Acting and oratory
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| Acting and oratory |
These observations on Acting and Oratory were originally intended more particularly for personal use, but an increasing frequency of reference, by way of assistance to pupils, has seemed to necessitate their arrangement in a more concise and available form.
Considering the present effort as rather eclectic in its character, embracing as it does such a variety of purposes and research, one can readily allow for the diversity of styles, even in different sections, and perhaps its sometimes apparently contradictory opinions, and illogical arrangement.
The intention has been, to begin with, the simpler and more practical ideas of the topics treated and progressively advance to the higher and more aesthetic of each division. It is sincerely hoped, with this premise the method may not be too harshly blamed, and the matter nonetheless enjoyed.
Note. — During the construction of the present work a number have asked why it was not called Oratory and Acting and precedence gave in its title to Oratory instead of Acting. The brief answer to all who might similarly question would be that a good orator needs precisely the same requisites that are claimed for a good actor, and that Acting ought to be considered as really the foundation of Oratory.
Without prolonged discussion in a limited preface page it might be added that Demosthenes, the Father of Orators, was instructed by au actor; Garrick taught clergymen the reading of the Liturgy; Mrs Siddons, by her wondrous acting, taught the best Orators of the age; the elder Booth read the Lord's Prayer to clergymen who declared, while weeping, they had never heard it before; Talma instructed Napoleon in the manner of giving the audience as an emperor.
A whole chapter might be written and not exhaust the claims of Acting as the basis of the nobler art of Oratory.
Some contents:
Instruction. — The Teacher — Principles — Culture under Supervision
— False Training — Mind — Forced Instruction — Romance — Transition — Cast-iron Rules — Inner Meaning — Art without System — Prescribed Rules — Natural Orators — Premature Feats — Voice Index— Different Voices 11
Teaching the Young. — Vocal Habits — Common Prattle— Faults Avoided — Self-Culture — Copying, Imitation 14 Practical. — Breathing — " Coup de la Flotte " — Laying Hold 18 Articulation. — Small Words— Thin, Deliberate, Powerful Articulation, 20 Pure Tone.— Noise, Musical Sounds— Depth of Voice— Tenor Voice. 20 Force. — Lablache — Amount of Air — Eagle — Actors and Clergymen — Management of Voice — Weak Voice — Vocal Compass, Strength, Flexibility, Command, Drawling — Magnificent Chest — The Ancients 22
Pitch. — Rapid Pronunciation — Walking, Running Measure — Musical Intervals — Middle, High, Low Notes — Intonation — Tremor 24 Time. — Pauses — Suspensive Quantity — Mechanical Dexterity 26 Emphasis. — Expression — Shades of Voice — New Paragraph — Drift — Special Effects — Degree — Monotony — The Indians 27 Gesture. — Manifestation — Motionless — Affectation — Pulpit, Bar, Stage 30
Dr Rush. — General Hints — Audience — Three Things— Manner — Variety — Adjustment — Well Started — Meditation — Truth — Excitement — Beginners — Habits — Food — Cicero — Quintillian 31
General Habits. — Tone, Gesture, Attitude— Confidence — Conceit —
Preparation — Nervousness — The audience listens
Preparation — Nervousness — The audience listens
The book details :
Author: J. E. Frobisher
Publication date: 1879
Company: New York: College of Oratory and Acting
Download Acting and oratory - 10.6 MB
Download Acting and oratory - 10.6 MB
