Gestural Communication Quotes

Nothing so clearly and inevitably reveals the inner man than movement and gesture. It is quite possible, if one chooses, to conceal and dissimulate behind words or paintings or statues or other forms of human expression, but the moment you move you stand revealed, for good or ill, for what you are.

I think I am good in the department of body language and fighting, and stuff like that. It's just natural to me, maybe because I love sports.

I started under my master, Etienne Decroux, who taught me a new grammar for mime he called statuary mime. This grammar brings style creations. Without it, no art survives.

Speech as known to us was unnecessary. A fragment of a sentence amounted almost to a long-winded redundancy. A gesture, a grunt, the curve of a facial line--even a significantly timed pause yielded informational juice.

In the distance, the gestures of animals look human, the gestures of human beings bestial.

Mime makes the invisible, visible and the visible, invisible.

Persuasive speech, and more persuasive sighs, Silence that spoke and eloquence of eyes.

I had to learn American sign language. And I did stuff in it, stuff that was just for me and was fun, that I don't think anyone would ever notice.

There is a language older by far and deeper than words. It is the language of bodies, of body on body, wind on snow, rain on trees, wave on stone. It is the language of dream, gesture, symbol, memory. We have forgotten this language. We do not even remember that it exists.

I could depend a lot on my shaking, though I never shimmied vulgarly and only to express myself.

...a nation could change its way of life, its history, its technology, its art, literature, and culture, but it would never have a real chance to change its gestures.

I'm a great poet. I don't put my poems on paper: they consist of actions and feelings.

There must be a language that doesn't depend on words.

For many years, I did pantomime with Marcel Marceau. I was a writer for him and got to know very well how to use the body for illustration. I wanted to do a mother without arms, but using the arms of her son in Santa Sangre. The tragedy should always have something funny. Something weird.

With acting, there are a lot of subtleties and non-verbals involved. If someone is over there, getting eaten by a shark, there's a non-verbal way of how to act that. There's a certain nuance to acting that does not come intuitively to me. It's something I still have to learn.

He who wishes to teach us a truth should not tell it to us, but simply suggest it with a brief gesture, a gesture which starts an ideal trajectory in the air along which we glide until we find ourselves at the feet of the new truth.

There are some gestures, of course, that you can only interpret one way, but no one has ever seen those kinds of gestures directed by Obama at me or by me at Obama, and I hope that never happens. Everything else is fantasy.

I'm good at utilising body parts as letters.

Affective gestures pointing to things near either in time or space should be made with the hand not very far from the body of the person pointing; and if these things are distant, the hand of the painter should be more extended and the face turned toward the person to whom he is addressing the demonstration.

In theater, the scenes I like the most are the ones where you are there and you cannot talk.

I've stopped showing actors what to actually do. I rather just talk to them about it. Then I usually play music. That's a great way to convey inner emotion, bring the power of style and acting together. That's really what it is, very good acting without talking.

Those women like to see their tongues dance.

So much of language is unspoken. So much of language is compromised of looks and gestures and sounds that are not words. People are ignorant of the vast complexity of their own communication.

Conan Doyle is amazing in the way he has Watson describe Sherlock’s posture, mood swings, his hand gestures, and so forth in the novels.