When the music and dance create with accord...their magic captivates both the heart and the mind.
A fine picture is but the image of nature; a finished ballet is nature herself.
This art, born of genius and good taste, can become beautiful and varied to an infinite degree.
True art consists in concealing art.
If our ballets be feeble, monotonous and dull, if they be devoid of ideas, meaning, expression and character, it is less the fault of the art than that of the artist.
It is shameful that dancing should renounce the empire it might assert over the mind and only endeavor to please the sight.
In order to dance well, nothing is so important as the turning outwards of the thigh; and nothing is so natural to men as the contrary position.
In order that our art may arrive at the degree of the sublime which I demand and hope for, it is imperative for dancers to divide their time and studies between the mind and the body, and that both become the object of their application; but, unfortunately, all is given to the latter and nothing to the former. The legs are rarely guided by the brain, and, since intelligence and taste do not reside in the feet, one often goes astray.
It is not a question of skimming the surface of the art, it must be probed to its depths, for to seize upon superficial things only is to degenerate into mediocrity and obscurity.
Dancing and ballets would undoubtedly take on a new lease on life, if the customs established by a spirit of fear and jealousy did not in some way close the path of glory.
I will make an average man into an average dancer, provided he be passably well made. I will teach him how to move his arms and legs, to turn his head. I will give him steadiness, brilliancy and speed; but I cannot endow him with that fire and intelligence, those graces and that expression of feeling which is the soul of true pantomime.
The defect in wisdom and taste which exists among the majority of dancers is due to the bad education which they generally receive. They apply themselves only to the material side of their art, they learn to jump more or less high, they strive mechanically to execute a number of steps, and like children, who utter a great many words devoid of sense and relation, they execute many phrases of steps devoid of taste and grace.
At our theaters we only see feeble copies of the copies that have proceeded them, renounce that slavish routine which keeps your art in its infancy; examine everything relative to the development of talents; be original; form a style for yourselves based on your private studies; if you must copy, imitate nature, it is a noble model and never misleads those who follow it.
Applause lavished at a whim and without discernment, often proves the ruin of young people training for a stage career.
No matter the style, the farther one goes the more obstacles increase, and the more distant appears the object it is desired to attain. Again, the most strenuous labor affords the greatest artists but a disquieting gleam which only reveals their inadequacy, while the self-satisfied ignoramus surrounded by the deepest gloom flatters himself that he has nothing more to learn.
The abuse of the best things is always detrimental.
The defects born of habit are innumerable. I see every child occupied in some way in disarranging and disfiguring his physique; some displace the ankles through the habit they have contracted of standing on one leg only and playing, as it were, with the other; placing it in a position which though disagreeable and strained, does not fatigue them, because the softness of their tendons and muscles lend themselves to all kinds of movement.
