ABSTRACT
The aim of the ensuing articles is the identification of the specific acting techniques which were used in eighteenth century Tragedy and serious opera. Eighteenth century evidence shows that the sorts of rules quoted throughout this work applied to serious opera as well as to Tragedy: It is relevant to note that acting in the eighteenth century opera was largely confined to the recitatives. Considerable use has been made of the works of Jelgerhuis and Austin published in 1827 and 1806 respectively, for both books are thoroughly eighteenth century in style and in detail. In an entirely parallel way, in the performance practice of music, the successful recovery of eighteenth century styles of performance has been based on a study of the physical details of harpsichord fingering, flute tonguing, violin bowing and so on. The data on acting will be presented in sections including: ensemble acting, hands, arms, posture, feet and legs, eyes, face and head.
