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Show HANDBOOK FOR TEACHERS OF INTERPRETATION 32 fascinate his auditors that they cannot ask the reason of this fas cination, nor remark that he gesticulates at all. Fifth Law: Duration of Gesture. T he suspense 0 f pro longation of a movement is one of the great sources of effect. A gesture must be held at the "stroke" until there is a change of idea. The transition from action to rest, or from action to another im pulse of gesture is very important. The transition should be made in the tempo, and with the feeling and expression of the next phrase, but never dropped-in other words the end of one action becomes the impulse, the preparation for the following action. A variety of effects and inflections should be avoided. W kile the speaker is under the influence of the same sentiment, the same in flection and gesture must be retained, so there may be unity of style. The tendency deliberately to move gracefully is a grave fault with many teachers of interpretation. To be moving continually seems to be their aim. This will never bring repose either to the or the audience-a consummation devoutly to be wished. speaker to I t requires consummate art to stand still and not appear wooden. Sixth Law ; Rhythm. The rhythmic law of gesture is thus formulated: "The rhythm of gesture is proportional to the mass moved. Great levers have slow movements, small agents more rapid ones. The head moves more rapidly than the torso, and the eyes have great facility of motion. Thus the titillations of the eye are 3 rapid as lightning." This law is valuable, for always the tempo of the entire body, voice, and action must be in rhythmic harmony with the voice. To time voice and action is to make them one impulse, which they should be. To make the body tell the story more exactly than words should be the aim of action. "Suit the action to the word, the word to the action, with this special observance, that you modesty of nature." Attitude and Fugitive Movement. Delsarte divides action into "movements of attitude and fugitive movements." The fugitive movements are those that are usually considered as gesture, such as movements of the arm, the head, the eye, the leg, and so on-such But at the same movements as are used to express a fleeting idea. 0' erstep 3 not the Delsarte, System of Oratory, |
