How to stage kiss

How to stage kiss

Ah, love. So many wonderful theatrical pieces are inspired by love. Yet pretending to be in love onstage, in front of friends, family members, and peers, can be one of the most challenging and potentially embarrassing things for a young actor to approach. Displaying acts of love, like kissing, is even more daunting. As teachers and directors, we know that a stage kiss is simply just a part of portraying a character. But students may not see it that way. So what’s a director to do?

Your most important job as a director is to make your show and rehearsal process a safe place for your students. Yes, students should be challenged, but these concerns aren’t something a student can or should “just get over.” When approaching sensitive topics like kissing, your students’ comfort level and emotional safety has to be a top priority. Here are four tips to help you approach stage kisses with your students in a sensitive manner.

1. Find out if students are comfortable performing a stage kiss.

One of the easiest ways to avoid potential problems is to ask students questions during the audition process. Rather than cast a student in a role that involves kissing and then find out afterwards that they don’t want to do the kiss, you can avoid that issue by asking students during the audition process.

I recommend creating an audition questionnaire that students can fill out and submit to you privately, rather than actually verbally asking students during their audition. I’ve used audition questionnaires to ask questions about a variety of topics, from sensitive issues such as performing stage kisses and showing stomachs/torsos onstage (for a production of Tarzan), to more mundane questions about previous dance and vocal training. A simple yes/no section for students to circle their answer is easy to add to a questionnaire:

Are you comfortable performing a stage kiss? YES NO

Simply asking ahead of time can help you to cast your students into roles that they are comfortable with.

2. Consider reasons why a student may not want to perform a stage kiss, such as:

  • Never been kissed before / not ready yet
  • Concerns about real-life romantic partners
  • Concerns about their own sexuality
  • Embarrassed about potentially being teased by friends
  • Worried that they’ll be “bad at it”
  • Doesn’t like the person they have to kiss
  • DOES like the person they have to kiss (and potentially afraid to show it)
  • Past or current issues between the students (students used to date each other; one student is another student’s best friend’s romantic partner; students are best friends and it’s awkward, etc.)
  • Doesn’t know the other student / has never had classes with them
  • Gap in age between students (a twelfth grader might not be comfortable kissing a ninth grader, or vice versa)
  • Religious or faith-based concerns
  • Family concerns (parents don’t allow dating, let alone kissing)
  • Body image issues

These are just a few of the reasons why a student might not feel comfortable performing a stage kiss. Be aware that students might say that they aren’t comfortable performing the stage kiss but are not willing to say why. Don’t press them about it.

3. Think of alternatives to kissing.

Look at the scene critically. Is there an alternative way to approach the kiss, that students are more comfortable performing? Consider:

  • Hugs / side hugs / embraces
  • The kiss is stopped before it happens (another character interrupts, a musical number starts, etc.)
  • Alternative angling (the scene is staged/blocked to look like they’re kissing but they are not)
  • Removing the kiss altogether (is it absolutely imperative that the kiss occurs?)
  • Kiss on the cheek rather than directly on the lips
  • Kiss is implied through a blackout or backlighting

Your students may have other suggestions for creative ways to stage a kissing scene without actually showing the kiss. Brainstorm some ideas with them!

4. In rehearsal, approach the kissing scene with sensitivity.

  • Before students block out the kiss scene, have them spend time with each other to get to know each other better. This way the students aren’t total strangers.
  • Have the first time students approach the kiss in a private rehearsal with just the actors, the director, and the stage manager.
  • Finding the balance of when to schedule the rehearsal will depend on your students. You’ll want to schedule the rehearsal later in the rehearsal period so the students have a chance to get to know each other better, but don’t wait so late that they don’t have enough time to practice.
  • Break down the act of the kiss into mechanics–hands here, face angled here, kiss here, done. This makes the kiss less about the real-life emotions behind the kiss and more like choreography.
  • When the kiss must be performed with the rest of the cast present, have a brief chat beforehand about teamwork and being supportive–no “woo-ing” or whistling or making a big deal of the kiss when it happens. Remind your students that the rehearsal space is a safe place.

Remember that for students, kissing can be a huge deal. Be available to listen to students’ concerns and do your best to help them with their feelings. Good luck!

In Stage Kiss, the new show from playwright Sarah Ruhl—now playing at Playwright’s Horizons in New York—an actress is unexpectedly reunited with an old flame when they’re cast as, well, old flames and forced to lock lips repeatedly during a tumultuous run in New Haven. It’s the kind of situation that makes for high drama, big laughs and a stirring night at the theater—just what Ruhl, the Pulitzer Prize- and Tony-nominated creator of the 2009 Broadway show In The Next Room, is known for.

DuJour spoke to Ruhl about her new work, writing purposefully bad work and those times when a kiss isn’t just a kiss.

We watch people kiss on stage all the time and never really think about what it might mean for actors. How did the idea to create a play based around the stage kiss come about?

It was a commission from the Goodman Theatre in Chicago, and I think it really came about from going to work for the past 10 or 15 years, watching people kiss in my plays and thinking what an odd job that is. I just really wanted to write about artists kissing. As the play grew, I became interested in these two actors who were cast in a bad 1930s drama, and they’re ex-lovers and don’t realize that the other one is in the play. It’s really about what happens to their relationship when they have to kiss 10 times a day.

Did you have any specific couples in mind whose stage kisses inspired you?

Yes, and I will never tell.

A scene from Stage Kiss

What’s your stance on writing kisses into a show? Is it something you’re careful with?

I’m not careful about it. I’m careful about nudity onstage; I have feeling that nudity should only be in the service of something very, very particular and not put the actor through trauma for no aesthetic principal. Kisses I feel fairly lighthearted about.

A big part of Stage Kiss involves the actors playing actors in a not-so-great 1930s show. How did you write for that show as opposed to your own?

Well, I read a lot of them. I read a lot of the ones that are out of print that you can only get in rare bookshops and are written by two to three people. And I loved them! My mom was an actress in Chicago, and I grew up going to rehearsals with her and would kind of see the 1930s dramas that she would take me to.

I imagine it was a lot of fun to write those parts.

So much fun. Believe it or not, at a point I considered writing a play about a woman who’s cured by seeing her former love. And then I thought, oh that’s terrible, I can’t write that play. Somehow I felt that it would work in the zeitgeist of the not-very-good 1930s drama that was resurrected.

Your two main characters are thrown together years after an acrimonious split. Why do that to them?

I think they were meant to find each other in terms of unfinished business, in terms of saying goodbye. The play is about that person you dream about, who you left behind but can’t quite leave behind. What happens if they appear on your doorstep and then you have to kiss them 10 times a day?

Have you ever been thrown into a situation where you’ve had to work with someone like that?

Playwrights are always hiding. We’re always hiding in the back, in the dark, so no—I’ve never been in that situation. I do think it’s fairly universal, the feeling of hanging onto an old love and wondering what would happen if you were thrown into a circumstance once again.

At one point in the show, a character tells another the way to stage kiss is by pressing together the dimples of their chins. Is there actually a proper way for people to stage kiss?

I don’t think there is anymore. I think in the olden days there was, but now they just kiss. The dimple on the chin thing was a technique that people used in the movies and sometimes onstage, but I think with the rise of realism people demand actual kisses onstage.

Do you think repeating a kiss over and over eventually makes it boring?

There’s definitely hilarious points during rehearsal where [director] Rebecca Taichman had to say, “Oh, I think that’s definitely an open-mouth kiss”: and just had to be really technical about it. I think it’s hilarious that that’s someone’s job. What a wonderful job to have to go and kiss really attractive people all day long.

If you’re not, you can grasp their face with your hands and put your thumbs on their lips, then kiss your thumbs. You can also kiss just shy of their mouth, right on the edge of their lips. Another way is to wrap the arm facing your audience around to the other side of their face to go over their mouth.

How do they get babies to act in movies?

Often, the baby or child’s coverage is shot first, so they can be wrapped for the day and go nap, but this also gives the older actors the ability to play to or react to whatever performance was captured of the infant; in this way sometimes scene blocking or the actor’s “business” as it is called can adapt to whatever .

How do they film babies crying?

The easiest and most common ways are to: give the baby a toy/candy/noisemaker/etc. that it wanted, and then to take it away. The baby will cry until the toy is returned or it loses interest.

Are they real births on Call The Midwife?

And as for those babies, Call the Midwife takes its youngest stars seriously. The show uses real newborns (up to around 8 weeks old) to play the babies that are given birth to on the show. “We use about 60 to 70 [babies] a series,” said Tricklebank.

Does GREY’s Anatomy use real babies?

Drew gave birth in real life right after filming April’s birth scene. According to Access Hollywood, after shooting April’s labor and delivery over a long 10-hour workday, a pregnant Drew went home and found herself in labor for real a few hours later.

How old does a baby have to be to be in a movie?

It totally depends on your kid. Lots of kids are ready for the movie theater around age 3, while whereas others will be better off waiting until they’re 5 or 6. You’ll want to make sure your kid can handle the amplified sights and sounds and has the attention span to last through a feature film.

Can I take my 3 month old to the movies?

There are no hard and fast rules and you can take your babies to the theatre at any time. However, newborns are very sensitive and loud music or noises in the movie theatre can damage the baby’s eardrum and may lead to hearing issues.

How to stage kiss

Fake kissing for musical theater actors is almost a job requirement. If you do enough theater you will at one time or another be required to display your talent for faking a kiss. So, how does one prepare and get through a romantic scene in which they must kiss a fellow actor. The key is in remembering that you are indeed an actor and that you are playing the part of a character in a play.

Young actors many times have a problem with a false kiss and they commonly ask how to get through a scene without dying of embarrassment or gaging. Musical theater kids often remark that this is difficult because they don’t have any feelings for the person they must kiss. This is fine, in fact it’s perfect. However, the character you are portraying does have feelings for the character that another actor is portraying. This is a relationship between the characters and not the actors. As long as you remember to think of it this way, you shouldn’t have any trouble getting through the fake kissing scenes of a show.

Before you panic, you also need to establish what type of kiss is being called for in the scene and by the director. Are you even required to make contact with another actor? Is it a “I’m falling love kiss”, a kiss on the cheek as in “hello”, a quick “good bye” kiss, a kiss on the forehead “good night”, or a long drawn out kiss to “the love of your life”?

Once you understand what is being asked of you, work with the other actor and the director. Sometimes the director can position actors in such a way that one of the actors has their back to the audience. In this case, you and the other actor may be able to fake a kiss without even touching your lips together. If the scene is not able to be done this way,ask the director for a suggestion. There is a technique, that most directors know, which involves placing a thumb on another actors face but it has to be done correctly for it to appear real. It is best demonstrated by an experienced actor before being used.

Don’t do anything that makes you very uncomfortable. You should not be asked to do anything that is not appropriate for your age and certainly, you should not hesitate to speak up if you are not OK with what you are expected to do. Remember, that many actors have felt unsure about their fake kissing and everyone gets nervous at sometime on stage. Your age and experience may be a reflection of what you are feeling and this is normal. Work through the scene as best you can and get on to the next scene. It will get easier as you rehearse the show.

Keep in mind, also, that if you practice good routine hygiene you will be less self conscious when you act out fake kissing. This includes using deodorant, and keeping your breath fresh. Your fake kissing partner is sure to appreciate your professional conduct and it will help make things go right on cue. With practice and as you become a seasoned actor, you will approach these scenes as just part of a day’s work.

Let’s face it: no one knows what they’re doing when it comes to kissing for the first time. And what’s worse, no one really seems to know how to give good advice when people are searching for an answer on how to kiss. A lot of people assume that they’ll just figure out how to kiss by practicing.

How to stage kiss

Except, two teenagers who have no idea what they’re doing tend to just mash their lips together and it’s a little terrible all around. And for those out there who didn’t get their first kiss until well after high school, it can be a little embarrassing to admit you have no idea what you’re doing. Don’t worry. A step by step guide to kissing for beginners is just what everyone needs in their lives – especially those who think they already know what they’re doing!

1. Pre Kiss

How to stage kiss

Before you start the kiss, you want to start by getting close enough to kiss. This pre-kiss stage is called “moving in”. This is generally how you can gauge whether or not the kiss is going to be well received, since everyone has the faint idea or knowledge that faces getting close together usually results in a kiss.

The pre-kiss stage starts with eye-contact, and lots of it. If the eye-contact is intense and neither of you seem able to look away, that’s when you know a kiss is going to be well-received. After establishing eye contact, you’ll want to lean closer. Keep your eyes open! You don’t want to accidentally knock heads.

Once you lean close enough for noses to brush, tilt your head to avoid a full-face collision. When you’re close enough that finding their lips will be easy without looking, you can close your eyes. Kisses are generally better with closed eyes, and you won’t look like you’re staring at your kissing partner.

2. The Kiss

How to stage kiss

When your lips finally meet, you’ll probably be a little nervous and not sure how to make the kiss good. The way a kiss is situated means that your bottom lip should be pressed between your partner’s upper and bottom lip, like a perfect puzzle piece. This is a beginner kiss, and quite chaste.

You can part your lips slightly for a more sensual kiss, or keep them gently pursed for a more chaste kiss. Either way, this is the actual act of the Kiss, though there’s much more to it than just pressing your lips together. For a quick, caste kiss, you can stop here. But for something a little more…

3. Lip Movement

How to stage kiss

There’s so many different ways to move your lips when you’re kissing someone. It all depends on what feels comfortable for you, and what your partner likes. The most common and basic lip movement when it comes to kissing involves puckering your lips as if you were going to give someone a quick peck on the check, but instead of drawing away, you want to continue to maintain the lip contact. Start slow by giving them a few short kisses on the lips, continuing to keep your lips close together between each one. The longer kisses you given them, the more sensual the kiss becomes.

Once you have the basics of kissing down, you can start to add a little flair. You kiss their bottom lip instead of both of their lips, or give the corner of their mouth a sweet kiss. You can also brush the tip of your tongue along their bottom lip for a little excitement. When kissing, you can always play with other sensations of the lips rather than just the kissing motion. Try brushing your lips along theirs without actually kissing them for a bit of a tease.

When kissing someone, you don’t have to stick to their lips, either. Other erogenous areas appreciate a good kiss. When you’re ready to move on from their lips to, say, their neck, trail a line of kisses from the corner of their mouth to their jaw, then to their throat. Some people also like having their earlobes kissed. Kissing is all about exploration with your partner and finding out what they like best.

4. Practice, Practice, Practice.

The best part about kissing is that most people really like to do it, and if you can find someone who likes to kiss you then there’s no reason not to practice your technique. When your figure out how to kiss best with one person, remember that it won’t be like that for every person you kiss. It’s good to have a base understanding, but be prepared to change your techniques depending on who it is you’re kissing. Some people like different types of kissing than others.

And there you have it! Kissing is a fun, intimate activity that almost everyone has done but no one seems to know how to do. Thankfully, most people are just faking it till that make it, anyway. Chances are, you’ll be learning to kiss with someone who is also a little self-conscious about the act. Go forth, and kiss!

Actors are required to kiss all the time in their line of work, but can a smooch really be faked? Passion simulated either becomes real or risks looking contrived and yucky.

Sarah Ruhl, the charmingly inventive author of “The Clean House,” “Eurydice” and “In the Next Room, or the Vibrator Play,” has fashioned a work around the subject in “Stage Kiss,” a backstage comedy that marries the meta-theatrical antics of “Kiss Me, Kate” with the seemingly offhand but in fact micro-observant humor that is one of her trademarks.

The production, which opened Wednesday at the Geffen Playhouse under the direction of Bart DeLorenzo, makes it easy for us to become infatuated with the play. The cartoon style in which not-so-good contemporary actors get cast in a really bad 1930s boulevard melodrama (parodied by Ruhl with lip-smacking gusto) provides a steady stream of giggles in the first act, which is set largely in a rehearsal room in New Haven, Conn.

But while easy to like, “Stage Kiss” proves hard to love, as the play’s elaborate and somewhat protracted cleverness outstrips any emotional investment we have in the material. DeLorenzo’s cast is better at wringing laughs out of the bumbling thespian roles than in making us care about the characters’ outcomes.

This is a problem as the play begins to divide and subdivide into other plays. Ruhl has not only written ludicrous scenes from “The Last Kiss,” a fictitious Broadway bomb that a journeyman theater director (a deliciously defeated Tim Bagley) has foolishly set out to revive. But she has invented another laughably bad play in the second act, this one written by the director for his leads in “The Last Kiss,” who have fallen back in love after being reunited in a production that let’s just say won’t be headed to New York any time soon.

The hall-of-mirrors effect that Ruhl creates is impressive. (She possesses one of the boldest theatrical imaginations at work today.) “Stage Kiss” is distinguished by its tenderly stoked madcap conviction.

Love is the playwright’s subject, but the originality of her insights stems from the way artifice and reality are played off each other. Which is more real — the lost romantic passion curated by memory and enshrined by artists, or the married kind that’s rehearsed on a daily basis without the benefit of any fanfare?

For this to become truly meaningful, however, Ruhl would have to endow her characters with more substance than she does here. The central figures of “Stage Kiss” are designated as He and She, and that pretty much sums up our relationship to them. They are amusingly neurotic types who begin to overstay their welcome as their skit-like scenes multiply rather than deepen.

Glenne Headly plays the actress with a dithering diffidence and faint air of melancholy. The character, married to a stolid financier and the mother of a bright, insolent 16-year-old daughter, has barely acted in the last 10 years. Her chief credit is an anti-depressant commercial, in which she was, not surprisingly, quite convincing.

Barry Del Sherman plays the actor as an aging Peter Pan, a classic narcissist so caught up in himself he has hardly noticed the state of his career or dilapidated personal life. He lives in a grimy studio apartment in New York and is dating a schoolteacher from the Midwest whom he dismissively describes as “optimistic.”

While acting in “The Last Kiss,” which plays like one of those classic Hollywood sendups on the “The Carol Burnett Show,” these estranged lovers find their old feelings reviving. Their tempestuous past is exhumed, without the slightest loss of amorous intensity. In Ruhl’s world, art doesn’t merely mirror life — it reconstructs it with a kind of mathematical mockery.

The casting here, however, poses a problem. Headly and Del Sherman don’t have much natural chemistry. They seem, in fact, to be as distant as two strangers introduced on the first day of rehearsal. This deprives the production of an erotic interest. Without this bond, the play comes off as innocuously playful.

“Stage Kiss” is a whipped dessert that’s cheerfully served on a set by Keith Mitchell that shows off the Geffen’s proscenium to fetching advantage. But it’s not easy to make a meal out of a meringue.

Ruhl, however, is an unusually resourceful comic writer. The backstage shenanigans of theater folks, who find refuge in fantasy, no matter how tattered and clichéd, had me chuckling at a steady clip.

The director’s description of the “The Last Kiss,” as “very moving,” despite being “tonally, very you know, slippery,” is delivered with perfect deadpan by Bagley. (His vow — “with the proper cast, a new score, and some judicious cuts it will be really very well received in New Haven” — doesn’t instill much confidence in his ragtag company.)

Matthew Scott Montgomery is especially winning as Kevin, a gay cast member who has a special relationship with the director. When he’s called upon to stand in for the romantic lead, he practically falls apart: “I just have this awful fantasy that I’ll kiss a woman on stage and everyone will be like, ‘You know, yeah right, whatever.’ Sorry I just needed to get that out there.”

Doubling and tripling is required of the supporting players, and each of the cast members gets a moment to shine. Emily James is terrific as the actress’ sputteringly angry daughter. Stephen Caffrey, as the actress’ deserted husband, and Melody Butiu as the actor’s jilted girlfriend, soften their loony caricatures as the situation requires.

One of the play’s more memorable exchanges directly engages the all-important subject of theatrical osculation. Headly’s character asks Del Sherman’s why audiences enjoy watching other people lock lips in the theater.

“They don’t enjoy it,” he explains. “They tolerate it … because it signifies resolution” and because it’s about “an idea of beauty completing itself.” But he adds that, unlike film, “you don’t like to see people do more than kiss on stage — it’s repulsive.”

In the movies, which are more like porn, he argues, it’s the sex itself that titillates, whereas in theater it’s the idea of sex. “And that’s why the theater is superior to film,” he concludes, “because it’s less like masturbation.”

These thoughts don’t sound all that credible coming from this hack actor, but they make an eloquent case for a playwright madly in love with her art form.

by True Star Staff January 9, 2018, 4:10 pm 64.2k Views

How to stage kiss

The “talking” stage in relationships, as many people know, is the stage at the beginning of the relationship where you are getting to know the person you are potentially going to date. At this point, you’re basically doing a test run of the relationship to see if it will work out. This is a very tricky time because there are many things that are confusing in terms of what you can and can’t do in this “relationship”.

*Be honest.

Even if you aren’t officially dating, being honest to the person you’re talking to is very important. Chances are if you’re talking to them, you plan to have a relationship with them. Your level of honesty during this stage of the relationship gives your partner an idea of how honest you will be when you actually make things official.

*Setting expectations.

Simple things like calls and texts within a timely fashion are things to be expected in a relationship, but setting your expectations too high can lead to disappointment. Set expectations for the person you talk to but not ones that are too high to the point where you’ll get let down because these expectations aren’t met.

*Get to know them as much as you can.

During this stage, like in the beginning of starting any relationship, getting to know the person you plan to date is important. Take this time to learn as much about this person as you possibly can. You can do this by having actual conversations and spending one-on-one time with him or her.

*Don’t move too fast.

Keep in mind you and this person don’t officially date yet. Taking things slow is the best thing to do in the beginning of a relationship. Moving too fast could lead to someone getting hurt or the bond you and that person share being damaged.

*Don’t be afraid to tell them how you feel.

If the person you’re talking to does things that you don’t like, let them know. Holding things back will cause problems. If something is happening that you don’t agree with, say how you feel when it is happening. Don’t wait until something else occurs to bring it up.

*Even if you don’t officially date, you have to respect that person.

Respect is a key element in any relationship or bond. Without respect, the relationship will go down hill quickly. Lack of regard for others in any relationship won’t end well on either side.

*When does the “talking” stage end and dating begin?

During the “talking” stage, claiming a person is an important milestone. When the time comes that you claim the person you talk to and they claim you as well, this can be a sign that you are officially dating. The relationship can also become official when you and the person you talk to sit down and have a conversation establishing that the relationship is official.

These aren’t necessarily rules that everyone in the “talking” stage are obligated to follow, but they are some things I think are important to keep in mind while in this part of your relationship.

Aries is extreme in any way possible including kissing. They will rock your world and give you the best kiss you’ve ever had.

They might start with soft kissing, then use a bit of a tongue and finish it with a playful bite.

They love everything but boring kisses. You need to be adventurous and try different things. Throw in some neck kissing while you’re at it—they are going to love it.


How to stage kiss

They are extremely passionate and a perfect match for any kisser. They will mimic your style of kissing and be your perfect match. You’ve never had a better kisser than Taurus.

Also, they are driven by their senses so before you kiss, they will take a deep breath and enjoy your scent, gently stroke your lips and do pretty much anything to arouse you completely before they go into the action.

Try to make some noise while you’re kissing a Taurus because it’s something that will definitely turn them on.


How to stage kiss

They are extremely emotional and their kisses are tender but with a bit of a twist. They will kiss you softly and emotionally with a playful bite or two.

They aren’t wild, but they will build tension slowly and bring you to the great finale. And if you really want to impress a Cancer, throw him a romantic setting with a candlelit dinner and you’ll sweep him off his feet.


How to stage kiss

They are known for their kisses to be short and sweet. They’ll take you from gentle kissing to French in no time, leaving you wanting more.

Their signature style is to hold your head in their hands while they are kissing you and touch your forehead with theirs so they can make eye contact right after they are finished. This cannot simply leave you indifferent.

How to stage kiss

They will build tension slowly by starting from your neck or even lower and working their way up to your mouth.

To them, it’s all about the hunt, so like true hunters, they will work you up until you’re completely defenseless and then, they will attack.

They also enjoy when their partners play hard to get and don’t submit to the pleasure right away. It’s like they are hunting.

They have to work for it, but the result shows it was totally worth it.


How to stage kiss

You may think that Virgos are uptight when it comes to kissing like they are in everything else, but you’re in for a surprise.

They can be so sensual and make you feel things you never felt before.

But, on the other hand, their Virgo obsession with cleanliness keeps them from deep Frenching because there is not enough mouthwash in the world to keep them clean.

But, they will make it up to you by kissing you anywhere else you want. So, turn on your imagination.


How to stage kiss

They are crazy good kissers, but practice has a lot to do with it. Their lips are soft like peaches and their kisses are unforgettable.

Their kisses are soft and shy—the ones that make you feel butterflies in your stomach.

The one thing they like during kissing is physical contact. They like you to touch them and stroke them while they are turning your world upside down.


How to stage kiss

This is the sign which breaks all the rules. If there is a line, a Scorpio will cross it. Expect anything but normal.

They will try all sorts of kissing styles—of course, the ones that not too many people know how to do and they may even throw in something they have come up with recently.

One way or the other, you in for a great and memorable surprise.


How to stage kiss

Let’s say Sags know just the right amount of everything when kissing is at stake. They will never do too little and never go too far.

That’s the beauty of their kisses—they are just right.

They will find those spots that make you crazy and lick them and kiss them until you can’t take it anymore.

They are no strangers to using tongue and when they use it they know how to, but they never overdo it.


How to stage kiss

As in real life, Capricorns are go-getters in kissing. They will always go one step further until they come to the line.

Then, they’ll stop and it will be perfect. They are prone to biting but not the way Aries do it.

They do it more softly and gently. Also, they will avoid all the places you don’t like as long as you tell them.

They are very confident while they kiss you and it leaves an impression that they know what they are doing. And the truth is, they do.


How to stage kiss

They are very instinctive, so the moment they start kissing you, they will know exactly what you like and what you don’t.

This gives them a huge advantage and that’s why they are awesome kissers.

They never stick to just one style of kissing and it makes them exciting and unpredictable. They like to mix things up and surprise you.


How to stage kiss

The deepest and most emotional kissers of the Zodiac are Pisces. They are different as always from anyone else.

They turn kissing into an art in which they are the pros. They use kissing to connect deeply with the person they are with and they give it their all.

You’ve never been kissed the right way if you haven’t been kissed by a Pisces.