At the Internet Archive I found an 1897 public speaking book titled The Progressive Speaker. It begins with a discussion of elocution that contains the following advice:
“GESTURE
Second only to vocal gymnastics comprising articulation, pitch, force and time – which have been discussed in the preceding chapter is gesture.
Gesture is the science of interpretating and emphasizing by the various postures and motions of the face, head, shoulders, trunk, arms, hands, fingers, legs and feet the words which are spoken.
Graceful and appropriate gesture renders vocal delivery far more pleasing and effective. Hence its cultivation is of primary importance to those who are ambitious of accomplishment in elocution. Without discussing this subject at length, we will, by a few simple illustrations, endeavor to show the favorable and unfavorable postures of the body, and afterwards proceed to show the different attitudes for expressing various emotions and sentiments. In the first place, let it be remembered that the orator or reader should stand upon his feet, and never lounge or loll in an ungraceful attitude. If a speaker should lie on the stand before him, or hang on to a chair or table, he will not be likely to deliver himself with energy or effect.
The above illustrations show a few of the improper positions often assumed, in contrast with proper or graceful attitudes.
The Head, the Eyes, the Arm, and Hand
As the head gives the chief grace to the person, so does it principally contribute to the expression of grace, in delivery. The head should be held in an erect and natural posture; for when hung down, it expresses humility, or diffidence; when thrown back, arrogance; and when inclined to one side, languor or indifference. The movements of the head should be suited to the character of delivery; they should accord with the gesture, and fall in with the actions of the hands and the motions of the body.
The head is capable of many appropriate expressions. Besides those nods which signify assent or approbation and rejection, there are motions of the head, known and common to all, which express modesty, doubt, admiration, and indignation. But to use the gesture of the head alone, unaccompanied by any other gesture, is considered faulty. It is also a fault to shake or nod the head frequently, to toss it violently, or to agitate the hair, by rolling it about.
The eyes should look the sentiment expressed. Every gesture will be strengthened or weakened by the expression of the eye. This, like other gestures, should be practiced before a mirror. But to give the proper expression and power to the eye, the speaker must feel the sentiments he would put into his look and words.
The arm, the fore-arm, the hand, and fingers form the grand instruments of gesture; or as Cicero calls them, ‘the weapons of the orator.’ Altogether they form a compound instrument, the centre of which is in the shoulder, but each separate joint often becomes a new centre of motion for the portion between it and the extremity. In gesticulating, this complex instrument does not continue long in one direct line, but changes every moment.
The most common positions of the hands are illustrated by the accompanying cuts. They may be memorized by the student in a few minutes, and a little practice will make them familiar. Here, again, the mirror will help. Look first at the illustration; then reproduce it in the glass.
The Stroke and Time of Gesture
The stroke of gesture is analogous to the emphasis of the voice; and they should both fall exactly on the accented syllable of the emphatic word. In this way the emphatic force of the voice, and the stroke of the gesture, co-operate in presenting the idea in the most lively manner, to the eye as well as to the ear.
In all discourse, whether calm or impassioned, the words and gestures should accompany each other. As, in beating time in music, the beat is made on the accented part of the measure, so in speaking, the stroke of the gesture should fall on the accented syllable of the emphatic word. The emotion which calls forth the word, at the same moment, prompts the gesture. Hence, the muscles of gesticulation should move synchronously and harmoniously with those of the voice.
When gesture is not marked by the precision of the stroke, in the proper places, it is very offensive. The arms, like those of a person groping in the dark, seem to wander about in quest of some uncertain object; and the action is of the faulty kind which is called sawing the air. Even graceful motions, unmarked by the precision of the stroke of the gesture, as sometimes seen, lose much of their force, and very soon cease to afford pleasure. All the unmeaning motions of public speakers are attended with the same ill effect as a mouthing and canting tone of declamation, which lays no emphasis with just discrimination, but swells and falls with a vain affectation of feeling, and with absolute deficiency both in taste and judgment.
WHOLE FIGURE GESTURES AND ATTITUDES
The following illustrations will assist the student in assuming the proper attitudes and making the proper gestures for the expression of the feelings and sentiments indicated. It would be well to memorize and practice before a mirror, until confidence, ease and grace are acquired in executing them.”
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