Passage III

HUMANITIES: This passage is adapted from Agnes de Mille's Dance to the Piper (©1980 by Agnes de Mille).

Anna Pavlova! My life stops as I write that name. Across the daily preoccupation of lessons, lunch boxes, tooth brushings and quarrellings with Margaret flashed this bright, unworldly experience and burned in a single afternoon a path over which I could never retrace my steps. I had witnessed the power of beauty, and in some chamber of my heart I lost forever my irresponsibility. I was as clearly marked as though she had looked me in the face and called my name. For generations my father's family had loved and served the theater. All my life I had seen actors and actresses and had heard theater jargon at the dinner table and business talk of box-office grosses.... But nothing in this world or my uncle's prepared me for theater as I saw it that Saturday afternoon.

Since that day I have gained some knowledge in my trade and I recognize that her technique was limited; that her arabesques were not as pure or classically correct as Markova's, that her jumps and batterie were paltry, her turns not to be compared in strength and number with the strenuous durability of Baronova or Toumanova. I know that her scenery was designed by second-rate artists, her music was on a level with restaurant orchestrations, her company definitely inferior to all the standards we insist on today, and her choreography mostly hack. And yet I say that she was in her person the quintessence of theatrical excitement.

As her little bird body revealed itself on the scene, either immobile in trembling mystery or tense in the incredible arc which was her lift, her instep stretched ahead in an arch never before seen, the tiny bones of her hands in ceaseless vibration, her face radiant, diamonds glittering under her dark hair, her little waist encased in silk, the great tutu balancing, quickening and flashing over her beating, flashing, quivering legs, every man and woman sat forward, every pulse quickened. She never appeared to rest static, some part of her trembled, vibrated, beat like a heart. Before our dazzled eyes, she flashed with the sudden sweetness of a hummingbird in action too quick for understanding by our gross utilitarian standards, in action sensed rather than seen. The movie cameras of her day could not record her allegro. Her feet and hands photographed as a blur.

Bright little bird bones, delicate bird sinews! She was all fire and steel wire. There was not an ounce of spare flesh on her skeleton, and the life force used and used her body until she died of the fever of moving, gasping for breath, much too young.

She was small, about five feet. She wore a size one and a half slipper, but her feet and hands were large in proportion to her height. Her hand could cover her whole face. Her trunk was small and stripped of all anatomy but the ciphers of adolescence, her arms and legs relatively long, the neck extraordinarily long and mobile. All her gestures were liquid and possessed of an inner rhythm that flowed to inevitable completion with the finality of architecture or music. Her arms seemed to lift not from the elbow or the arm socket, but from the base of the spine. Her legs seemed to function from the waist. When she bent her head her whole spine moved and the motion was completed the length of the arm through the elongation of her slender hand and the quivering reaching fingers. I believe there has never been a foot like hers, slender, delicate and of such an astonishing aggressiveness when arched as to suggest the ultimate in human vitality. Without in any way being sensual, being, in fact, almost sexless, she suggested all exhilaration, gaiety and delight. She jumped, and we broke bonds with reality. We flew. We hung over the earth, spread in the air as we do in dreams, our hands turning in the air as in water—the strong forthright taut plunging leg balanced on the poised arc of the foot, the other leg stretched to the horizon like the wing of a bird. We lay balancing, quivering, turning, and all things were possible, even to us, the ordinary people.

I have seen two dancers as great or greater since, Alicia Markova and Margot Fonteyn, and many other women who have kicked higher, balanced longer or turned faster. These are poor substitutes for passion. In spite of her flimsy dances, the bald and blatant virtuosity, there was an intoxicated rapture, a focus of energy, Dionysian in its physical intensity, that I have never seen equaled by a performer in any theater of the world.

at forward, every pulse quickened. She never appeared to rest static, some part of her trembled, vibrated, beat like a heart. Before our dazzled eyes, she flashed with the sudden sweetness of a hummingbird in action too quick for understanding by our gross utilitarian standards, in action sensed rather than seen. The movie cameras of her day could not record her allegro. Her feet and hands photographed as a blur.

Bright little bird bones, delicate bird sinews! She was all fire and steel wire. There was not an ounce of spare flesh on her skeleton, and the life force used and used her body until she died of the fever of moving, gasping for breath, much too young.

She was small, about five feet. She wore a size one and a half slipper, but her feet and hands were large in proportion to her height. Her hand could cover her whole face. Her trunk was small and stripped of all anatomy but the ciphers of adolescence, her arms and legs relatively long, the neck extraordinarily long and mobile. All her gestures were liquid and possessed of an inner rhythm that flowed to inevitable completion with the finality of architecture or music. Her arms seemed to lift not from the elbow or the arm socket, but from the base of the spine. Her legs seemed to function from the waist. When she bent her head her whole spine moved and the motion was completed the length of the arm through the elongation of her slender hand and the quivering reaching fingers. I believe there has never been a foot like hers, slender, delicate and of such an astonishing aggressiveness when arched as to suggest the ultimate in human vitality. Without in any way being sensual, being, in fact, almost sexless, she suggested all exhilaration, gaiety and delight. She jumped, and we broke bonds with reality. We flew. We hung over the earth, spread in the air as we do in dreams, our hands turning in the air as in water—the strong forthright taut plunging leg balanced on the poised arc of the foot, the other leg stretched to the horizon like the wing of a bird. We lay balancing, quivering, turning, and all things were possible, even to us, the ordinary people.

I have seen two dancers as great or greater since, Alicia Markova and Margot Fonteyn, and many other women who have kicked higher, balanced longer or turned faster. These are poor substitutes for passion. In spite of her flimsy dances, the bald and blatant virtuosity, there was an intoxicated rapture, a focus of energy, Dionysian in its physical intensity, that I have never seen equaled by a performer in any theater of the world.