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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, elemental 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, sentences, or phrases, original and selected, are rendered by students to stimulate the creative actions of mind, body, and voice in natural unity.

Courses: 1. Problems in Reading. 2. Voice Problems. 3. Harmonic Problems. 4. Pantomimic Problems. 6. Dramatic Problems. 6. Problems in Speaking.

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 criticism of the first year centers in awakening the powers of the student, and in securing genuineness in thinking and simplicity and adequacy in expression by co-ordinating logical instinct with spontaneity.

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

3. SENIOR CRITICISM. 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.

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 EPOCAS 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.

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.)

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

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