Immagini della pagina


[ocr errors]




* FIRST YEAI Qualities of Voice (Program) | Voice (Qualities) (Program) | Oral English - Story Telling Pri

("Mind and Voice," Parts L ("Mind and Voice," Parts (" Little Classics )

Oral English - Bible - Par- | Oral English (" Foundations Oral English - Literature Voi
ables ("* Imagination and of Vocal Expression ")-

and Expression - Epochs ! Dramatic Instinct")

of Literature Harmonic Training (Program) | Dramatic Thinking (Shake Voice Qualities (Problems) Co


("Mind and Voice," Parts

Oral English -- Narrative Oral English - Speaking - Dramatic Thinking - Re- Rhe
Poetry — Recitation
Epochs of Literature

hearsal (Shakespeare)

† FIRST YEAR SPE Qualities of Voice (Program) | Voice (Qualities) (Program) | Oral English - Literature and Pric

(" Mind and Voice," Parts (“ Mind and Voice," Parts Expression


Oral English (“ Foundations | Oral English - Problem Voic ables 7“ Imagination and of Vocal Expression")

("Foundations of Vocal P Dramatic Instinct")

Literary and Platform Art — Dramatic Thinking (Shake Oral English ("Imagination Moc
Monologue (“ Browning speare)

and Dramatic Instinct,'il a and Dramatic Monologue")

Part II)
Harmonic Training-Rhythm Oral English - Speaking – Dramatic Thinking - R6 Dra:
Co-operative Steps
Epochs of Literature

hearsal (Shakespeare)

† SECOND YEAR SPI Qualities of Voice (Program) 1 Oral English – Recitation Oral English - Literature and Prin

("Mind and Voice," Parts - Personation — Partici Expression

pation - Platform Art
Oral English -- Bible - Par Oral English (“ Foundations | Art of Shakespeare (Dow-Toni
ables ("Imagination and of Vocal Expression")

den's “Primer ")
Dramatic Instinct")
Literary and Platform Art Dramatic Thinking (Shake- | Pantomimic Problems

- Monologue (“Browning speare)
and Dramatic Monologue")
| Oral English (as above) . V Oral English Problems

* SECOND (MIDDLE) YEAR Voice (Articulation) (“ Mind | Program

and Voice," Parts I, II, III) Oral - English - Reading | Art of Shakespeare (Dow- Actic

(“ Classics for Vocal Ex den's “Primer") HOME STUDY

pression") Oral English - Personation Oral English - Literature and Oral and Participation

Expression Co-operative Steps - Ele Elliptic Pantomime - Program como mental Actions. - Rhythm

+ THIRD YEAR SPEC Oral English ("Imagination Oral English - Literature - Co-operative Steps and Ele- Voice

and Dramatic Instinct,” Method and Descriptive mental Action
Part II)

Style - Reading from Ep

ochs of Literature
Oral English - Public Speak Co-operative Pantomime – Oral English Criticism XIV -- Actio:
ing - Discussion

Platform Art
Literature and Art (“Brown- || Methods of Teaching

Dramatic Modulation of Voice More ing and Dramatic Mono

- Elemental Praxis logue")

Principles of Voice Oral English--Dramatic Mod- Dramatic Thinking - Re- Program - Elliptic Pantoulation of Voice ("Classics") hearsal Characterization

* THIRD YEAR RECE Oral English (" Imagination | Oral English - Literaturo

and Dramatic Instinct," (as above)
Part II)

Co-operative Pantomime
Oral English - Public Speak-
ing - Discussion

Criticism XVI – Unity Methods of Teaching

[ocr errors]


[ocr errors]
[ocr errors]
[ocr errors]



12 Oral English-Dramatic Mod- Dramatic Thinking - Reulation of Voice ("Classics") hearsal -Characterization

* FOURTH YEAR Co-operative steps

Oral English - Literature - Co-operative Steps and Ele- Stara

Method and Descriptive Stylel mental Action
Co-operative Pantomime Oral English Criticism XIV — Aco

Platform Art
Oral English -- Literature Modern Drama

Dramatic Modulation of Voic
and Expression - Epochs

- Elemental Praxis
of Literature

Principles of Voice
Oral English-Dramatic Mod-1 Dramatic Construction (Text- | Program - Elliptic Panto-

Ulation of Voice ("Classics")I book "Art of Playwriting" | mime . Regular Courses, $150 per year. Special Courses, selected from Horarium, $200 per year., Tuiti


\ Dram





- Stomp Kit Principles of Training Oral English (" Founda-

tions of Vocal Expression")

- Problems
- Libre Voice and Oral English - | Tone Production ("Mind

Problems in Body and and Voice," Parts I, II, III)

Co-operative Steps - Rhythm Dramatic Thinking – Re-

hearsal — Farce — Comedy ning - Rhetoric — Grammar - Eng- Recital

Literminade Principles of Training | Pantomimic Problems | Oral English – Monologue

Spirit - Recitation
Voice and Oral English - Oral English — Lyric Spirit | Voice (Emission) (“Mind and
Problems in Body and - Elemental Praxis

Voice," Parts I and II)
Modern Drama - Literature

Oral English (" Lessons in
and Expression
hearsal — Farce - Comedy Vocal Ěxpression")- Psy-

chology of Vocal Expression sing-IN | Dramatic Spirit — Prose Recital

Problems in Voice and Body (Dickens) VEJR SPECIAL COURSE fethed Principles of Training | Harmonic Gymnastics — | Oral English — Monologue


Spirit - Recitation
are Doro | Tone Production ("Mind | Oral English – Vocal Ex- | Voice (Emission) (“Mind and
and Voice" - Parts I, II, pression -- Elemental

Voice,” Parts I and II)

Praxis - Lyric Spirit
Modern Drama - Literature Dramatic Thinking - Re- Oral English - Creative
and Expression

hearsal — Farce - Comedy Thinking — Recitation | Dramatic Spirit (as above) Recital

Problems in Voice and Body DIYEAR REGULAR COURSE

Principles of Voice (“ Mind | Oral English — Literature and Adjunctive English

and Voice,” Parts I, II, III) | Expression - The Novel DF: Action - Elliptic Pantomime | Dramatic Rehearsal

Voice (Emission) (“Mind and

Voice," Parts I and II) centro Oral English Speaking - Agility of Voice ("Mind and | Oral English (“Lessons in Oratoric Spirit - Prose Voice," Part III)

Vocal Expression”)– Psy

chology of Expression Co-operative Steps — Ele- | Recital

Problems (“Imagination and
mental Actions - Rhythm

Dramatic Instinct," Part II)
It | Voice -- Resonance

Oral English - Literature and Oral English (“Spoken Eng

Expression - Epochs of lish"
Literature — Comparative
Criticism (16th and 18th

Century Drama) - Action - Elliptic Pantomime

Voice (Emission) (“ Mind and

personation - Platform Art | Voice," Parts I and II) -ffice Modern Drama — Unity Oral English - Literature and Dramatic Criticism — Char

Expression-Creative Think acterization (Shakespeare)

ing —Epochs of Literature Dramatic Construction (Text Recital

Science of Speech (Bell's book“Art of Playwriting")

“ Visible Speech”) IRREGULAR COURSE

Stage Art - Dictation and Oral English - Literature and Oral English ("Spoken Eng-
Expression (as above)

Action - Elliptic Pantomime | Dramatic Interpretation – Platform Art - Life

Impersonation — Platform Sketches — Comedy

Modern Drama - Unity Oral English - Literature and Dramatic Criticism — Char-

Expression-Creative Think acterization (Shakespeare)

ing - Epochs of Literature Dramatic Construction (Text- | Recital

Science of Speech (Bell's book "Art of Playwriting")

" Visible Speech ") KATEAR COURSE

Stage Art - Dictation and i Oral English - Literature and Public Speaking and Oratory
Expression (as above)

(“ Spoken English ")
- Action - Elliptic Pantomime Impersonation - Platform Art | Elective
teice Modern Drama - Unity Oral English — Literature and Dramatic Criticism — Char-

Expression-Creative Think

acterization (Shakespeare) ing - Epochs of Literature Dramatic Construction (Text- Recital

Science of Speech (Bell's book "Art of Playwriting")

"Visible Speech" pete Tuition, $50. Subject to change; especially at Second Half-Year when new courses are introduced.

[ocr errors]
[ocr errors]

X. EVENING CLASSES Courses: 1. Reading. 2. Speaking. 3. Voice. 4. Dramatic Art. (See Special Circular.)

XI. HOME STUDIES The Home Study Department offers courses in all phases of Vocal Expression, and in special lines of Literature. Besides courses for teachers, designed as keys to the use of Dr. Curry's publications, may be mentioned. (See Home Study Circular and Morning League Circular.)

XII. SUMMER COURSES The summer terms and courses of the School are unique, thoroughly organized, practical and progressive. They furnish unusual opportunities for the earnest student who finds it necessary to economize time. Both beginning and advanced courses are given in these. All work done in the Summer Term counts toward the regular diploma courses. (See December “ Expression ” for preliminary announcements; see March number for Summer Circulars.)

XIII. ADJUNCTIVE COURSES Preparatory English and Rhetoric, Argumentation, Parliamentary Law, Play-writing and Dramatic Criticism, Methods of Staging Plays, French, German, Music, Singing and Stage Art. (See Special Circular.)

Many singers and teachers of singing take the voice courses of the School of Expression. They receive extra and special training according to the principles of the School.

Should exceed his grasp.

- Browning.

SPIRIT OF THE SCHOOL THE School not only prepares students for specific

professions, but aims especially to develop true

manhood and womanhood. The work of the institution has been recognized by its power to stimulate ideals, awaken aspirations, quicken imagination and feeling, and to idealize human relations.

Students attending primarily for culture can arrange courses of from one to twenty hours a week which will meet their needs. The courses especially recommended are those in Literature and in English, in the training of the Voice, and Body, in Conversations, and the various courses and studies in Art and Interpretation.

Special course for culture: 1. The Voice as a Social Factor. 2. Conversation as an Art. 3. The Art of Entertaining. 4. Grace in Everyday Life.

SPIRITUAL CULTURE The indirect effects of all the work in the School of Expression and the general spirit of association of the students receive careful attention. There is a short chapel exercise each morning. Courses are given occasionally at other times in the week with indications to students of how the work of Expression leads to a definite consciousness of the true nature of man and a true realization of the beauty and dignity of human life.

Some of the courses to be given are:

1. Spiritual Ideals of the Poets. 2. History of the Poetic and Spiritual Introduction to Nature. 3. Spiritual Ideals of Our Own Time and Their Expression. 4. Expression and Life. 6. The Relation of Art to Human Ideals and Experiences.


Literary interpretations, impersonations, representation of plays, with and without scenery, form important features of the School.

Students are encouraged to make creative studies in connection with prescribed courses. Many of these studies are subject to suggestions from the teachers.

Professional students during their senior year are permitted, when their work is satisfactory, to give special public recitals under their own names, and they are allowed the use of the Irving Studio for that purpose. Such recitals, however, must first be given informally in recital, and approved by the teachers in charge. These recitals must show originality in conception and skill in dramatic handling, and must be from standard literature.

The recitals Friday noon and Thursday evening are important courses. Attendance at and participation in these exercises are required of diploma students.

METHODS OF THE SCHOOL Investigations fostered by the School have brought about important discoveries, and the methods adopted have advanced vocal and other forms of training.

The School is now recognized as the “fountainhead of right work in this department of education.” Methods of imitation, of mechanical analysis, of studies which result only in the acquisition and accumulation of facts, and are inconsistent with the ideals of the best modern education, are avoided. The methods chosen develop creative power, stimulate endeavor, and offer a wellbalanced scientific training either for professional work or for harmonizing and perfecting the personality.

The School of Expression is founded upon the principle that the growth and development of the mind depend not only upon receiving right impressions, but equally upon giving them adequate expression; impression must precede and determine expression. The School aims to

« IndietroContinua »