I. FOUNDATIONS OF EXPRESSION

Expression in nature and in man. Kinds of Expression. Contrast between fundamentals and accidentals, co-ordination of mind, voice, and body in all Expression.

2. ELEMENTS OF EXPRESSION

In nature, life, and art.

3. PSYCHOLOGY IN RELATION TO ALL PHASES OF EXPRESSION

Mental action in imitation and assimilation.

tation, the necessity of courage.

4. METHOD

The constriction of imi

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.

IV. PERSONAL CULTURE

The School not only prepares students for specific professions, but develops manhood and womanhood. The work of the institution has been recognized by its power to stimulate and awaken aspirations, and to quicken all the faculties of the individual. One who has complete possession of himself can easily turn his abilities to some distinct work in life. Many decide upon their professions too early and without intelligent understanding of their real ideals and possibilities. The work of the School of Expression is first directed to the harmonious development of the physical, mental, and spiritual possibilities of the individual, to help him to find himself and thus be able to make a wise decision. After such a decision has been made, the school aims to equip every one thoroughly for his chosen work.

COURSES

I. HUMAN POSSIBILITIES THROUGH TRAINING.

3. EXPRESSION AND LIFE.

2. SPIRITUAL IDEALS.

This Personal Culture course is open to all who will attend regularly, whether students of this School or not.

The work of the School of Expression is so unique that it is difficult to make its character entirely clear or the results it can accomplish wholly plain within the limits of a Catalogue. Only a few come to realize the

spiritual significance of training. The grace and ease of bearing, the improvement of the voice, the development of the imagination and feeling, the insight gained into literature and art, and the love of nature inspired, the personal culture that a mastery of its courses gives to every one can be understood in a measure. But the harmonious development of the motor areas of the brain and the fulfilment of the principles of manual, motor, and other forms of training upon an artistic plane, the way Expression leads one to find himself, the effect of removing repression and awakening a sense of freedom, how can these be explained? They must be experienced to be appreciated.

THO

IV

Training for Professional Work

HOROUGH mastery of mind, body, and voice are required for all the speaking professions. From the first, in addition to the training for the discovery of individual possibilities and personal power, students are classed according to their professional aims, receiving special courses with special teachers in order to prepare them specifically for their chosen work in life.

This preparation is thorough, systematic, and inspiring. Graduates and students of the School are filling prominent positions in all parts of the world and many of the ablest professional men and women from the various colleges and universities have been numbered among its students.

In addition to the list of courses already given, further suggestions regarding the application of the different subjects and kinds of training to speakers, teachers, artists, and members of the professions, may be outlined as follows:

PUBLIC SPEAKING

Practical courses are given to speakers to develop the power to think on the feet, and to secure a vocabulary, not only of words, but of voice modulations and pantomimic actions. The student receives practical exercises and studies to awaken a true ideal of oratory, the art upon which liberty and the progress of mankind depend. These exercises develop mental power and grasp, logical method and control of feeling as well as of voice and body.

body, and voice. This secures economy of force and establishes selfcontrol. Thought and feeling are trained and brought into unity. Speakers are practiced in all kinds of discussion to develop thinking. Practical training is given to the logical instinct. Naturalness and simplicity in melody are secured. The reproductive faculties are trained to act naturally. Oratory is studied as an art. The laws of Expression are applied to style in delivery.

PUBLIC READING AND IMPERSONATION

Public Reading, or the Vocal Interpretation of Literature, is a special form of art based upon the trained consciousness which is developed through the practical study of the languages used in the Spoken Word namely, Voice, Pantomine, and Words. It is interpretative, and manifests in living forms the very spirit of literature. It is a more imaginative art than the drama, since it does not depend upon scenery or stage accessories to produce its effects.

There are as many forms of public reading as there are forms of literature to interpret. Lyric thought would find its interpretation in what Lanier calls the "art of speech tunes." Narrative and descriptive forms of poetry and prose find their expression in Participation and Personation; the most truly dramatic form of literature, in Impersonation and Monologues; oratory, in Public Speaking.

COURSES

I. VOCAL INTERPRETATION OF LITERATURE.
CRITICISM.

3.

5. IMPERSONATION.

2. THE MONOLOGUE.

4. READING AS AN ART.

Recitals, affording practical platform experience, with critical audiences, are given weekly throughout the year, with occasional public interpretations of literature, especially at the close of the year. Students are sent out also to conduct entertainments in and around Boston.

DRAMATIC TRAINING

The training of the dramatic artist depends upon the awakening of dramatic imagination and sympathy, and the diffusion of a conscious

intelligence and control through the body. The voice and the body must be made sympathetically responsive. The free and spontaneous expression of the individual must be co-ordinated with the limitations of a scene or in relation to the other characters.

The dramatic training of the School is systematic and radical. The dramatic instinct is awakened, the imagination quickened, and the personality of the student artistically and harmoniously unfolded. The dramatic artist must first be himself, and until he is truly so, he cannot artistically or altruistically enter into a right realization of other char

acters.

There is a comprehensive study of the languages concerned in dramatic art. The modes of pantomimic action, the command of the voice modulations, and the ability to enlarge and extend these at will are so developed as to render the lines intelligently and to reveal the thinking of the character. Characterization is not mechanical imitation, but imaginative and sympathetic assimilation founded upon psychological principles, and implies the development of the artistic nature.

Dramatic rehearsals in every form of the art are conducted: burlesque, farce, melodrama, comedy, and tragedy are studied and distinguished from each other. Courses are given in dramatic action and characterization and the principles of stage business.

TEACHERS OF VOCAL EXPRESSION AND SPEAKING

Ability to teach expression is rare. It demands thorough knowledge of all aspects of human nature, literature, and expression, and deep insight into motives. It calls for imagination, a peculiar form of dramatic sympathy, and great earnestness. A thorough study of pedagogical principles is also necessary.

The obstacles in the way of a sympathetic appreciation of the possibilities of others, and of insight into others' ideals, as well as the wide knowledge required, account for the fact that a true teacher of Expression is the rarest of artists.

The teacher must understand the philosophic principles upon which the courses rest, master all the programs of exercises in training voice and body,

own thinking but to lead the thinking of others, comprehend thoroughly the sciences of training, and at the same time become expert in the creative work in the School of Expression so as to recognize and inspire it in pupils.

Each student is set to observe nature in himself, and is required to study the difference between work by imitation or by mechanical rules, and by development. Practical normal courses in methods of teaching with criticisms on subject-matter and modes of handling a pupil or class are given. Normal students after completing their courses are given an opportunity to review, under the President, the fundamental steps and to assist in teaching. This is also done at present in connection with the work of one of the summer terms.

TEACHERS OF LITERATURE AND ENGLISH

Teachers of literature should possess not merely a knowledge of the language and of data regarding writers, but a sure literary instinct and imaginative insight. No one can teach literature without a thorough knowledge of the natural languages and a realization of the fact that the noblest writing is written with a view to its being complemented by the voice. This is not only true of dramatic literature but of lyric, epic, and all others, except the essay and the novel.

The School insists upon the difference between a method of education by acquisition and one by practical training, and accentuates practical training. Especially it emphasizes the necessity of studying literature as a form of art, and, by means of artistic endeavor, it develops English by awakening and stimulating creative energy. Form is studied secondarily to substance, for manner is only an external of force. All the teaching in the School of Expression obeys the law: "From within outwards," and yet it does not neglect form, but regards it all the more thoroughly and carefully because it is put in its right place. The intensive study of literature in Vocal Expression is complemented by the extensive study of the history of literature and the peculiarities of great authors. The re