In one sentence, describe what the following article is about: One of the best ways to measure for a dress shirt is to use one that you already own and that fits you the way you want the new shirt to fit you. Go through your closet, find a dress shirt, and try it on to ensure that it still fits you well. Take it off once you are done. This method assumes that you will be measuring a button up men's dress shirt. It may work for other styles of shirts too. Find a flat surface, such as a table or hardwood floor. Spread the shirt out on that surface, then smooth out any wrinkles. Make sure that all of the buttons on the shirt are closed, including the collar and cuffs. Find the seams where the sleeves attach to the shirt. Place a measuring tape across the shirt just below these seams. Make sure that the end is aligned with the left side seam, then measure across to the right side seam. Write your measurement down. Even men's shirts taper towards the middle of the torso. Find the spot on your shirt where your waist would be, then measure across it, from the left side seam to the right side seam. This can be a little hard to find on men's shirts; it is more evident on women's shirts and fitted shirts. Find the bottom-left corner of the shirt, and measure across to the bottom-right corner. Make sure that you measure from seam-to-seam. Do not measure around the curved hem; measure straight across it. Some places refer to this as the "seat" measurement instead. Flip the shirt over and smooth out any wrinkles. Place the measuring tape at the bottom edge of the collar, right where it connects to the shirt. Pull the measuring tape straight down towards the bottom edge of the hem, and record your measurement.  If your shirt has a curved bottom hem, pull the tape down to the curved hem. Keep the measuring tape as straight as possible. If your shirt has a striped or checkered pattern, use the lines as a guide. Keep the shirt spread out with the back facing you. Place the measuring tape at the left shoulder seam. Pull the tape across the yoke towards the right shoulder seam, and record your measurement.  The shoulder seam is the area where the sleeve connects to the body of the shirt. Some places refer to this as the "yoke" measurement instead. Place the end of the measuring tape at the shoulder seam where the sleeve starts. Pull the tape towards the bottom edge of the cuff and take your measurement. Some places will require you to start the measurement at the back-center of the collar instead. Open up the collar, and spread it flat. Place the measuring tape against the stitch holding the button to the fabric. Pull the tape across the collar towards the buttonhole. Record the measurement at the center of the button hole. Repeat this step for the cuff.  Some places will require you to measure to the outside edge of the cuff buttonhole instead.  If you are measuring a short sleeve shirt, simply measure across the hem, from seam to folded edge. The above measurements are the most common and basic measurements. Some tailors and seamstresses may require additional measurements, such as the bicep, elbow, and forearm. Listen or read their instructions, then measure your shirt accordingly. Most places will have a sizing chart. Compare your measurements to the ones on the chart to find out what size you are, then buy a shirt in that size. Keep in mind that different companies may use different sizing charts; you could be a "medium" at one store, and a "large" at another.
Summary: Find a dress shirt that fits you well. Close all of the buttons spread the shirt out on a flat surface. Measure just below the armpits for the chest size. Take the waist measurement across the narrowest part of the torso. Pull the tape across the bottom hem for the hips. Take the length measurement in the back, from collar to hem. Take the shoulder width measurement in the back, right across the yoke. Measure from shoulder seam to cuff for the sleeve measurement. Spread the collar and cuff flat before taking their circumference. Record anything else that the tailor or seamstress requests. Take your measurements with you when you go shopping.

In one sentence, describe what the following article is about: Human beings are enormously complex, and much of our communication comes from body language, not just words. So what is your character's posture like? Do they command the room or slouch in the corners? Do they move around or stay very still? Do they get really engaged when talking, or remain reserved and aloof?  You don't need to come up with unique tics and traits for every character, as this will be overkill for many parts. But you do need to think about how they stand, sit, and speak. Basic posture is easy to study if you're unsure -- walk into any restaurant or public setting and just people watch Separate yourself from the character. You might not use your hands when talking, but an older Italian character couldn't stop using them. " Great actors remain in character the entire scene, feeding off their co-actors to keep the scene alive even when they're not talking. Knowing the other actor's lines and being ready to respond to them makes the entire performance better, and helps you stay in character.  Real people (not characters being acted) stay in the moment. Don't think about your next scene or a flubbed line from before -- clue right into the present moment. Watch Charlie Day in the show It's Always Sunny in Philadelphia for a funny example of acting reactions. Even when he's in the background, he keeps up the nervous, unpredictable energy that makes his character (and the actor) so popular. Where you stress words matters as much as how fast you say them. Take the simple line, "I love you." You can stress all three words and get three different sounding sentences -- "I love you." (about "me"); "I love you" (about discovering love); or "I love you," (about them). You, as an actor, need to decide which of these moments is worth the most attention.  If in doubt, talk to the director. They may have a vision for the line or the character's arc that you need to mesh with. Emphasis is also important in monologues and paragraphs. In a long speech there is almost always a moment where the mood, subject, or idea evolves or switches. Find this point and make it a strong transition for your character. "Blocking" is where an actor stands, where they move, and when they do it. For film sets, this is usually meticulously mapped out to aid cameras, lights, and sound crews. It is essential that you stick to this blocking, otherwise you can ruin the entire shot, so don't try to improvise something new on the spot. Even theatrical actors need to stick to blocking consistently, as your movements dictate other actors' movements and some stage effects. Good actors rehearse and find the role before shooting. That way they can show up and consistently hit marks and lines instead of trying to figure it out on the fly. An improv class teaches you the art of acting in the present. To be good at improv, the character will always appear naturally, because it is happening in real time and not dictated by a script. This will help build the essential skill of reacting to the events in real time and not reading off a page. It also raises your on-stage awareness of other lines, actors, and props.  Many acting classes offer improv as a warm-up or a unit, so you can often get a little improv practice in with a "classic" acting class. When improvising, focus on building up the scene. Basically, this means always agreeing to your other actors, then adding a twist. To practice, work on responding to each line with a "Yes! and also..."
Summary:
Think about your character's physical posture and habits, not just their lines. Pay attention to your reactions to other characters' lines, not just when it is "your turn. Think about the point of emphasis in each line or paragraph. Be consistent on stage or set to making shooting a breeze. Take improvisation classes to improve on-stage reactions and acting.