There's the scene in "Mudd's Women" where Kirk discovers Eve hiding in his quarters. The blocking of the scene is brilliant.
Eve is hiding because crewmen were spraining their necks to look at her as she went by. And here she is hiding behind the decorative mesh that separates the room's private space from the public office up front. Through most of the scene, the view of each person is through the mesh—the "elephant in the room" of unbridled lust and attraction (on Eve's part as well as Kirk's).
This is why society has rituals—formal ways of handling delicate interactions and introductions until people can "get to know each other" a little and build trust and respect. Note the point in the dialogue when Eve quietly steps around the barrier, and Kirk seems momentarily mesmerized, tongue-tied.
TOS did a lot of "theatrical" blocking like this—the colored lights and cucoloris, a slash of light across Kirk's eyes, different colored shirts standing in a perspective row on the bridge as the Captain makes a delicate play, etc.
Eve is hiding because crewmen were spraining their necks to look at her as she went by. And here she is hiding behind the decorative mesh that separates the room's private space from the public office up front. Through most of the scene, the view of each person is through the mesh—the "elephant in the room" of unbridled lust and attraction (on Eve's part as well as Kirk's).
This is why society has rituals—formal ways of handling delicate interactions and introductions until people can "get to know each other" a little and build trust and respect. Note the point in the dialogue when Eve quietly steps around the barrier, and Kirk seems momentarily mesmerized, tongue-tied.
TOS did a lot of "theatrical" blocking like this—the colored lights and cucoloris, a slash of light across Kirk's eyes, different colored shirts standing in a perspective row on the bridge as the Captain makes a delicate play, etc.
