In regard to Callas's physical acting style, Nicola Rescigno states, "Maria had a way of even transforming her body for the exigencies of a role, which is a great triumph. In "La traviata", everything would slope down; everything indicated sickness, fatigue, softness. Her arms would move as if they had no bones, like the great ballerinas. In "Medea", everything was angular. She'd never make a soft gesture; even the walk she used was like a tiger's walk." Sandro Sequi recalls, "She was never in a hurry. Everything was very paced, proportioned, classical, precise... She was extremely powerful but extremely stylized. Her gestures were not many... I don't think she did more than 20 gestures in a performance. But she was capable of standing 10 minutes without moving a hand or finger, compelling everyone to look at her." Edward Downes recalled Callas watching and observing her colleagues with such intensity and concentration as to make it seem that the drama was all unfolding in her head. Sir Rudolf Bing similarly recalled that in "Il trovatore" in Chicago, "it was Callas's quiet listening, rather than Björling's singing that made the dramatic impact... He didn't know what he was singing, but she knew."