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Applicants should make known when they intend to come to the School as early as possible, that they may receive suggestions and help in their preparation for entrance. Many things can be done during the year or two before a student comes to the School which will be of infinite value afterwards.
Applicants for “advanced standing" must present certificates from former teachers stating the subjects studied and the exact number of hours taken in class or in private.
When the work amounts to four hundred hours, and is approved by the teachers of the School of Expression, these hours will count for a part of the first year's work, but extra work will be required either for deficiencies in examinations or in the amount or character of the work done. The first year work in the School of Expression is equivalent to six hundred hours of instruction, aside from the amount of time given to practice and rehearsals.
· Many desire to know something regarding the aims and general importance of the work of the School of Expression. The first aim is culture. There is an endeavor to improve the voice and bearing for society and the home; an effort to train students to live, as well as to prepare them for a profession.
The importance of expressive training and its “ practical uses,” while almost universally recognized theoretically, are practically ignored in modern education. Some of the advantages of the study of expression which the School of Expression aims to include may be summarized as follows:
I. Man is enabled to communicate more satisfactorily with his fellows.
2. The voice is so trained that economy of strength is effected, freedom from sore throat secured, and speakers and teachers thus enabled to do their work more easily and adequately.
3. The student is brought into sympathetic appreciation of the best in art and literature.
4. A practical and natural means of studying literature is furnished, Proper vocal expression calls for comprehension of literature to precede the interpretation of the spirit. The common method of acquiring facts about literature violates the best methods of education.
5. The student acquires an art by which to mould, entertain, or teach his fellows. The call for good teachers and public readers is so great that in this work,
These " practical uses" of expression, or the application of the courses of the School to artists of the several professions, may be outlined as follows: · PUBLIC READERS AND IMPERSONATORS. - Public Reading, or the Vocal Interpretation of Literature, is that special form of art based upon the trained consciousness, developed by the practical study of the languages used in the Spoken Word — namely Voice, Pantomime, and Words. Sydney Lanier called this the “art of Speech Tunes,'* and said that it was the new art of the century. Public reading, however, comprises somewhat more than “speech tunes.” It is an art in which not only “speech tunes" but pantomimic forms of motion co-ordinate in a platform art. 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 accomplish its results.
There are as many forms of public reading as there are forms of literature to
Mrs. CURRY. interpret. Lyric thought would find its interpretation in what Sydney Lanier calls the “art of speech tunes." Narrative and descriptive forms of poetry and prose find their expression in Participation and Impersonation: the most truly dramatic form of Literature, in impersonation and monologues; oratory in public reading.
This department of the School of Expression is under the immediate and personal instruction of Mrs. Anna Baright Curry, of whom Professor Churchill said “she is the greatest woman reader in the country,” and of whom Professor Monroe said "her power is second to none, either on the platform or as a teacher. The success of Mr. Leland T. Powers and her other pupils indicates her unrivalled work as a teacher.
DRAMATIC AND HISTRIONIC ART.— Those who are studying for the stage or for a career in any form of dramatic art receive training of mind, body, and voice similar to public readers, with special courses in acting and stage business. Dramatic rehearsals in every form of art. The difference between burlesque, farce, comedy, melodrama, and tragedy is studied and practically applied to dramatic rendering. Students have received preference in small parts from the great actors who have come to Boston, and have received more remuneration than other persons who took subordinate characters, on account of their
* Sydney Lanier's "Science of English Verse."
training in the School. The students of dramatic art come under the direct supervision of many teachers in their training and in dramatic rehearsals. Every effort is made to give the students the most thorough training in every form which will best prepare them for their work.
(See special circular.) TEACHERS OF VOICE, ELOCUTION, OR EXPRESSION. -- Systematic programmes of exercises in training voice, body, and mind. The fundamental principles of the science of training. Each student is set to observe nature for himself, and at the same time informed of the leading methods adopted in all ages. Vocal expression is developed according to principles, not by mechanical rules. The study of the most advanced principles of education applied to teaching different forms of expression. The study of literature by practical rendering. Practical teaching with criticisms.
The first aim of the founders of the School of Expression was to reform the methods of teaching elocution. The result of their efforts is seen in the fact that graduates of the School are found in the foremost colleges and schools of the country, and that almost every week applications come for teachers from universities and other institutions, often more than can be supplied. There is special call for college educated men and women. The study of Methods of Teaching Voice and Speaking is under direct charge of the President of the School.
TEACHERS OF LITERATURE AND ENGLISH. — Study of literature by practical rendering rather than by mere analysis. The nature and forms of poetry. Practical studies in all forms of literature. Development of the imagination and dramatic instinct. Expression as illustrated by different authors. Relation of literature to vocal expression. Practical study of literary art. Study of rhetoric and English composition.
TEACHERS OF PUBLIC SCHOOLS AND OTHER INSTRUCTORS. — Training of the voice to secure ease, health, and effectiveness. Development of the pleasanter qualities of the voice. Studies of human nature. Naturalness and simplicity in reading and expression. Articulation. Function of vocal expression in education. Faults of reading and the use of the voice. Conversation.
CLERGYMEN AND PUBLIC SPEAKERS. — Training of voice and body to secure economy of force and self-control. All forms of speaking to develop the power to think upon the feet. Practical training of the logical faculties. Development of the normal methods of the mind in thinking. Naturalness and simplicity in melody. Processes of the mind carefully studied and their revelation through the modulations of the voice. Development of imagination and philosophic style and delivery. Extemporaneous speaking, with debates and discussions on the topics of the time. Faults peculiar to clergymen and speakers corrected by eradicating their causes. Bible and lymn reading.
LITERARY STUDENTS AND WRITERS.- Development of style by such study of universal art as will stimulate the creative faculties, and awaken artistic endeavor. The peculiar language of every art. Devolopment of imagination and dramatic instinct. Elements of power in all the arts. Universal principles of art applied to all foums of literature. The success of the methods is shown in the fact that many graduates of the School have adopted literature as a profession.
The School of Expression awakens the powers of each student. After students attain some mastery of themselves they begin to realize the profession for which they are best adapted. A special advantage results not only in breadth of view and culture, but in artistic realization from bringing together students with different professional aims.
Aside from these professional applications of the training of the School, and the practical and financial helpfulness of its work, many of the courses are adapted to the complete development of the individual, no matter what his professional aim. From the first, the general culture work of the School has grown in importance. The “ educational values of expression,” based on the methods of the School may be suggested in the following propositions :
1. Expression completes man's mental conceptions. No one can have clear ideas till he can give adequate expression to them.
2. Expression tests the accuracy and assimilation of knowledge.
3. Expression gives man's faculties and powers vigorous exercise in realizing thought and feeling, stimulates mental growth, increases capacity for experience, and enables every one to "find himself.”.
4. As breathing consists both in taking in and in giving out breath, so the mental life is deepened and strengthened not only by acquisition but by expression. Instruction, or the reception of ideas alone, cannot perform the work of true education. Expression discharges a higher function in educating imagination, refining feeling, exercising man's powers, securing culture and developing character. "To know, man must do."
5. Expression requires that man should use the first tools of the soul, his voice and body.
6. Expression is a form of artistic endeavor. Hence, its practice enables man to realize the nature of an artistic act and to enter into a truer and more sympathetic appreciation of all art,
7. Expression co-ordinates thought, feeling, and will, and correlates the conscious with the unconscious, the voluntary with the involuntary.
8. The instrumental means or agents of vocal expression are vital parts of man's Organism. The exercise and right use of the breath, the voice, and the body are directly related to health and most important helps to physical development.
. 9. Work in expression corrects awkwardness, removes self-consciousness, gives self-possession, develops health, secures control over mind and body, and enables the individnal to develop in himself the experience of the race.
10. Expression enables the student to understand the characteristics of nature and to apply its methods to his own development. It prevents atrophy of any faculty, and opens the eyes to the meaning of nature and art.
11. Expression makes a student conscious of his needs, and awakens him to a sense of his real power and possibilities.
The founders of the Schools from the first have secured the ablest teachers that could be secured, for each department. The first two teachers in the following list have been with the School from the beginning.
S. S. CURRY, A.B., Grant University, 1872; A.M., B.D., and Ph.D., Boston University, 1875–79; University Instructor and Snow Professor
of Oratory, Boston University, 1879-88; acting Davis Professor of Elocution, Newton Theological Institution, 1884-; Instructor in Elocution, Harvard University, 1891-4; Divinity School of Yale University, 1892–; and Harvard Divinity School, 1896-; Librarian of the Boston Art Club, 1891-. See sketch of his life in “Universities and their Sons; " also in “Men of Progress.”
Author of "The Province of Expression," "Lessons in Vocal Expression," “ Imagination and Dramatic Instinct," etc.
Graduate of Prof. L. B. Monroe, of Dr.
Guilmette; pupil of the elder Lamperti, of Dr. S. S. Curry.
Steele Mackaye (the assistant and successor of Delsarte), and of about forty teachers in America and Europe in such specialties as Voice, Vocal Expression, Pantomimic Expression, or Dramatic Action. Mr. Mackaye wrote in 1885, without solicitation : “Mr. Curry has gone farther and more thoroughly into the subject of expression with me than any student I ever had."
The manuscripts of Delsarte and Mackaye have been committed to him by Mrs. Mackaye for translation and arrangement.
He has made a thorough study of the relation of all the arts, and has given lectures before various associations and art schools of the country upon different phases of art. “By his broad investigations, he has