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It is necessary to do the truth.

-- Maudsley.

COURSES OF STUDY

THE regular and special courses of each year are 1 divided into groups (see Horarium, pp. 28 and 29).

Students may elect additional courses when their acquirements permit.

The work of each student is arranged after a careful study of his highest possibilities and his fundamental needs. All regular courses include work: First, for the development of mind, body and voice. Second, students are led from the first, to study literature, poetry and art through interpretation and artistic endeavor. Third, the student is given studies and contact with people in order to develop his social and sympathetic instincts. Fourth, early in their course the students are given a certain work which prepares them for professional attainments. Fifth, later, studies are assigned that will lead the student to comprehend the philosophic nature of all expression.

Certain courses, especially advanced and elective courses, are given in alternate years. A few are given only once in three years.

All regular courses include some work in each of the following fields: (1) Personal Growth and Development; (2) Creative Expression; (3) The Study of Literature and Art; (4) The Philosophy of Expression; (5) Professional Attainments; (6) Life and Social Relations. A synopsis of specific courses under each of these groups follows:

I. GROWTH AND DEVELOPMENT Growth presupposes established natural conditions; and development is the co-ordination of man's thinking with natural growth conditions.

The technical courses for Voice, Body and Mind are the means used in the School of Expression to establish natural conditions and practice upon the various forms of oral expression establishes natural conditions in Speech, thus preparing for the fullest development in creative activity.

1. VOCAL EXPRESSIONI Vocal Expression centers in the study of thinking and in its most direct revelations in modulations of voice and body. Attention, discrimination and sequence of ideas are established. This natural method secures intensity of individual impression, and shows the relation of impression to expression. The interpretation of literature is the means or test used. Each student is thus given a method of self-study and the direct use of his own creative powers.

First Year Courses: 1. Elements of Vocal Expression. 2. Foundations of Expression.

Second Year Courses: 3. Logic of Vocal Expression. 4. Imagination. 5. Assimilation and Participation. 6. Rhythm and Melody in Speech.

Third Year Courses: 7. Harmony of Expression. 8. Imagination and Dramatic Instinct.

Fourth Year Courses: 9. Psychology of Vocal Expression, 10. Unity and Tone Color.

II. TRAINING OF THE VOICE + The method of developing the voice is Technical and Psychic. The training is divided into two phases: a, the securing of right tone production; b, the improvement of speech.*

a. Development of Tone. First Year Course: 1. Qualities of Tone. 2. Simple problems in the Spoken Word associated with technical training. Second Year: 3. Principles of Vocal Training. 4. Emission of Voice. 5. Agility of Voice. Third Year: 6. Resonance. 7. Flexibility of Voice in Expression. 8. Dramatic Modulations of Voice.

b. Development of Speech. First Year: 1. Phonology. Second Year: 2. Pronunciation. Third Year: 3. Visible Speech.

* Methods of developing tone are based upon those of François Lamperti and are adapted to the voice in speaking. The work in articulation and speech elements is founded upon the Visible Speech of Prof. Alexander Melville Bell.

† Oral English.

III. TRAINING OF THE BODY The School offers two courses for the physical organism: a, the Organic, which aims to secure proportion and normal adjustment of all parts of the body; b, the Harmonic, which organizes the body for expression.

The first course stimulates growth; the second stimulates development, and is primarily psychic.

a. Organic Training Courses: 1. Organic Gymnastics. 2. Educational Gymnastics. 3. Theory and Practice of Gymnastics. 4. Gymnastic Games. 5. Fencing. 6. Rhythmic Exercises or Fancy Steps.

b. Harmonic Training Courses: 1. Harmonic Gymnastics. 2. Pantomimic Training. 3. Grace and Power. 4. Co-operative Training.

IV. PANTOMIMIC EXPRESSION The language values of the actions of the body are studied, ele· mental and expressive actions are stimulated and harmony secured

in the motor areas of the brain, thus awakening Dramatic Instinct and bringing thought, feeling and will into unity.

Courses: 1. Elementary Pantomime. 2. Manifestative Pantomime. 3. Representative Pantomime. 4. Characterization. 5. Gamuts of Pantomime. 6. Dramatic Action. 7. Pantomime of Musical Drama. 8. Unity in Action.

II CREATIVE EXPRESSION* From the beginning creative work is required in conversations, discussion, problems, recitation, writing and literary or dramatic interpretations. Various practical modes of expression for awakening spontaneous energy are associated with all courses.

V. CONVERSATIONS Students are required to present in conversation subjects directly connected with the work in literature. (See III; also Speaking.)

Courses: 1. Story-telling. 2. The Beginnings of Literature, 3. Discussions. 4. Art Topics.

VI. PROBLEMS IN EXPRESSION Short passages of best literature, original and selected, interpreted in Spoken English by students to stimulate creative thinking. Courses: 1. Problems in Reading. 2. Voice Problems. 3. Harmonic Problems. 4. Pantomimic Problems. 5. Dramatic Prob- ' lems. 6. Problems in Speaking.

* Oral English.

VII. VOCAL INTERPRETATION OF LITERATURE* Each class meets several hours each week for recitations, addresses, stories, or scenes, written or chosen and prepared by themselves. In criticism the teachers endeavor first to discover the students' purpose, and, after indicating to them wherein they have succeeded or fallen short in attainment, to encourage them to establish or correct the purpose in further study.

1. JUNIOR CRITICISM. The first year criticism centers in awakening the powers of the student, in securing creative thinking and expression by co-ordinating logical instinct with spontaneity.

2. MIDDLE CRITICISM. Gradual elevation of the student's ideal and comparison with race ideals in literature, dramatic art and oratory.

3. SENIOR CRITICISM. Comparison of the lyric, epic and dramatic spirit as found in monologue, impersonation, and all forms of histrionic expression. Necessity of suggestion; the creative instinct; co-ordination of inspiration and regulation; unity in the different modes of expression.

4. POST-GRADUATE CRITICISM. (See Professional Courses.)

VIII. WRITTEN EXPRESSION Results in Written English are secured in the same way as are the results in Oral English, — by stimulating the faculties and testing the adequacy and correctness of form. Expression proceeds from within outward.

1. THEMES. Short themes upon familiar literary or artistic topics. Principles of rhetoric practically applied. The student is urged to keep close to his own experience and work.

2. ENGLISH. Literary creation. The writing of stories, poems, and essays. The expression of thought, feeling, and imagination through words.

3. ENGLISH WORDS. The nature of words. Studies in etymology. Written exercises for the improvement of the student's vocabulary.

4. STYLE. Written and spoken style contrasted. The spirit and individual peculiarities of authors; general qualities of style; laws of expression as applied to words. * Oral English.

III

LITERATURE AND ART In addition to work for personal development (I-IV) and the creative work in conversations and renditions of literature (V-VIII), various phases of literature and art are studied as records of the ideals of the race.

IX. LITERATURE Literature is studied in the School of Expression in two ways, – first, intensively, by vocal interpretation of the best literature, discussion and by conversations; second, extensively, requiring collateral reading courses and comparative study of authors. These methods complement each other and are carried on simultaneously.

1. THE LITERARY SPIRIT. Literature as a necessary manifestation of human nature.

2. PRIMARY LITERARY FORMS. Fables, allegories, myths, lyrics, old ballads.

3. NARRATIVE POETRY. Longfellow's “ Tales of the Wayside Inn," Scott's “ Lady of the Lake," Lowell's “Vision of Sir Launfal.” Story Telling; the primary spirit of poetry and its interpretation through the voice.

4. LYRIC POETRY. Origin and nature; importance of the vocal rendering of lyrics (Wordsworth, Tennyson). History of lyrics, with recitation of the best examples.

5. FORMS OF LITERATURE. Characteristics and forms of poetry and art, with their causes. Problems.

6. GREAT EPOCHS OF LITERATURE. a. Norman Conquest as revealed in modern literature; collateral readings with oral tests. b. 14th Century, Chaucer as the central star. C. 16th Century, Shakespeare as the central figure. d. 18th Century, Scott, Goldsmith, Wordsworth, etc. e. 19th Century, as illustrated by Tennyson, Browning, Dickens.

7. EPOCHS OF THE DRAMA. 16th Century, Shakespeare and Contemporaries; 17th Century, Milton's “ Comus”; 18th Century, Sheridan, Goldsmith, Knowles; 19th Century, Poetic Drama, Shelley's “ Prometheus Unbound,” Browning's “Pippa Passes," Ibsen and the Modern Drama.

8. BROWNING. The short poems, spirit, form and peculiarities; analyses, studies, essays and renderings

9. EPIC SPIRIT. a. “Idylls of the King” (Tennyson), sources and legends. b. “Hiawatha” (Longfellow). c. Bible Reading.

TO

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