!!ir MmiHn-i.miv'imumsitmw miMiiiiiimwiftwtrJirMftTiTmnum ^>^>»^*^i»»^».^tt^^««^^ ^.■* ^^ u. -U -a ;;^- "^^=m/ 4AVfr\\l^' --tv^'^ l/^ L(.tt renter: KC Right Center: LI. ;ight Entrances T . ' ) Plate i. POSniONS OF BODN' CUTl. Weight forward. Curve and Poise of Body. Cut 3. rosition of Feet and Hands. Movement with both Hands. CUT 3. Action of Diaphragm, Weight forward. Position for Practice for Tone. Cut 4. Kneei>ing.— Position with Face to Audience. Position of Hands. Pi. ATE o. POSITIONS OF BODY. Cut 13. Reading, Position of Pvepose. Weight on Right Leg. Left relaxed. Cut 14. Position of Hands and Feet. Right Hand and Foot advance ' ' " Same movement to let To extend Body; to cuuum. i .«.i.i relax the muscles. Kiseontoes and f'Ytond arm-- fully. Platk fi. M(WEMENT BF.T.OW THE WAIST. ^^^ *» 3 Cut 25. Angles Qf Feet. Left Foot at O ; Right on lines meeting at O. ■AO -47 1 (JUT 26. Position ot Feet. Each Foot may have Nine Dis- tinct positions. .--8 ^Pf \ \ \ Cut 27. Foot Circle. Balance Exercise. Practice for Ankle, Knee and Thigh. CUT 38. Foot Compound Curve. Practice for the Body. MU\^M' ^J l^'ROM THE WAIST. Leg Exercise. Practice for Ankle, Knee, Tliiu)! and Poise of Body. ("rx 30. Leg Exercise. pru.niop for Poise of Body. Cut ol. Waist Practice : Body Cut 32. CCT :^3. Movement Exercisas, for Diaphragm and Waist Muscles. — 1 I'l.AlK -^• ARM MOVEMENT. Ji.>^ CUT 34. Full Arm Circle. Righi Cut 35. Full Arm Circle. F(>rwar<> :tii>1 Backward I Cut 36. ^ - . ' . isf. Downward, Horizontal. and 1 Upward. Complete the Mov to Recover. ARM WRIST AND HAND MOVEMh-\ i ^ I / < ^ \ 6 ^^O^ ^^ 7 -V\ X CoiuiKiund Curve j^a^h. • Graf-eful Movement of Ai CUT 39. .and Curve and G^ -Horizontal Movement. „C.x U.-Con^ound Cu^ Platk 10. ELBOW. FOREARM, AND WRIST. ^/^ Cut 42. Elbow Circles. Practice for Fore- arm, Wrist, and Hand. Cut 43. Loop Movement for Arm and Hand, ^ Gesture Practice. / Cut 43. u. Cut 44. Wrist Movement, Perpendicular. < UT 45. Wrist Movement. Horizontal. Cut 44. Cut 45. }»r.ATK 11. TONE FORMATION. ruT n. (UT I'i. Closed Throat, Veil ot Falat. Open Throat. Veil of Palate lowered: Base of Tongue raised, raised; Base of Tongue drawn down and curved. CCTi (TT »■». Cut ' rosition ot Teeth Position ot Teeth Lips rounded for Urgais and Lips. For Tone and Lips for dear- tone: smoothness and and Articulation, ness of Tone and fulness of Orotund. Articulation . rr.ATE 12. ARTICULATION. w- Cut 10. Cuts. Cut 10.— Tone 'Direction and Controi. A, Luiynx; li, IMiarynx Tliroiit, with Ims^o of Tongue lowered. ("ill s.— Articulatio Consonants. 1, Lo^^'' teeth ;':^, Upper teeth: :i Upper lip; 5, Tip oi tongaie ; 6, Base of tongue ; 4, roof of mouth, P and n formed at lips. T, Tip of tongue and base <>! upper teeth: K, Basr o: toimuc and 1):t( ': ' * Cut 47.— Prolon^iiing Sounds. Voiee Movement VOICE MOVEMENT. and "^ Voice. 1 and '-'• Middle Swell: -> Abrupt Open: 4. Abrupt Close: - Tremor Prolonga- tion ; «. Smooth P r o 1 o n L ^ ' ^ of Tone. M a^m^.-K. (K i9.— Inflection of Voice. ^ Kisiuiil n. FallinL- Ton.. OuestioH nnd ^^.^^^..^^^nding of Consonant^ \ ftirmatiou ^^^^ Vocals. Pitch of Consonant - VVT 52.— Circumflex T liisinjr and Fallinjr Tone^- Cut .54.— Emphatic Rising Voice. Plate 14. MOVEMENT OF EYES. '^"a;^ Cut 55. Fnlly Open. Cut 56. Turned Upward. Cut 57. Half Closed. Cut 58, Turned to Right. Cut 59. Eye Exercise, Turn to right, to left: raise, and lower. Cut 60. Turned to Left. EYE AND BROW. Cut 61. Separatini?. ^^■■f^ ^ "-^^T^'^ '^'!l^ Cut 63. Closing together. CUT 64. Eyebrows fully Raised. Cut 65. Brows Drawn firmly Down- ward. V CUT 66 E>^ebrows Contracted. 1'La J i: i'». iiaiid Position ^ I Cut 08. Wrist Exercise. Side Moveiiieiits A-| Cut «)9. w rist Exercist^. ('irr'le Movement, Cut 71 . Haiul Exercise. COT 70. MHiid and Wrist Exercise. (4raspin^ Movement. BDuK I, Practice of Speech. Definitions. — Pag-e The Object of the Speaker : Characteristics of a good Voice. 9 YoiCE Formation, — Yocality. — Breathing Practice. - 12 Tone Fokmation. — Direction of Tone ; Position of Ja^Y, - 16 DiKECTiON AND YiBEATiON OF ToNE. — To Open the Throat ; Exercises : Benefit of Exercises, ----- 22 Speech Akticulation. — Yocality or Pure Tone, - - 31 Aspiration, Breath Soxnds. — ----- 32 Sub-Yocality. — Tone and Breath Sounds, - - - - 33 Combined Aspiration. — To Produce Consonant Sounds : Base Consonant Formation, ------ 34 Articulation Charts. — Chart of Consonant Articulation : Blending of Elements. — Chart B, - - - - - 37 Tone Range and Flenibility. — Exercises, - - - 42 Scale Practice. — Climax and Transition. - - - - -±5 Use of Words. — Examples, - - - . - _ 47 Observations. — Emphatic Sentences: To Determine Em- phasis ; Open and Close Yocal Sounds, - - - - 54 YoiCE Movement. — Rising Tones : Falling Tones. - 65 Pitch of Consonants. — Emphatic Up^Yard Movement, - 67 Inflection of Phrases — Positive or Xegative: Observation. 69 YoiCE Movement. — Swell and Stress : Orotund Tone. - - 77 Final Swell. — Abruptness of Speech ; Abrupt Open ; Ab- rupt Open and Close : Calling ; Shouting : Practice with Energy of Body ; The Gutteral Rattle, - - - - 7S Melody. — Intoning Sentences, - - - - - - 84 Pauses — Figures of Speech, ------ 88 MOVEMENT.— Head Movement ; Forward or Backward, - 93 Body Movement. — Tnrning ; Extension ; Swaying, - 95 Waist Movement. — Below the Waist ; Kneeling, - - 97 Arm Movement. — Full Arm Stroke ; Raising the Arm ; Full Arm Movement ; Circle ; Combined Circle ; Compound Curves ; Horizontal Movement of Arm ; Compound Curve ; Pointing ; Arm and Foot Movement ; Hand Movement, - 101 Wrist Movement. — Vertical Combined Arm Movement; Hands together ; Long Lines of Gesture, - - - 109 Movement of Eyes. — Movement of Eyebrows and Fore- Head, ---------- 111 The Lips.— The Nostrils, - - - - - - - 114 Good Reading. — The Man AYithin ; Limit of Movements, 115 Action. — Subjective and Objective, — Hlustration, - - 119 Mind Conception. — Like and Dislike , Positive or Negative ; the Feet ; the Body ; the Head : the Eye ; Lips and Hands ; the Sympathetic, - - - - - - - -122 Gesture-Action. — Gesture, Word Pictures ; Gesture, Nega- tive and Positive ; Negative, Positive or Affirmative ; Breathing, Relaxation, - - - - - - - 129 Stage Movements, - - - - - - - -135 Position of Body. — Standing, Stepping, Walking, Run- ning; Positions of Standing,- - - - - • - 136 Stepping. — The Feet; the Knees; the Arms, - - - 139 Position of Hands. — The Line of Movement; Scales of Intensity, --------- 141 Stammering and Stuttering, ----- 144 Ventriloquism. — Exercises; Sound Imitations, - - 146 BDnK II, Successful Selections. No. Page 1. The Clover Meadow, 2. Boys ill Blue. - . - . 8. Burned Out, 4. In the Bottom Drawer, 5. A Traveler's Evening: Sons:. - 0. Hours of Night. _ _ _ 7. The Orchard Tree. 8. E Pluribus Unum, - - _ 9. Sheridan's Ride, _ _ _ 10. LaFayette. . . - . 11. The Lament of Alpin, 12. The Old Clock on the Stairs. 13. The Leper, - _ . . 14. Brutus Over the Dead Lucretia. 15. The Burial of Moses. - 16. The Octoroon, 17. Rock Me To Sleep, 18. My Mother's Song, 19. Lariat Bill — The Engineer's Story 20. The Guardian Angel, 21. Fashionable School Girl, 22. Old Chums, 23. Labor, _ _ . . - 24. Connor, - - - - 25. Eugene Aram's Dream, 26. The Brakeman at Church, 27. What the Clock Saw, - . - - 28. Over the Hill from the Poor House, - W. Carleton. 29. The Bartender's Story, - - Peleg ArTiwrlght, 30. Aunty Doleful's Visit, - - - Mary Kyle Dallas. 95 31. Cuddle Doom, - . _ - Alexander Anderson, 97 32. Belshazzar's Doom. _ _ _ _ . 98 33. I Have Seen an End of all Perfection, Mrs. Sigourney, 102 34. Cato on Immortality, - _ . . Addison, 106 35. Potency of English Words, - John S. Mcintosh, 107 36. Why Girls Can't Whistle. - - - 108 Byron W. King, Ingersol, Carrie Hea, - Mrs. Hemans. Byron W. King. Byron W. King, Geo. W. Curtis. - T. B. Reed, Charles Sprague, Ossian, Longfelloic, X. P. Willis, - J. H. Payne, C. F. Alexander, Byron W. King, Byron W. King. Puch. Julia Mills Dunn, Alice Carey, Uiomas Carlyle, Tliomas Hood, R. J. Burdettc. 10 12 13 15 17 22 25 27 29 31 33 36 38 41 49 50 50 53 56 59 61 63 72 79 S3 87 90 37. Gwiiie Away, 08. The Kitchen Poker, 09. Engineers' Making Love, 40. Hamlet's Soliloquy, 41. The Bells of Shandon, 42. Hymn to the Night, 48. Scene from Hamlet, 44. The Village Blacksmith, 45. Murder of King Duncan, 46. Mother, _ _ . 47. Centennial Hymn, 48. The Kaven, _ . _ . 49. An Original Love Story, 50. Heart's Ease, - - - 51. Barbery Frickey, 52. Remembrance, _ - _ 53. Easter Morn. 54. Fanny and I, 55. Evening Bells, 56. Asleep at the Switch, 57. Mr. and Mrs. Bowser. 58. Miss Edith Helps Things Along, 59. Billy Grimes, the Drover, 60. Through the Tunnel, 61. Surly Tim's Trouble. 92. Alone, - _ - _ 63. The Green Mountain Justice, _ . _ 64. The Dutchman's Serenade, _ _ _ _ __ 65. Mr. Spoopendyke Explains the Weather Bureau, 66. Burglar Bill, _ _ _ _ 67. The Nation's Dead, _ _ _ Byron W. Khuj, 68. Glory, - - - - - - Dr. Wayland, 69. The Wounded Soldier, 70. A Similar Case, - - - - - - 71. Long as the Tide Shall Flow, - Byron W. Kimj, 72. The Difference, 73. The Ship of Faith, • - _ _ 74. The Curse of Regulus, _ _ _ _ — 75. Jim Brown's Sisters Wedding. _ . _ 76. Life, - ----_-_ Wallace, 77. How J^uby Played, - - - - , 78. The Bobolink, _ . _ . - The Aldine, 79. Where's Annette, , 80. The Model Discourse, . - . - 81. One of His Names, - - - Josephine Pollard, R. J. Burdette, Shaliespeare, Fatfier Prout, Longfellow, - Shakespeare, Lonfjfellow, Shakespeare, John G. Whlttier, Edgar A. Poe, - German Version, - Byron W. King, Moore, George Hoey, Mrs. Bowser, - Brete Harte, R. J. Burdette, 109 110 112 114 115 116 117 120 122 126 128 129 135 136 138 140 141 142 144 145 148 153 155 156 157 !69 169 172 174 174 180 183 184 187 188 189 190 192 195 198 200 206 208 213 216 Practice of Speect) AND jttccessful ^electiona. BV y^ rOPYRlGHr "n? APR 1 1B89-r) BYRON \V. KING, A. M., PITTSBURGH, PA. VC53 COPYRIGHT 188 BYRON W. KING. W. T. NICHOLSON, PRINTER AND BINDER, PITTSBURGH, PA. Curry ScTkkA of Elocutfon and Dramatic Culture. p,-«.*«r«;,. PREFACE. I am impelled to the publication of this book by several motives. But chiefly, by the constant and general request for a short but comprehensive manual of practical exercises for vocal training and a list of selections fitted for general drill and practice. This request has seemed to me much more urgent, because ' of the source from whence it comes. During some- thing o\ er twelve years of professional work, it has been ni}' pleasant office to appear in over two thousand public entertainments, to drill classes in some sixt}' Academies, Colleges and Universities, and to have enrolled over twelve thousand students^ It is because the request has come and still comes from these patrons and pupils, that I look upon it as not to be disrep;arded. Manv of these former students are at present Principals and Teachers in Schools, Academies and Colleges, more than two hundred of them being professional teachers of Reading and Elocution, and these generally ha\'e asked me to put these exercises into book form. But I have also a more personal reason. — I need this book myself for my present students. These exercises as I have arranged them and teach them are contained in no published work; therefore, I feel to have them printed will greatly advantage my students and thus further my own work of instruc- tion. The fact is, I have prepared this work for Students — not for any other class of individuals. There are many hundreds of volumes that have been kindly furnished for elocutionists, but the students have been much neglected. It is true that many books in this subject have been written, well written, finely printed and well bound, and are excellent works — for elocutionists. But I trust this book, even if deemed unworthy the notice of the few lonely, lofty w^atchmen on the pinnacles of Expression, may find a w^elcome and prove beneficent to the man}- earnest though humbler workers. I have given principles instead of rules. I wish pupils to learn to think and feel and to express this thought and feeling. I despise all imitations and imitative systems of elocutionary training. That these principles and exercises are at variance with the opinions and practices of many teachers and books, I have not the slightest doubt ; on the contrary, I know this to be the case ; for that reason, among others, I publish this book. I give the results of many years experience with the practice and com- parsion of many systems and plans of work. I profess and claim still to be an ardent ScarcJier afte?" facts of Expression, This study has been to me one of benefit and delight. I have learned to look for principles instead of rules and in this book I suggest what I ha\x' tound to be most practical as a method of study. I would summarize it thus: — Back of all must be an Intellect to know and think, and a Soul to feel ; then, develop and train the mechanism of Voice and Action that all parts respond harmoniously to each impulse of Thought and Feeling. And so, with high hopes of further advancement on my own part as well as yours, I am sincerely, BYRON W. KING. Book L r©^ Practice of Speech. ^Q-< —"Wit. words and worth; Action and ntteraucc and the power of .-iprrrh. to stir men's blood I" — STiahr: