453 
TAMAR KARSAVINA. 
I. IN ORDINARY BALLET DRESS. 2. IN “CARNAVAL.” 
3 AND 4 . WITH NIJINSKI IN “ LE SPECTRE I)E LA ROSE.” 
5* IN “l/OlSEAU 1)E FEU.” 6 . IN “ LE SPECTRE DE LA ROSE.” 
7- WITH EROHMAN IN “THE BLUE GOD.” 
8 . IN “THE BLUE GOD.” 9 . WITH ADOLF HOLM IN “ TH A M AR." 
THE FINE ART OF DANCING. 
question to answer, for 1 love so many. 
On the whole, however. T think J like best 
“ The Swan/’ with its lovely accompaniment 
by Saint-Saens ; the “ Valse Caprice of 
Rubinstein ; and, of course, the “ Automne 
Bacchanale." The latter dance is always a 
frightful strain, as it requires as much intense 
acting as it does dancing. But what 
I’ matter? I find real enjoyment in every 
form of my art. 
At the present time I am never hap- 
pier than when watching the progress 
^ made by my old pupils. As I note the 
joy they feel at being 
praised for good work 
1 recall my own child- 
hood’s days, when I 
used to dream of my life 
as a ballerina. All the 
night long I lay think- 
ing of the days when 
the world was to ac- 
claim me a great 
than to 
anything else. 
On occasions 
I have heard 8. 
Scottish danc- 
ing compared to Russian 
dancing, but. frankly, T can 
find no point of resemblance 
between the styles of the two countries. 
The exuberant shouts that punctuate Scotch 
dances are unknown in Russia, but they 
have their counterpart in the thrilling 
Tarantella of Southern Italy. Yes, I am 
convinced that, given a powerful and ade- 
quate musical score, the Scottish ballet 
would prove not only a very great insular 
success, but probably a world-wide triumph. 
Perhaps you would like to know my 
favourite dances? This is not an easy 
