It would be unbearable to enumerate all the movements that we can perform with our hands and fingers; in addition, we unconsciously make many movements that have only a vague and indefinite meaning; most of them have no other purpose than to balance, to coordinate the hands with a known position of the body.
We believe that it is sufficient to point out the principle which governs the movements which are of particular importance; this will enable the artist himself, if necessary, to find all the shades in each category of expressions.
Hand movements are divided into three categories, namely:
Pointing gestures that outline an object.
Descriptive gestures that measure or describe an object.
Gestures are active, giving a sketch of any action.
Pointing gestures. Pointing gestures indicate a person, object, or direction.
In addition to those that serve to designate oneself, these gestures are made with an outstretched hand, with the index finger extended and accurately marking a known object (f. 52):
You, he, they, it, below, above, there.
The whole arm is bent and the index finger is directed to the chest (f. 53).
I AM.
The idea of possession and the idea of a more extensive self is expressed more or less strongly by pressing the open hand to the chest (f. 54).
My, mine, my soul, my whole being:
This gesture, performed with both hands, will give even more importance to what it expresses.
Number notation:
The only one (f. 55), one (f. 56), two (f. 57), five (f. 58), ten - the same thing twice, many - the same thing repeated several times, half (f. 59), a little (f. 60), “not a little bit” (f. 61).
Descriptive gestures. They aim to evoke the thought of some person or thing by quickly delineating its size or shape when the size or shape is sufficient as a distinguishing feature.
The palm of the hand has precisely the purpose of determining the size and shape.
This gesture, which requires great plausibility, consists in the fact that distinct gestures are made in empty space, which the hand would have to perform if it really, as if caressing, touched the designated object.
Most of the descriptive gestures in everyday life require only a quick movement, which is quite easy to perform.
Small (f. 62), large (f. 63), pointed (f. 64), flat, round, quadrangular, large, small, long, short.
We strongly advise mimes to be as careful as possible in expanding the range of these descriptive gestures, because once they become more complex, they run the risk of becoming obscure.
Active gestures. Dangling brushes, reducible and divorced several times, mean:
Exhaustion, the beginning of irritation.
Hands down, convulsively clenched, brought into a fist:
Irritation, desire for revenge.
Fists raised at the same level with the chest: Preparation for battle.
Stretch out a clenched hand and open the brush with the palm up, this means:
Throw in the face of resentment, contempt, a whole handful of insults.
An open hand, palm down, with spread fingers, rushing into the air at waist level and again vigorously squeezing (f. 65) means:
I take, I seize, I possess.
The same movement, but with more sharpness, and the brush is compressed from the very beginning:
I want, I hold, rule and subdue, suppress, crush.
The same movement with greater softness, mystery - at first the hand is open, then the fingers are gradually compressed - means:
Theft.
The hand is raised vertically, palm inward, at the height of the face; the arm is half turned. If, at the same time, the ends of the fingers move away from oneself into space (f. 66).
Starting from the forehead, this is a greeting; starting from the lips - a kiss; starting from the heart - courtesy, adoration.
The same position of the hand, but the movement comes from the outside to itself:
Come, come closer, I'm drawing you.
The same movement, wider, performed with both hands:
Come all.
The same movement, performed only with the index finger:
Same meaning, but more familiar connotation.
Both arms are wide open at shoulder height, the hands are also open and the palms are turned inward (f. 67):
I accept you, come into my arms; goodwill, friendship.
The same position, but the hands move sideways forward, in a wide movement, as if embracing all those present:
Unite.
The opposite movement, with the palms facing outward (f. 68):
Move apart, disperse, separate.
One hand, raised vertically to the face, palm outward (f. 69):
Disgust, disgust, fear. "I resist, repulse, remove, shield myself, remove the obstacle."
The same movement with both hands near the face:
Same meaning, but more emphasized.
The same movement with arms outstretched has the same meaning, but with much more power. Hands moving horizontally, with palms facing down, with hooked fingers apart (f. 70):
Avarice, thirst for capture, the temptation of wealth.
The same movement with vertical hands, palms outward:
Ferocity, the need to scratch, torment, hurt.
So far, these active gestures have represented only a simple outline of the actions they signify; hence no further explanation was required here.
But here are other movements that are more or less symbolic; therefore it is not uninteresting to find their origin.
Stretch the brush at the height of the belt, with the palm almost turned up (f. 71).
Give up your hand (your natural weapon); ask for the hand of another, offer peace, union; testify to trust. The modern meaning of the gesture:
Respect, friendship, simple courtesy.
The same movement, but the hand is closer to the body and the palm is completely turned to the top: (f. 72).
Original meaning: to prepare for the acceptance of some subject; figurative meaning.
Give me, I demand, lend.
In a common sense.
I demand, I ask, speak, explain to me, speak out.
The same movement performed with both hands gives more passion and perseverance.
The same position of the hand with the movement from the bottom up.
Raise, grow, support, bear the burden.
The same movement is faster:
Get up, get on your feet, get up.
The hands are stretched out horizontally, the arms are wide open, the palms are turned down (f. 73).
Original meaning: I cover someone, I protect his head from a threatening blow.
Extended meaning: I patronize, take under my protection, give shelter.
The same, and the hands go down from above.
I call on grace from heaven; bless, forgive. This movement also signifies a contract.
"Let misfortune fall on this head, which is dear to me, if I do not fulfill such and such an obligation." I vouch for his head, I swear, I make a vow. The same position of the brushes, with arms folded and with slow movement from top to bottom:
Calm down, calm down.
Extended meaning: silence, "wait, patience, be calm."
The same position of the arms diverging in the horizontal direction.
"Move apart, lie down"; wide space, earth.
Fold your hands in front of you with your palms together, turning your fingertips to the interlocutor (f. 74). Original meaning: image of tied hands; renunciation of natural weapons, I am unarmed, I surrender, I surrender myself to your mercy.
Modern meaning: "forgive, have mercy, I beg you, I conjure."
The ends of the fingers facing the sky (f. 75): a prayer tin.
Both brushes connected in the form of a vessel (a handful; f. 76).
Initial movement when scooping up water.
Hence the extended meaning, to collect, to stockpile, “a full bowl”, to hold something in one's hands.
One hand is open, stretched forward with the palm facing outward, fingers down (f. 77).
Initially - show your hand, do not hide anything.
The extended meaning is "look, I say what I know, this is the truth, I prove, I testify." The same game, but the hand is raised high and the fingers are turned upwards (f. 78).
The meaning is as above, but more solemn and in addition: "I affirm, I proclaim loudly." Like all other expressions, these gestures, performed with both hands, acquire great strength and passion.
Both hands are lowered along the body, with palms facing the audience.
"I admit my mistake, I'm guilty."
Shake the index finger at the chin, with the palm facing the edge (f. 79).
Initially - the image of beating with a stick.
The modern meaning is "I threaten you, beware, you will be punished, you will have to deal with me."
Shake the index finger in front of you, with the palm facing outward (f. 80).
"No no no; it is not true; I do not want; it won't go away."
The end of the index finger touches the forehead, then quickly thrown into space, with the back of the hand facing outward (f. 81). The thought arose in my brain; "here's an idea." The same movement is much slower.
"Ah, I remember."
Both index fingers are connected together, this means:
Union, agreement, combination.
In general, the main laws of sign language are as follows.
The palm of the hand describes the missing object, and, as it were, they caress the imaginary surface of this object.
Hands vertically with palms facing you:
Beckon, attract, accept.
Hands upright, palms out:
Remove, remove, repel.
Horizontal hands, palms up:
Demand, ask, raise support.
Horizontal hands, palms down:
They cover, protect, bless, promise, soothe.
The brush, wide open, stretched forward and exposed.
I confess, I prove, I testify, I affirm, I proclaim.
There are still a number of symbolic gestures, very famous, which can be used on occasion, despite their vulgarity; the main thing is to apply them during:
Stretch your nose with your foot, make horns, put a cone under your nose or chin, and so on.
These gestures are too well known for us to describe them.
One piece of advice: the movements of the hands are very expressive, but we recommend the most persistent use of them, in addition to additional movements, only very restrainedly and with complete distinctness.
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