Start Here: How to study Baroque Gesture & Historical Action
We must not break forth at once into speech, but should allow ourselves a few moments for
reflection… In this preliminary delay there are certain pauses, as the actors call them,
which are not unbecoming. We may stroke our head, look at our hand, wring the fingers,
pretend to summon all our energies for the effort.
Homer describes Ulysses as having stood for a while with eyes fixed on the ground and
staff held motionless, before he poured forth his whirlwind of eloquence. And these
recommendations for how to start a speech (or an aria, or an instrumental solo, or for that
matter, a corporate or academic presentation) come from Quintilian Institutio
Oratoria (c95 AD) complete text here, in English translation.
So should we start by reading all 12 volumes of Quintilian (in the original Latin, of course)?
Well, you could do worse, but there are perhaps quicker ways to get started. Read on…
In 2010, when I began to investigate baroque gesture seriously, in preparation for a
production of Monteverdi’s Orfeo (see the documentary film here and below), I started as
any academic researcher might do, by reading key primary and secondary sources:
Bonifaccio’s L’Arte dei Cenni (The Art of Gesture, 1616)here; John Bulwer’s
1644 Chironomia here; and that magnificent pioneering study, Dene Barnett’s (1987) The
Art of Gesture: The Practices and Principles of 18th-century Acting. [Not available online,
as far as I know. I had to pay a small fortune for a physical copy of the book, which is now
out of print. Wake up, publishers, Carl Winter. The time for a paper-back re-release is
now!]
Of course, this was not at all the way to start! Well, yes and no. These three books, along
with Quintilian and other such publications are indispensable sources of historical
information of what to do with your hands. But those hand-movements depend
(physically) on whole-body structure and mental/spiritual connections, and they depend
(rhetorically) on the text. And Baroque Gesture is only one element (and perhaps not the
most significant) of the discipline of Historical Action.
Baroque Gesture requires holistic study
Physically, gestural practices circa 1600 were enabled by the general embodied habitus of
Early Modern performers. In an age before motor-cars and lifts, they walked and took the
stairs, they rode horses. They were fit and more connected to their bodies than many of us
today. They had better balance, they were more ‘centred’. Courtiers spent many hours
every day dancing and practising swordsmanship.
So any modern study of baroque gesture requires a grounding in academic knowledge and
practical experience of period posture, early dance and historical swordsmanship.
Speaking for myself, an academic appreciation can be more quickly acquired than an
embodied understanding. It takes years of daily practice to assimilate ‘new’, healthy and
historical ways of standing and moving. Experience with early dance is a great help, and
sword-school is enormous fun. Although it is from another culture, I have found Tai Chi
very helpful too in improving balance, establishing a sense of “centre” and facilitating
mind/body/spirit connections.
Suit the Action to the Word
This is the advice for would-be Players in Shakespeare’s c1600 Hamlet. Baroque Gesture is
only one element of Historical Action, which includes positioning on the stage (and even
stage design), full-body acting, facial expressions etc.
For a list of possible gestures, see Bonifacio’s chapter headings, which examine the whole
body from head to toe, not omitting ‘gestures of the genitals’. I’m currently working on a
translation and commentary, to be published in 2016.
For an overview of all the various disciplines pertaining to Historical Action, see the
opening chapter of that anonymous c1630 guide for a theatre’s artistic director, Il
Corago, edited here.
By far the greatest influence is exercised by the glance. For it is by this that we
express supplication, threats, flattery, sorrow, joy, pride or submission. It is on
this that our audience hang, on this that they rivet their attention and their gaze,
even before we begin to speak. It is this that inspires the hearer with affection or
dislike, this that conveys a world of meaning and is often more eloquent than all
our words.
Quintilian
And all this Action is dependent on the Text. It is not a modern “production” that has its
own values, nor is it some kind of ancient hand-ballet, however visually pleasing
that might be when done well. Action flows from the Text. Not only is the choice and
timing of each gesture dictated by the play-text or opera-libretto, but the actor’s
motivation, the mental and spiritual energy that empowers the physical movement, comes
from the meaning and emotional force of the particular word being pronounced in that
very moment.
This demands intense concentration on the text, not only in rehearsal, but right in the
moment of performance. It should not be necessary to point out that performers (singers
and their instrumental colleagues) need to understand the meaning and deeper
significance of every word that is spoken or sung. But that understanding needs to be
accessed in real time. It is not enough to have the translation written into the score, or
buried somewhere in one’s memory. The complete implications of every word need to be
fully present, in the exact moment that you pronounce it.
‘Staying with the text’ like this can function as a Mindfulness exercise, keeping the
performer ‘in the moment’ and focussed, creating a special state of consciousness that
enables relaxed concentration and flow. From this optimised mind-set, a great
performance can emerge.
Of the various elements that go to form the expression, the eyes are the most
important, since they, more than anything else, reveal the temper of the mind, and
without actual movement will twinkle with merriment or be clouded with grief.
And further, nature has given them tears to serve as interpreters of our feelings,
tears that will break forth sorrow or stream for very joy. But, when the eyes move,
they become intent, indifferent, proud, fierce, mild, or angry; and they will assume
all these characters according as the [text] may demand.
Quintilian
Most challenging of all, all of these elements – posture, movement, gesture, full-body
acting and facial expressions, deep appreciation of the text – have to function
simultaneously and in co-ordination. This does not come quickly or easily: one has to
acquire the skill-set and musculature over years of study, hone the application to a
particular text over hours of rehearsal, then give it that essential lift of spontaneity (for
example, by choosing spontaneously from several well-rehearsed options, or by adding
little touches of ‘ornamentation’ to the performance). Finally, you have to concentrate all
this preparation into the one tiny instant of execution.
So Baroque Gesture is not something that we can master in a 90-minute workshop or
condense into a short blog-post. It is a life-long study, that (for any true artist) will never
be ‘perfected’. There is always something new to learn, something to understand more
deeply, something to execute better in performance.
But there are some first steps that will get you started quickly. More quickly than me! So,
whilst you are putting in the time to internalise the collected wisdom of Quintilian, Bulwer
& Bonifacio, to memorise the complete works of Shakespeare and/or to translate all the
‘opera’ libretti from Anima e Corpo (1600) to Poppea (1643), to learn all of Negri’s courtly
dances, and to become a rapier-master according to Capo Ferro, here are some quick and
easy short-cuts, literally from the ground up.
1. Historical Stance
Whenever you stand to sing/speak, practising at home, in the rehearsal room or on stage,
adopt a historical stance. You can also practise this whilst waiting for a bus, an airport
security check, or to pay for your coffee. Renaissance courtiers had to stand like this all
day, so it became second nature to them. The aim is to minimise body tension, whilst still
looking cool: ideal for standing around at court, waiting for your opportunity to shine. The
technical term for this is contrapposto, an elegantly assymmetrical stance:
Stand diagonally-on to your audience.
With your weight on one leg.
The other (unweighted) leg is your ‘ornamental leg’. It is elegantly bent. Let the audience
see how good it looks.
Relax, and let the weight fall through the weighted leg into the floor.
When you need to shift position, just change the weight into the other leg.
There is much more, as you can read in any history of art study of the contrapposto, but
this is a good start. Practise it whenever you have half a chance!
2. Hands
Hold your script, or your musical score, in your LEFT hand. Now your right hand is free to
gesture. This simple trick allows you to integrate gesture with your artistic preparation
right from the beginning and throughout the rehearsal period, even into non-memorised
performance. Let your RIGHT hand assume the default historical shape, as illustrated by
Barnett.
Imagine your right hand is holding a tennis ball. Relax, so that you are not using any more
strength than is needed for that tennis ball’s weight.
Bring your middle and ring fingers together.
Let your index finger open outwards, and bring your little finger inwards a little.
If you turn this hand-shape over, it becomes an elegantly curved pointing gesture.
Try it!
3. Eyes
This is what I call the Ut Pictura (like a picture) technique. As you study your text, create a
detailed imaginary vision of precisely what everything looks like, with period iconography
as a guide to keep your vision historically focussed. As you deliver the text, look at what
you are talking about. Let your eyes and face show how you feel about what you ‘see’.
You will quickly notice how often baroque texts employ detailed visual imagery and such
pointing words as “Look”, “Here”, “Now” etc. The more specific, detailed and precise your
imagined vision, the more specific and interesting your eye-movements will be for the
audience.
Further Study
No, these three first steps will not make you a master of Baroque Gesture. But they will
create the conditions in which you can study and practise further. See my upcoming posts
on what you might do next. And meanwhile, you have plenty of reading to do, in between
those dance and swordsmanship classes!
Please join me on Facebook https://www.facebook.com/andrew.lawrenceking.9 and visit
our websites:
www.TheHarpConsort.com [the ensemble, early harps & Early Music]
http://www.IlCorago.com [the production company & Historical Action]
http://www.TheFlow.Zone [Flow for optimal creativity, The Zone for elite performance]
Opera, orchestra, vocal & ensemble director and early harpist, Andrew Lawrence-King is
director of The Harp Consort and of Il Corago. From 2011 to 2015 he was Senior Visiting
Research Fellow at the Australian Research Council Centre for the History of Emotions. He
is now preparing a translation of Bonifacio’s (1616) Art of Gesture and a book on The
Theatre of Dreams: The Science of Historical Action.