired proficiency in their chosen profession the dancers have labored strenuously and long, and now the reward of years of effort is theirs. They love their art as well as its emoluments. ”

“ If you are a lady of social prominence, studying for the grace and beauty and health that our lessons impart, and not intending to favor the stage with your presence, you are accorded the same treatment that all others receive. This is a pure democracy if ever there was one.
By the old way of obtaining training and stage experience a young lady was kept for years in a subordinate place, and if she at last worked her way up out of the chorus into solo dancing, it was by "main strength," a vivid personality, aggressiveness and untiring effort. ”

“ Most of our pupils recognize this and sincerely strive, with our help, to perfect themselves through incessant patient practice. We have no intention ever to let a small minority of indifferent, "I don't care" pupils, hold back the ambitious ones. Those who merit success shall have every opportunity always.
You, no doubt have been to good shows, seen good dancing and attractive posing and grouping, with rich scenery, proper lighting and appropriate music, and have wished that you, too, might share in the applause of the audience for your own merit as a dancer. ”

“ There is no such thing as an untrained successful dancer; there never has been; there never will be. Given that one has the ability requisite to a knowledge of the dance, the rest comes from active training, and nothing else. And by "ability" I do not mean experience, but rather that natural talent to step to music and observe tempo and rhythm that every dancer must possess. It is a talent inborn in the dancer, and needs only proper development under competent instruction to bring out all the possibilities that are in one. ”

“ On the strength of her beauty she thinks she would make a success as an actress. (Hollywood is overflowing with this type of girl.) She is a good home dancer, and surely dancing on the stage is no different! Perhaps she is right in her estimate of herself, and then again she may be mistaken, for it requires more than mere physical appearance to be a top notcher in anything outside of an exclusively beauty show. Not that any lady's pulchritude is a handicap to a stage career or in any way undesirable. On the contrary, the stage has always welcomed beautiful women, and will continue to do so. ”

“ Lavish production and accessories of any kind sometimes will interfere with the success of the pupil, or dancer. In other words, a too lavish production will detract from the dance itself and from the one who is performing the dance. So it really takes a person of artistic perception, who has become practical through actual experience, to set a dance properly and surround it as it should be surrounded. Many a novice will have good ideas, perhaps, for atmosphere, but through lack of experience will not be able to get those ideas over on the stage. ”