GESTURE AND ACTION
No better advice can be given upon this subject than to "Suit the action to the word; the word to the action." Unless a gesture in some way helps in the expression and understanding of a thought, it should be omitted. Gesture is not a mere ornament, but a natural and necessary part of true expression. The arms and hands should be trained to perform their work gracefully, promptly, and effectively. If too many gestures are used they lose their force and meaning. Furthermore, too many gestures confuse and annoy the auditor.
Gesture should be practised, preferably before a looking-glass, so thoroughly beforehand as to make it an unconscious act when the speaker comes before his audience.
The correct standing position is to have one foot slightly in advance of the other. The taller the person, the broader should be the base or width between the feet. The body should be erect but not rigid. In repose the arms should drop naturally at the sides. Except in the act of gesticulating do not try to put the hands anywhere, and above all, if a man, not in the pockets.
IMPERSONATION
The aim here should be to lose one's self in the part. To subordinate one's tones, gestures, and manners, and to live the character for the time being, requires no mean ability. Impersonation calls for imagination, insight, concentration, and adaptability. The impersonator must be all at it, and at it all, during the whole time he is impersonating the character.
"To fathom the depths of character," said Macready, the distinguished English actor, "to trace its latent motives, to feel its finest quiverings of emotion, to comprehend the thoughts that are hidden under words, and thus possess one's self of the actual mind of the individual man, is the highest reach of the player's art, and is an achievement that I have discerned but in few. Kean—when under the impulse of his genius he seemed to clutch the whole idea of the man—was an extraordinary instance among those possessing the faculty of impersonation."
Where dialect is used it should be closely studied from life. Stage representations of foreign character are not always trustworthy models.