ABSTRACT
It would seem unnecessary to devote a chapter to diagonal directions, yet they can pose a problem because of lack of a universal terminology in movement study. The crux of the matter is the difference between room diagonals and the diagonal directions taken from the performer's body. The ‘room’ diagonals are further confusing because of the existence of the Constant System of Reference diagonals and the diagonal lines which connect one corner with its opposite corner in a room or stage of any size or dimensions. These three types of diagonals must be understood in the mind as well as in the body. Use of clear, appropriate terminology can clarify the difference.
