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Show GRACEFUL WALKING. Emma V. Sheridan Gives the I.ai'iei Some Valuable Points. The average girl lacks repose'.' To lack repose is to lack grace. Women go to the theatre to rave over the grace of this actress and that. They would be more wise if they tried to divine the secret of that grace and to possess themselves of it in practice. To move, it is not always necessary to shift the position of the feet. That is one big secret. The sense conveyed of "repose" and grace and self possession which constitutes so chief a charm of many women on the stage lies largely in this trick of keeping the feet still of taking no more steps than necessary, of moving the body towards the adjacent object rather than getting to it by a sort of dog trot of a stop or two of shifting tho weight easily to one side or another. The "hostess" on the stage greets half a dozen incoming and crowding guests and her grace and "repose" is the admiration of the society matron in the front row. The stage hostess merely sways her well balanced body toward the different ones whom she must greet, now to the right, now to the left there is a graceful grace-ful undulation of movement as through the graceful lines of her figure the change of balance passes this would be cramped into mere jerky awkwardness if with every move she shifted her feet too. The ease and graco of the "walk" women have on the stage is explained by their control of equilibrium the body shifte deftly in poise over each foot as it is advanced at any moment the motion can be arrested, and the figure stands in graceful, perfectly balanced bal-anced repose. The average girl walla all in one, as it were her feet do it all and the body altogether and ramrod stiff is jerked along. There is a pretty charm in the way an actress' feet show under the edge of her gown. Mrs. Kendal, for instance: her feet push gently out, and step by step from the soft edges of her gowns, a womanly grace is somehow suggested. Who does not remember the provoking provok-ing flash of Ellen Terry's quaintly shod feet in "Beatrice" a flash only possible to feet flung surely and freely into motion mo-tion from well poised hips. The sou-brette sou-brette who "crosses her knees" seems somehow very dainty about it, though her pretty stocking and dainty shoes are so much displayed. Well, the pendant pen-dant foot is prettily poised with too pointed down and instep arched therein lies the daintiness. We all remember Mary Anderson's wonderful exit from the nurse scene in "Juliet" she seemed like a painting of "spring" breathed into life to furnish the airy dance, one pose of which was caught on the canvas; this and her Perdita glory of movement were accomplished only by complete control of equilibrium and perfect elasticity of muscle to its adjustment. ad-justment. Every woman can learn to walk well every woman slxrttfd. ' EmU v- SmiwnJi. . |