85. Nor should one step under the proscenium arch. This is the greatest fault, for the figure leaves the very space in which it makes a composite whole with the scenery and the other players.
86. An actor standing alone on the stage should remember that he is called to fill out the stage with his presence, and this so much the more when the attention is focused solely upon him.
87. As the augurs with their staffs divided the heavens into various areas, the actor, in his mind, can divide the stage into various spaces which for experiment can be represented on paper by rhombic areas. The stage floor then becomes a sort of checkerboard. The actor can determine which square he will enter on. He can note these on paper and is then certain that, in emotional scenes, he will not inartistically rush back and forth, but will join the beautiful with the meaningful.
88. Whoever makes his entrance for a soliloquy from an upstage wing does well to move diagonally so that he reaches the opposite side of the proscenium. Diagonal movements are in general very pleasing.
89. He who comes downstage from the rearmost wing to join a person already standing on the stage, should not walk parallel with the wings, but should move slightly toward the prompter.
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