Los Angeles herald., 1907-06-30
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side, or, II the narrator of the story
posed to be a woman, the hands can be JOIN
Under no circumstances, however, should an
attitude be continued too long, lest the want
OF variety be detected; but, on the contrary,
the movements should harmonic naturally
with the story, SO that there may be no want
OF repose to irritate the audience.
In narrative work the right arm may some
times be drawn up at the elbow close to the
body, while occasionally it may be convenient
TO accompany passage with a slight illustra-
tive TWIST of the wrist and forfinger.
Ihere ought to be three distinct movements
one at the elbow; one at the wrist; and
yet they should be made SO naturally as to APP
pear perfectly unconstrained.
The right arm has to do most of the work in
recitmg, and it is very important for left
handed reciter to bear this in mind; although
tne left hand is by no means to be neg
lected. For instance, in the indication of an
object on the left-hand side, the left hand must
essentially be used, it being against the rules
to point across the body.
The arms are most valuable means of ex-
preston. LII YOU wish to explain to the audi
ence that it is cold you press your elbows to
your sides, clasp your hands tightly, shudder,
and give teeth-chattering effect to the words;
if the weather is hot it is natural to puff and
wipe the perspiration off your forehead with
your handkerchief
When you have to proffer an earnest re-
quest, you bend forward and extend both
arms from the shoulder; and when you wish
TO express that YOU don't want a thing you
slightly avert your head, and give a Kindly
take-lt-away" gesture with the hand nearest
the person supposed to be making the offer.
Then, of course. if you are enraged, it is the
right thing to clench your fists and show your
teeth; and if in your enthusiasm you need to
shout, 1T can only be done effectively by hold
ing both arms aloft.
These, it is true. are not exactly the methods
In xph hInh tryoa -
ordinary life. but there is nothing ridiculous
IN them on platform, and experience has
sanctioned them as the most efficient methods
of conveying to the audience the desired effect
The feet, too. must often be brought into
play. 1t is a mistake to keep them rooted to
one spot; but. on the other hand, it is great
er mistake to be restless So be careful to
move about noiselessly and naturally and not
too much.
The feet should never be exactly side by
side; one of them should always be slightly
advanced. In unemphatic delivery, the weight
OF the body rests on the retired foot, while in
energetic passages it is transferred to the ad
Yanced foot.
In an earnest descriptive passage-as, for in
stance, storm-the right foot may be advanc
ed as much as eighteen inches; and shock OF
surprise can often be effectively illustrated
from position like this by sharp withdrawal
of the advanced foot to the rear, the left foot
not being moved at all.
Remember. however, that the essence OF
true art is to conceal art; so that under no
circumstances must you reveal to the audi.
ence the, machinery by which your effects are
obtained.
The great thing is to bring eyery movement
as far as possible into harmony with what YOU
are saying, and common sense is the best
guide to how to do it.. If you wish to express
terror, tremble and shrink; if courage or OBJ
stinacy,. take firm stand, in the one case
with folded arms perhaps, and head erect: in
the other, with knitted brows and hands
olenched The cenching of the hand is very
useful at times, but you should be careful only
to do it when needed.
There are two other gestures which are use.
full at mes-stamping and kneeling. Stamp
ing should be used very sparingly, and oniy
in an angry passage; and kneelng is useful
in token of submission OF prayer.