41. It is an important point that when two are acting together, the speaker should always move upstage, while the one who has stopped speaking should move slightly downstage. If this advantageous shifting is carried out with skill—and through practice it can be done with great ease—then the best effect is achieved for the eye as well as for the intelligibility of the declamation. An actor who masters this will produce a very beautiful effect when acting with others who are equally trained. He will have a great advantage over those who do not observe this rule.
42. If two persons speak with each other, the one who stands on the left should be careful not to approach too closely the one on the right. The person of higher social scale (women, elders, noblemen) always occupies the right side. Even in everyday life a certain distance is kept from a person who is respected. The opposite betrays a lack of education. The actor should show himself to be an educated person and therefore very closely observe this rule. Whoever stands at the right should insist on his prerogative and not allow himself to be driven toward the wings; rather should he stand still, signalling with the left hand to the obtrusive person to move away.
43. A beautiful contemplative pose (for a young man for instance): the chest and the entire body erect and up, the feet in the fourth dance position, the head somewhat inclined to one side, the eyes fixed to the ground, with both arms hanging loosely.
44. The actor should never carry a cane, for the free motion of the hands and arms must be assured.
45. To be avoided: the newfangled fashion of hiding one hand behind the lapel of the coat.
Mobile users, click here to return to the main page.
