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Uouglas Fairbanks, at the Arcadia next week in "In Attain Out
Again," is fond of outdoor sport. Chapter 1 in our illustrated lecture
on his life shows him amid snow and other wintry atmosphere.
"SMILING DOUG" FORESEES
LESS SPECTACLE IN FILMS
Star of "In Again Out Again," at Arcadia Next
' Week, Predicts Photoplay Gain
in Comic Sense
By DOUGLAS FAIRBANKS
At the Arcadia, next week In "In ARsIn Out Analn "
I think It Is rather absurd to try to look
Into the future of tho motion-picture In
dustry, because the future always move
along perfectly logically, but, to the human
mind, along unexpected lines. There's no
telling what i (unifications may (low from
fie movlr.pt-plcture craft.
Not long ago we thought that no subjects
but those which lent themselves to tho most
vivid kind of pictorial exploitation could be
used for screen purposes. Now. we And
as we develop the screen language, that we
are bringing high comedy Into ue. pre-
Operatic Season
Seen at a Glance
THE follovVjiE operns were Riven
here by tho New York Metro
politan and Roston companies during
the season of 191(5-17:
METROPOLITAN
"Pi luce Igor," "Samson et Dcllla,"
"Lohengri n," "II Trovatore,"
"Marta," "Siegfried," "Carmen," "La
Bohemc," "Aida," "Francesca da
Pimini," "RiKolctto," "The Canter
bury Pllgtims." "Da- Wnlkueie," "Li
Tosca," "I I'aKliacci," "L'Oracolo,"
"Boris GodunolT."
BOSTON
"Andrea Chenier," "Iris," "La
Boheme," "Faust," "Madama Butter
fly," "The Lovc of Three KinRS."
Tho Russian Ballett, at tho Metro
politan, should also be included in
the summary.
vlously taboo because of the Importance
of dialogue
In one of my recent pictures wo have a
cene wheie I "-It nt a tahlo opposite an
other man for nve minutes nnd wc did
nothing but talk by gestures the, turning
of a hand, the lifting of an eebiow the
ten.-e gaze, the act of half rising fioin u
table In a threatening way, the clenching of
a fist, tho pointing to a door or looking
toward the window and taking out a, watch
'to denote expectancy.
In fact, we are employing more Hnd more
the dame gestures and grimaces practiced
on the speaking stago to accompany and em
phasize spoken words, tho kind of panto
mime that the frequenter of tho top gal
lery sees and understands when he can't
hear tho volte.
In films I think the day will come when
they will eliminate spectacular effects nnd
elaboiatc emotional acting and, Instead,
gio the public stories that are human spec
tacles containing a laugh, a tear, a thrill
In fact, a page "from real life"
It seems that In film circles at the pres
ent time almost every ono Is striving for
elaboration I think Instead. It should be
elimination The simple things In Ufa hae
proven to be gieat successes. This applies
to all forms of art Kor examp'e, look at
the hucccss of "The Hoomorang," pioduced
last season bv I)ald Helabco Its success
Is n favorable ovidenco of stago progress
along elementary lines. To me "The Doom
ciang" Is the pinnacle of dramatic art -a
splendid Idea, admirably developed and
what was the result? A sensational New
York hit.
I think soon the film profession will real
ize tho advantages of eliminating big effects
and extravagant screen acting. The plav
ers on the screen will act as they would In
real life and they are then bound to be
more attracts c to the audiences. I think
that tho footage of pictures should not be
sacrificed for uniform projection time The
length of a film play should be consistent
with tho development of the plot
The nlm Industry Is In a somewhat seri
ous condition We must advance with the
progress of the times We must deelop
tbosn authors who nie now students In the
profession, that sieep, eat and lle films
They are the ones who, when visualising a
situation, will discount Its dialogue pos
sibilities, and only see a situation from an
absolutely screen perspective Some day
we Mill haw a screen language This is
of course, a matter of time, look how many
vears it took the various tithir forms of
.lit to develop
You know, if I weio Just starting In
the theatrical profession, and could hav
the preference between the stage and
screen, I woull pick the latter You can't
do any stunts on the stage, because you
are so limited In space lint working out
doors, In the arlous film scenes, one can
do almost nnvthlng Understand me cor
tcctly, I enjoy speaking Btnge work, and
have a myriad of friends who are now en
gaged in plays .Somehow or other, the
cinema gits Into your blood I Imagine
if 1 should ever leave the screen It would
hae the same effect on inc. as a New
Yorker awav from home That feeling of,
"Oh. If T could only return for a day."
Perhaps later I may return to the stage,
piovlded I can find an exceptionally
PLAYS SEEN HERE THIS SEASON
THE following digest of the Philadelphia theatrical season deals only with
the so-called first-class playhouses. Interesting features of the histrionic
year were the long runs nchieved by "Experience," "Very Good Eddie," -"Intolerance,"
"Fair and Warmer," "Treasure Island" nnd Katinkn." These were
tho plays that held the local boards. Names of'stars or featured players ore
included:
ADELPH I "Experience," Ernest Glendinnlnp;; "Very Good Eddie,"
Ernest Truex; "The Beautiful Unknown," Lois Ewell; "GettlnR Married,"
William Favershamj "Mother Carey's Chickens," Marion Barney.
BROAD "Flora Bella," Lina Abarbanell: "The Two .Inmes." Harrv
Fisher; "A Lady's Nnme," Marie Tempest; "Rio Grande," Frank Campeau;
"Mister Antonio," Otis Skinner; "The Harp of Life," Laurette Taylor; "Little
Lady in Blue," Francos Stnrr; "Erstwhile Susan," Mrs. Fiskc; "The Pro
lessor's Lovo Story." Geonre Arliss: "Major Pendennin ." John Ilrew: "Treas.
ure Island," Charles Hopkins; "Shirley Kaye," Elsie Ferguson; "Tho Country
Cousin," Alexandra Carlisle.
CHESTNUT STREET OPERA HOUSE (Photoplay) "The Birth of n
Nation," Henry B. Walthall; "A Daughter of the Gods," Annetto Kellermann;
"Intolerance," Mae Marsh; "The Barrier"; "Womanhood, the Glorv of a Na
tion," Alice Joyce; "Joan the Woman," Geraldine Fnrrar.
FORREST "Miss Springtime." Sari Potrass; "Sybil," Julia Sanderson,
Donald Brian, Joseph Cawthorne; Ziegfeld "Follies," Ina Claire; "Chin-Chin,"
V Kay-Heart,"
ngtime,"
Montgomery ahd Stone; "Cohan Review, 1916," Harry Bulger; "Betty,"
mond Hitchcock; "Ben-Hur"; "Pom-Pom," Mitzi Hajos; "Have a Hi
Billy B. Van; "Mister Rip Van Winkle" (Mask and Wig); "Miss Springt
cise rtitier.
GARR1CK "Sport of Law," Mary Boland; "Tho II
Ryan; "Common Clay," Jane Cowl; "Potash and Perlmut
the-Trail Holiday," Fred Niblo; "Husbands Guarant
louse of Glass." Mary
lmutter in Society"; "Hit-
larantpwl." Fritzi SeliefT!
"Seven Chances," Frank Craven; "The Great Lover," Leo Ditrichstein;
"Henry VIII," Sir Herbert Tree; "Fair and Warmer," Janet Beccher.
LITTLE Bill of short plays: "The Maneuvers of Jane," "You Never
Can Tell," "Misalliance," "Tho Doctor's Dilemma," "The Family Tree,"
"Candida," "Overruled," "A Doll's House."
IARIC "Robinson Crusoe, Jr.," Al Jolson; "Her Soldier Boy," Clifton
Crawford; "The Gitl from Brazil," George Hassell; "The Passing Show";
"Girls Will Be Girls"; "Civilization," photoplay; "The Blue Paradise," Cecil
Lean; "Follow Me." Anna Held: "Katinkn." T. Rov Barnes; "So l.nne T.nMv "
' -- -"'"r --".i,
Charlotte Greenwood.
METROPOLITAN "Hip, Hip, Hooray." Nat Wills.
OTHERS SMILE WITH HIM,
71'
i i m Ml ihiii. I' 'II II . ---- r m n "1-'"r-n"! n i tjM
Z7iZ5rvi.-Z 7 oi iV . )urSS'TZ,.'J'''' iti,ni ammii r A '" . .ITt"! I
startling anil original play This Is an age
for specialities the public Is demanding
something new.
There are several advantages to the open
market. If you are making program
pictures you are often compelled to rush
your story, neglect your sets and dramatic
action, because on a certain date that pai
tlculnV film must be ready tor general ic
lense. On the other hand, If you are
making pictures for tho open market, you
Phoebe's Simple Tastes
A New nngland girl, fond of the great
outdoors, Is Phoebe Foster, whose success
In "Tho Country Girl" at the Broad has
added to the laurels she won In "The Cin
derella Man "
"Nothing very extraordinary over hap
pened In my stago career, so far." Thus
said Miss Foster. "I think, perhaps, I am
too easily content, You seo, all the charac-
Jesse L. I.asky, of Paramount; George Fawcctt, well-known actor, nnd Cecil B. DeMille, who produceJ "Joan
iv at the Chestnut Street Opera House, join "Doug" in a grin out in California.
the Woman," now
ters I have ever played have been those of
sweet nnd lovely girls. Now, ns Kloanor,
I do have to stamp around some and dis
play a little Irritation and 'temperament.'
That makes mo feel almost like a Btar.
They nro usually 'temperamental.' nren't
they? No! I novor lost any Jowels. I
haven't any particular fad and I have re
ceived only the normal number of offers of
marriage
DECIDEDLY. MIXED COMEDY
eviv i.".! s'w , -"
h.. i ! httv -. f 4-At
The Keystone Cops greet Fairbanks with a band seienade when he arrives in Los Angeles.
friends.
c?Tv iTfy r? .
They are all good
take your time with your story, and In nine
cases out of ten our results nre very en
couraging. I should think that the pro
ducers In the profession would get to
gether and discuss the profession In that
manner our advancement would be very
rapid.
A more harmonious chain between the ex
hibitors would help matters greatly In the
Industry
I nin Just ns keen to know what tho next
five years in tho profession will bring as
your readers So let's all sit tight and wait
developments.
Will Move Offices
Pecause he lacks sufficient office space,
and In view of tho approaching completion
of his new theatre, the Hdgmont, at Ches
ter. .1. Fled Zimmerman will shortly move
his ollices to larger quarters In the Real
Instate Trust llulldlng, where he has been
located for several years. In tho fall when
the IMginont opens It will bo the fifth the
atre thnt he has built and of which he Is
the owner His other four theatres, namely,
the Keystone. Liberty Orpheum nnd Fair
mount, have been operating for several
years
EVENING LEDGER PHOTOPLAY CALENDAR
WEEK OP APRIL
30 TO MAY 5 i
MONDAY
EVERY SATURDAY. SUBJECT TO CHANGE
TUESDAY I WEDNESDAY THURSDAY
FRIDAY
SATURDAY
1
AT HAIvTRRA Oeorge nelian. In
Ai-ritmBis n. Thl. ton, j!et,VPell
A Ta"iT T - Hnrolil J,0(.kvood, In
AJrUJUlAJ The Hidden Children
nurATtTA .. I Asaln Out Again
ARCADIA Mrs. V. Castle, In I'atrla
-,- --.-. 11- I- Warner. In
BELMONT Wratn
, ttt-t-tt-tn Marie Doro. In
BLUEBIRD Caatles fur Two
CEDAR Tho Dancer's rvrll
-i-t TOTCTTftfr Alma llanton. In
COLISEUM rrMc and the rjeUI
Ocorffe Ilohan, In
Tho Horn! Uetween
The Chaperon
1h Cure
la Again Out Again
Mrs V. CaBtle, In Tatrla.
Ulllan Walker.
Kltiy Mackay
l.innel Uarrymore, in
Ills I'ather'a Son
George Beban, In
The Bond Uetween
The Dark nojd
The Great Hecret
Fannl Ward. In
The School for lluhands
Theodore Roberts. In
'Ihe American Consul
rannle Ward. In Tannlo Ward In
lhe Pchool for HuKbanrta The Kchool for Huabands
Mary
A 1'oor
Plckford, In
Little Itlch Cilrl
In Again Out Again ,
Mrs. V Cantle. in Tatrla
Lillian Walker. In
Kitty -Mackay
Marguerite Clark In
The 1'ortunes of Fin
EUREKA
FAIRMOUNT
56TH STREET
FRANKFORD
GREAT NORTH.
IMPERIAL
JEFFERSON
LEADER
LIBERTY
LOCUST
?v -
, ,
Bi-!.
-.
MARKET ST.
OVERBROOK
PALACE
Pi PARK
,S PRINCESS
AfW.GVftiT
;-walto
DGE AVE.
. jmiy.
t. f1
LEY (
H
;
I'avovva, in
The Dumb clrl of l'ortlcl
Mali" Pressler, In
Tlllle Wakes up
Wilfred mean In
Love Hubllmo
Joan Sawyei
Love's La
In Again Out Agiin
Living Book of Nature
William Farnum. in
A Talo of Two Citlei
Paulino Frederick.
3apho
In Again Out Again
l Living Book of Natuio
William Tarnum, In
A lain of 'I wo cltlea
Pauline Frederick,
Bapho
In
Her Father's Keeper
:itt and Jeff Comedy
In Again Out Again
Living Hook of Nature
William Farnum, In
A Talo of Two CItlei
Kathlyn Williams, In
Out of the Wreck
James Morrlion, In
Two Men and a Woman
Pearl of the Paradise
Mr V Castle, In Patrla I
'ine Pearl of Paradise
Jean Sothern, In
1'he Cloud
Mae Muiray,
On llecord
I'orcet o Not
Mystery of Double Cross
Ella Hall, In
Polly Itedhead
Aladdin From Broadway
The Nick-of-Tlme Baby
Robert Warwick. In
Family Honor
Theodore ItuUrta. In
1h American Consul
Jack Plckford. in
The Dummy
Mme Nazlmova,
War Brides
Jack rickford. In
The Dummy
Fanny Ward. In
Winning of Hally Temple
tiesue llayakaua. In
The Bottle Imp
Clara Kimball Young. In
The 1'rlt.e tihe Paid
Theda Uara, In
Her Greatest I.rfve
Jack .riexford. In
The Dummy
Lillian VVdlVer. tn
Sally in a Hurry
Douglas Fairbanks, In
Flirting With Fate
Clara Kimball Young. In
The Price Hhe 1'ald
In
Hell Morgan's Ulrl
Dorothy Phillips.
Theodore Hoberis. In
The Coat of Hatred
Kaile Wllllaraa. In
Arsene Lupin
Irene Howley, In
Her Father's Keeper
Virginia Pearson, In
Royal Romance
Her Own People
The Third Ingredient
Uladya Ilrockivell, In
' Her Temptation
Valeska Kuratt, In
bhe
Virginia Pea I son. In
y Rojai Romance
Marie Doro. In
Hearts Deelre
'Carlyla Blarkwell. In
The Pago Mystery
Xtiii ,'ffvl Woman .
mmr-
V
"K-i
Fanny Ward, in
Winning of Sally Temple
svsnue Hayakawa. In
The Bottle Imp
Clara Kimball Young. In
The Price Mve Paid
Theda Uara, In
Her Greatest Love
Jack Plckford. In
Tho Dummy
Clara Kimball Young. In
The Prlie She Paid
Douglas Fairbanks, In
Flirting With Fate
Mabel Taliaferro. In
A Magdalene of the Hills
Told at Twilight
Patrla No. 13
Harry Carey, In
The Fighting Urlngo
Karle Williams,
The Hawk
Charlie Chaplin, In Revue
Mrs. V, Castle, tn Patrla
Jack Plckford. In ,
Winning of Sally Temple
Gladys Brookwell. in
Her Temptation
Charlie Chaplin, In
Revue of 1U1U
Jack Plckford, In
Winning of Sally Temple
Kitty Gordon, In
Forgot Me Not
A Wlfo by Proxy
Patrla, No II
Enid Bennett, In
The Little Brother
Fruncla Nelson, la
The Power of Decision
Vivian Martin. In
The Spirit of Romance
Mae Murray, tn
On Record
Mra.
V. Castle, in Patrla I
Her Temptation
William S. Hart. In
Tho Desert Man
Robert Mantell, In
Tangled Lives
Gladys Brockwell. I
Her Temptation
Idle
Wives
Tearl White, In
May Blossom
Karle Williams, In
The Hawk
Dorothy OIh, in
Her Otllclal Father
Robert Mantell. In
Tangled Llvea
George M. Cohan. In
Broadway Jones
Earle Williams.
Apartment 2'J
Idle
Wives
Irene Howloy, In
Her Father's Keeper
Karl Williams,
The Hawk
i:thel Clajton. In
Man's Temptation
Vivian Martin, In
The Spirit of Romance
Mme. Petrova, In
The Waiting Soul
Marguerite Clark. In
The Fortunes of Fin
Vivian Martin. In
The Spirit of Romanes
Mae Murray, in
On Record
William H. Hart. In
Tho Desert Man
Oeorge M. Cohan, In
Broadway Jones
The Hidden Children
The Secret Kingdom
Vivian Martin, In
The Spirit of Romance
Dorothv Dalton, In
The Dark Road
Theda Para, In
Her Greatest Love
Thedi
Her d
Bars. In
reateat Love
Robert Mantell, in
Tangled Lives
Theodore Roberts. In
The Cost of Hatred
11 Warner. In
Wrath
Hidden Children
Great Secret
Franklin Farnum. In
The Clock
Robert Warwick. In
Tho Argyle Case
Lionel Uarrymore. ill
Her Father's Son
Douglas Fairbanks, In
The Americano
The Clock
The Butcher Boy
Marie Doro. In
Heart Desire
Carlyle Blackwell. In
The Page Mystery
Klhel Clayton. In
Man's Woman
2tv
m
Theodore Roberts, In
The Cost of Hatred
Marguerite Clark, In
The Fortunes of Fill
Vlrrlnla Pearson, In
A Royal Romance
Earle Williams,
The Hawk
In
William Farnum, In
A Tale of Two Cltlea
Carlyle Blackwell. In
The Social Leper
Sessue Hayakawa, In
The Bottle Imp
Earle Williams,
The Hawk
In
Marie Doro,. In
Hearts Desire
Carlyle Blarkwell. In.
The Page Mystery '
Gall Kana, In
As Man Made Her
nerican .
-., )- Tj.-t
,':,.
Dorothy Phillips. In
Girl tn the Checkered Coat
Franklin Farnum,
'Ine Clock
Blanche Pweot,
In
The Tides of Barnegat
Blanche Sweet, In
Those Without Sin
Valeska Suratt,
She
In
Kathlyn Williams, In
Out of the Wrotk
Orml Hawley, In
Where Love lyoada
James Morrison, tn
Two Men and a Woman
As Men I,ove
V. Castle, In Tatrla
Kathlyn'WIIllams, In
Out of the Wreck
Margaret Illlngton,
Haorlltce
In
Norma Talmadge, In
The Law of Compensation
Marl Dressier. In
- Tlllle Wke Up
Ooo".
&vu
m
?Asf.
-. ft.
iWlffl
''TH.
A Royal Romance
Great Secret
Tiulaa fllaum. In
jweetheart of the Doomed
Clara Kimball Young, In
The Savage Instinct
Blanche Sweet, In
The Tides of Barnegat
Lola Weber. In
Idle Wives
Paulino- Frederick, In
Sapho
Those Without Sin
The Cure
Ills Father's Ron
14th Episode of Patrla
Charlie Chaplin, In
The Cure
Mary Plckford. In
The Poor Little Rich Girl
Those Without Sin
The Cure
Margaret Illlngton. In
Sacrifice '
Norma Talmadge, In
The Law of Compensation
Nance O'Nell. In
Mrs. Baifame
Viola Dana, In
The Mortal Sin
Blanche Sweet. In
The Tldea of Barnegat
Mary MarLaren,
Idle Wives
In
Dorothy Dalton, h
The Dark Road
Frances Nelson. In
The Power of Decision
Fannie Ward, tn v
Winning of Hally Temple
Anita Stewart, in
The More Excellent Way
Olga Petrova. In
The Watting Soul
Frances Nelson. In
The Power of Decision
Margaret Illlngton, In
SacrlHce
Norma Talmadge. In
The Law of Compensation
Nance O'Nell, In
Mr. Baifame
MARION BARNEY LOVES
KIDDIES AND HOME LIFE
Player in "Mother Carey's Chickens"
Has Old-Cushioned Notions
on Domesticity
Meet Mai Inn Harnev
She's Mother Can v on the stage and
she's Mother Carevisli olf tin st,ig I.oves
children and be-lleve-s
In the old
fashioned Ideas
about raising ihll
clren, and she has
a happy disposi
tion. Miss Rarncy
doesn't bellovk In
these new-mother
Ideas at all She
thinks It Is n crime
tho way the fash
louahlo m o t h e r s
nowndajs 1 e a v e
their cliildien Willi
nurse maids. It is
her opinion that
those motheis do
not deservo children to bless their homes
Dogs would suit their temperaments, she
believes. At least the dogs would gel bet
ter treatment than Is meted out to the
children from these samo motheAs ami from
the general inn of nurso maids. Mother
hood, to her wny of thinking, Is the most
precious In the world. To have u house full
of happv chlldt en Is the gieatest blessing
that could como to any mother.
Her belief In this matter Is strengthen
ed by the fact that ever slnco she has
been on tho stage her mother has traveled
with her and sho lias had tho Influence that
has inoldede her opinion. She has been
heard to remark that she Isn't acting when
bhe portrays Mother Carey, ns tho "nat
urally feels the part" To her tho ioIo Is
nothing out of the ordinary way of life, as
there are thousands of inotheis In
America with tho same attributes that tho
mother of tho Carey children possesses
Marlon Barney Is well-known to theatro
goers of Philadelphia, For a long tlmo she
was the leading woman with the Orpheum
Stock Company
WHY SHE DESERTED
HER COON SHOUTING
Sophie Tucker not only has made a namo
for herself hut has amassed a fortune
she admits It by "coon-shoutlng " This
art might bo said to border on roughhouse,
but while Sophie was successful In using
It for her early start In theatrical life,
she has abandoned the old comedy mothods
Miss Tucker comes to Keith's next week'
supported by her "Five Kings of Synco.
patlon." While she still sings coon songs
they are of a quieter type than before.
Sophie watf one of the first successful
vaudeville entertainers to utilize the now
virtually extinct form of singing, If one
may call It such, known as "coon-shoutlng."
It was ragtime In a new guise. It might
have seemed rough, but her mfthods made
folks who saw her laugh, nnd Sophie her
self laughs vvhen she thinks of what aho
had to do In the early days beforo bhe
became recognized as one cf America's
character songsters.
"I never liked It," said Miss Tucker, "but
I tumbled Into the discovery that I could
do It and that the people liked It. I nlso
found that the theatrical managers wanted
and would pay for It. It waa pretty rough
stuff and I guess most of the songs I used
to sing were classed as rough. 1 tried to
get .away from It, but the managers were
Insistent, Detween you nnd" ins, couldn't
help. coin out on the stage and dolnar h
work Call it natural, It you like. lJUyb
c -7 Max, In Txl, , 1& mu; t-!Trlv.,, IWM.'' s ,,i 6;ft.J, , '. iS, :
ksifiiiiup. '''-". in 'TiiffMMBtinfftrsjir fi tit mi i fi 1 1 rn i vnt i V 1 iiir T iir
DANCING AND WAR ALLIED,
SAYS PHOTOPLAY ACTRESS
Metro Luminary Describes the Ancient Link
Between "Battle's Brazen Horn"
and Terpsichore
By VIOLA DANA
At the Victoria In "God's Law and Man's," next Thursday, Friday and Saturday.
on body and mind; It was a means of giving
soldiers courage, agility and health. To
the development of this form ot pastime
were turned the Greek Ideals of beauty
which In their turn undoubtedly received a
mighty nnd constant uplift from the
beauty of dancing from harmonized move
monls of healthful and clean bodies and
mlnds.
Hlstory teaches us that dancing has
been allied with war for ages and ages. On
the evo of tho battle ot Waterloo a great
dance was taking place. What Is true of
the past may he applied to the present.
War talk fills Hie air Men and women
aro piep.nlng for the very woibt. In spite
of all these preparations, Hie ilcli and the
poor nre dancing. It Is a craze, Just as It
has been hefoio every period of warfare.
If my study of dancing has taught me
anjthlng, then 1 piedlci that this sum
mer people In all walks of life will enjoy
the most beneficial pastime Dancing to
me spells art I have been with It from
tho tlmo I was scarcely able f walk and
now It Is with me even In my dreams.
I uso It every day for my work In the
motion picture world and again it nlds me
when I am tired and trains me to keep In
perfect physical condition.
I'ilmitlve man expressed love and hatred,
fealty and Jealousy, deslro nnd achieve
ment In terms of the dance It Is on a
plane with words, paint and music as a
means of i xpression Let me watch n
couple dance for several minutes and it Is
easy to tell what they are and what care
they have taken of themselves.
When 1 say that il.incliip is allied with
war, I might recall tho expression, "Indian
war dance" Impending tiouble uiuong the
first settlers n our rountrs was shown in
the nntlrs of the dance, while the opposlto
meaning was given by other solemn ritual
of the tribe handed down In terms of the
dance.
Kgyptlan carving of (1000 yeais ago
record the use of tho dance In religious
tltii.il Plato, deeply impressed by these
hierarchical ballets, flmis that their evolu
tions .symbolized the movements of the
stars Modem deduction parties the astro
nomical theme still further: the central
altar Is believed to have lepiesented the
sun; tho choral movements about It, the
movements of the celestial bodies.
Apis, the sacred black bull, was honored
In life by dances of adoration and In death
by ballets of mourning Throughout the
passages of the Hlble wo aie told of the
dancing of tho saints and of the joyous
times enjoyed by the angels In this favorite
pleasure of the old and new win Id
Numeious Biblical allusions show that
dancing was held In very high lespect
among enrlv leaders of thought "Pialse
the Lord pralo him with tlmluel anl the
dance" Is commanded With dancing the
Maccabees celebrated the supremely solemn
event, the rcstoratlop of the temple. To
honor the slayer of rjollath, the women
came forth from all the laige cities of
Israel "singing and dancing, with tabrets,
with Joy and with Instruments of music."
Pilestesses performed the sacred numbers,
the origin of which tradition attributes to
the Olympian Bods; eccentric comedy teams
enlivened the streets of Athens; gilded
vmith held dancing an elegant accomplish
ment. Philosophers taught It to pupils for effect
GOES TO BOTTOM
OF SEA FOR FILM
Jane Gail's Hazardous Experiment in
"Twenty Thousand Leagues
Under the Sea"
"Yes. It Is fine to do something no other
woman has ever done." said Jane Gall
heroine of the Universale submarine photo
play, "Twenty Thousand Leagues Under the
Sen," "hut hereafter I shall draw the lint
on posing for my picture at the bottom
of the ocean."
Miss Gall was In tho West Indies for
ne.iriy a j ear wniie tho submarine scenes
in Jules Verne's story were being nim4
line mere sne nau the honor and question-
anie pieasuic of being perhaps the first
nnd only woman In the world to go down '
among the tropical fishes and have her
picture taken.
"When our happy company sailed for
Nassau In the Bahamas," she contlnuea.
"none of us had any Idea of the thrilling
adventures wc would have. After arriving
at the islands there were several months
during which the men went down In the
Williamson submarine and fought sharks
and octopl while exploring the coial reefs
fathoms under tho surface. Kach night
they came back with wonderful tales about
how gorgeous and lovely everything ap
peared deep down In tho ocean, until I be.
came excited nbout It. I fancied It would
be grand to see the wonders no woman had
ever seen, I was cagor for the day when
my big scene was to be played In the
marine gardens and coral beds.
"At last they were ready for me. I
shivered a little when I thought of the
shaiks. because while the men had always
worn those ugly diving suits and were
armed with spears nnd guns, I was to sink,
to a watery grave without any helmet on
my head or even a spear In my hand to
Jab at a curious shnik. We were on our
ocean-going yacht when I learned this or
I might have run away. The director told
me ho had arranged with tho sharks to be
somewhere else that day, but It didn't fit
a laugh out of me.
"My under-sea costume Was to be a pair
of trousers, a soft shirt, my hair down my
back and a look of terror on my face.
Xothlng else. I was to stand on the deck
of tho yacht until Captain Nemo blew It up
with a Whitehead torpedo; then jump Into
the sea with the other victims. I must
dive down about thirty feet where I would
be saved."
-.
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