Now, the human body's capacity for varied expression is extensive, but this variety is formed through differing combinations of a relatively few primary positions and movements of the trunk, head, and limbs. Some of these I wish to dissect and explain, subsequently indicating their use in connection with the poetical text and the musical phrase of Opera, after which a few practical sug gestions for stage deportment will follow. The beginner, once in possession of these fundamentals, will find them applicable to parts of widely dif ferent character. This modest work does not pretend to catalogue all, or even a majority, Of the phases of plastic art applicable to Opera. It but aims to disclose to the neophyte the possi bilities of this art and the principles its foundation.