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supine to vertical, in the first case, and from vertical to supine, in the latter. The sweep is sometimes doubled, by returning the arm through the same arch.*

Beckoning, bk. When with the fore-finger, or the whole hand, the palm being turned inwards, a motion is made in the direction of the breast.

Repressing, rp. The reverse of the preceding gesture, when the fore-finger, or the whole hand, the palm turned outwards, makes a motion in opposition to the person addressed. The motions, in these last two gestures, are often repeated.

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Striking, st, Fig. 90. When the whole fore-arm, and the hand along with it, descend from a higher elevation rapidly, and with a degree of force like a stroke which is arrested, when it has struck what it was aimed against.

Recoiling, rc, Fig. 91. When after a stroke, as in the former gesture, the arm and hand return to the position whence they proceeded.

The late John Kemble, says Mr. Austin, used the double sweep, with fine effect, on these words:

The play 's the thing

Wherein I'll catch the conscience of the king. - Hamlet.

Advancing, ad. When the hand being first moved downwards and backwards, in order to obtain greater space for action, is then moved regularly forwards, and raised as high as the horizontal position, a step being, at the same time, made in advance, to aid the action.

Springing, sp. When the hand, having nearly arrived at the intended limit of gesture, flies suddenly up to it by a quick motion of the wrist, like the blade of a pocket-knife, when it suddenly and decidedly snaps into its proper situation by the recoil of the spring.

Throwing, th. When the arm, by the force of the gesture, is thrown, as it were, in the direction of the person addressed.

Clinching, cl. When the hand is suddenly clinched, and the arm raised in a posture of threatening, or contempt.

Collecting, ll. When the arm, from an extended posture, sweeps inwards.

Shaking, sh. When a tremulous motion is made by the arm and hand.

Pressing, pr. When the hand, already laid on some part, the effort of pressing is marked by raising the elbow, and contracting the fingers.

Retracting, rt. When the arm is withdrawn, preparatory to projecting, or pushing, as may be imagined in Fig. 47, if supposed to prepare to push towards the star, and as in the dotted hand and arm of Fig. 91, or in the right arm of Fig. 96; or, in order to avoid an object either hateful or horrible, as in Fig. 95 and 105.

Rejecting, rj. Is the action of pushing the hand vertically towards the object, and, at the same time, averting the head, as in Fig. 97, for which Fig. 96 is preparatory.

Bending, bn, is the gesture preparatory to striking. It is represented by the uppermost dotted hand and arm of Fig. 90, and by the strongly marked elevated right arm of Fig. 91.

The gestures here given will suffice, as a specimen

of some of the most useful in this class; others may be named, and marked by proper notation, as occasion may require.

CHAPTER VI.

THE HEAD, THE EYES, THE SHOULDERS, AND THE BODY.

As the head gives the chief grace to the person, so does it principally contribute to the expression of grace, in delivery.

The head should be held in an erect and natural posture; for, when hung down, it expresses humility, or diffidence; when thrown back, arrogance; and when inclined to one side, languor or indifference. The movements of the head should be suited to the character of the delivery; they should accord with the gesture, and fall in with the action of the hands, and the motions of the body.

The head is capable of many appropriate expressions. Besides those nods which signify assent, or approbation and rejection, there are motions of the head, known, and common to all, which express modesty, doubt, admiration and indignation. But to use the gesture of the head alone, unaccompanied by any other gesture, is considered faulty. It is also a fault to shake or nod the head frequently, to toss it violently, or to agitate the hair, by rolling it about.

The most usual motions and postures of the head, are as follows. In the notation, the head and eyes may, without confusion, be considered together.

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The motions of the trunk contribute much to the effect in delivery. The gestures of the arms and hands, therefore, should always be supported by the accompaniment of the body. Not by affected and ridiculous contortions, but by the manly and free exertions of the muscles of the body, the general consent of which is indispensable to the production of graceful motion. The raising up, or shrugging of the shoulders, in order to express indifference, or contempt, is merely theatrical, and should be sparingly used, even on the stage.

The postures of the trunk might also be enumerated, and be subjected to the rules of notation; but this would be unnecessary, as they are in general sufficiently understood, being the accompaniment of the motions of the head, the arms and the hands.

CHAPTER VII.

THE STROKE AND TIME OF GESTURE.

THE arm, the fore-arm, the hand, and the fingers, form the grand instrument of gesture, or, as Cicero calls it, "the weapon of the orator." The centre of motion of this compound instrument, is the shoulder. These parts do not move together in the manner of an inflexible line; but each separate joint often becomes a new centre of motion for the portion between it and the extremity.

In gesticulating, this complex instrument does not continue long in one direct line, nor in any particular

Queen. Alas! how is 't with you,

That you do bend your eye on vacancy,

And with the incorporeal air do hold discourse?-Hamlet.

flexure, but changes every moment the angles formed at the different joints, which adds grace and variety to the motions. The farther any portion of this complex line is from the centre of motion, the greater space does it pass through. The least motion, therefore, is that made by the upper arm, and the greatest, that made by the hand: from this circumstance alone, the ges tures of the latter are conspicuous. In gesticulating, the hand has not only the advantage of being placed at the extremity of the line farthest from the centre of motion; but, by means of the joint at the wrist, it can spring with increased velocity on approaching the point to which its gesture is directed. This action of the hand is termed the stroke of the gesture; and it should be marked by different degrees of force, according to the energy of the sentiment. In high passion, it should be distinguished by a strong percussion; and in the more moderate state of the speaker's feelings, merely by a turn of the hand, by a change of posture, or elevation of the arm, or by a momentary arrest of the motion of the gesture in its transitions.

The stroke of the gesture is analogous to the emphasis of the voice; and they should both fall exactly on the accented syllable of the emphatic word. In this way the emphatic force of the voice, and the stroke of the gesture, co-operate in presenting the idea in the most lively manner, to the eye as well as to the ear.

There are other points of analogy between the voice and gesture, which deserve consideration. In the simple and narrative parts of a discourse, there is little effort or variety of expression, in the voice. Under the same circumstances, the gesture, if any is used, should be tame and simple; but, in the more impassioned parts, both should be equally exerted. The gesture, also, in many instances, nearly imitates the manner of the inflections of the voice. When the voice rises, the gesture naturally ascends; and when the voice makes the falling inflection, or lowers its pitch,

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