v

t

PHOTOGRAPHING THE POETRY

Nymphs of the forest at play. Alys E. Bentley and her pupils.

Difficult Art of Catching the Spirit andthe Thought Expressed Mastered

by Two WomenInterpret tho buoyancy find

TO supple Brace of tho Oreekdancer with the camera Is an

trt quite ns subtle a Is the poetry ofbodily motion which the new dunceconvejs. It is difficult for Instnncv tocatch on the sensltlvo plate such anevanescent thing ns the trick of ex-

pression or the passing mood. Thewonder is how even the emblnnce of1U concrete beauty may be recordedphotographically.

Since the renaissance of the classicdance in America, led first by IsadoraDuncan and followed later by u trulnof other disciples of rhythmic express-

ion, the necessity of securing visiblerecords of their emotional symphoniesnaturally arose. Among the few whonave attempteu me iasu won mc

camera nro Miss Frances Hen-Jam- ln

Johnston and Mr. MattleHewitt, who have done among

other things the famous homes nndgardens of the country. What theyaim to do In reproducing photographic-

ally the foremost art of the ancientGreeks is to picture the visible musicof bodily motion with all the buoy-ancy, grace and harmony that are theadjuncts of the classic dance.

That It Is an art far removed fromthit of motion picture photography Is

plain to be seen, for the latter bycatching each movement of the bodyin continuity ran easily express allthat is in the artist's mind. Hut In J

the dance the ordinary operator must

h,i...n

Is lost of of the danceor artistic Interpretation, It gives

camera time arrest pose,as were, and hold the

both .Miss Johnston Mrs.

In the fraction of a second, pin the spirit back of every phase of classicmotif or the mood or the special phase dancing whicii Is thing. They areof the dance to photographic lens tnil seeking to convince us of the cter-an- d

Ml the whole story In that scant t nnl Joy of existence. Hut, as Nietz-perlo- d

of time. The aim Is to secure a sche observes, we are to seek thiscompose picture which shall embody .J-'- not In phenomena but behind he

A. la to phemonena, so It will be seen the411 the things the dancer trlne

W m fur , , flirlt ()f theexpress. t'ance, the thought the dancers areTo hat manreach , ln ,nfwiret to ,ls, ,hnt we try

things enter Into result, for w ,ho nmm,the conditions must be -- ym,m he - I

Interested InThere must e tIlly perfect.of:,tll(, ,(.,orlal trea mont ot humanItlohe tne n

photograph- -the picture and the climax: of feeling WMv wh(,Mpvor nlortllltly Iiro.p.which the dancer Is Tvvlvai ()f ,ne nnolpnt c,rM,kinterpret, and tho photographers trj- -

urU nowuVf.r tl)rro was smal chanceing to analyze optically, nnd all In the t() )m, )mt now wltn tiwo marvel-ipac- e

of a snapshot. To do this satis- -f living murals lielng spread out

factorlly one must be a wizard of fore- - ()e Npw KnRnmj ns or Wher- -tlffht, a psychological expert, in order eV(,r (llt, prestesses of the newto get not what is actually seen nt)(irt nr(1 gathered there nre rare op- -the moment but what is going to nap- -

pen a fraction of a second later,Intuition nnd Judgment, and above

,),p

has lier scluxdat V II.. and yeanfound studio at Woodstock, ofMiss Alv itentlov. who has

as

fclntt, Mis, Andersonwho are study of

11s nit asin'.fession,

Hi" Uatoness whodwellers of

"nens to celehrate

one of whoherself so- -

moments are v so

'"AriA

Mi.

at the expenseWhile

the symbolism

the to theIt suggestion.

and

thethe

conclusiontho

thebackground

..'

Hewitt assort that primal lawof success In outdoor photography

particularly in getting dance pic-

tures Is not to act at precise psy-chological Incidentally,speaking of psychology, there Is acurious coordination thought

the two women, who are notonly partners In business but closefriends as well, they have trickot thinking rtnd speaking almost Inunison, so close Is professional

personal Ivond between them."Success in taking motion pictures,

mean pictures of dancers.. is in ti. i.t-i- .

psychological moment and holding Ituntil the Is recorded," saysMiss Johnston, nnd In all herstatements .Mrs. Hewitt concurred,"rndoubtedly there is, on the otherband, combination of luck nnd cir-cumstance that enters In. It Is likeadapting the Interpretation of art tophotography and the vital thing Is ofcourse to catch the spirit of dan-cers,

"To express the beauty and sym-metry hidden in the soul is what theleaders of new dance movementare all trying to do. It Is what theJacques Pelacroze Ores-de-

fiertnany, Is attempting and whatIsadora Duncan through the Plonyslan

is bringing Ho It Is

.portumtles to record them plioto- -graphically

It has long been our theory that

Continued from F.idMh Pngt.

turns on the water. of course

,Ve off and they keep gathering(vs and ttuee even,)V(, cents at time. Then presently,I suppose, they go off and spend It

own way.

Tn9 mutrf. l'hntnl transformedri,ean Par slan witn a uragnn

a ro onnf im ma. dances', nt ,L ru Wagram nnd himselfhands coppers to the musicians"". 1' .i inu..rl

iV ot maltre The harpy..,i,v nht tinrnlm"

""r.. Jl. erodduff. nn tho crowded sidewalk of

About HH Wide a WaOnShe tips the waiter who rvea hernt the of one cent pr naif hour

11 a sense of the spirit of tho t))e only wny lo Kat Greek figuref required to picture tnexe modern uatl tlt) ol),.n, with nature as a

and dr'ads in their rural t'ng, for the green fields and the bluerambols on their native heaths. It si(y provide a natural environment,requires also a knowledge of ntmos- - erhaps the great exception to thispherlc conditions. Miss Johnston and , rule was Miss Duncan's masterlyilrs. Hewitt, accustomed, to photo- - presentation of her dances at the Met-raph-

m the open, and both lovers ropolltan Opera House, hereof nature, seem to grasp that part It was because oftlij-- tmo.s-o- f

the work intuitively. I'hfric suggestion of

The women done some ; ;charming studies of Isadora nuuoan.l.

TLtz xv j PAR I S I ANNoyes, who summer (

pHl..rl,nro herMass.;

cnflied

themoment.

the

motion,

School

about. the

dance,

again

her work at the Kthlcal Culture j m, man with any chivalry In himf'hool t., the Adirondack; Mar- -' Cllid allow a harpy to be put to allcnex- - von ilotienthal, who was edit- - (mt labor without pressing her toatnl in I'jrls, Vienna and Florence ccept three cents a mark of per-lef'i-

hIh- - came to dance In the big Konal appreciation.cltie f this country. Miss Mary Kel. Thus niallro d'hotel and the

of Winchester, Mass.. Mrs, vl,,,t ,It 0mmbre und the harpy goH.ntiH Watls, the Kngllsh woman who () a)1 ,j.,y fn,m B In the morning, whenrevived the nreek Ideal for per- - tnPy rf,t "outer Into functions," until'"Hon of the body; Miss Margaret i,envnn knows when at ulght when they

Mildred andthfrh making a

Cirek dance an wella

von llottenthal,'luted the Korest Hills

-. .the Fourth anu

" th m nmo . i,ir,i foun.ain, i. the few danceis

! discovered a law Inc.isir, , ii..

naturol .low anrtArt . . . . . ... . v. . ......

',1. .

--.J:.".! " tT:.:,.rt. fnr a, .1. . . r..s

""Mulalinn nt IV,. mnv.nnl fit the', not, however, I

01 P!rlt and feeling-- . nothing

its

Hutthe

and

of

and a

and

and by this I

plcturoof

a

the

the

near

nrt

nnd Hut

In

rents .cents anda

in

... . i

.. im'

out.... . . . .

' d'hotel.. . ,1 1. 1 .

', .ion.n trt a

rate

but

two havo -

the

,

the

the

Developing poise. A group

palo blue draperies she used for abackground that made it seem likean al fresco performance,

"The flat blue tone of the velvetcurtains might have been mist or seaor sky or any vast stretch of moonlit

- : zrr. .

PAST I Mbbof attendance and he, I suppose, Interoil tips some one else nnd so on end-- l

ssly.In this wny about .10.000 people, in

Palis eke out a livelihood by tippingone another.

The worst part of the tipping sys-

tem is that very often the knowledgethat tips are expected and the uncer-tainty of their amount causes one toforego a great number of things thatmight otherwise be enjoyable.

I brought with me to 'ari. for example, n letter of Introduction to thepresident of the Republic. I don't aythis in any boasting spirit. A unlver- -

lty professor can always get all theletters 01 lninmuciion mm ue nin,Mvery one Knows mat no is too fimpia..,. .. .....nH.,nl.... ,,UA nt lltntii...10 mane nu,Hut I never presented t his let ter to t hePresident. What wah the use? Itwouldn't have been worth it.

ii- - ...m h. vnpted a tin nnrt ofcourse In his caie It would havo had,iu.in n i, iiiif. ctiiir. sliuiiilI,, f..rhBn.. too. some of his mln -

i.er would have strolled in nn

noon as they saw a strsnser, on thechance of pleating up something. PutIt as three ministers at 15 cents each,that's 4K cents, or a total of 70 cents

itisi

THE SUN, SUNDAY, JULY 25, 1915.

of the Alys E. Bentley dancers.

country under tho blue dome of Clod'sgreat out of doors. From tho tower-ing height of the proscenium arch thohangings completely covered tho vastarea of the stage opening so therowas everywhere a senso of space nnd

Tor ten minutes talk with the Frenchflovernmetit. It's not worth it.

In all 1'aris I found only one placeWhere tipping Is absolutely out of thequestion, That was at the Itrltlsh Km-bass-

There they don't allow It. Notonly the clerks and tho secretaries,but even the Ambassador himself isforbidden to take so much as thesmallest gratuity.

And they live up to It.Thnt Is why I still feel proud of hav-

ing made an exception to the rule.1 went there because the present

Ambassador Is a personal friend ofmine, I hadn't known this till I wentto Parts, nnd I may say In fairnessthat we are friends no longer: as sivinns I came away our friendship seemed

.to have ceased.. . . . -j wlu mnice no secrei 01 tue manor.

r wnnted permission to read In theNational Library in Paris. All French- -men nre allowed to rend there ar,d, Inaddition, all the nersonnl friends ofthe foreign Ambassador. Uy a con- -

n-- .i ..v,-- .. ,.vriuriu 10.11011 1. 1 Li., ui.'ii. ir 1111- - iiit-111-

lof this Ambassador nnd is clven aletter to prove It, provided he will

. call at the embassy and get ItThat is how I came to be a friend

OF MOTION IN CLASSIC DANCES

Above The "Spirit of the Air," by Florence Fleming Noyes.

atmosphere. AgaliiHt this Imokgroundthe figures appeared quite as detachedas though In the open and they lostnothing of relative proportion by theimmensity of the nature of the set-

ting.

warmer and closer It Is not for me tosa y,

IJut I went to the embassy.The young man that I dealt with

was, I think, a secretary lie was-- -I

could eo It at once-- that perfect thingcalled an Kngllsh gentleman, I haveseldom seen, outside of basi-Nil- l circles,so considerate a manner.

He took my card, and from sheerconslderatcness left me alone for halfnn hour. Then he came back for amoment and said It was a gloriousday. I had heard this phrase so oftenIn Paris t tint 1 reached into my pocketfor 10 cents, Hut something In thequiet dignity of the young man heldme back. So I merely answered thatIt was Indeed a glorious day nnd thatthe crops would soon head out nicelyf .,,.1 ,1,1 u i , 1 1i t .In, I ia,.,," .

, ,

wasn't dew enough to start the rust,In which case I was afraid thnt If anfnrly frost set In we might be badlyfooled.

He said "Indeed," and nsked me Ifr. v., a ......r.na thn.... l.t..... l.nnn uvHuTi.-r- .,. I said that I had not seen thelast one; hut that I had read oneabout a year ago and that It seemedone of the most sparkling things I

"So much of the value of the dancernvlvnl 1m to pome from the out of door '

thoisheher

In,seekwe

He looked nnd went away.When he came hick he had the

letter of commendation his hand.Would you believe it? The civility

of It! had printed theev word of except my own name

and it explained all aboutand me being close fiieml",

and told of his detdre to have me readIn National Library.

I took the and I knew ofcourse that the moment had todo hnndsomo for tho youngmnn. Hut he looked so calm that I

still hesitated.I took ten cents nut "f my pocket

nnd held where the light couldglllter from point of Its surface"!11111 in 01s i""-- .

Ami I H.I 111 !- . , ,"My near young i j

don't Insult you. on are I ran see It.an Kngllsh gentleman. Vour manner,betrays It. I too, though I may feemonly what I am, had I not beenhrnnht tin n Toronto, in cht have..-..- .. -

like Von Hut enough of thlfyou take ten cent?"

Ho hesitated, He looked nil round.I could see that he was making

of the British Whether had ever read; had simply roared great effort. The spirit of Paris bat-o- ur

friendship will Into over it from cover to cover. tied against his better nature. He was

A symphony. The Alys E. Bentley dancers.

Their Views on the Inward Meaningof Recent Renaissance of Greek

Rhythmic Expressionby wrong training anil faUe ideals we 'and reason why we are so hard thave unconsciously acquired. All that please. It is eas.N eiiough to get asort of tiling has on our minds photograph of a beautiful movemo'itand bodies until we haxe Wenine detached ft mi Its continuity of

mentally, pliir.illy and ptesslon, but it Is getting the pose thatspiritually. To five l.ndy through means Miim tluug that In so illtliniit.exercise Is to develop sub-eo- n- We must sense the motif, the purposescions mind to the point that creative o! the dance, and express that or wework will be le In whatever Meld .wholly fall.one elects to illl. And It must follow "We must seek to escape the elf-th- at

the one who seeks to reproduce consciousness of the aitlsts themspirit of this classic revival must selves, for there ore ver few persona

himself or herself some-- j dancing before the camera who arething of a new awakening. Therefore ubsolutely lacking in

predict that It will place pbotog- - ne.--s. They pose uiironsclously.raphy on a higher plane than It h:u What you want is the absence of pose,owr 'before occupied. ' Vet while you nre lighting against the

of the dauc"It Is difficult, very, to get good you., . ,. ... ,i.u s,,n of have to get a mental icspon.se fiomphotography there Is no setting upyour tripod and waiting for the dan- -et is to come your way. Vou must stalkMiiir game as a sportsman would adeer. If we get one good negative in,w. ...tiiO... I ImlIt

1

Is neiess.iry' ! ','to take the stilijei, , t time

nnd t.me again, for when all .seemsleady there will be Just the turn of ahand, the blowing of a bit of draperyto spoil the composition. Sometimesone figure will block another or therelation of one to the other may af-

fect the stuily or some lnllnltesslmalthing that could not lie foreseen will

to spoil the plcturo and thework must he done all over again.

"cine is working against terribleodds, for one neer knows what s

them, ems iaradolcal, sohard on both sides.

going to happen. A group golnc " " ,n lmnever' veloptuent of the mind and Influencethrough a pattlcular movement

does it twice alike, so the Mualily of Its output to an extentgained on .me occasion Is no criterion j '"tie realized In this age.

for another, for It is offset "There Is no doubt but we nie com-b- y

entirely uufni 00011 circumstances, lng to sense Just this thing, for I he-W- e

try to get the dancers to take slow 1., vc the whine of ihe diiicehut in even iclatlvcly slow1 mom s ti sort of unconscious prote.u

processes y ill must be In advance of against ovel civilization, People nrethe camera. You can't git what you pining for some sou ot physical ex-- si

e, but what you think is going pres-do- It never was ii. tended thathappen. This Is where the psychology vve should live Mich narrow,

putt of the woik comes In. tied lives. We are like potatoes m"It isn't possible to poso your llgure a dark cellar sending forth pale nna

and expect to get life anil action into mic shoots in an effort to find theit, yet you must have ideal c uulttions light. The situation l unnatural,to pet lesults. We use a Crafh'X cam- - "fliu cabal et, about which such aera with a local plane and shutter stoim of protest has arisen, is truly annd can take up to a thousandth part tnorinii sort of thing, but It is all aof a second. As the old (ireek dancers p;i t of the same ileslro for helf-e- .made the body the channel for all enio- - prcsslon. A little while and this phaselional expression, so the modern ,, darning will have passed, lake

thisand

will

I'or

riM,H

the

tha

evcresenrethe see art been oil

dancing rises pi.uv will thethe arts and the

theeminent j and thobe done the will

the byand effort tho new

sandth part a second to whatnot much from perhaps tuning 110111 in

health standpoint, though that expiess to audience or what she Is

enters but the fact giving a lifetime It Is thethat 'forget the which sseiice iinfolilment

BvJ Stephen Leacockpleased

They letter,ery it- -

the Am-

bassador

the

comesomething

itevery

menu, nope

been

the

thethe

theexperience

is

experiencematerialistic

completely

tempted but he didn't fall."I'm sorry, sir," he said. "I'd llko

but afraid I

"Young I said. "I respectfeelings. Vou have done me a service.If you ever Into want andposition the ranadlnn Cabinet orseat in our Senate let me know

left him.Then by odd chance, ns I passedthe outer door, there was the

Ambassador himself. wasstanding the toopen was mistakingI could tell by his cocked hat brassbiittnrs ami tho brass across hisvheM that It was the Ambassador

. . , , . , . , ."tn. -

diolomnt.The moment had come. I still

position as the only man Paris vyhomust not a in, hut....1 ns st

I slipped the money Into hand,

'.WW-

9

which m itis The

to

ll"'.'"'lf 'nn"1 f"r'i"t ""' .Ih ,l;""'ln

me camera 01m me opeiainrmust lose his In the artlsilusense the composition or mustblend the two iii o satisfactory whole

"This new movement Is nil very Interesting and thoie is no doubt at allbut that it will result 111 a

f art country. When be-

come alive to the l,caiit rhythmot the dance we will be able to accom-plish great things, for all this lovell-11- 1

ss which we lespond he reg-Isici-

on our brain to stir It to newiitivlty. It has come to he under-stood that the cultivation and appre-ciation of thc beautiful have ,1 very

phasn of physlclnl expression MissJohnston and Hewitt hnveexperimenting with moving pictures

celebrated dancers and they haveni)l. ,,,,,, Sw.IIU .orPno

rioinlng Nov es and others. In theirstudio there is an almost life size tlg- -

. r. :ft it rr;:,1,,,;: plastlowhich

masis

terpleces lifelike motion In theworld. It Is to the two photographic

. artists not only an Inspiration but inpet by them as Ideal which theyhope to attain In their picturephotography.

C0MMUTE&S' CAR IN SUBWAY.

( evjttS' northbound subwayVy tiaN at the end of the Jjr

thcie ate always moie or lesscommuters, hound for the t;rnnd Cen-

tral Station, vonv, perhaps most ofthem, lido In tl"ie real car, the-.-- trrother travellers on the suhway wpospeak of this as the commuters- - car.

The congregate thiscar for the very simple ieason thatwhen the train stops In the GrandCentral Station this car is onnnearest to the stairway by theycan reach the trains will, leastposshe loss of time.

The observing homehound urbantraveller, having discovered this fact,takes at... whatever downtown stat onhe gets aboard standing room In

teachers try to develop (1n a beautiful plant itIn same way, so oil the wl have lopped and itsof rhythmic to a piano, come new shoots of thowith high successful classic revival which, being far

Illustration of it attains moved from suggrstivoness andto equally position. Imneful effects the tango

"What must Is to study turkey trot, charm nnd elevatemotif of dunce its a musician would Its native simplicity and beauty,"u theme then try the thou- - Iu their to record

of getsurroundings, so Is a nan

naturally from to attain.artificialities of bodily wo

In

letter,

weakness-w- ill

Ambassador. Iripen anything

spring

suffice

r-

to take it, I'm mustn't"man," your

fall need aIn a

once."

to Hrlt-Is- h

liebeside door waning

it. There no him.and

chain

"Hl"

held

Inaccent.

his

dancer

neinretichnlqiic

loiialssancein we

jo

Mrs. been

llfl)f

of

anmotion

commuters In

whichthe

onin

an of

in

at

an

of

.........

"Thank'en kindly, sir," said the ,m- - renr car, and when the enmmutembassador. leave this car at the Ornnrt Central

Diplomatically speaking, the Incident Station he takes his chances of drop-wa- n

closed. ping Into one ot the seats thus left(Copyright, 1913, John Lane Company.) vacant.

II'