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Less of practical value can be learned of sign language, considered as a system, from the study of gestures of actors and orators than would appear without reflection. The pantomimist who uses no words whatever is obliged to avail himself of every natural or imagined connection between thought and gesture, and, depending wholly on the latter, makes himself intelligible. On the stage and the rostrum words are the main reliance, and gestures generally serve for rhythmic movement and to display personal grace. At the most they give the appropriate representation of the general idea expressed by the words, but do not attempt to indicate the idea itself. An instance is recorded of the addition of significance to gesture when it is employed by the gesturer, himself silent, to accompany words used by another. Livius Andronicus, being hoarse, obtained permission to have his part sung by another actor while he continued to make the gestures, and he did so with much greater effect than before, as Livy, the historian, explains, because he was not impeded by the exertion of the voice; but the correct explanation probably is, because his attention was directed to ideas, not mere words.
Gestures of Actors
To look at the performance of a play through thick glass or with closed ears has much the same absurd effect that is produced by also stopping the ears while at a ball and watching the apparently objectless capering of the dancers, without the aid of musical accompaniment. Diderot, in his Lettre sur les sourds muets, gives his experience as follows:
I used frequently to attend the theater and I knew by heart most of our good plays. Whenever I wished to criticise the movements and gestures of the actors I went to the third tier of boxes, for the further I was from them the better I was situated for this purpose. As soon as the curtain rose, and the moment came when the other spectators disposed themselves to listen, I put my fingers into my ears, not without causing some surprise among those who surrounded me, who, not understanding, almost regarded me as a crazy man who had come to the play only not to hear it. I was very little embarrassed by their comments, however, and obstinately kept my ears closed as long as the action and gestures of the players seemed to me to accord with the discourse which I recollected. I listened only when I failed to see the appropriateness of the gestures.. There are few actors capable of sustaining such a test, and the details into which I could enter would be mortifying to most of them.
It will be noticed that Diderot made this test with regard to the appropriate gestural representation of plays that he knew by heart, but if he had been entirely without any knowledge of the plot, the difficulty in his comprehending it from gestures alone would have been enormously increased. When many admirers of Ristori, who were wholly unacquainted with the language in which her words were delivered, declared that her gesture and expression were so perfect that they understood every sentence, it is to be doubted if they would have been so delighted if they had not been thoroughly familiar with the plots of Queen Elizabeth and Mary Stuart. This view is confirmed by the case of a deaf-mute, told to the writer by Professor Fay, who had prepared to enjoy Ristori’s acting by reading in advance the advertised play, but on his reaching the theater another play was substituted and he could derive no idea from its presentation. The experience of the present writer is that he could gain very little meaning in detail out of the performance at a Chinese theater, where there is much more true pantomime than in the European, without a general notion of the subject as conveyed from time to time by an interpreter. A crucial test on this subject was made at the representation at Washington, in April, 1881, of Frou-Frou by Sarah Bernhardt and the excellent French company supporting her. Several persons of special intelligence and familiar with theatrical performances, but who did not understand spoken French, and had not heard or read the play before or even seen an abstract of it, paid close attention to ascertain what they could learn of the plot and incidents from the gestures alone. This could be determined in the special play the more certainly as it is not founded on historic events or any known facts. The result was that from the entrance of the heroine during the first scene in a peacock-blue riding habit to her death in a black walking-suit, three hours or five acts later, none of the students formed any distinct conception of the plot. This want of apprehension extended even to uncertainty whether Gilberte was married or not; that is, whether her adventures were those of a disobedient daughter or a faithless wife, and, if married, which of the half dozen male personages was her husband. There were gestures enough, indeed rather a profusion of them, and they were thoroughly appropriate to the words (when those were understood) in which fun, distress, rage, and other emotions were expressed, but in no cases did they interpret the motive for those emotions. They were the dressing for the words of the actors as the superb millinery was that of their persons, and perhaps acted as varnish to bring out dialogues and soliloquies in heightened effect. But though varnish can bring into plainer view dull or faded characters, it cannot introduce into them significance where none before existed. The simple fact was that the gestures of the most famed histrionic school, the Comédie Française, were not significant, far less self-interpreting, and though praised as the perfection of art, have diverged widely from nature. It thus appears that the absence of absolute self-interpretation by gesture is by no means confined to the lower grade of actors, such as are criticized in the old lines:
When to enforce some very tender part
His left hand sleeps by instinct on the heart;
His soul, of every other thought bereft,
Seems anxious onlywhere to place the left!*
Without relying wholly upon the facts above mentioned, it will be admitted upon reflection that however numerous and correct may be the actually significant gestures made by a great actor in the representation of his part, they must be in small proportion to the number of gestures not at all significant, and which are no less necessary to give to his declamation precision, grace, and force. Significant gestures on the stage may be regarded in the nature of high seasoning and ornamentation, which by undue use defeat their object and create disgust. Histrionic perfection is, indeed, more shown in the slight shades of movement of the head, glances of the eye, and poises of the body than in violent attitudes; but these slight movements are wholly unintelligible without the words uttered with them. Even in the expression of strong emotion the same gesture will apply to many and utterly diverse conditions of fact. The greatest actor in telling that his father was dead can convey his grief with a shade of difference from that which he would use if saying that his wife had run away, his son been arrested for murder, or his house burned down; but that shade would not without words inform any person, ignorant of the supposed event, which of the four misfortunes had occurred. A true sign language, however, would fully express the exact circumstances, either with or without any exhibition of the general emotion appropriate to them.
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Even among the best sign-talkers, whether Indian or deaf-mute, it is necessary to establish some rapport relating to theme or subject-matter, since many gestures, as indeed is the case in a less degree with spoken words, have widely different significations, according to the object of their exhibition, as well as the context. Panurge (Pantagruel, Book III, ch. xix) hits the truth upon this point, however ungallant in his application of it to the fair sex. He is desirous to consult a dumb man, but says it would be useless to apply to a woman, for “whatever it be that they see they do always represent unto their fancies, and imagine that it hath some relation to love. Whatever signs, shows, or gestures we shall make, or whatever our behavior, carriage, or demeanor shall happen to be in their view and presence, they will interpret the whole in reference to androgynation.” A story is told to the same point by Guevara, in his fabulous life of the Emperor Marcus Aurelius. A young Roman gentleman encountering at the foot of Mount Celion a beautiful Latin lady, who from her very cradle had been deaf and dumb, asked her in gesture what senators in her descent from the top of the hill she had met with, going up thither. She straightway imagined that he had fallen in love with her and was eloquently proposing marriage, whereupon she at once threw herself into his arms in acceptance. The experience of travelers on the Plains is to the same general effect, that signs commonly used to men are understood by women in a sense so different as to occasion embarrassment. So necessary was it to strike the mental key-note of the spectators by adapting their minds to time, place, and circumstance, that even in the palmiest days of pantomime it was customary for the crier to give some short preliminary explanation of what was to be acted, which advantage is now retained by our play-bills, always more specific when the performance is in a foreign language, unless, indeed, the management is interested in the sale of librettos.
Gestures Used by Modern Actors and Orators
If the scenic gestures are so seldom significant, those appropriate to oratory are of course still less so. They require energy, variety, and precision, but also a degree of simplicity which is incompatible with the needs of sign language. As regards imitation, they are restrained within narrow bounds and are equally suited to a great variety of sentiments. Among the admirable illustrations in Austin’s Chironomia of gestures applicable to the several passages in Gay’s “Miser and Plutus” one is given for “But virtue’s sold” which is perfectly appropriate, but is not in the slightest degree suggestive either of virtue or of the transaction of sale. It could be used for an indefinite number of thoughts or objects which properly excited abhorrence, and therefore without the words gives no special interpretation. Oratorical delivery demands general gracecannot rely upon the emotions of the moment for spontaneous appropriateness, and therefore requires preliminary study and practice, such as are applied to dancing and fencing with a similar object; indeed, accomplishment in both dancing and fencing has been recommended as of use to all orators. In reference to this subject a quotation from Lord Chesterfield’s letters is in place: “I knew a young man, who, being just elected a member of Parliament, was laughed at for being discovered, through the key-hole of his chamber door, speaking to himself in the glass and forming his looks and gestures. I could not join in that laugh, but, on the contrary, thought him much wiser than those that laughed at him, for he knew the importance of those little graces in a public assembly and they did not.”