Arturo Ui

WORKING THROUGH THE TEXT IN A PRACTICAL WAY

PROLOGUE

In true Brechtian style, the Prologue introduces us to some of the main characters and tells us about certain of the events to be portrayed. The stage directions make this clearer still, with the insistence on 'notices attached to the curtains' relating, in newspaper headlines, the same scandals that the Announcer mentions in his speech.

In this way, the element of surprise is taken from us; we are told what to expect: gangsters, scandals, corruption. The last lines broaden this out:

• 'The gangster play that we present
• Is known to our whole continent',
• thus alerting spectators to a wider context than a mere gangster story.
• In addition, the style of the writing - heroic couplets, deliberately demeaned by slangy expressions - 'What a sell!' 'Pipe down, you boys...' 'Okay, beat it!.'.. etc. is another form of 'alienation', as are the allusions - sustained throughout the play - to classical models such as, in particular, Shakespeare. This language, which is deliberately ragged and ametrical, works against our expectation, literally jolts us into alertness , a way of watching that would not be possible with smooth-flowing rhythms and a subtler style of scansion. Brecht was excited by the possibilities of a ' formal' way of writing which works against the audience's expectation of such a style , creating "a modern verse with irregular rhythms, which could lead to great things."

We are reminded that actors perform the roles:

• 'Brilliant performers will portray
• The most eminent gangsters of our day...',

another distancing technique, to prevent the audience's desire to become immersed in the characterisation. Though, in fact, the epic style of the whole play - episodes that are complete in themselves and that do not lead seamlessly into each other, being separated often by time and by place and which deal with entirely different incidents - would make it difficult for any audience to become 'carried away.'

Let's look first of all at the setting implications imposed by the play as a whole. This is important at the outset since any group in rehearsal needs to know the sort of space in which they will be working.

It quickly becomes obvious that realistic settings will not work. Just to look at the first few scenes alone proves this:

• The Financial District
• Outside the Produce Exchange
• Back room in Dogsborough's Restaurant
• Bookmaker's Office .... and so on

Clearly representative sets will be the order of the day.

Discuss as a whole group, first of all, what implications so many settings have for the staging of the play. Ask yourselves:

What sort of stage might be suitable? Brecht used a proscenium arch stage for most of his productions, but is this necessarily the best form of presentation? What are its advantages and disadvantages? [For instance, the framing device of the arch, which sets the action back at one remove from the audience might be something worth considering, from a 'distancing' point of view {Verfremdungseffekt}]

Other possibilities ought to include a consideration of whether the audience ought to be brought in closer to the action - by using a small open stage for instance, such as in a studio theatre - or by using a thrust out into the audience. Though an audience's closeness might be anti-Brechtian, students need to decide how far they are going to adhere to Brechtian principles. Might there be a case for using shock tactics in this play? For adopting a different style altogether - a more Artaudian one, perhaps? At least at certain moments?

The play could work in promenade perhaps, with various scenes set up in different areas of a hall, moving the audience from area to area. This might add to the fairground effect and be useful for creating the impression of the crowds who turn up to hear Ui's speech, and so on. This method might also allow for more complex settings which can be changed and reset behind the audience's back, as it were, whilst they are focusing their attention elsewhere.

Equally playing it in the round, or in arena shape has potential for surrounding audience, making entrances through the audience, but would minimise setting to props and furniture mainly. [Arena settings give the advantage of a single side against which a more permanent structure can be placed.]

Having decided what staging would be most suitable to go with, discuss how each new setting might be best indicated. Would you want to have an overall setting that does not change against which each scene is represented?

Consider different levels. The front cover of my copy of the text shows Ui as Hitler on a very high podium which he climbs up to from behind to address the crowds. You could use this sort of an idea, or perhaps make the height a longer 'wall' which can represent a back street wall, or a dingy room, or whatever you want. This high podium, if used, could rotate to show different faces for different scenes perhaps. The stairs up which Ui mounts for his harangue could double as a dock for the trial scene, and so on.

Decide whether you would want Brechtian style screens which can change from scene to scene or whether some sort of backdrop or wall would be appropriate, perhaps covered in Nazi symbols or graffiti. Then again this back wall could be as described above - a rotating one.

Would you want something altogether more threatening - a set made up of tall rectangular shapes, maybe, casting shadows over the stage and making for many surprising entrances? Perhaps these shapes could be angled differently for different scenes? Pushed together for some, pulled apart for others? How would you make them easily manoeuvrable?

Or a set made up of different levels of platform and scaffolding - again which would make sinister prison-like shadows and threatening shapes.

Use all the above as a way of kick-starting your discussion. Bear in mind the different settings that are needed within the play.

As you work practically through the play, some of these ideas may change. But for now, go with one of the ideas that excites or interests the whole group and set the studio or stage space on which your lessons will be held into as close an approximation to this decision as you can. It may be that you simply indicate a back podium, for instance, by having a rostrum block upended - and so on. This set-up should be born in mind throughout every lesson, to see how your actions will work within that set-up and what further additions might enhance the events being exposed.

Let's return specifically to the setting for the Prologue now. Brecht indicates a fairground type stage with a front curtain on which signs have been attached. The signs have the typesetting, enlarged, of newspaper headlines and cover events that occur throughout the whole play. Behind the curtain, Brecht indicates that popular dance music should be played.

The whole action of the scene occurs in front of this curtain with each character pushing through the centre divide to parade before the footlights.

If you envisage the play happening on a large open stage, for instance, it may be worth considering trucking on a small fairground podium to place towards the front of the main acting area and reducing the lighting to encompass only this centre front area. A touch may be to have the lighting on this opening scene wobbly and hand-held - a follow-spot perhaps - to give a more fairground ramshackle feel. There could be a tawdry red curtain, which opens in the centre by hand.

A smaller stage setting could retain this fairground feel throughout. It depends on the effect you want to make - and it is a crucial choice this. Should Arturo Ui be presented as a comedy act - something that diminishes through ridicule; an effect that would be as if saying to an audience: look how ridiculous these characters are. All it would take is a few of you sensible people to get together and stand against them...

Or should it be altogether more sinister and frightening in the end? Do the audience need more of a jolt?

Consider then the following options to the opening setting:

• as indicated above, a smaller fairground type stage trucked on; curtains; fairground or dance music; wobbly hand-held light
• the whole stage or acting area used
• the headlines: pinned to the curtain as indicated and already in place,brought on one by one by actors and pinned ceremoniously to the curtains - this would make more of the signs and ensure an audience read each one
• shouted out like newspaper headlines by actors running across holding newspapers and advertising the latest scandal, or running through the audience
• projected onto a screen or screens - one at a time? This could also include footage or photographs of Germany and Hitler from this period interspersed with gangster movie stills

Whatever your decision here - a decision about the final taste you want the play to leave for the audience - this opening appears light and in true Verfremdungseffekt manner points out that the parts are all to be played by actors. This is not real life.

There are, however, always options. Try the opening few lines of the Announcer's speech:

• light and jovial - the voice raised to attract attention and bring in the punters - as if at a fairground and competing for custom
• as if this is the most important material in the world and you really want to make each point telling

You want to shockas if 'the boys in the back row' are in fact Nazi thugs though the Announcer doesn't realise it at first. In this version, try out with the rest of the group acting as audience including Nazi bovver boys, who are trying to undermine the Announcer's speech. As the Announcer realises what is happening he and his actors continue but it is clear that they are being brave and defiant. Luckily the thugs are too thick to realise completely that they are being mocked and not flattered. See how this reading alters the way the speech is done. For this version try the whole speech, though you can imagine the other actors stepping through the curtains for the moment.

Which version do you like best? Which works best with the idea of the presentation of the play that you want to go with?

As each character is introduced, decide whether it is clumsy to have each one stepping through the curtain. Would it be better for Old Dogsborough to perhaps open the curtain but then to leave it open, so that each of the other characters can make more of an impact?

Using a variety of hats, try each character entering normally and then putting on the hat and thus the character during the Announcer's introduction. It doesn't matter if you have the 'right' hat for the character, the idea is simply to 'put on' the character with the hat. If you do have the 'right' hats, Dogsborough's could be a tophat, or a General's helmet whilst the others should have 1930s style gangster hats.

Thus each character adopts a characteristic pose with the hat and then walks forward in a characteristic walk, different from their own when they entered.

Decide on the ways of moving for each character, making sure that each one is different.

• Dogsborough could be tall and erect, though with a tremor in his hands and his head from his age;
• Givola could walk in a bow-legged rolling way;
• Giri with a spring in his step, twirling his hat on his finger before putting it on at a jaunty angle [Giri and hats are a gestic feature of his character, so emphasise the hat and how he uses it if you can];
• Ui needs to be more sinister, moving slower perhaps.

Try a game with the four hats, making sure that each hat is different. Like pass the parcel, this is pass the hats. When the music stops whoever is holding a hat has to put it on and make a pose, followed by a few steps of a walk, in that character.

Alternatively, use only one hat but announce which of the four characters you are going to play with, e.g. do several rounds when each person who ends up with the hat has to be Ui, several rounds as Giri, and so on.

This game will allow some development of walks and mannerisms and also remind everyone of the need to be able to put on characters and take them off again. Any group of actors might end up doubling several times in this play, playing many roles.

Develop mannerisms for each of the three main gangsters. Bearing in mind the need for instant recognition, what else can be done to develop the 'outward signs' of these characters? Most of this will not be seen in this first introduction, but if you have worked out other 'outward signs' to be used further on in the piece, this will make your first entrance more assured.

Givola first. Givola is Goebbels, the propoganda king who had a lot to do with disseminating bad feeling against the Jews in particular. He was a journalist, an author and a playwright. He was also a Doctor of Philosophy - a clever man. A brilliant speaker, highly intelligent, he was completely loyal to Hitler. He was also crippled, walking with a distinctive limp.

Try out different ways of walking with a limp, searching for

a] the most sinister and

b] the most absurd.

Which would suit your purpose better?

The play calls him 'the horticulturist', because he is represented as the owner of a flower-shop. Bouquets and wreaths from his shop adorn the dead. Is Brecht making a metaphor of this - the flowers being the clever words that Goebbels could manipulate to serve any purpose? Can the idea of ' the horticulturist' be built into a characterisation? It could be simply a beautiful flower that he has in his button-hole and that he twirls at times of stress. Could he have, say, a daisy, or a mini-wreath in his pocket which he places on the breast of every victim? Roma refers to Giri with 'a posy in his buttonhole.' Does Givola give him a fresh posy for each new murder perhaps? See what other gestic mannerisms you can come up with for this character.

Once you have experimented a little with the possibilities, try walking and standing in typical poses.

Second is Giri. Giri is Goering, who was a much-decorated pilot who became head of the Luftwaffe [the Airforce]. He was also put in charge of German economy up to 1942. A great lover of luxury - Goering had been born of a wealthy family - he loved the showmanship of garish uniforms. It was Goering who plundered the art galleries and museums of Europe during the war. He was known to be a recreational drug user.

Brecht refers to Goering's love of show by using the gestic metaphor of hats. Giri takes the hat of every victim he murders and is seen wearing it next time he appears on stage. What else might help make clear the link between Giri and Goering? Perhaps he can ostentatiously sniff cocaine up his nose? Perhaps he can wear spats and shiny patent-leather shoes? It makes sense for dapper Giri to wear a button-hole - a flower from Givola's flower-shop. Acting-wise, play with the idea of showmanship - and a way of handling his latest hat. One company I saw years ago performing this play had Giri 's hats on a rack, always visible, at the back of the stage. During the play, the empty hooks filled up with more and more hats to emphasise the increase in his victims. Each new hat he twirled and wore at a cocky angle. Each old hat was tossed with masterly precision to hang on an empty hook. Giri's very jauntiness gathered a horrible sort of momentum and came to be seen as sinister.

Try Giri's walk and stance:

• with cocky arrogance - head back, looking down his nose
• as a likeable rogue - jokey, moving like a comedian - making false trips and then pointing at the audience with wide silent guffawing mouth to elicit a laugh
• as a conjuror - bringing hats from behind his back, a gun from out of his sleeve, flourishes with a handkerchief - now you see it, now you don't....
• as a fussy dresser, pocket handkerchief just so, peeping out of his top pocket - some eccenticities of dress, such as colourful suits - with the mannerisms to go with this. An almost feminine brushing of the collar, an avoidance of 'dirt', fastidiously holding people at a distance should they come too close.

You may find other ways of doing him, of course, or a combination of some of these ideas. Any of the above will contrast suitably horribly with his enjoyment of murder.

Thirdly is Ui himself. This character will change during the course of the play - his mannerisms and so on becoming gradually more and more like Hitler's. Here, you need to decide whether as an introduction, Ui should be shown in his final stage - i.e. as Hitler - or whether he should just be portrayed at this point as a classic thug. There are arguments for either decision. If he is shown as Hitler, then the audience, in Brechtian style, have an inkling of what the play is about. Surprise is takken away. If he is shown as a thug merely, this, in combination with the signs or headlines that make it clear to an audience that the play is about Hitler, tells an audience the low esteem with which the character is to be viewed.

Try an entrance:

• as sinisterly as possible: slow turns of the head, hooded eyes raking the audience with his stare, walk slow and deliberate
• hands clasped behind the back for marching down, then stopping at the front, saluting with straight arm, then moving he hands to clasp in front [a characteristic pose of Hitler's who often looked as though he was protecting his genitals in photographs of the time.]
• walking powerfully but a little stooped, head rather sunk down on the neck, staring out front - the look of a vulture. This manner of moving makes sense of the reference to Richard the Third, who was always portrayed as a hunch back.
• walking ridiculously [like Charlie Chaplin - another reference of which Brecht would have approved] with little obvious power - comically, in other words - but making up for the absurd movement by aggressive stabs with hand, or pointing finger, or head. This version outlines the contrast between the buffoon, which Ui is often shown to be, and the 'crazy' whose head is always jerking suspiciously around him, looking for trouble or imagining it. The actor would be aiming for a characterisation that is dangerously off-kilter, liable to explode at any time into violence.

With all three characters there may be much from any of these different approaches that appeals. Select carefully to make composite characters that are always making a gestic point. That is, nothing is put in for the sake of it; always a choice is made and can be justified in terms of the message you want to put over about the character to an audience.

Apart from the entrances of these four characters, the Announcer's speech can be split up in a number of different ways. Try the following:

• splitting the speech up amongst the whole cast [ your group of students] - a new person taking over at each stop [dash, exclamation mark, full stop]
• a single Announcer, like a kind of circus ringmaster
• a single person delivering most of the speech but the actors playing Dogsborough, Givola, Giri and Ui each saying the lines relevant to themselves.
• a single Announcer, but the whole cast turning to the audience and reciting the last two lines:
• 'The gangster play that we present
• Is known to our whole continent.'

Which fits your purpose best?

Try the end of the Prologue in a number of different ways before making a decision as to which way you like the best:

• as written in the stage directions - music swelling, machine-gunfire rising through the sound of the music, till the gunfire drowns out the music. The cast on the stage frozen in characteristic poses glaring threateningly out into the audience. As written, the Announcer simply bustles importantly off.
• perhaps the Announcer, if one is used, as circus-master tries to shoo them off and fails or perhaps he is frog-marched off, protesting, by a couple of heavily-armed thugs.
• consider having Ui and his two henchmen moving down through the audience for a more threatening effect
• after the exit of the Announcer, if used, consider having the stage briefly becoming a scene of street menace, SA brownshirts running through the streets, for instance, guns at the ready.

In fact, you could insert little physical scenes often between one scene and the other - as you see fit. Here are some suggestions:

• a number of thugs or SA beating someone up
• people crossing the stage, obviously scared or edgy, collars up, looking over their shoulders
• a clash between one street gang and another
• obvious Jews or other dispossessed, shuffling across with suitcases - or prodded and herded by SA
• a sullen crowd being ordered to cheer for Hitler
• a single figure, badly wounded, staggering on, half-collapsing and pulling himself fearfully off

Try these, and any other short scenarios you can think of and consider placing them as extra material between scenes, to remind the audience of the violence and reality of the Third Reich. For these short inserts, to make the point, the actors need to be dressed as Nazis, not as gangsters as in the play. These live inserts are in effect taking the place of film footage and underlining the parallels in the story.

An alternative, is to use real photographs or film footage of various atrocities of the regime, putting these on a screen or screens between scenes. Or you can do a mixture of both: the impact of the live inserts against the background of real photographs on the screen could work well.

SCENE 1A

In this scene, five business men - Clark, Flake, Caruther, Butcher and Mulberry - discuss the ruin they face unless they can get some backing from Old Dogsborough as Mayor of the city of Chicago. A gangster, Ui, had offered to help them by forcing people to buy their cauliflowers at gunpoint, but the Trust reject this idea out of hand. Careful to keep their options open, however, since 'How do we know what straits we'll come to yet?' they have taken care not to offend the gangster in their manner of refusal. They still hope for something from City Hall. They have proposed that City Hall gives them money to build some new docks - docks which they don't intend to build at all - whilst in fact the money would be used to bolster their own ebbing fortunes. The trouble is that Dogsborough is so honest and upright that, having refused to help them once, most don't see a way to get through to him. He is reputed never to change his mind. Butcher, however, argues that his very honesty and the fact that he doesn't change his mind are cards in their favour. Who would ever suspect honest Dogsborough of underhand dealings? He has a plan [not yet outlined] to win him over.

The real events of the time that this scene is mirroring are the trials Germany [Chicago] underwent as the Great Depression hit home. The Junkers [the big business men of the industrial heartland of Germany - the Ruhr - here called the Cauliflower Trust] were facing ruin. They needed a Government subsidy to continue in business. They approached Hindenburg [Dogsborough] for help but he refused; there were more important things for Government to be concerned with at this time of great trial than the fate of a small number of once influential business men.

First of all consider how you could set the scene of the financial district of the Cauliflower Trust. We know that people are unable to afford the cauliflowers that are the staple of these businessmen. Perhaps Flake could come in wheeling a barrow full of mouldy looking cauliflower, a sign attached proclaiming them for sale at bargain prices. If he came in shouting out like a barrow-boy, 'Cauliflowers - two for the price of one! Buy one, get one free!' - his first line to Clark could be in a tone of apology. The barrow and its sign, becomes the scene-setter, easily brought on and removed.

Other ideas for discussion are:

• carried or trucked on short row of shop fronts [just the doors and windows] - blinds down - notices stuck over them such as 'CLOSED' BUSINESS FOR SALE' 'CLOSED TILL FURTHER NOTICE'... and so on.
• painted brick-wall of warehouse - weeds growing in it, bricks missing, gaping jagged holes, etc. similarly trucked or brought on
• if using a screen as a back-cloth - a photograph of the time of the Great Depression, such as the famous one of the person pushing a pramload of worthless paper money to join the bread queue.

Your choices will of course depend on the setting you have chosen to use [which is not set in stone and will be subject to change until you have finished the play and made a final decision.]

These five characters are big businessmen. They must be clearly differentiated from the gangsters led by Ui.

First of all, as a whole group, brainstorm ideas that might lead to 'outward signs' or 'gests' about business men. Try different tacks, as suggested below:

• businessmen as important men with plenty of clout and authority. For this you may come up with such things as posh accents, large confident body language, a terse impatient manner, sharp suits, even bowler hats and rolled black umbrellas etc. [In Scene 6, Ui calls Clark's manner 'grand', which you may want to consider.]
• businessmen as shopkeepers. this may lead to such ideas as aprons, nervous servile mannerisms and way of speaking - Mrs Bucket/Bouquet posh rather than 'proper' posh, purses/ money belts attached to their persons which the hands repeatedly visit, etc.

Brainstorming in this way might lead to ideas about presentation, maybe even combining some of the outward signs of both.

The businessmen need to be seen as a group, not really individualised. Brecht likes to group types of people together to make a gestic point. It is clear from the type of language used that all five are cut from the same cloth. Of the five, it is Butcher who is the only one that is thinking positively and with cunning; the others seem almost to have given up hope.

As a group, divided into fours if possible, come up with group poses of despondency - slumped shoulders, shaking heads, downcast looks, etc. See if you can come up with four or five formalised groupings, using the levels you have decided on in your setting.

Next move from one position to the next, and the next, and so on, using the gestic ideas [e.g. clutching nervously at empty money-bags, or using large confident gestures - whichever you have decided on for 'your' business men] to create the movement before freezing into the next despondent pose. Don't worry if the style of movement [e.g. arrogant, confident] seems to clash with the depressed still tableaux; I think the contrasts might work just as well if not better, and create a distinctive style for the scene.

Look closely at some of the things Butcher says. Come up with a clear gesture that exposes his cunning, his confidence and his certainty for each of the following moments. When he is confident and rousing in opposition to the general mood of the meeting, the audience needs to be asking 'Why?' The phrases are in order, starting near the top of Page 10:

• 'Chin up! We're not dead yet.'
• 'Don't worry. We'll pull through.'
• 'No, take it easy.
• The man is good.' [half way down Page 12]
• 'Old Dogsborough's our loan.'
• 'Oh no! We'll take him.' [bottom of Page 13.]
• 'We've got to educate the man.' [Page 14]

To do the above properly you will need to study the 'through-line' of Butcher's argument. He is enjoying playing with the others' dismay and surprising them into hope.

Once you have come up with a clear gesture - body language, facial expression etc. for each of these moments, run them together into a sequence.

Then plan the group reaction from the other four, using the previous work you did, both movement and still freezes where appropriate, but changing to curiosity and questioning poses towards the end of the sequence.

Now that you have some idea of Butcher's manner throughout, look closely at the following. Try the line on Page 9 [his first line] 'It's like darkness at high noon.':

• lightly as if not really concerned with the others' moaning
• melodramatically - as if teasing them
• agreeing with them - he is as depressed at this point as they are

With this line and with each of the rest, decide which you prefer and why.

On Page 11, in answer to Flake's 'Have you seen Dogsborough?'

'Yes. He refuses

To touch it.'

Try this:

• gloomily - he cannot see a way out
• thoughtfully - as if mulling it over in his mind - he's beginning to get an idea
• lightly - he's already thought of a way out

Page 12; 'he says our proposition

Is fishy.' and

'He says

He has his doubts about our building docks.'

Try these:

• winding his listeners up by exaggeratedly shaking his head, sighing, etc.
• jokingly, lightly, delivered like a comedian
• angrily - another way of winding them up

Page 13 'Such a man

Is worth his weight in gold - especially

To people with a scheme for building docks

And building kind of slowly.'

Try this:

• triumphantly - with the air of pulling out an ace
• cunningly - take it slow, looking around each face to let the impact sink in

Basically, what you are doing in the above is deciding whether Butcher has hit on a plan from the beginning and is enjoying building up to it or whether he is as worried as the rest at first but, instead of giving into his anxiety, his brain is working things out until he hits upon a plan. Either portrayal would work, but it's your decision.

What impression do we get of the absent Sheet in this scene? Much depends on how Clark delivers the last line on Page 9. 'What? Sheet?' which is in response to Flake's information that Sheet is running around from bank to bank.

Try Clark's line:

• disbelieving, scoffing: he can't believe this of Sheet, whose business is as safe as houses.
• alarmed - seriously rattled - if Sheet is worried then the world is falling apart

If you choose the first way, then during the pause we need to see Clark taking in this terrible news and changing to horror.

Which creates more impact and gives more importance to Sheet?

Look at the short section on Page 12 between Flake and Butcher. It starts:

Butcher: 'He says our proposition

Is fishy....' and ends:

' Flake: 'No. His doubts.'

Play this little interchange:

a] as if between two people completely in the know, in tune with each other, that is playing it for the laughs

b] as if Flake is slower or more innocent than Butcher. In this version Flake will be genuinely 'outraged.'

Which makes the better sense? Which works best?

Look at the three 'laughs' written into the stage directions on Pages 10 and 11:

'They laugh dejectedly.'

'laughing uproariously'

'They laugh.'

See if you can discover the message that is being put over by each one. Try the 'uproarious' laughter:

• outraged, angry
• sarcastically, Mulberry can't believe these 'New conceptions of salesmanship'
• hollowly, bitterly

Decide which works best.

What is the quality of the third laugh. Try:

• uneasily. perhaps a considerable pause before one laughs and the others are nudged into folowing suit
• slightly hysterically - another way of showing their unease
• a ripple of polite laughter. They don't really believe they'll ever have to sink so low as to call on Ui

In groups of five, as far as possible allocate a part to each. Each one should then take a minute or two to study what his character says, noting any changes in mood or argument. When everyone has done this, each person should present his character in the third person and the past tense, as if narrating the story of that character's progressive states of mind in the scene, e.g. 'Flake felt such-and-such... or 'Clark showed surprise'... and so on.

Accompany these narrative monologues with the appropriate body-language and gestures for each thing said. Concentrate on these gestures being clear and uncluttered; they should be 'gestic' i.e. designed to help put the necessary messages about the character over with clarity.

Now try to improvise the whole scene, using your own words.

Finish by repeating your improvisation, putting into it as many of the gestic positions and individual gestures and attitudes that you have discovered from previous exercises as you can.