Las manos como intérpretes en los gestos de el personajes "El señor González" de la obra El dragón de Eugene Schwartz, dirigida por Pierre-Yves Le Louarn

Abstract

Is work is a theatrical investigation focused on the expressive and creative potential of hand gestures in acting, using his experience in the play The Dragon by Eugene Schwartz, directed by Pierre-Yves Le Louarn, as a case study. The author reflects on the communicative power of the hands in building the character of Señor González, emphasizing how gestures define space, convey emotions, and create scenic atmospheres particularly in mask work, where the actor’s face is no longer a channel for expression and the body, especially the hands, becomes central. He draws on disciplines such as sculpture, anthropology, and kinesics, as well as theoretical references like Marta Linaza, Allan Pease, and Michael Chekhov. Throughout the document, Moreno argues that hands not only accompany speech but can also replace it and serve as the core of physical expression. Using examples from The Dragon, he analyzes how Señor González’s gestures such as open palms signaling submission or pointing fingers symbolizing authority are narrative tools that help construct the social and emotional context of the scene. He concludes that actors must be deeply aware of their body’s expressive potential, especially their hands, which possess a life of their own and can significantly enrich the creation and interpretation of characters on stage.