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10. ARTISTIC PROSE. History of prose. Why prose follows poetry. Vocal interpretation of the spirit of English prose masters. Oratory. The Novel.
11. THE MODERN SPIRIT. Spiritual Movements in the 19th Century Poets. The Short Story. The Modern Drama.
12. HISTORY OF HUMOR. Influence of Humor in History and the spirit of literature; topics taken from the leading writers.
13. METRES. Metre as a form of rhythm. Blank verse. Character and meaning of different metres. The expressive use of metre by the great poets. (Metre is sometimes studied as a part of the advanced courses in Voice or Vocal Expression - Oral English.)
Artistic or Creative Study of Literature.*
COURSES: 1. Lyrics and the Voice. 2. Narrative Thinking. 3. Vocal Interpretation of Literature. 4. Dramatic Thinking. 5. Metre and Vocal Expression. 6. Forms of Literature as Phases of Art. 7. Public Reading of the Bible. 8. Literature and Expression. 9. The Monologue. 10. Life Sketches.
Additional Courses Combining Both Methods.
DRAMATIC SPIRIT. 1. Vocal interpretation; criticism and appreciation.
2. Dramatic Thinking. a. Situation, Dialogue, Character. b. Characterization, Bearings, Attitudes, Dramatic Action. C. Forms of the Drama - Farce, Comedy, Burlesque, Melodrama, Tragedy, — their nature and modes of interpretation. d. Unity — Centralization, Oppositions, Movement, Color, Gradation and Contrast.
3. Dramatic Rehearsal and Problems. a. Stage Art, Stage Business, Stage Traditions, Representative Art. b. Dramatic Rehearsal - Farce, Comedy, Burlesque, Tragedy - of 16th, 18th and 19th Century plays.
4. The Monologue as a dramatic form, and its interpretation. (Text " Browning and Dramatic Monologue,” S. S. Curry.)
5. Impersonation, or Platform Interpretation of Plays.
6. Constructive Dramatic Art. a. Dramatic Construction, practical and theoretical; the relation the stage bears to fiction; relation theme, story, plot and situations bear to characterization through style; relation of dramatic construction to characterization. b. Dramatic Criticism. Analysis of plays; history of the Drama. C. Practical Playwriting; outlining of original plays; adaptation of novels to the stage.
7. Shakespeare's Art. Internal evidences of development; dramatic rehearsal of plays. (Text – Dowden's Primer.)
* Oral English.
X. RELATION OF THE ARTS
The art spirit is considered in relation to expression, and each art, as a record of expression, is studied as revealing some special act of the human spirit. The courses of art-studies endeavor to guide students to an appreciation of painting, music, sculpture, architecture, and the various other arts. The laws governing the arts are studied and applied to speaking, acting, reading, and other aspects of vocal expression.
· The methods of studying art are peculiar to the School of Expression and constitute one of its important features. The work is given in regular courses, a special course each year illustrated by the stereopticon, on some phase of art in picture galleries, studios, or the Art Museum. Courses are arranged so that students may have the benefit of different studies, lectures, and courses every year.
The following are among the courses of lectures on Art, illustrated by the stereopticon:
I. HISTORY AND DEVELOPMENT OF ART. 1. Nature of Art. 2. Great Periods of Art. 3. Spirit of Greek Art. 4. Romanticism. 5. Realism. 6. Impressionism.
II. FORMS OF ART. 1. History of Expression in Sculpture. 2. Composition in Painting. 3. Technical Struggles in Art. 4. The Art of Our Time.
III. MASTERS OF EXPRESSION IN PAINTING. 1. Early Christian Art. 2. The Renaissance (1). 3. The Renaissance (2). 4. Albert Dürer. 5. Rembrandt. 6. Rubens, the Painter of Gesture.
IV. ART OF OUR TIME. 1. The Landscape. 2. The Painting of Peasants. 3. Pre-Raphaelitism. 4. Summary of Art Movements. 5. American Art. 6. Tendencies in Art.
The following courses are conducted in informal lectures and criticisms, complemented by discussions with the students: Art and Literature; Study of Forms of Literature and Forms of Art -- Relation of One to the Other; Art Movements; Necessity and Function of Art; How to Study Pictures.
IV PHILOSOPHY OF EXPRESSION The characteristics of expression in nature and in art are contrasted, and the differences between life movements and artistic representations are studied in order
to broaden the student's knowledge of himself, deepen his experience, and show him his relation to his work.
1. PROVINCE OF EXPRESSION. Expression in nature and in man. Kinds of Expression. Contrast between fundamentals and accidentals; response of voice and body to mind in expression.
2. ELEMENTS OF EXPRESSION. In nature, life and art.
3. PSYCHOLOGY IN RELATION TO EXPRESSION. Mental action in assimilation contrasted with that in imitation; the necessity of courage, spontaneity, life.
4. METHOD. Logic of reading and speaking. Study and practical application to speaking of the great essays on method.
5. HUMAN NATURE. Dramatic and artistic interpretations of man, philosophy of man and his perfection through training.
V PROFESSIONAL ATTAINMENT Thorough training for harmonious development of mind, body and voice is arranged for all students no matter what their profession. Many decide upon a profession too early and without understanding their possibilities. The School aims first to develop the mental and spiritual possibilities of the individual and then endeavors to secure a wise decision as to the life work.
After decision is made, and frequently parallel with the personal training (I-VI), students are arranged in classes according to their professional aims.
Courses in this department prepare graduates of colleges, universities and professional schools, for the pulpit, the bar, the platform, or the teacher's chair, for public reading or for the stage. Graduates of the School are filling prominent positions in all parts of the world and in all departments of life. Many of the ablest professional men and women, even after attaining success, have taken courses at the School. Ninety per cent of the students are preparing for professional life, and of these, ninety-eight per cent of the class of 1916 found employment.
I. Teachers of Voice and Speaking
Courses: 1. Principles of Education. 2. Methods of Teaching Vocal Expression. 3. Methods of Teaching Voice. 4. Review of Fundamentals. 5. History of Elocution. 6. History of Pedagogy.
II. Teachers of Literature and English
Courses: 1. Study of literature by contact with the author in practical rendering and by collateral reading courses rather than by mere analysis. 2. Relation of Literature to Vocal Expression. 3. Rhetoric and English necessary to meet the needs of students. 4. Vocal Interpretation of Literature.
Teachers acquire not merely a knowledge of the language and data regarding writers, but literary instinct and imaginative insight.
III. Teachers of Public Schools
Training of the voice to secure ease, health and effectiveness. Development of the pleasanter qualities of voice. Studies of human nature. Naturalness in reading and expression. Articulation. Function of vocal expression in education.
Courses: 1. Voice. 2. Harmonic Gymnastics. 3. Vocal Expression. 4. Studies of Human Nature (Dramatic). 5. Courses for naturalness in speaking and reading. 6. Methods of teaching reading adapted to grade work. 7. Programs of exercises and practical problems for Voice, Body and Mind, adapted to the needs of primary, grammar and high school grades.
IV. Teachers of Physical Gymnastics
Eliza Josephine Harwood, Instructor. (See Special Organic Training Circular.)
A Special Teachers' Course in the (a) Theory and Practice of Gymnastics, embracing Lectures upon General and Special Kinesiology, enabling students to become familiar with the laws and principles which underlie all Organic Training; (b) Methods of Teaching, Supervising, and Organizing; (c) A comparative study of Other Systems; (d) Corrective Exercises for general use in the schoolroom; (e) Games and Plays; (f) Æsthetic Dancing, both the theory and practice.
Elective Courses: (a) Fencing; (b) Dancing, both social and æsthetic.
II. PUBLIC READERS
(Teachers' or Readers' Diploma) - The Art of the Platform," including Public Reading, Impersonations, and all forms of Vocal Interpretation of Literature, demands even greater self-control, more imagination, and a broader cultura than Dramatic Stage Art, because it depends not upon scenery or stage accessories for effect, but upon that control of self which produces suggestive modulations of Voice and Body, and skill in accentuating all the expressive values of language. The transitions of character and of passion, the delicate and varied intimations of the creative imagination, call for the finest technical skill. The reader or lecturer occupies the center of attention and must be able to awaken and sustain interest by the simplest means.
Courses: 1. Public Reading as a Fine Art. 2. Vocal Interpretation of Literature. 3. Story-telling in all its forms, from simple after-dinner stories to Dramatic and Epic Narration. 4. The Monologue. 5. Life or Vaudeville Sketches. 6. Impersonation or the Platform Interpretation of the Drama.
Formal and informal recitals, affording practical platform experience with audiences, are given semi-weekly throughout the year, and students are also encouraged to conduct entertainments in and around Boston. Special public recitals during April and May.
Students with marked ability for the platform may take this special course in two years. (See Terms, p. 41.)
III. DRAMATIC ARTISTS
(Dramatic Diploma) The dramatic training of the School is systematic and radical. The dramatic instinct is awakened, the imagination quickened, and the personality of the student unfolded. Modes of pantomimic action, the command of voice modulations, and the ability to enlarge and extend these at will, are so developed as to render the lines with intelligence and passion and to develop power in characterization.
Dramatic rehearsals (burlesque, farce, melodrama, comedy, and tragedy). Courses are given in dramatic action, characterization and the principles of stage business throughout the year.
Courses: 1. Dramatic Thinking. 2. Dramatic Rehearsal. 3. Stage Business. 4. Forms of the Drama. 5. Characterization. 6. Modern Drama. 7. Old Comedies. 8. Poetic Drama. 9. Life Studies. 10. Histrionic Expression. 11. Dramatic Construction. 12. Stage Art.
Candidates for the Dramatic Diploma are required to include the Special Summer Dramatic Term in their regular course. (See March number of “ Expression.")