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Village Voice

The Dance

Acting and Mimicry

While special sciences were early developed to aid in the analysis of facial expression, the interest in and actual study of physiognomy, antedates all written treatises on the subject. Man has ever sought to find, in the face of his brother, indications of his thought and traces of the primitive emotions, love, hate, joy, pain, etc. So mimicry, born of the eager attempt to read in the outward look signs of the inner state, is as old as life itself. It is also interesting to note that the mimicking tendency exists not only in the sphere of man, but among the creatures of the animal kingdom as well.

That our ancestors understood the importance of mimicry in daily life is attested by the fact that Plato, Cicero, and other great men of the ancient world embodied its study in the education of the youth of the day. For these early teachers noticed that, coincident with the growth and development of the child body, is the unfolding of the child character. This dual growth affects the features, and gives expression to the previously unmarked countenance. Later it is responsible for the "changing look," that indefinable impress of the formative period always to be observed with the child's passing years. Del Sarte tells us that, from the first smile, which is the earliest conscious expression of the child, there is a wonderful scale in the development of its intelligence which leaves a permanent imprint on its face.

Mimicry, like make-up, took an important place in the theater only when the masks worn by the actors of the classical stage were abolished. As there are certain indisputably fundamental causes for our attitudes and facial movements, the study of mimicry must be based upon physiological and psychological principles which reveal to the student the reasons for the rules governing the above attitudes and expressions. It is to be regretted, however, that, although the world's literature abounds in scientific works upon the matter, those furnishing an exposition of these principles and rules as applied to the art of the theater are few and of doubtful value.

The works of Piderit, Kowalewski, Engel, Keller and others can be considered only timid essays, feeling their way into the vast field of the relationship between mimicry and the art of the stage. Yet they approach the nearest to being "a complete work guide" to the dramatic and vocal art. For it must be borne in mind that the difference between the speaking stage and the singing stage is insignificant, because the operatic singer has to pay just as much attention to his dramatic expression and acting as does the actor.

We live in an age of the complete development of theatrical art and, along with this progress in the machinery of the modern theater, the operatic composer's art has advanced; he who will conceive a mighty operatic theme tries to be true to nature. Therefore, the sincere interpretation of an opera demands that mimicry and acting be considered as important as the quality and exercise of the performer's voice; in fact, these two, dramatic expression and voice, form a vital unit. In the singing of an opera, gesture and vocal art must be as truly related as the parts of a symphony; to have voice and gesture unrelated is like playing in different keys the result is inevitable discord. For an awkward action, or one which is unsuited to the passions and words produces an inharmonious ensemble as painful to the eye as is discord to the ear. But when these two media of expression voice and mimicry work in harmony, the result is perfect and gratifying success

What Is Mimicry?

Language is the expression of thought and the emotions of the soul by words; mimicry is the expression of thought and these emotions by gesture and facial movements. If the language of words is universal, the language of mimicry is none the less so. For, no matter how diverse may be the tongues of the nations, their peoples may yet meet upon the common ground of gesture and the interpreting play of the features. In every-day life we know the importance of sign language to be such as often to take the place of words; as an instance of which we may cite the case of those unfortunates, the deaf mutes; while to glean an idea of its power on the stage, we need only call to the reader's attention the eloquence of the pantomime, the ballet and the silent drama of the screen. To recapitulate, then, mimicry is an art in which the body or its parts are engaged, and its duties are to complete, or substitute for, language. In order to determine the essential characteristics of stage mimicry, the study of poses, of "facial acting," and of general attitude is vital.

Acting—opera And Stage

Somehow or other, there is current among vocal students, and even among finished singers, an unjustified notion that acting on the singing stage is entirely different from acting on the speaking stage. This is a fallacy.

The singers who are guided by this false theory are the ones who, as Rasi claims, are poor actors. They have formed their ideas from the photo-graphs and paintings of 1850. So we have the tenors who, when singing the aria from Rigoletto, for instance, will insist upon drawing on and toying with the unavoidable glove, thinking, perhaps, that by so doing they are impressing the audience with their artistry. Or there are the sopranos who, while singing, never omit to display the inevitable handkerchief which they crumple and uncrumple in their nervous grasp. Again, there are those who seem to be counting their steps as they advance towards the foot-lights in preparation for a cadenza.

The principal reason for poor acting in opera is the lack of understanding of the part played. Experience has shown that when a singer thoroughly understands his part, he is convincing, dramatically. This was proved in the case of Tamagno one of the greatest dramatic tenors of not long ago. Verdi and Boito, after having written Othello for him, were greatly perturbed, for he seemed unable to enter into the spirit of the part. They then worked with him for months until he grasped thoroughly the thought under-lying the rôle he was to sing. The performance, as a result of this painstaking study, was the greatest triumph Tamagno ever had; his acting was called consummate on this occasion, for he showed by his intelligent interpretation that the "acting talent" had been awakened in him.

In opera, of course, the musical requirements of the passage being sung must be taken into consideration. The gesture or pose sometimes is longer, sometimes shorter, than on the speaking stage, for it is dependent upon the melody and music.

From the acting point of view, modern opera offers many more opportunities than classical opera. Classical opera, as it has come down to us, is full of conventional traditions which must be observed. In it, often many bars are sung on the same word, and therefore the gesture must be prolonged accordingly.

To correspond with the repetition of words a favorite device in old opera it is advisable to find a variety of gestures. These the singer must create for himself, as his own thought and instinct should be a better guide than any hard-and-fast rules which might be given. Modern opera is free from this conventionalism, so that the singer can display his histrionic talents with greater freedom.

As the librettos of operas are either dramatic, tragic, or comic, the acting of the whole is thus naturally dependent upon the subject-matter therein contained. In comedy, the action should be lively and move quickly, the gesture should be free, spontaneous and agile. In tragedy or drama, in which the destructive forces are nearly always represented as defeating the constructive ones, the gestures must be more sustained.

How To Study And Analyze A Part

The student must read and analyze carefully not only his rôle, but the entire libretto as well. Then the text of his rôle or of the song must be properly thought out and understood. As the librettos of operas are nearly always taken from romances, novels or classics, I consider it absolutely necessary to know the masterpiece upon which the operatic libretto is based. For in-stance, if one is preparing Faust, or Othello, or Romeo and Juliet, he should read the original of Goethe or Shakespeare, and earnestly study the relation of the character in question to the whole novel or play. Then, only, should the study of the musical end of the part be started.

When preparing mimicry with a view to portraying the character of a personage, the singer or actor should consider the following characteristics of the body, and especially those of the face:

First, should come a physiological analysis of the personage in the rôle to be performed, also state of health.

Second, the aesthetic analysis of beauty and ugliness should follow. These physical extremes are represented, for instance, by Romeo and by the rag-picker in "Louise," or by Fiora in the "Love of Three Kings," and the Witch in "Hansel und Gretel."

Third, is the analysis of character and moral qualities. How different are the dark characters of Scarpia in "Tosca," or of Silva in "Ernani," from the noble character of Wilhelm in "Mignon." Also, note the difference between Carmen and Micaela.

Fourth, is the study of the intellectual development and social standing of the character, as in the case of Faust or Canio, in "Pagliacci."

Fifth, comes the analysis of the race, or the study of racial characteristics induced by racial psychology and mode of living. For instance, the bodily attitude, manner of walking, peculiarities of speech and accent of Madam Butterfly, or of Aida, will be different from the same habits in personages of the white race.

Sixth, there is age to be considered; and seventh, sex. The eighth point is the profession or the trade and its influence on habit.

Physiological Analysis (State of Health).—Mimi in "Bohême," when she enters Rudolph's room to ask for a light, is in the early stages of consumption. Her attitude is normal, the only indication of the disease being the slight, unnatural redness on her chin. This is a sign of a feverish condition. In the third act, she is very sick; she is pale and is coughing. In the last act, the climax is near; consumption has partly destroyed the body; the agony is coming. So, in the rôle of Mimi throughout the whole opera, there is a notable advance in her illness. This crescendo must be observed when studying the part, the singer's makeup, attitude and voice must be prepared accordingly.

Take another example: Lothario in "Mignon" loses his reason after the kidnaping of his daughter Sperata. His mind continues to wan-der with varying degrees of sanity until, in the last act, when, recognizing the Cipriani Palace, a strange feeling lights up within him that Mignon is his daughter. He then regains his reason. This scene offers an unlimited amount of artistic possibilities to the observing artist.

Monotony in the portrayal of the progressive stages of pathological conditions can be avoided by a serious analysis of the effects of a certain sickness on the general health at the time under consideration.

AEsthetic Analysis.—In creating a handsome or an ugly type, naturally, the makeup is the first consideration. But mimicry may render very great service. Exaggerating, for instance, or diminishing or prolonging the expression of low or of high spirits, will give the necessary imprint to the face.

In general, the acting and mimicry of ugly types, with very few exceptions, will be similar to the mimicry of the lower, or intellectually undeveloped classes.

Character.—Pathologists have accepted the divisions Hippocrates has made of the human temperament and humors. They are the nervous, sanguine, bilious, phlegmatic, and lymphatic. Inasmuch as each one of these temperaments, if very strongly accentuated, is full of peculiar characteristics, it would be inadequate to confine them within any dogmatic set of rules and advices, for they seldom appear as simple affections but are almost always complex, passing and shading, the one into the other with an infinite delicacy of gradation which has afforded pathologists ample material for the writing of numberless books on the subject. Therefore, in the preparation of theatrical rôles, I advise a study of the personage's temperament and character from a consideration of his external habits and characteristics rather than from a too close scrutiny of the internal conditions and constitution.

Intellectual Analysis.—From a few gestures, from the walk, salutation, manner of being seated, or from an expression of satisfaction or disappointment, we are able to judge the degree of a person's education. The higher the education, the greater the reserve in manner. The passions seem to be well controlled; for education teaches self-control, suppressing the expression of low spirits, and heightening that of high spirits. An uneducated man betrays his feelings; an educated man always acts with re-serve. Different kinds of training will impose different manners: a military education, for instance, suggests a mimicry and an action entirely different from education in a convent, etc.

Race.—Mantegazza thus divides nationalities according to their power of expression: agricultural nations have little expansive mimicry; commercial or traveling nations have the facial muscles flexible, consequently, their power of expression is developed to the utmost; nations with fighting spirits have heavy, ferocious, unsmiling mimicry; expression in the oriental nations is very quiet, because they are, above all others, fatalists. However, their characteristic inscrutability is also induced by the use of drugs, such as opium, morphine, etc., for these have a depressing effect upon the temperaments and facial expression, so that the mimicry of the latter is rightly characterized by apathy.

The use of coffee and tea has rather the contrary, or exciting effects. The mimicry of per-sons addicted to their use should, therefore, be more lively.

But to analyze in detail the peculiarities of expression among nations is outside the scope of this book. In Italy alone nearly every province has its own dialect and mimicry. It would take volumes to describe all the gestures of the Neapolitans, so we may say that their mimicry is characterized by gestures. The "Piedmontese," and, to some extent, the "Milanese" have a mimicry similar to the French. The inhabitants of Cagliari have a mimicry similar to the Spanish, for the provinces were historically associated. The "Roman" is aristocratic, while the "Tuscanian" is diffident and very reserved, which, according to Mantegazza, is the result of periods of oppression in Italy. The mimicry of the French is quick and gay ; of the English, stiff and superb; of the Germans, heavy, sluggish, lacking in plasticity. The mimicry of the Spanish and Portuguese is full of dignity and restraint. Some Slavic nations do not look one in the face, but have a shifting, restless eye; their mimicry should, therefore, convey the impression of that which is false, untrue. Other Slays are frank, generous, hospitable, and capable of undying friendship. The oppression of the Jews has created well-known peculiarities in their psychology, their mimicry is humble, diffident, and suspicious. The Swedes have heavy and ungraceful gestures, as have some of the Norwegians, although some among the latter are gay, boisterous and lively. The mimicry of the red Indian is full of suspicion, at some moments full of dignity, at others full of meekness. The mimicry of the negro does not call for richness or variety of expression. The expression of the yellow races is apathetic. Still it must be said that mimicry of characters of the yellow and oriental races, to which we have been accustomed, has not been a true delineation, but rather adapted to our ideas of what these peoples are. The mimicry of an American, as far as I can analyze, is agile, graceful, noble, full of poise.

Age.—As an infant is unrestrained by intellectual ideas or educational influences, he has a mimicry, which, while intense, is, at the same time, expressively poor. As intelligence grows with age, the expressive faculty matures, so that the child comes to express love or hate, irony or suspicion, etc. Mantegazza calls this the period of transition. In the lower races, and in the case of subnormals, this transition stage endures.

Youth is characterized by richness and variety of expression, modified by education, continuous intellectual development, and will power. With continued intellectual development, the richness of mimicry gradually diminishes, as the expression of passions is controlled by education, and the circumstances and necessities of life. As the old are no longer so susceptible to passing emotions, their mimicry is even less marked by variety and richness of expression.

Sex—The Difference in Expression between a Man and a Woman. The mimicry of a woman is much less energetic than that of a man, for sex has a great influence on the expressive faculty. As a man develops strength of command, energy and will power, so a woman's mimicry is rich in affection and painful emotions. The expression of violent emotions which produce wrinkles and therefore make the face ugly is seldom given to women; dark characters and low spirits are, as a rule, given to men on the stage. Women mostly enact the rôle of victims, because in life woman is subjected to more moral and physical pain than man.

A man, in portraying pain, swells his neck, bites his lips and clenches his fists, because he tries to control his emotion. A woman cries and beseeches instead. Thus it may be seen that there are greater possibilities for mimicry in the case of a man than in that of a woman.

Profession; Trade.—Profession influences habit. Therefore, it is necessary to study care-fully the profession of the character being enacted in order to give a realistic portrayal. As we all know, a seaman is easily recognized by his gait, or a soldier by his military bearing even in civilian clothes, but civilian clothes will hardly camouflage the habits of a priest.

After detailed analysis of the play and the rôle to be performed, the singer should, by the aid of his thought steeped in imagination, create for himself the type which he is to portray. As in the case of the voice, where colorful interpretation is needed, the actor must visualize the character, mimicry, and attitude of the person-age whom he will portray from the image in his mind. There is the same process of creation as in the writing of poetry or inspired prose.

In the classical opera, where tradition and the music impose certain details, it is absolutely necessary to consult the stage manager before beginning work on the part.

General Rules

1. We will first take up action and counter action.

Motion on the stage consists of the actor's actions as they have to do with the playing of his own part, and counter action consists of these actions as they have to do with, or bear upon, the parts played by his fellow actors. So, listening or observing will be a counter action, but a prayer or a command will be a direct action. Singing an aria is an action, but a duet consists of action and counter action, as does any rôle in which more than one person is engaged.

2. On the singing stage, the mimicry completes and accompanies the emotions and feelings expressed by the voice. Naturally, then, synchronism in these two actions must exist, as must also perfect harmony between the tone of the voice, the gesture, the poise, and the mimicry. In opera, the gesture may often anticipate the word sung, but it never should spring out after the note or word is started. In such case, it is better to remain passive, with no attempt at gesture, than to apply one which may be contrary in meaning to the word sung.

3. The countenance, mimicry, gesture, pose, voice, should have their share of expression; monotony must be avoided. In laughing or crying, in anger or in admiration, there is a continual development of, or a decline in, emotion which influences the mimicry. It may be called the crescendo and diminuendo of expression and should be carefully studied.

4. Gestures, in order to be effective, must not be too frequent. They should never be made unless impelled by the emotions, which must guide the gesture.

5. The musical pauses must be as expressive as the words sung. An inexpressive pause may sometimes ruin the whole dramatic effect.

6. The gesture, in an operatic phrase, finishes at the musical end of the phrase; or, more often, it should finish at the very moment that the expression which was animating the phrase is finished. Remember that acting in comedy (comic opera) must be full of activity, spontaneity and agility; in tragedy and drama (grand opera) , full of dignity, etc.

7. From his entrance on the stage until the moment he leaves it, the actor must live his part. He must be in every respect that which he is representing. When his own action finishes, then begins the counter action.

8. A singer or actor should never speak on the stage unless the action requires it. By doing so he shows lack of respect towards the audience and lack of artistic conscience.

9. Never, during counter action, where one's attention should be concentrated on the acting of others and an interest shown in what they do or say, should a singer look around the scene. This destroys the whole effect.

10. In the past it was considered bad form for an actor to turn his back to the audience. Observance of this custom often injures the general effect and such prejudice no longer hampers an actor. A singer, however, should not forget that his voice must always be thrown out towards the audience, and from this point of view he should avoid as much as possible, singing with his back to the public.

11. Vary positions and poses with nice discrimination. Thus you will avoid monotony.

12. Except for colloquial purposes, do not stand squarely with both shoulders straight out towards the audience; a pose a little sideways is more effective.

13. When facing the audience, stand with the body slightly inclined to the right to make the gestures with the left hand, and vice versa. This will insure the plasticity of the pose and take away all danger of the singer's covering his head with his hands.

14. In kneeling, the knee touching the floor should be nearest the audience.

15. Avoid all exaggeration. By overdoing your part, you lose naturalness. However, you should avoid rigidity on the stage.

16. When singing an aria which finishes with a high note, like the Jewel song in "Faust," do not bow to the audience when finishing. It looks like a bid for applause and often obtains just the contrary result. When a bow is called for, make it by inclining a little to the side.

17. Never put off details of acting and mimicry till the time of performance. Try them all out at rehearsals everything from the exercising of the voice to the smallest movement of hand or foot, or the least detail of facial expression. Only in this way can an actor, and especially one at the beginning of his career, hope to give a finished performance.

18. Individuality in acting is of the same importance as in singing. Imitating will give poor results. Prepare your part from life's studies and create accordingly. It may be difficult at first, but in the end the singer must be successful.

19. A sure way to make poor gestures is to think too much about them. The gesture must come from within and be commanded by the emotion which permeates the part. Only then will it be spontaneous, and, consequently, natural.

20. In intellectual expressions, gesture should be limited. Here the mimicry of the face is the most important.

21. The attitude of a concert singer must be as natural as possible when on the platform. Any stiffness or lifelessness in the appearance must be avoided, as they are a great handicap to the singer. The body should be held erect, resting easily in its position; the limbs must not show any heaviness, but must give evidence of power, allowing the body to rest on one foot.

The best attitude for the hands is to hold a rolled sheet of music in them, but as a singer should always memorize his selections, he should avoid looking at it. Hand gestures in concert singing are not permitted, but the face and the voice must be very expressive.

Enter the concert platform with a gracious, easy walk. A man should bow with cordiality and dignity. A lady should bow more freely.

Exercises For Elasticity

All heaviness and stiffness must be avoided in poses in walking, in seating and in other gestures. A study of the fundamental rules of dancing will be helpful to the aspirant. But the ballet teacher should be carefully selected, as it is of the highest importance that no fox trot or ragtime movements be incorporated in the principles of opera acting. It goes without saying, then, that a man with stage experience is preferable.

The few illustrations below will serve to show the parts of the body to be brought into play in developing the agility and elasticity required in an actor. They will prove helpful exercises to-ward this end if faithfully practiced. Each exercise should be repeated from ten to twenty times, the singer persevering, in spite of the sore muscles and consequent aches and pains incident to the first attempts.

Elements of Mimicry
The elements of acting and mimicry at the disposal of an actor or singer, are, first of all, motions or gestures. These gestures engage the whole body or parts of it, and create the language of mimicry.

A gesture must be natural, spontaneous and free. That operatic débutants often find more difficulties in the gestures and acting than in the vocal expression of their rôle is because they concentrate all their thought on gestures, trying too hard to be graceful, thereby obtaining just the contrary effect, sometimes even rendering themselves ridiculous, by creating many unhappy positions. For example, as in the case of the voice, concentration on one detail often destroys the harmony and effect of the whole. To have natural, spontaneous and free gestures, it is necessary to live the part, or, at least, to awaken within oneself an instinct which will guide the gesture. It is this instinct, in great part, which has produced the world's artists; for, in reality, it is talent, genius. Like the voice, it cannot be manufactured at command. It is a sublime gift of nature.

Motions Are Divided Into:

a. Instinctive, or those produced by sensations and emotions. These consist mostly of motions whereby the facial muscles are brought into play, sometimes as in the movements of self-defense of the body or parts thereof.

b. Indicative and descriptive, or those used to point out a certain person, place or thing. These are motions made mostly with the hands. Often a nod of the head or an attitude of the body conveys the same expression.

c. Active motions and gestures, or those necessary in daily life, such as walking, eating, being seated, etc., are motions in which the whole or parts of the body are engaged.

d. Characteristic, or those describing character, state of health, habits, etc., are motions which may also be brought into play either by the whole or parts of the body.

e. Additional gestures are motions which serve to complete the principal ones, thereby helping to gain plasticity and harmony.

Let us now analyze, separately, the gestures of the different parts of the body.

THE HEAD

The movements of the head are of vital importance in mimicry.

By holding the head straight, attention and calmness are indicated.

By allowing the head to droop, shame and grief are shown.

By holding the head erect, or slightly raised, pride and courage are depicted.

Nodding the head vertically denotes approval.

Shaking the head laterally signifies dissent. The head slightly inclined indicates dislike or horror.

The bending forward of the head indicates affection, attention.

By throwing the head back, arrogance and defiance are indicated.

By inclining the head to one side, indolence is shown; slightly raising it denotes coquetry.

The head is held erect and stiff to indicate savagery, physical strength and tragic moments.

By allowing the head to fall back, weakness, fainting and pain are indicated.

The forehead gives the best indication of one's intelligence and intellectual development. Bell calls it "the seat of thought, a tablet where every emotion is distinctly impressed." In the fore-head the most active, independent, and associated muscles are located, controlling attention, doubt, reflection, pain, etc

The disposition of the forehead wrinkles presents an inexhaustible study for physiognomists, and offers unlimited opportunities to the actor.

In Joy, the forehead is serene, the eyebrows are not contracted.

In Attention, the eyebrows approach the sides of the nose.

In Admiration, the eyebrows are raised, the forehead is slightly wrinkled.

In Astonishment and Surprise, the movements are the same as in admiration, only more strongly marked exaggerated.

In Veneration, the eyebrows droop.

In Hope, the forehead is slightly wrinkled, the eyebrows are raised.

In Compassion, the forehead is calm, the eye-brows sink over the eyes as in sorrow, towards the middle of the face.

In Envy, the forehead is intersected with many lines, the eyebrows are lowered.

In Despair, the eyebrows descend, the fore-head is wrinkled.

In Rapture, the eyebrows and the forehead are raised.

In Acute Pain, mental or physical, lines inter-sect the forehead, the eyebrows are drawn near to each other over the nose, but are raised to-wards the middle.

In Simple Pain, we have the same motions as in acute pain, though less strong.

In Sorrow, the eyebrows rise at their starting point, the nose.

In Laughter, they rise toward the middle and bend down toward the sides of the nose. In Horror, the eyebrows are knit.

In Sadness, the eyebrows rise toward the middle of the forehead.

In Weeping, the eyebrows sink down toward the middle of the forehead.

In Scorn, the forehead wrinkles and the eye-brows knit.

THE EYES

The eyes are capable of expressing nearly all the states of mind and of human passion. They seem to be the most noble and expressive of all the parts of the body. No part of the face can show, better than they, noble sentiments and. high spirits as well as hate, jealousy, and other ignoble feelings. They are called the mirrors of the soul. In prayer, they are raised; in sorrow, they weep ; in anger, they burn ; in doubt, they wander; in anxiety, they are restless. They sparkle in joy and gladness as they do in serenity of mind and soul. The eyes are unnaturally enlarged during violent emotions ; in brutal passions, such as anger or rage, they are more lively, but in the depressing emotions, such as horror, fear, etc., they seem to lose their vivacity, even their color. They are sunken in moments of sadness and melancholy. In drunkenness they feel heavy.

When tired, the look is lazy ; when agitated, lively; when serene and in good spirits, quiet. In attention or meditation the look is hard; in apathy or indifference, soft; in fear, uncertainty, indecision, the eye is oblique. The man of guilty conscience has a sinister, sometimes satanic, look. The prosaic man's looks are forced, artificial. Besides the above, we have undecided, penetrating, sure, fixed, hesitating, ironical, simulated, etc., looks.

THE NOSE

The nose, being the chief characteristic in esthetical and race analysis, has a great importance in mimicry. In spite of the fact that it is one of the least movable parts of the face, it lends splendidly to the expressions; especially to the expression in which the breathing apparatus is involved.

There is a naturally coordinated collaboration between the act of breathing and the expansion of the nostrils. In fear or anger, when the breathing is affected, the nostrils become dilated or constricted. There is a strong analogy between the expressions in the sense of smell (of which the nose is the principal organ) and the expressions of pride, haughtiness and arrogancy. In these expressions the nose is active. In the chapters on "Expressions and Make-up," more about the nose will be found.

THE MOUTH

LIPS, CHEEKS, CHIN AND JAW

The mouth is one of the most sympathetic parts of the face. Lavater, the great Swiss physiologist and psychologist, gave utmost importance to the mouth in the analysis of human character. (See paragraph on make-up.)

The mouth has at its disposal a quantity of muscles used for mastication, speech and song, and is very powerful in expression (especially the corners of the mouth which are raised in expressions of high spirits and fall in expressions of low spirits). During the most animated discussion the action is concentrated on the lips. The singer should not forget that the mouth and lips are of utmost importance from a vocal point of view and he must pre-pare his mimicry so as not to interfere with his voice.

We make the following divisions of the emotions and states expressed by the movements of the lips:

In joy, satisfaction, content, etc., the corners of the mouth are curled upwards, thus producing a smile. Sometimes biting the lower lip slightly is a sign of satisfaction.

In sorrow, disappointment, moral pain, fear, etc., they turn down.

In determination, or severe stubbornness, the lips are pressed together.

In sarcasm or irony, the lips are compressed and turned down.

In retained anger, the mouth is drawn in, lips compressed; often people bite the lower lip in trying to control exploding anger.

Dissatisfaction at a mistake committed is ex-pressed by biting the lower lip.

Anger, fury, desire of vengeance are expressed by biting the upper lip with the lower jaw advanced, showing the teeth.

In cold and fear, the lips and the whole mouth tremble.

In ecstasy or admiration, the lower jaw drops slightly.

In yawning, the lower jaw falls down.

In some cases of contempt and disdain, the tongue is pulled out.

Licking the lips with the tongue denotes gluttony, although sometimes it is a sign of nervousness also.

The figures on page 145 illustrate in detailed study, the previous exposition of the states and emotions expressed by the lips.

THE KISS

The conventional theatrical make-up kiss has nothing to do with the emotions that prompt it in life. On the stage a kiss is not a kiss, and there have been cases where a too temperamental actor has been sternly reprimanded by his woman companion. The kiss should be prepared and analyzed as any other gesture and exchanged when both performers have a perfect understanding of the meaning of the kiss.

There are kisses given only, others received only, and some mutually given and received.

There is a great difference between a sensual and a pure kiss; between a friendly and a false kiss; and between a lover's kiss and that of a mother. Some kisses are given on the lips, and some on the cheeks.

THE EARS

Inasmuch as the ear is of great importance in the analysis of a character, in theatrical mimicry it is of little service to the actor. It is one of the least expressive parts of the body, rarely movable. Therefore, all the actor should know about the ears is in the part of make-up.

THE HAIR

(See part on make-up)

THE ARMS AND HANDS

The shoulder, the forearm, and the hand, with its fingers, are the contributors to the so-called hand gesture.

This gesture gives great worry to the young operatic aspirant. The hand gesture never should be stiff, artificial nor try to express that which belongs purely to facial mimicry. The arms should not be considered wings of a windmill their movements must always have a purpose. Classic opera or aria requires a great reserve of hand gestures. It would be difficult and too complicated to try to describe all the arm and hand gestures, or give rules for their use, but these few principles given here below will serve to indicate their chief purpose.

The arm is projected in movements of authority or command.

In admiration, the arms are spread and ex-tended.

In imploring help, the arms are held forward.

A disappointment at a bit of news, causes the arms to drop heavily.

In tired states, melancholy, moral distress, the arms are held weakly.

In anger, the closed fists are projected toward the sky or the object of anger or hatred.

In extreme anger, the fingers are sometimes bitten.

In distress or in thoughtfulness, the hand is on the head.

In sorrow or shame, the hands cover the eyes or the face.

In joy, satisfaction, the hand waves.

A hand on the breast, is used in appeals to con-science or intimate desire.

In blessing, the hands are held over the person. A finger on the lips implores silence.

In affliction, the hands are clasped or wrung (shaking).

In friendship, they are extended and held forward.

In prayer, they are held supine, clasped.

The fists on a level with the chest show readiness to fight; stretched and pressed together, then open, palms up, they indicate offense, contempt, disdain, scorn, insult, scandal, affront, outrage.

Pendant wrists, alternately opening and closing, show wasting of strength., and beginning of irritation.

The same movement, more strongly accentuated, shows irritation, the state of being provoked, desire for revenge.

The open wrist, palm down, with the fingers well separated, directed toward another's body and then suddenly closed, means, "I take," "I seize," "I take possession o f."

The same movement but with the wrist closed from the beginning means "I wish," "I hold,"

"I dominate," "I rule"; more strongly accentuated and dropped, means "I am crushing, suppressing, breaking."

A similar motion, but done mysteriously, with the wrist at first open, then, with the fingers gradually closing, means theft

The Hand Shake.—An egotist, a cold man, shakes your hand without showing any feeling. A haughty man shakes your hand as though he were doing you a favor by extending his hand. A vulgar, passionate man takes your hand as though he were going to bite you. An aristocrat, especially in comic parts, extends only two fingers. A timid person gives the hand with uncertainty. A kind, generous friend shakes the hand with easy, noticeable cordiality, often, even taking both your hands. The spontaneity of this movement, however, depends completely upon the feeling animating one person towards an-other. But hypocrites often shake hands the same way.

Hand and finger gestures serve to indicate many different meanings, which the accompanying illustrations describe in detailed order.

1 indicates you, him, they, this, down, up, etc.

2 points to the chest "I."

3 the hand at the chest means mine, all my entity. (Both hands may be used for stronger accentuations.)

4 shows "only one" or that which is unique.

5 indicates "one."

6 indicates "two."

7 indicates "five."

8 indicates "half."

9 indicates "nothing.

10 indicates "little."

11 means "small."

12 shows "big, tall."

13 signifies possession.

14 indicates that which is sharp, pointed.

15 the wrist moving slightly outward from the following parts of the body, denote:

From the head—a greeting, a welcome.

From the mouth—a kiss.

From the heart—loveliness, sweetness, adoration or worship.

The motion in which the wrist moves several times inward in the direction of the body means "approach, come." The same movement performed with both hands has a much stronger meaning; done with one finger, it shows rather more familiarity.

16 says "everybody come"—this motion is towards the body;

done with both hands, the meaning is more accentuated.

17 expresses: "Move aside, separate, disperse the crowd, give a

passage" (this is the opposite of the preceding movement).

18 pictures avarice, stinginess, desire to get rich.

19 extends the hands, saying "let's be friends," "let's make peace," "forgive me."

20 shows aversion, dislike, repugnance, repulsion, fear, fright.

21 says "give me"; asks for help, charity.

22 gives the meaning "I take under my protection." The hand in this same position, but slightly moving means "the first word"; or "be quiet," "I shall arrange this," "I shall fix you."

23 implores "have pity," "forgive me."

24 the hands denote prayer, invocation.

25 is the gesture of some one receiving things with both hands.

26 "I have nothing to say," "I do not know."

27 is used in swearing an oath.

28 is the motion of the finger being shaken vertically (toward the face), and means warning.

29 indicates that which is impossible, or a denial (the motion is lateral).

Quick, appropriate movement of the hands will also describe that which is flat, round, square, large, etc. All of these gestures are too well known, however, to need describing.

THE TRUNK AND BREATHING ACTION

The trunk is of importance in the expression of many emotions. In fear, it instinctively con-tracts, as it also does in admiration. In love, it expands, as though inclining towards the object of love; in hate, it shrinks back. In pride, or arrogance, the whole body seems to swell so that it is not without reason that an arrogant man in some of his movements is compared to a peacock. From the manner of holding the trunk depends much of the plasticity of pose in different actions.

All of the trunk movements have an influence upon the breathing organs, resulting in accelerated breathing in moments of happiness and joy; irregular breathing in hate and anger ; and in near paralysis in moments of fear and terror, etc. The singer must find a way to unite the dramatic requirements with the vocal necessities.

THE FEET

It is strongly inadvisable to rest the body on both feet equally, for, besides creating uncomfortable positions, the actor will find difficulty when it is necessary to take a step forward, some-times to the extent of rendering himself ridiculous. But if the body is supported on one foot, he can readily place the other in position when the action so requires.

The feet are the principal factors in movements, such as walking, dancing, etc. They are also important in characteristic and instinctive gestures and are most important in posing. On the manner in which they are placed depends not only much of the grace, character and plasticity of pose, but also stability and facility in changing one's position.

Standing on both feet, with the heels pressed together, the pose of respect, esteem, consideration, respectful waiting, modesty, discretion, re-serve, bashfulness, timidity, humiliation, degradation, servility, slavery, etc.

Resting the body equally on both feet, which are, however, separated, the pose of seamen, horsemen, idlers, sluggards, persons of vulgar habits; also of men carrying heavy loads.

Same position, but with the knees bent, the pose of weariness, fatigue, lassitude, weakness, old age, intoxication; also of the fear of losing one's balance.

If the body rests on the foot away from the center of action, the pose is one of unconcern, or indifferent waiting. But if, on the contrary, the body rests on the foot nearest the point of action, the pose will be of mindfulness and attention.

Facing the public or partners, the body rests on the forward foot. This is the pose of rapture, desire, request, demand, command, begging, wish, conviction, promise, observation, persuading and nearly all expressions dictated by the will. By bending the knee which supports the body, the same expressions, but much more accentuated, will be obtained.

Facing the public or partners, with the body resting on the back of the foot, we shall obtain the poses of indecision, wavering, difficulty in solving a problem, ignorance, moral shaking, doubt, suspicion, hesitation, irresolution, melancholy, fear, caution, negation, refusal, denial, resentment, astonishment, surprise, horror, con-tempt, disdain, etc. Bending the knee of same foot (the one supporting the body) , we shall have the same expressions as before, but more accentuated. The foot advances in desire or courage; retires in aversion or fear; stamps in authority or anger; kneels in submission or prayer (Austin) .

WALKING

The walk should be in sympathy with and governed by the character represented and, there-fore, should have as much purpose as any other action. It is very difficult for a beginner on the stage to master the art of walking. Care should be taken not to confuse the tricks seen on the vaudeville stage with the high requirements of the operatic stage, for, needless to say, the "al-lure" of the one is incompatible with the other. Although the walk should always be natural, easy, never stiff, there are well-defined differences between the walks to be used in comedy and in tragedy.

In comedy, the walk is lively, the steps are short, quick, swinging. In tragedy, the walk consists of well-measured, sustained steps, heavy, long and mysterious. The walk for solemn occasions also requires well-measured, sustained steps, as for instance, the stride of King or Ramfis in "Aida," or of Wotan and of nearly all the characters in the Wagnerian operas. To create an impression of discretion, silence, curiosity, mystery, the walk on tiptoe is employed, in instance of which we may cite Othello's entrance in the last act of "Othello." In spying, or in the effort to avoid attention, the manner of walking is similar to springing, as when the Duke enters Rigoletto's house.

Traits of character may be realistically depicted by the manner of walking. We are familiar with the walk of the happy man, which is full of vivacity and sureness of step. On the other hand, the sad man falls into a walk that is full of melancholy, characterized by uncertain, wavering, dragging steps. The angry man has a nervous, violent walk, with quick jerking steps, and staggers, in seeming hesitation, as does Al-vise in "Gioconda."

In contrast to the nervous step used by the angry man, the arrogant man is seen to walk firm-footedly, with hands in pockets. While the lazy man shuffles along with slovenly step, his arms swinging idly at his sides.

The walk of the drunkard is balanceless, swerving in degrees varying with the state of drunkenness. He walks as though on stiff, weak, or too tender feet, and often the feet cross each other, as those of Cassio in "Othello."

Young people walk more surely and graciously than do people of middle age. The latter, in turn, have more energetic steps than the old, who walk slowly, for, although their foot movement is very quick, their steps are short. In extreme old age, the feet are raised from the ground with difficulty, the limbs giving the impression of weakness, or even of paralysis.

Exercises for the Study of Walking.—The best and most practical advice that can be given on this subject is that the aspirant start with a few elementary dance exercises. The ones al-ready described are strongly recommended. Then let him, for a few minutes daily, imitate the walk of different characters, observing care-fully all their mannerisms. As turning corners is most difficult, it is advisable to practice walking from one end of a room to the other nay, even from one piece of furniture to another. (I say "from one piece of furniture to another" advisedly, because the space at our disposal may be limited, indeed.) It is well, then, to try to ac-quire all the ease possible when exercising our-selves in close quarters, especially at the "turning points."

KNEELING

Kneeling rapidly and at the same time on both feet is good only for comic effect. To kneel with grace, it is necessary to take one step forward and rest the body on the forward foot until the second knee touches the ground. When picking up an object from the ground, act in the same way.

MANNER OF BEING SEATED

The manner of taking one's seat has always been considered an indication of good or bad breeding, even from ancient times. A well-educated person will take his seat carefully, without crossing the feet. An intellectual man, in moments of deep thought and reflection, drops his head in his arms, which rest on his knee. A conventional business man sits with his feet on his desk. Students and vulgar men sit with their legs astride the chair. The lazy, the tired and sometimes the old, drop heavily into the chair, though, in general, the latter sit down with precaution, feeling for the seat first with their hands. An energetic man sits erect, some-times with interlocked hands. Modest people assume sidewise positions, holding the head down —in other words, they have an attitude full of respect, even humble; while a timid person gives the impression of being afraid to occupy the whole seat and therefore sits on the edge.

THE SALUTATION

People salute each other in different ways. A haughty man will never bow first, and when answering he hardly touches his hat. A poor or modest man bows low. A beggar takes off his hat, full of timidity, extending his hand to receive the gift. A lazy man acts similarly to the haughty man. A good-natured person bows and expresses greetings. The soldier, always using his official manner, has a military bow, even before ladies. But all types, when entering a church, should hold the hat in the hand and have the head bent forward upon the breast.

In playing historical parts that require the wearing of great hats, it is necessary to take off the hat with the semicircular movement, so as not to cover the head. The stage manager, however, is obliged to teach this matter of ceremony.

EXPRESSIONS

Facial mimicry, one of the principal expressions of the nervous life, is produced by the playing of many muscles controlled by the nervous system. The action of these muscles produces changes in the countenance. While an extensive study of the anatomical construction of these mimicry elements is not required of the actor, still, a knowledge of the position of these muscles is most helpful. It is the best means of knowing where a given expression has its fullest development.

Gamba has divided the muscles of the face into three categories.

1. Muscles expressive by themselves.

2. Muscles expressive through association.

3. Auxiliary muscles.

1. Muscles expressive of themselves are :

The frontal muscle (Occipito frontalis) which acts during attention (A) .

The circular muscle of the eyelids (Orbicularis palpebrarum) which acts during reflection and meditation (C).

The muscle at the pyramid of the nose (Pyramidalis nasi) is active during expressions of fury, indignation, wrath, disdain, etc. (E) .

The muscle that knits and draws the eyebrows together (Corrugator supercilii) acts during painful expressions, grief, etc. (B).

The muscle that elevates the lip and dilates the nostril (Levator labii superioris alaeque nasi) is active during crying and weeping (D) .

The muscles at the angle of the mouth (Zygomaticus major) act in laughter (H) .

The muscles at the angle of the mouth (Zygomaticus minor) act during expressions of affection, love, tenderness, etc.

2. Muscles expressive through association :

The muscle which moves the scalp (Occipito frontalis) and the muscles which draw the eye-brows downward and inward (Corrugator supercilii) act when engaged in the remembrance of painful or pitiful objects.

The muscle at the pyramid of the nose (Pyramidalis), the muscle that elevates the chin or lower lip (Levator menti) (P) and the muscles which draw the eyebrow downward and inward (Corrugator supercilii) , all become engaged in menace ; danger.

The Pyramidalis, Levator menti, Corrugator supercilii and the muscle of mastication (Masseter) act in aggressiveness.

The circular (Orbicular) muscle of the lips, the Zygomaticus minor and the Corrugator supercilii are concerned with crying.

The frontal muscle (Occipito frontalis) and the muscles of the chin (Quadratus menti) act in surprise, agreement, ravishment, admiration and strong fear or terror.

The muscle that knits and draws the eyebrows together (Corrugator supercilii), and the muscle arising from the base of the lower jaw, and inserted into the angle of the mouth (Triangularis oris), act in depression or weakness.

3. Auxiliary muscles are :

The Orbicular, the muscle of the lips (K) . The Quadratus menti, the muscle of the chin (0).

The Buccinator, the muscle that compresses the cheeks (Q), retracts the angle of the mouth.

The expressions or imprints on our face and body are the result of the internal upheaval of our passions, of the workings of our minds, or of the excitement of our senses. Consequently the expressions can be divided into:

1. Expressions of the senses, or a separate faculty of perception connected with a special organ of the body. They are sight, hearing, taste, smell and touch, which are subject to pleasant or painful impressions. These impressions act directly upon the whole body or parts of it, thus producing the fundamental mimicry of pleasure and pain.

2. Expressions of the passions, such as love, hatred, wrath, etc. These are rich in the elements of mimicry.

3. Intellectual expressions or the workings of the thought process, such as attention, reflection, meditation, etc. Contrary to the expressions of the passions, the intellectual processes are not strongly indicated by exterior signs.

4. General expressions, or those caused by internal feelings and states of mind for varied reasons, such as impatience, irony, courage, etc.

The two poles of general expressions are "action and repose." In repose we are lying down or seated. The mimicry of expression gradually dies out until we fall asleep. Action is just the opposite of repose. In action our will and, consequently, our expressions, gradually awaken until they develop into a form capable of mimicry.

5. Simulated expressions are the ones dictated by the will in order to cover the explosions of the passions and certain intellectual processes, such as hypocrisy, falsity, etc.

PLEASURE AND PAIN

There is no existence without both pain and pleasure. Darwin teaches that at birth our consciousness is awakened by pain. In later life it warns us of danger and acts as a safeguard to the body.

Psychologists have thoroughly investigated the characteristics of pain and pleasure, and Mantegazza, after having written two very interesting volumes on these subjects, divides the expressions of pleasure and pain, according to the sources from which they are derived, into:

1. Pleasure and pain of the senses.

2. Pleasure and pain of the passions.

3. Pleasure and pain of the intellect.

4. Pleasure and pain of the body.

The mimicry of pain or pleasure of the senses manifests itself mostly around the organ of a specific sense. Pain of the visual senses (eye) can be produced by looking at an unpleasant or sad picture; pain to the sense of hearing, by listening to some ultra-futuristic music, for in-stance.

The expression of pleasure of the passions is illustrated by love, which impels noble emotions while pain of the passions may be illustrated by hatred, which prompts low actions.

Intellectual pain or pleasure reflects itself in the eye and forehead, thus producing frowns and wrinkles on all the upper part of the face.

Bodily pain is thus splendidly described by Bell:

In bodily pain the jaws are fixed, and the teeth grind; the lips are drawn laterally, the nostrils dilated; the eyes are largely uncovered and the eyebrows raised; the face is turgid with blood, and the veins of the temple and fore-head distended; the breath being checked, and the descent of blood from the head impeded by the agony of the chest, the cutaneous muscle of the neck acts strongly and draws down the angles of the mouth. But when, joined to this, the man cries out, the lips are retracted and the mouth open; and we find the muscles of his body rigid, straining, struggling. If the pain be excessive he becomes insensible, and the chest is affected by sudden spasms. On recovering consciousness, he is incoherent, until again roused by suffering. In bodily pain conjoined with distress of mind, the eyebrows are knit, while their inner extremities are raised ; the pupils are in part concealed by the upper eye-lids; and the nostrils are agitated.

The external symptoms of pleasure are often the laugh and the smile; of pain, crying and weeping.

The Smile—the Laugh

The smile seems to be one of the first conscious expressions of the human being. The smile is one of the chief expressions of the mouth, and, like the look in the eye, it varies with the character of the person. It is the fundamental expression in cheerful, benevolent characters. The smile, then the laugh ! According to Darwin, there is a gradation from the smile to the hearty laugh, and these degrees should be carefully observed by the artist.

The mimicry of laughter consists in the following movements : the mouth opens, showing the teeth. The upper lip is raised, together with the cheek, which produces a quantity of small wrinkles under the eyes, which are brilliant, and the eyebrows are raised. In a paroxysm of laughter and its prolonged duration, tears appear in the eyes. The laugh, like the cry, involves the vocal machinery and these vowels give a special character to the laugh:

So, Ah, ha, ha,—open laugh.

Eh, hey, hey,—intelligence, approving, teasing.

Eeh, hee, hee,—diffidence, irony.

Oh, ho, ho,—surprise.

Ooh, hoo, hoo,—marveling.

In comedies, laughing can be produced by tickling.

Joy, happiness and good humor are strongly and permanently marked on the face by a smile. If this permanent mark takes on a cynical, malicious expression, it is a sign of a cruel, sinister character. Such should be the smile of Mephisto in "Faust," and of Rigoletto in certain moments at the beginning of the opera "Rigoletto." So we see, that the laugh is not always the sign of good humor or joy, for there is the cynical, the malicious, the false, the sardonic, and the satanic laugh, all of which are expressions of hate and other bad sentiments.

In opera, laughter can be rhythmical or unrhythmical. The best specimens of rhythmical laughter is that of Bonci in "Ballo Maschera" in the aria "E Scherzo ed e follia," of the female quartet in "Falstaff," of Mephisto in "Faust," and of Mephisto in "Mephisto," etc. The unrhythmical laugh depends, for its efficiency, upon the interpretive talent of the singer himself.

A cynical smile often accompanies a plan for murder or revenge, though, sometimes, the same smile shows satisfaction at a committed crime or Crying expresses emotion contrary to that of laughing. In crying, it is also necessary to observe the crescendo and diminuendo, so as to avoid possible monotony. Usually, the crying begins with a slight tremolo in the voice, then gasping, then a loud breath between one word and another. The voice grows stronger and the weeping begins, cutting every word with the breath, sometimes repeating the syllables. Then only comes the outburst of weeping, which is no longer restrained or controlled.

Throughout this process, the eyes are half closed, the eyebrows and the forehead wrinkled, the mouth open and the corners of the mouth drooping. The whole body is in a weak, relaxed condition. Often the bare hands alone, or aided by a handkerchief, cover the face.

The cry can be an imploring one (Rigoletto in Act III), or one of repentance, like that of Kundry in "Parsifal;" or it can be false or simulated. When it is sincere, it is the best expression of moral or physical pain, especially in a woman. In hysterics, often there is an excess of anger which finally expresses itself in a paroxysm of weeping, as if relief were thus sought.

There are many kinds of crying, so that, to be convincing, the artist must give careful study and analysis to the requirements of a rôle calling for this expression of sorrow and pain. Young people, for instance, cry unrestrainedly; older people are more moderate in their crying; while, in the very old, the cry is similar to a lament.

Love In Its Different States And Expressions

Love, in its various forms, as mother love, love between lovers, love of country, is among the strongest of human passions. But, receiving its impulse, as it does, from the deep, silent life of thought and feeling, it does not show itself so much outwardly by the more tangible signs of other emotions. However, the facial movements are similar to those seen in joy, the heart beats are accelerated and the breathing is affected. Yet love is an essence whose real breath is expressed in more delicate forms, the gentle smile, the brightened look, the tender clasp, the kiss, all are signs whereby this emotion may be shown.

And withal we must make note of the fact that love often causes sorrow and tears, which state then admits of the more marked expressions of grief, either pure or mixed with joy, as in the case of a meeting after long absence.

Affection is a lesser degree of love. It is manifested by an expression of happiness at sight of the object of devotion the head advances slightly, the look becomes lively as it fixes itself on the one loved ; the eyebrows are slightly raised, the forehead is serene, the mouth smiles, the nostrils dilate.

Devotion is an enduring state of love or affection. It is not content with expressing itself solely in words or feelings, but is active; it must express itself in deeds of thoughtfulness and tender solicitude.

Joy is the result of intense satisfaction and happiness. It can be manifested by clapping the hands, dancing, singing, laughing, etc. As in other expressions of high spirits, the forehead is serene, the eyes are open, the look is brilliant, the corners of the mouth are slightly turned up. In joy, the face is expanded, while in grief it is lengthened.

A violent joy is manifested by intense, noisy laughter. This outburst, however, may start from, or be gradually moderated until diminished into, a broad, gentle smile, which will indicate cheerfulness. The whole body and muscles are then more relaxed and the forehead is not contracted. A cheerful man is an optimist. His thoughts are centered in lively and noble emotions.

Sympathy is the taking part in the happiness or distress of others. Consequently, the expressions of the sympathetic person are affected by the high or low spirits of others.

Benevolence or kindness is the first degree of friendship and love. The possession of this quality is the sign of a happy, noble character, and must imprint an expression of smiling serenity on the face; leave an allure of happiness in the whole demeanor. It is the mark of the high-bred person. A noble example of this state is the attitude of the father in the opera "Linda," during the aria "Ambo Nati."

Intellectual And Other Expressions

Attention is a state of mind. In its expression the head is bent forward slightly, the eye-brows sink and approach the sides of the nose, the eyes look in the direction of the object that is attracting notice, and the mouth is slightly open.

Though the attention aroused may be of the eye, ear, taste, smell or touch, the attitude is always a mental one, as there is a focusing of the thought process on the spot from which the bodily senses have been attacked. So, when the gaze is attracted by something in the distance, the attitude of mind is a "waiting" one, or in other words, the attention becomes alert, the hand shades the eye as the mind directs a search to discover the object. When the sense of hearing is attacked, the hand often moves upward to the ear in an attempt to locate the source of the sound.

The facial expression will "register" satisfaction, pleasure, admiration, fear, or terror, ac-cording as the object that was attracting attention is discovered to bear these characteristics. For instance, in the last act of "Othello," Desdemona's attention resolves itself into wild terror.

Surprise.—Attention, then, can be turned into surprise, admiration, astonishment or amazement. In surprise, the eyes are raised higher than in attention, the mouth is open, transverse wrinkles appear across the forehead, the eyebrows are abnormally arched. Often the hands are raised above the head, or the arms are bent at the level of the head. The palms are directed towards the object of surprise, the fingers are separated. When surprise is disagreeable or causes the necessity of self-defense, these movements are directed forward, away from the body.

Naturally, the intensity of these movements depends upon the degree of the emotion. They increase in strength and vividness of expression

when surprise passes into astonishment or amazement.

Astonishment; Amazement.—This state has the same characteristics of motion and gesture as that of surprise, only more strongly accentuated.

Admiration consists of pleasant surprise, mixed with a feeling of satisfaction and a sense of approval. The head turns toward the object admired, the eyebrows are gently raised, the eyes are opened more than ordinarily, the look is bright, the mouth is parted by a faint smile, and the lower jaw drops slightly.

The "Visual Senses," senses of sight, are called into play when admiration is mingled with a remembrance of the native land, in which instance we may cite the recitative "Il mulino," etc., done by Rodolfo in "Somnambula," and also the scene in "Aida" when the admiring masses greet the victorious Radames.

Admiration may be called the satisfied attention of the senses.

Reflection, which is deep and long thought, consists of an analysis of the idea or thing under

consideration. The state of reflection does not admit of very expressive, characteristic mimicry, until we find an obstacle to overcome, in which case we frown, thus denoting the intellectual effort sustained.

Meditation may rightly be called the sister of reflection. It is a purely intellectual expression. During its process, the lower eyelids a .e wrinkled and raised. The expression of the eyes, which are not fixed on any object, is pecu iar, indicating only absorption ; the head drop slightly, so that it can be supported by the hand ; the mouth is slightly open, therefore the lower jaw drops.

The body is in a relaxed position, all the effort being concentrated in the brain. The reflection may often be perplexed, and in such moments we raise our hands to our forehead, mouth or chin.

Decision; Determination.—This process may often come as a result of reflection or meditation.

Decision is characterized by a firm closing of the mouth. The gesture is energetic in case the decision is a resolve not to yield Alfio in "Cavalleria," but it is slow, undecided, if the decision is to yield to wit; Violetta when she gives in to the demands of the father.

Fear; Terror.—Astonishment often results in fear, in which case the eyes and the m outh are wide open, the eyebrows raised, and the fore-head wrinkled. In the first rush of fear the body remains motionless and the trunk seems to dwindle in size. The breathing is accelerated, the heart action is exaggerated and irregular, resulting in the striking pallor so characteristic of fear and terror (Margherita in the prison scene of "Faust," and Boito's Mephistopheles, and Desdemona in the last act of "Othello,' are examples). Some muscles tremble, especially those of the lips. Other indications very dangerous for a singer to show are dryness of the mouth, and contraction of the throat, for th( se result in vocal inconvenience. The nostrils tre dilated. The look may be fixed on the object causing terror, but it may also wander, as if seeking some means of salvation. The hands can be alternately closed and opened, often with twitching movements. The arms may be thrown widely over the head.

Dr. J. Crichton Browne gives the following description of terror in an insane woman :

When a paroxysm seizes her, she screams out, "This is hell!" "There is a black woman!" "I can't get out!" and other such exclamations. When thus screaming, her movements are those of alternate tension and tre nor. For one instant she clenches her hands, holding her arms out before her in stiff, semiflexed position; then, suddenly, she bends her body forward, sways rapidly to and fro, draws her fingers through her hair, clutches at her neck and tries to tear off her clothes. The sterno-cleido-mastoid muscles (which serve to bend the head on the chest) stand out prominently, as if swollen, and the skin in front of them is much wrinkled. Her hair, which is cut short at the back of her head, and is smooth when she is cal n, now stands on end, that in front being disheveled by the movements of her hands. The countenance expresses great mental agony. The skin is flushed over the face and neck , down to the clavicles, and the veins of the forehead and leck stand out like thick cords. The lower lip drops, and it is somewhat averted. The mouth is kept half open, with the lower jaw projecting. The cheeks are hollow and deeply fur-rowed in curved lines running from the wings of the nostrils to the corners of the mouth. The nostrils themselves are raised and extended. The eyes are wide open, and beneath them the skin appears swollen ; the pupils are large. The forehead is wrinkled transversely in many folds, and at the inner extremities of the eyebrows it is strongly fur-rowed in diverging lines, produced by the powerful and persistent contraction of the corrugators.

Horror.—The difference between terror and horror is this : terror may be called an alarm for personal safety, but horror is created by sympathy for, and shock at, the sufferings of others. These expressions are similar in mimicry, for, as Darwin explains, "by the power of imagination and of sympathy, we put ourselves in the position of the sufferer and feel something akin to fear" (note the chorus in Valentine's death in "Faust").

The body turns away from the object or cause of horror; the arms violently protrude or bend at the chest; the mouth is open, the lower jaw is dropped, the forehead is wrinkled, the eye-brows are arched. Horror has exactly the same influence on the body, heart and respiration as terror.

It may sometimes cause self-sacrifice and a decision to protect others.

Hatred.—Dislike is the beginning of hatred. Hatred in well-educated persons is, to a great measure, concealed, but in low characters it is expressed violently, so that, we may say, it explodes: Tonio in "Pagliacci" when his love is changing to hatred, or Iago, when scheming against Othello, will differently express their feelings. Hatred may burst forth in malediction, as that of Monterone in "Rigoletto," or it can prompt bad and low actions, as in the case of Tonio in "Pagliacci," etc.

Rage is an explosion of anger. It s a brutal passion in which, especially among the lower classes, the will has no control over the emotion. In rage, every muscle of the face is contracted so that an enraged man may be likened to a beast; he exposes his teeth; his eyes burn; he knits and unknits his brow ; his eyebrows are raised ; his nostrils are distended; his teeth are set; his mouth is closed ; his fists are clenched ; his arms are raised; and the veins stand out on his head and neck. There is a seeming desire to crush every-thing.

In rage the breathing process, the heart action and the brain are affected, so that apoplectic strokes often follow the outbreak. When rage is developing, the gesture seems to be purpose-less.

Rage has a depressing effect upon the breathing. Interpretation of these passions must be well under control by the singer.

The expressions of hatred and rage may be strongly observed in a mob, especially during a lynching.

Anger.—Darwin thus describes an outbreak of anger between people:

At first she vituperated her husband, and whilst doing so foamed at the mouth. Next she approached close to him with compressed lips, and a virulent, set frown. Then she drew back her lips, especially the corners of the upper lip, and showed her teeth, at the same time aiming a vicious blow at him.

A second case is that of an old soldier who, when he is requested to conform to the rules of the establishment, gives way to discontent, terminating in fury. He commonly begins by asking Dr. Browne whether he is not ashamed to treat him in such a manner. He then swears and blasphemes, paces up and down, tosses his arm wildly about, and menaces any one near him. At last, a his exasperation culminates, he rushes up towards Dr. Browne with a peculiar sidelong movement, shaking his doubled fist, and threatening destruction. Then his upper li may be seen to be raised, especially at the corners, so that his huge canine teeth are exhibited. He hisses forth his curses through his teeth, and his whole expression assumes the character of extreme ferocity.

Indignation is nothing else than rage in a slight degree, and, consequently, has all the characteristics of rage "in miniature."

Sneering and Defiance are still other degrees in the rising passion of rage.

Scorn.—The forehead is wrinkled, although much less than in anger. The eyebrows are knit together and, at one extremity, approach the nose, while at the other they are raised. The chin is advanced, the head tossed back, the look cold.

The nostrils are distended, thus wrinkling the cheeks. The under lip protrudes and causes the corners of the mouth to take a downward curve. The mouth is almost always shut, bui is sometimes slightly open on one side, uncovering the canine tooth.

Disdain.—We show disdain for a person toward whom we feel antipathy. The 1 Thole scene of "Tosca" in Scarpio's room is full of disdain, as is also the entrance of Amonasro in "Aida." The expression of disdain and contempt originates around the nose, for this movement is similar to the one made when the sense of smell is offended. Piderit has observed that, in extreme cases of disdain, both lips are protruded and raised, or the upper lip alone, so as to close the nostrils as by a valve, the nose being thus turned up. Snapping the fingers is another sign of disdain or contempt.

Disgust.--The feeling produced when in con-tact with something that offends our feelings or taste is called disgust. This expression, too, originates around the mouth. It is signaled by frowning, by holding the mouth wide open and the upper lip strongly retracted. This movement wrinkles the sides of the nose, causing the lower lip to protrude. The shoulders are raised as in horror.

The expressions of scorn, disdain, contempt, disgust, have much similarity to the expressions of hatred, rage, etc. They all represent low spirits.

General Expressions

Impatience, Restlessness, Desire, are all general expressions in which the richness of mimicry is dependent upon the source or cause of the emotion. So we may be impatient in love, in pain, and in varied states of the soul and mind.

Impatience is a state of nervousness which is characterized by uncertain movements and gestures. The walk is nervous, irregular, and the gesture seems to explode. The look is distracted, the forehead wrinkled. When impatience is the beginning of anger or rage, as it often is, we pull the hair, bite the fingers, strike the table with the fists, etc.

The mimicry of desire bears a strong resemblance to the cause producing it. In the desire to be loved, the mimicry of impatience will be associated with the one of love. In the desire for vengeance, hate will combine with eagerness to accomplish one's purpose.

Desire, prompted by noble sentiments, is characterized by having the eyebrows drawn close together, the eyes wider open than usual, the nostrils raised and contracted toward the eyes, and the mouth half open.

Agitation and Anxiety are more general expressions whose mimicry Is very similar to the one of impatience.

The state of waiting shows a combination of desire and impatience.

Different complex states of mind like vanity, conceit, jealousy, avarice, revenge, suspicion, ambition, humility, etc., can all be classified as general expressions. Some of the, e might be classified under simulated expressions, for, since they represent, if not always low instincts, at least ignoble impulses, people usually try to conceal them. Blushing, wavering eyes, restless with uneasy motion, forehead wrinkled, eyebrows lowering, eyelids partly closed, frowning, etc., are the chief characteristics of their expressions. Their mimicry, however, according to Darwin, is not distinct enough to allow detailed description.

Arrogance; Pride.—The peacock and the turkey cock are the emblems of pride The body and head are erect, the trunk is enlarged to its fullest extent, the walk is measured. The mouth is closed, the expression is a frowning one, and there are always signs of contempt written on the countenance. The proud man is overconfident, looks down upon others, and l is every motion is artificially sure. Basilio ve lo giura in "Barber of Seville" is an example of conceit.

Humility is, of course, the direct opposite of the expression worn by pride.

Helplessness and Impotence.—' Ehe idea of helplessness or of the impossible is expressed by quickly raising both shoulders, ben ling the elbows in toward the body, and raising open hands, turning them outward with the fingers separated. The head is held to one side, the eyebrows elevated, wrinkles cross the brow, and the mouth is almost wide open.

Lack of Understanding is similarly expressed.

Hypocrisy, Falsity, etc.—The most trying feature to control in all the simulated expressions of daily life is the eye. Being the mirror of the soul, it with difficulty obeys the thought or will power in adapting itself to expressions of hypocrisy and falsity. For instance, in simulated anger, the eyebrows will be wrinkled, and the mouth may show the usual signs of anger, but one look will be sufficient for a keen observer to discover that the feeling is feigned

The simulated expressions can be love, hate, admiration, pity, etc. On the stage these are presented by an exaggerated mimicry and gesture suited to the state or feeling simulated. However, the mimicry and gesture must lack sincerity. Some people, especially among the business class, wear a never-failing mask behind which they cover their real sentiments, thoughts and ideas. This may be called the first degree of hypocrisy. The hypocrite on the stage must have some special characteristics that will at once indicate him. So the look of such a type is a shifting one; the head is held slightly down, an artificial, forced smile adorns the lips, and a hesitancy governs his entire attitude.

Effects Of Pathological States On The Expressions

Madness is a sickness of the brain which, like any other sickness, varies in kind and degree with different manifestations for different periods. It is often the direct result of great mental and moral anguish, such as the death of dear ones or disappointment in love (Lucia in "Lucia" or Lothario in "Mignon") .

The walk and attitude of insane persons are to be studied. The insane man walks without guidance or direction, being, for the most part, self-centered and governed by his sick thoughts, and can be compared to an automobile with the steering gear broken. He passes rapidly, as does a child, from one emotion to another, for instance, love to hate. The permanent expression on the face of a lunatic depends, of course, upon the character of his malady, so we have the furious, the melancholic, the quiet, etc., types Of great importance in the portraiture of insanity is the part the eye plays. It has a look that is at once penetrating, cutting, lively, yet unnatural.

In playing the parts of lunatics, the artist must avoid all theatrical acrobatism, for any exaggeration will mar the success of his portraiture.

Pathological states and their manifestations are often studied by artists from life in the hospital and sanitariums themselves. This is advisable, providing the artist can endure the nerve strain occasioned by these harrowing scenes.

Nervousness is manifested by ,!special and repeated movements of the hands, ft et, eyes, and other parts of the body. Some nervous people bite the nails, or open and close the the hand without apparent reason. Others have a certain dancing swing to their walk ; again others move the neck continuously. There are those who, when they talk with you, must touch your clothes or pull at your buttons, as if in desire to impress you more and so convince you; and again those who are continuously adjusting the hair, whiskers or beard, or worse, those who cant keep from touching the nose; those who serate i the body or head unceasingly ; and the ones who yawn distressingly. The observation of all these types will be of great assistance to the artist when he is preparing scenes depicting impatience.

Trembling may be another form of nervousness, or occasionally a manifestation of cold (first act of "Bohême"), or it may be the result of old age. In the latter case, the gesture is developed with the increased trembling of the entire body, or of the certain parts in agitation. And so the hand of a very old man when he picks up a glass to drink will tremble slightly at the moment of taking up the glass but will tremble more and more as his hand nears his mouth so that, when he should touch the glass to his lips, the liquid is thrown out. In very old age the head, in approval, trembles vertically; in denial, later-ally.

Again, it is interesting to make use of the well-known fact that low characters tremble when in danger of their lives.

Drunkenness.—From a slight degree of intoxication to total drunkenness, there is a graduated scale of increase, thereby calling for a varied expression of these different stages. The "tipsy" man is characterized by a slight lack of balance in walking, good humor and a certain. half-senseless eloquence. The drunken man staggers along; his feet are either stiff or weak; his eyes, sleep-laden, so that it is with effort that he keeps then open just enough to see where he is going (Cassio in "Othello," Act I.)

Some drunken men, however, are conscious of their condition and try to hide it. Their efforts to keep and walk straight, their forced raising of the head, offer unlimited observation and study to the actor. And it must not be for gotten that the ordinary character, temperament and habits reveal themselves unconsciously in t re drunken state, so that a well-educated man, even under the influence of liquor, will act differently from a vulgar, uneducated man.

As the degree of drunkenness increases, the feet waver, the hands fall, the eyes close, for the drunken man has no more strength t) keep them open. The whole body relaxes and he hair and clothes fall into complete disorder.

Death.—The manner of portraying death depends upon the cause of the death. Death following tuberculosis can come gradually, like the pale flickering of a lamp in which the oil is slowly burning out (Mimi in "Bohême"). This form will be characterized by a weakening of gestures, mimicry and voice in keeping with ti e decreasing of the vital forces. But in a death like that of Violetta in "Traviata," the sick per >on seems at first to regain all his strength, then lose it, then regain it, several times, perhaps, before the end which, when it comes, comes suddenly and consumes the body quickly, as if in a fiery furnace. In other cases, death may come after a more or less long illness. The agony of suffering is then long and drawn out so that it leaves special marks upon the face and body. It goes without saying, of course, that, besides the mimicry, the make-up in these cases must be adapted to the situation at hand. The actor should be pale, even ghastly, the eyes and cheeks sunken. The look must ex-press the feelings that animate the dying person.

Again, death may be inflicted by the knife, as that of Ernani, or it may be the result of a duel with swords, as that of Valentine in "Faust." In cases like this, a short agony follows the fatal wounding and the actor, falling to the floor, has often to sing as he lies there awaiting the end. The act of falling is very difficult for it must not appear painful, but natural, "in tone" with the scene, and aesthetic. Before the fall occurs, if time permits, it is well to make a few balanceless steps to give the impression of trying to find some kind of support for the body. When actually falling, after the wound has been received, I should advise rising slightly on the tips of the fingers and then falling down again, face towards the audience. The feet must bend, nearly crossing, and the body must be let "roll" down, as it were, while one is on bended knee. In doing this it is helpful to use the hands for support when nearing the floor.

Another form of death in the fina, scenes of operas is death by poison like Fedora o Leonora.

In intelligent preparation of the I part where this form of dying occurs, the effects of poison on the body should be carefully studied from scientific works, as the subject is vas vast and does not admit of adequate treatment in a study of this sort.

Death from paralysis (a shock) is Instantaneous and its portraiture on the stage consists of showing a hardening of the muscles b T shocks.

Life in Prison, Moral Death, can easily be compared to agony of life. It taxes the subtlest art of the actor. Here he may have to depict the despairing apathy of the life-prisoner in his cell, or the prolonged sufferings of an agony-branded soul. He must show by a convincing art as well as by skillful artifice, such as emaciated body, dull, sunken eyes and projecting cheek bones, that such feverish psychology can and does consume the body as if by slow fire.

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