  Expression of the face, form and voice is the main point in acting. The former two may easily be acquired, but the latter will be utterly ruined if the student places himself under the tutorship of an elocutionist. They teach a drawly, too-perfect, sound of every vowel, which is both harsh and unnatural, and above all, the student is as apt In expressing grief, the head is bent down, the eyes partially closed, the mouth slightly open, the corners tightly drawn down, the left hand is pressed upon the heart, and the right clenched at the side. Fear bends the body forward slightly, the wide open hands are held up before the face, which is half averted, the eyes turned to the object of terror. The lower jaw is dropped, the eyes wide open, showing the ball to its fullest extent. Love parts the lips, makes the breathing irregular, the eyes gaze fondly at the object of affection, but drop confusedly before hers. A smile wreaths the lips, and the whole demeanor is gentle and tender. Hate protrudes the head, draws rigid the cords of the neck, shows the eye-balls to their fullest extent, the lower lip is dropped, showing the tightly-set teeth, the eyebrows knit with a heavy scowl, and the hands, hanging by the sides, open and close with a convulsive movement, as if longing to grip the object of hatred. Jealousy is hate subdued and less forcible, with a nervous twitching of the lips. Pity clasps the hands, closes the lips in a half pout, drops the head slightly to the left, and gazes longingly from beneath the brows. Joy opens the lips, radiates the face with a smile, widens the eyes, and extends the hands eagerly. Passion contracts the brows, dilates the nostrils, draws the lips tightly together, and flushes the face. Some practice will be needed before the rise and fall of color can be completely mastered, however. The body in this emotion is drawn fully up, and towers over the object of its rage, while the hands, as in hate, open and close with a convulsive grip. |
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