partner, set, and props in three dimensions. Gaze tracking changes the display based on

the location of the actor's head and the direction he or she looks. Prop and set

maintenance allow one to move, rotate, and replace any prop or piece of scenery.

 Consideration must be given to acting theory since the actor's expressions will be

expressed through the avatar. The form of expression this thesis focuses on is gestures.

Kinesics encompasses all non-verbal forms of communicating. These include gestures,

body language, and facial expressions. There are several categories of kinesics:

 Emblems: non-verbal messages with a verbal counterpart.

 Illustrators: gestures associated with verbal messages.

 Affective Displays: gestures or expressions conveying emotion.

 Regulators: non-verbal signs that maintain the flow of a conversation.

 Adaptors: small changes in composure that subconsciously convey mood [1].

 Communication on stage mimics communication in real life. Therefore, the

relationship of kinesics to acting is obvious. Actors must pay special attention to their

movement, gestures, facial expressions, and body language in relation to what they are

saying or doing. Ryan reaffirms the connection between kinesics and acting:

 The informal spatial code relates to the movement of the body on stage including

 facial expression, gestures, formations of bodies (i.e. patterns, shapes), and

 sometimes includes moving set and pieces of furniture.

 Ryan also lists several properties of kinesics use on stage:

 Gestures can't stand alone.

 Gestures can't be separated from the general continuum of motion.

 Gesture is the primary mode of ostending (i.e. showing) the body on stage [2].