Baroque Acting & Gesturing

Over the past 25 years Opera Atelier has developed an extremely detailed and recognizable performance style based on the gestural acting/oratorical technique of the 17th and 18th centuries.  Essays in classical oratory by Quintillian and Cicero provided a model for Baroque actors, as did postures and gesture taken from both classical and contemporary paintings and sculpture. Rhetorical gesture was designed to accompany individual words of text, rather than to display the pervading emotions.  Like the test, gestures were coherently and gracefully linked to provoke the maximum response from the spectator. Ideally, the use of gesture assists the actor in eliciting an emotional response from the audience, while he maintains control of his technique – a necessity when dealing with the sheer density of text of most Baroque opera and drama.  The Baroque actor is a storyteller.  It is his job to make the audience feel what he describes.  The Baroque actor strives to ensure that audience members are not voyeurs, rather they are participants in the emotional journey of each player.

The gestures for both rhetoric and opera fall into the following categories:

  • Emphatic gestures – in which the actor enforces the important words by gesture;
  • Imitative gestures – in which the actor imitates, for example, the gentleness of a scene he talks about with a gentle gesture;
  • Affective of expressive gestures – in which the actor expresses a particular passion such as fear or grief with specific gestures.

Some of the gestures can be combined to form a complex gesture expressing two or more meanings at once.  Each of them can be performed in such a way as merely to suggest its meaning rather than to make it explicit.  Baroque gesture and rhetorical speech patterns prevailed on the European stage throughout the nineteenth century.

Top Banner: Gluck's Iphigénie en Tauride;
Artists: Krisztina Szabó and Artists of Atelier Ballet;
Photo Credit: Bruce Zinger 2003.