Art of Stage Dancing — Chapter 39: Personality in the Dance

[Illustration] Every individual possesses something that for lack of a better word is termed "personality;" something elusive and evasive, that cannot easily be defined or explained, but nevertheless remains the essential quality that distinguishes its possessor from every other human being.

But while all may have the potentiality for some distinct and special attribute, unfortunately for by far the greater number this is never developed or expressed, and they pass through their uneventful, monotonous existence, without even realizing their capacity for being or doing something outside the routine of their daily occupations.

In this era of the newest of sciences, psychoanalysis, which is attracting the study and investigation of millions, 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 complex."

The flower of personality, we are told, is born to blush unseen because of an individual's belief that he or she is in some way inferior.

Despite all the books that have been written, and the good advice that has been given, urging the development of self-confidence as the starting point for worthy accomplishment, there is still all too prevalent an attitude of timidity and hesitation that says in effect: "I can't be what I would like to be, so what's the use of trying."

This inability or unwillingness to believe in one's self; the disposition to doubt one's powers, to admit defeat before trying, 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 dance.

They admire the successful dancers; they feel that they too are capable of expressing themselves through this art.

But,--and here comes the cold water that quenches the spark of their ambition,--they are timid; afraid of failure; they fear that they haven't the persistence and capacity for application that is needed to assure success.

Perhaps they do make an attempt, but the work is hard, they just know that they won't be able to stick it out, and after a few futile efforts they give it up, and spend the rest of their lives wondering what they might have accomplished if they had persevered.

To these too easily discouraged persons the message of the dance is: "What others have done you can do.

You have the physique, or at least it can be developed.

You have the intelligence to accept instruction.

You have the patience needed for the continued repetition of movement that makes perfection.

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 movement.

You have in you the capacity for artistic and harmonious expression of your personality.

Why not develop it?"

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.

Every step, every movement is designed to drive home the characteristics of their individuality.

Even more important than the actual dancing steps they do is the manner in which they execute them--the individuality that they express.

It is the almost indefinable factor called personality which lifts one out of the ranks of the chorus and makes the solo dancer.

In this book I am trying to help you develop your personality, in the same way that I have discovered and developed that quality in so many of today's theatrical stars.

Most emphatically I want to impress upon you that it is not "chorus work" you are learning in my courses.

It is professional and individual dancing, that when mastered gives one that certain something that one lacked before, a feeling of having accomplished assurance of success.

[Illustration: AL JOLSON] Anyone who masters the dances takes on a certain confident feeling in time, after exercising great patience in practice.

With this confidence, the happy pupil radiates a new magnetic personality which the audience feels--but more about this later on, when you will learn just how one's self is injected into the dances, until they are vitalized and become the living embodiment of the emotions and spirit of the dancer.

This is putting one's own personality into the dance, and is one secret of every great artist's success, which we seek to instill into the minds of all our students.

[Illustration: NW] DANCING AND EASE OF MANNER