QUESTIONS

1. What is the impression you must have on your mind in the study of

this lesson?

2. What did Joseph Jefferson say about the study of dramatic art?

3. Do you fully understand how to walk correctly?

4. Do you have difficulty with your hands?

5. How can you overcome same?

6. Name some of the habits used by men and women on the stage with the hands.

7. What are the rules laid down for this work?

8. Do you thoroughly understand about the right, centre and left?

9. In speaking to an entire audience, would you use one or both hands in the gesture?

10. How will you divide your audience?

11. Would you use your left hand in speaking to the audience to your right? 12. Have you tried out all these suggestions before a mirror?

13. What was the model that Delsarte used?

14. Explain without referring to the lesson sheet the correct way to make a gesture.

15. What does Shakespeare say about gestures?

16. Write out a short scene and describe it by gestures.

17. How would you form a barrier with the hands?

FOURTH LESSON

ATTITUDES AND MOVEMENTS ON STAGE

In our last lesson, we spoke of positions, gestures, etc.
Two or more people are on the stage at the same time.
They must be properly grouped.

Teacher-According to the rules we are working under, how would you group them?

Pupil-If one or more were prominent characters in the play, I

would have the principal character centre (C.), the others I would place at the right (R.) and left (L.), having in view always to balance the stage, by not having too many on one side, unless the action of the play demanded it. Those on the left facing right, right foot in advance; those facing left, right foot in advance, and action of the hands made accordingly.

Left hand for those facing left, and right hand for those facing right.

Teacher-A woman is seated right centre, facing left. A man enters from left, and goes to her, and stands to her left. Describe the action and position of both.

Pupil-The woman is seated with her left foot in advance. The man enters. As he is going to the right, he will advance with his right foot, measure the distance, and stop at the left of the lady, with his right foot in advance.

Teacher-You will notice that both are in an easy and natural position.

This may appear to the student as a very simple matter, yet, it takes practice to do it, without self-consciousness.

The lady rises and crosses to left. Would she cross in front, or back of the man?

Pupil-In front, not only is it the proper thing to do, but a courtesy to the woman.

Teacher-When she reaches the L. C. (Left Centre), she turns towards the man. Would she turn right, or left?

Pupil-To the right. If she should make a left turn, she would make a complete circle.

Teacher-As she faces the man, what foot will now be in advance? Pupil-The right, as she is facing right.

Teacher-The man has made a turn also, what position is he in, and how did he make the turn?

Pupil-He has made a half turn to the left, as he is now facing the left of the stage, his left foot in advance.

Teacher-The man now advances to her, and kneels. What knee will he sink on?

Pupil-The right. His left knee will be in advance.

Teacher-Should he sink on the left knee, what would be the effect?

Pupil-Ungraceful, and absolutely wrong. In such a position, his actions would all be up-stage, or away from the audience. He would be, what we term, locked.

Teacher-I want you to try this in your room and satisfy yourself, how awkward it will be.

With the woman facing him, her right foot in advance, her gestures made with the right hand; he facing her to the left, kneeling on the right knee, his left knee in advance, places them both in a graceful and natural position. Both will be at ease.

The audeince might not notice the error, should he make one, yet, they will realize that something is wrong.

I notice that many men and women also while seated on a stage or platform will cross their legs. What do you think of that?

Pupil-It is bad taste, and should never be done, nor should a speaker ever stand with his legs far apart, unless the character he may be playing will call for such a position.

Teacher-There is a chair on the stage at R. C. (right centre), you

are to make an entrance from the centre (C.) at back, from left (L.) go to the chair, and sit down. Explain how you would do this?

Pupil-I am to enter from left at back, when I reach the centre at back, my right foot will be in advance. I will make a half turn to the left, this movement places me in a position to face the audience.

I then start with my right foot in advance, go to the front of the chair, stop with my right foot in advance. If I am to face the right, I simply take my seat and face right, with my right foot still in advance. If I am to take my seat and face left, then I will make a half turn to the left, take my seat with my left foot in advance.

Teacher-Try this with a chair in your room before the mirror. Practice art, so that you can conceal art.

If you were on the right of the stage, or platform, and called upon to offer a supplication to your Creator, what knee would you kneel upon?

Pupil-If I were facing right, I would kneel on my left knee, if left, I would sink on my right knee, if directly in front, I would fall on both knees.

Teacher-When not making any gestures, what will you do with your hands?

Pupil-Let them rest quietly at my sides, or if seated, on my lap. Teacher-Never forget that, in any work you may be doing, in speaking, and reading, there are four things you must always have in remembrance, can you tell me what they are?

Pupil-Serious thought.

Expression by sound, words, etc.

Gestures of the hands.

Movement of the feet, and correct positions at all times. Teacher-If you think that you understand the Art of Expression, and do not believe that a course of this will prove most beneficial, as well as necessary, get some one who is capable of giving an honest and just criticism of your work.