The audience often will have their attention guided to the main characters in various scenes by the hierarchy and use of movement. Depending on the context, the movement of the non-central characters should bow down to, not overtake, the central characters in a scene. The actors themselves must keep in mind the amount of movement in a gesture and the amount of space covered whether they are conveying power or weakness on stage. The length of the movement, whether long or short, may enhance the desired emotion. The intensity of a movement, such as a fist hitting a table will add to the emotional content.
Motion is an important cue toward understanding the character.
The wrong movements can ruin a character or even the whole dynamic of the stage. In psychology, movement has also been associated with communication, as with the theory of affordances. This idea surrounds that inherent to the properties of an object or material is information about that object or material. If so, to perceive them is to perceive what they afford. A butterfly's movement may afford chasing, where a spider's may afford avoidance.