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GESTURE-NEGATIVE AND POSITIVE.

Take two words of opposite meaning, "Yes" and "No."

Suppose I speak the latter, "No," firmly as if refusing some request. Suppose I am repeatedly urged to give my consent and with increasing force, I reply, "No!" and thus I continue until a series of negatives be used and at last I reach the most intense negative. 1. I may simply utter the word.

2. I may shake the head as I utter it.

3. I may utter the word more forcibly and move the head more firmly.

4. I may make all the body firm.

5. I may utter it with vehemence and make side movements of the hands and head.

6. If I use my hand in any or all of this, it will be turned with the back to my face, and it will move more firmly as my negation becomes more intense.

7. This negation is mental, it is the mind that refuses, and therefore as negation increases you will perceive more firmness at the head and the hand will go toward the head. When the hand is as high as the shoulder, it has gone one half of its scope; when it reaches its highest point it has come to its limit as far as motion is concerned. But it may still strengthen the negation by increasing its firmness as well as by a side motion.

So with "YES," an affirmation.

This also you may express in countless degrees. But the hand is turned the opposite-the palm to the face-and the movements of head are forward and back-not to the side.

Thus a speaker may use the same sentence twenty times and unless his mental intensity is each time the

same, his gesture will be different. It is therefore absurd to try to follow a rule of gesture; such as making so many movements of hands or feet; for it is impossible for us to reproduce mental states to order, and as the gesture is but the means of portraying the work of the mind, it must be strong or weak as the mental impulse is intense.or otherwise.

As in above, practice the following phrases.

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I would never lay down my arms!

Most noble brother, you have done me wrong!
I'll be revenged most fully for my wrongs.

POSITIVE OR AFFIRMATIVE.

Certainly!

I swear it, it is as true as heaven!

It is my living sentiment and by the blessing of God, it shall be my dying sentiment.

BREATHING.

The action of breathing is wonderful as gesture. When listening, watching, intently engaged, we breathe short breaths and hold them long. When roused and angry, we breath long, full breaths, and the muscles of respiration act most vigorously.

RELAXATION.

It is difficult to relax the body sufficiently for some emotions. When we portray great sorrow, dispair, or weakness, all the body must relax. This is difficult. The breathing must change, the pulse must grow feeble, the entire body must become weak.

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This cut is designed especially to show movements and positions of persons before an audience. Cis center of stage. R C, right center. LC, left center. U, up the stage, the idea being that the stage slopes downward toward the footlights.

R1, R2, R3, R 4, are right entrances. LI, L 2, L 3, L 4, are left entrances.

DIRECTIONS FOR MOVEMENTS.

1. When on stage, with side to the audience, stand with foot from the audience forward. See figure of Cut at L 2.

2. In turning to leave the audience, turn with face to audience. See figure of Cut, at R 1. This person was facing figure at L 2 and turns to exit at R I.

3. When standing beside table or chair, the foot next to table or chair should be advanced. See figure left of table in Cut.

4. When seated, the legs should not be crossed, nor the feet parallel. Let them be turned almost at right angles, and one somewhat in advance of the other.

5. A gentleman bowing to his audience should do so with the heels together. A lady should use the court'sy.

6. When leaving the stage, the performer should walk to entrance and then turn so as to exit with face to his auditors.

8. If possible, avoid walking across parallel to audience. Thus it will be from L 4 to R 2 than from L 2 to R 2.

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POSITIONS OF BODY.

STANDING, STEPPING, WALKING, RUNNING.

The Body is not often erect. The weight is usually supported mainly on one foot, one leg being relaxed. When the body is erect as in Cut 3, the weight is divided, half on each foot. But if the weight changes to the right foot then you will observe as in Cut 1, the waist moves to the right; the shoulders to left; the head to right. If the weight is changed to the left foot, then the waist moves to the left, the shoulders to right; the head to left. So, to determine the positions of other parts of the body observe the position of the waist.

POSITIONS OF STANDING.

1. Heels together, on line, as in Cut 32.

This is not often used. It is an awkward position. It is used by gentlemen in bowing, or by servants, or in character sketches. When the feet are some distance apart, the heels on even line, the position is one of burlesque, intoxication or weakness from illness. ONE FOOT ADVANCED.-ANGLE OF FEET.

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The strong angle is the right angle. We use it wherever strength is required. So in fencing, boxing, all strong positions of gymnastics, we use it in placing the feet. The angle of the feet is measured by the lines passing through the feet from heel to toe. These lines will intersect, unless the feet are parallel. In general, the lines

should intersect at the instep of the rear foot. The angle for ordinary use should be nearly 60 degrees; as the position is made stronger, the angle widens to a right angle. Thus from the right angle, the strongest position, to placing the feet parallel, or even turning the toes inward, we have a scale of positions from strong to weak. The feet may be turned outward beyond a right angle, but this is a burlesque position. The general fault is turning the feet too nearly parallel.

(a). Weight on forward Foot as in Cut 1.

Here the left leg is relaxed, the knee bent slightly, the toes turned well outward, while the body has a curve to right at waist, shoulders to left, head to right. The left foot may be in position well to rear

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