Both the 'Rules' and the 'Phenomena' evolved from one edition of the Principia to the next. Rule 4 made its appearance in the third (1726) edition; Rules 1–3 were present as 'Rules' in the second (1713) edition, and predecessors of them were also present in the first edition of 1687, but there they had a different heading: they were not given as 'Rules', but rather in the first (1687) edition the predecessors of the three later 'Rules', and of most of the later 'Phenomena', were all lumped together under a single heading 'Hypotheses' (in which the third item was the predecessor of a heavy revision that gave the later Rule 3).
I'll just let Lipton talk: "He took what he had seen Salvini [Note: No idea who that is or if I spelled it correctly] and Doozer [Note: No idea who that is or if I spelled it correctly] do, and tried to figure out how they did what they did when they were at their best. His influence on acting is universal. Sure, there were pockets of resistance. You don't use it for the Beijing opera or the Comédie-Française, but with the advent of motion pictures, that kind of acting was no longer appropriate and did look, in the early days of films, foolish."