8. FOR TRAGEDY

9. FOR COMEDY

.Long, measured, studied strides are required, heavy and slow.

........Short, quick, lively, swinging steps.

10. FOR GUILT AND MODESTY......Slow, short steps, typical of

fear, gentleness, submission, kindness, bashfulness, reflection, veneration.

11. FOR DIGNITY AND DESIGN......Long and slow, slow and

measured.

12. FOR RAGE AND GENERAL......Long and quick, bold, strong, sudden halts and staggers, indecisive, hesitating.

PASSION

13. FOR CURIOSITY, MYSTERY, ...The tiptoe is employed.

OR DISCRETION

Now practise the foregoing, walking to a given spot on the stage, a chair, table, or pedestal; always facing the public.

Start from second entrance right to left centre, mentally measuring the distance to the chair, to avoid short steps or shuffles before posing beside it. Turn as before, and walk back again.

Repeat this practice from the second entrance left to right centre (Fig. 6).

Indications. A firm position indicates courage, nobility, obstinacy (Fig. 7); bended knees, timidity, weakness.

ADVANCE ...For love, desire, and courage (Fig. 8).

RETIRE

START

STAMP

KNEEL

.For aversion or fear (Fig. 9).

For terror or dismay (Fig. 10).

For authority or anger (Fig. 11).

For submission, prayer, supplication (Fig. 12).

These indications accord with the significant gestures of other expressive motions.

ATTITUDE.

WE term attitude the position adopted at the end of the walk, or when standing still; and this requires very careful study. The elder Kean was so perfect a master of his art that when he first walked on the London stage, and took his position in the centre with

Fig. 13.

Fig. 14.

Fig. 15.

out speaking a word the audience recognised in him a genius.

We may be aided in our selection of appropriate attitudes by attending picture galleries (Figs. 13, 14, 15). The painter paints attitudes; his mind is cultivated to record them; they are the significant objects of his art.

The torso, or trunk, which contains the two great motive organs of the body-the heart and lungs

should be well balanced and sustained erect on the pelvis and supporting limb; the proper equilibrium and grace must never be endangered (Figs. 16, 17, 18); even in kneeling, veneration, or supplication, the centre of gravity must be maintained.

You should always find your chin over the supporting heel (Figs. 19, 20, 21).

Except for colloquial purposes, never stand with both shoulders square to the audience.

It is more

Fig. 16.

Fig. 17.

Fig. 18.

graceful and effective to stand a little sideways. Never assume hazardous attitudes, or overdo the "modesty of nature." Vary your positions with discrimination to avoid monotony. By the movement of the whole torso the other gestures of significance are regulated. We must avoid rigidity as we condemn ridiculous contortions. We must by observation and imitation of the best models maintain an easy, unaffected, free use of the muscles, with as much charm of grace as nature and the mind can command.