The theocrat. [volume] (Zion City [i.e. Zion], Ill.) 1914-1949, 1919-06-28
Expression Department

LApACSoAOA OCpoA IACAI
The person who recites in public is no
longer spoken of as an "eocutionist," but
as reader" Not only has the name of
the art of expression changed, but the meth
Cd of teaching it has changed also Under
the old system, the pupil in studying a
recitation was guided by figures; for in
stance No. might indicate rising inhec
ton, No. 2, strong emphasis, No. 3, arms
akimbo with body bent forward No. 4,
striding back and forth across platform,
No. 5, waving arms frantically, No. 6,
stopping suddenly, passing fingers through
hair
In this way, the recitation became merely
mechanical process. There was likely to
be no real Interpretation of sentiment, no
real appreciation of the meaning intended
by the author, and no desire on the part of
the reader to uplift and inspire his audience
The rendition was liable to be either the
work of a mere automatom, or SO melOdra-
matte, that it was ludicrous.
Real expression consists in conveying the
thought or sentiment intended = in imper-
sonating the part in just as natural way
as it can be done.
We have all been Disguised with the
amateur who comes before an audience, and
with a sickening smile, proceeds to recite
dialogue in false, unnatural, exaggerated
tone, that is no more like conversation
would be carried on in a real, everyday
life, than tree toad is like a canary When
listening to anything of this kind, one feels
like walking across the street to get away
from it. 1t is no more real art than true
poetry is like doggerel. One is sublime, the
other ridiculous.
The true reader does not think half as
much about the way in which he is reciting,
as he does about driving the thought or
sentiment of the recitation straight home to
his listeners = no more than does the real
orator in addressing an audience. He must
sense the situation. He must feel it, live
it, with every part of his being, and make
his listeners feel it and live it with him.
Some of the best readers or speakers,
discard all conventional styles of gesture
and delivery and throw themselves into
their subjects with an earnestness, vigor
and originality that carries the audience
irresstibly. They are living the thought
or the character presented, and they are
not caring rap whether the palm of the
whether they are standing erect or bending
forward.
We once heard professional reader re-
cite "a Man Without Country" and he
did it in quiet, natural, conversational
tone, without extra infection, just as one
would tell sad story moreover, he kept
his hands folded behind him, and never
made gesture. Why? Because gestures
were not needed But the audience was
interested in the story, and that is what he
wanted.
We are not saying but that many points
of value may be learned in studying ex-
ercises in breathing, the correct speakers
position, tone placement, gesture, or con-
troll of facial expression neither do we say
it is useless to study the meditation of the
voice with all its subdivisions of quality,
pitch, time, infection, force, stress and
pauses Far from it. But these should be
secondary considerations, not primary
There are many crudities of manner and
expression which may we'll be corrected,
but these are merely aids to an end.
The object of the work in the Expression
Department of Zion Educational Institu-
tons is primarily to develop the student in
such way that his talents may be used in
service for God.
Therefore, he should be trained to speak
or recite in clear, direct, forceful manner,
that will carry conviction, and that will
never leave the auditor in the slightest
doubt as to the meaning intended.
Zion has higher ideal than the world.
She seeks not merely to entertain, but to
help and instruct The art of expression
in Zion should be used in a way therefore,
to ennoble, uplift and inspire, A reader or
speaker should never come upon the plat
form unless he has real message = some
thing worth while that will elevate and make
one better for having heard it.
Art Department