He nodded approvingly.
"But," said he, "there's a difference between a stage walk and
walking anywhere else--or standing. Nothing is natural on the stage.
If it were it would look unnatural, because the stage itself is
artificial and whatever is there must be in harmony with it. So
everything must be done unnaturally in such a way that it _seems_
natural. Just as a picture boat looks natural though it's painted
on a flat surface. Now I'll illustrate."
He gave her his hand to help her jump down; then he climbed to
the stage. He went to the wings and walked out. As he came he
called her attention to how he poised his body, how he advanced
so that there would be from the auditorium no unsightly view of
crossing legs, how he arranged hands, arms, shoulders, legs,
head, feet for an attitude of complete rest. He repeated his
illustration again and again, Susan watching and listening with
open-eyed wonder and admiration. She had never dreamed that so
simple a matter could be so complex. When he got her up beside
him and went through it with her, she soon became as used to the
new motions as a beginner at the piano to stretching an octave.
But it was only after more than an hour's practice that she
moved him to say:
"That'll do for a beginning. Now, we'll sing."
She tried "Suwanee River" first and went through it fairly well,
singing to him as he stood back at the rear door.
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