Characterization depends on body language for support; it is both elaborated on and highlighted in the nuances of gestural choices. While the play was emotionally charged, undercurrents of anxiety and sexual tension running through the narrative, many of its passions might be lost to the audience if not for body language communicating further layers of meaning.

Therese’s representation is particularly dependent on bodily movement – the character is often hunched into herself, shoulders turned inwards, hands clasped anxiously, firmly in her lap. Her inflexibility of movement reflects the lack of liberty she is offered and her inability to become emotionally vulnerable to those around her. She moves in short, jerky steps, unsure of whether she is allowed to be acting as she does or whether she can move where she does. Whenever Therese manages to make her escape from the haberdashery, she undergoes a sudden change: shoulders unfurl, head lifts towards the sky, arms flung out to either side holding her skirts wide. Suddenly, she is free. She is offered liberty from confining family and yet cannot fully embrace the fact, hunching up on the rocks as she does as home, unsure of whether she can take advantage of the freedom too good to be true. In contrast, her movements become wilder, unhindered by uncertainty when she is around Laurent. He represents her freedom and her actions mirror her recognition of this.

On the contrary, Camille utilizes body movement to indicate power, dominance, and arrogance. He sits in chairs with an open posture, body turned towards the audience, welcoming them to locate flaws he is sure do not exist. He walked assuredly, carefully placing a handkerchief on the ground when he wishes to sit upon it – in these movements he demonstrates a conceited character, one which is concerned with appearances and with ensuring that those around him recognize his prowess. Similarly, Laurent walks with a confident air, but his movements disintegrate as his relationship with Therese does. When fighting with her, Laurent leans on chairs surrounding the table while she sits huddled in blankets; he tries to assert his dominance over her by creating a physically higher space for his argument. His finger flutter in nervousness as well, reaching out towards Therese who remains unresponsive and immobile at his caresses.

One of the most interesting usages of gesture in the play was apparent during scenes in which dialogue remained eerily absent. During the weddings and funeral, the stage was darkened, outlining ever starker silhouettes against the dimly lit backdrop. As body shape became clearer, so did movement, and the audience watched with bated breath as the weddings were officiated and Camille’s casket was lowered into the ground. Madame Raquin falls dramatically as he is buried, clearly portraying her consuming grief and mourning. The sequence of events during these scenes are made clear despite a lack of conversation; the body says it all.