DRAWING-ROOM RECITALS
THE KEYNOTE OF SUCCESS
[Illustration: FIG. 1.--Correct position for reciter.]
[Illustration: FIG. 1_a_.--The stiff, unnatural position.]
IT is frequently and quite erroneously supposed by the uninitiated that,
given a good memory and a pleasing voice, the young would-be
elocutionist may become highly successful in the art of reciting. It is
only the painstaking, experienced artist who realizes that these
attributes are but as the husk to the nut, the calyx to the bud.
Cased in its shell is the kernel, and folded in its green sheath are the
petals of the flower. So, likewise, the voice and power of memorizing
must be but the covering of numerous other qualities, attained only by
perseverance, judicious practice, and that artistic sense of fitness
without which all attempts to excel are in vain.
It is impossible to play a symphony on the pianoforte before grinding
away at the rudiments of music, and no one may build a house without
mastering the elements of architecture. Yet the difficult art of
reciting is often approached by a novice, who, having pounded some poem
or prose into his or her memory (reciting is usually a feminine
qualification) plunges into it with all the self-satisfaction of
ignorance, and pains or fatigues her listeners by her flagrant and
unsympathetic rendering of a masterpiece, which, in experienced hands,
would be an exquisite piece of work, something to be remembered and
dwelt upon with considerable pleasure.
The speaking voice, properly treated, is an instrument of exquisite
music, capable of as many shades of feeling and power as the pipe organ.
Before all else the voice must possess sympathy, sweetness, power of
expression, and naturalness; and, unless these qualities are governed by
a high sensibility, keen intuition, and common sense, they are futile.
The wing of the voice is the breath. Unless this is elastic, easily and
naturally produced, the voice is like a crippled bird, or similar to a
musical instrument with broken strings. Thus the cultivation of voice
and breath is the most powerful adjunct to good reciting, and this only
comes by constant practice.
In practicing, the reciter should stand in an easy attitude (Fig.
1)--erect, but not stiffly upright, and with muscles neither tense nor
unduly lax, as in Fig. 1_a_. “There are no straight lines in Nature.”
This is an invaluable motto for the student. The best method of gaining
a clear and flexible voice is to read aloud some paragraph or verse
softly at first, studying the meaning and sound of every word spoken,
and endeavoring to express its phonetic quality, not only with the lip,
but with the eyes. A mirror is an excellent help (Fig. 2). It will show
the beginner the difference between facial expression and facial
contortion (Fig. 2_a_).
[Illustration: FIG. 2.--Facial expression.]
[Illustration: FIG. 2_a_.--Facial contortion.]
THE SPEAKING REGISTER
The paragraph may be repeated in a gradual crescendo until the full
power of the voice is used, always taking care to avoid harsh and
stridulous tones, and not strain or fatigue the throat. When the student
has accomplished this to her satisfaction, she should allow her voice to
die gradually away, until it is almost a whisper, but her tone must
always be clear and round in quality. This method will bring many
different shades of inflection and feeling into the voice, and she will
be astonished at the notes she will add to her speaking register.
A good exercise is to make out a list of abstract words, and,
concentrating attention upon them, endeavor to convey their full meaning
with the aid of the mirror. Such sentences as: “I _love_ you _dearly_,”
“My _hate_ is too deep for _words_,” “My _scorn_ is _intense_,” “My
_tender concern_,” “My _pity_,” “My _contempt_,” “My _indifference_,”
“My _desire_,” “My _despair_,” and other impromptu phrases may be spoken
in different tones, united, with eye and features, to express the
qualities voiced.
The student need not despair because she has a bad or untrained memory.
The power of memorizing verse or prose only requires diligence and
concentration to become facile and natural. Exaggeration, affectation,
melodrama, and meaningless gesture should be avoided, for there is
nothing so appealing as simplicity.
Before reading a poem aloud, the reciter should master the meaning of
the story it sets forward. She must remember that she is about to paint
a picture in words. To do this effectively, she must avoid daubing in
lurid colors. She will find it helpful to regard her mind as her
palette, her voice as her brush, and her color tones as sympathy,
tranquillity, gentleness, optimism, faithfulness, and clearness of
expression. She should take as much pains when practicing as when
performing before others, endeavoring to criticise her mode of speech
and expression just as though she were listening to some one else’s
recital.
The following simple rules will prove of great assistance:--
1. Breathe easily, inflating the lungs slowly, and without effort or
sound.
2. Speak distinctly and clearly, and avoid shouting.
3. Sound the consonants, but do not hiss them.
4. Sound the syllables distinctly, but without undue emphasis.
5. Sound the definite article without giving it too much importance.
6. Read brightly and naturally.
7. Avoid monotony: graduate tones by feeling.
8. Understand clearly and sympathetically what is studied.
9. Read with earnestness, but without heaviness.
10. Mind pauses and emphasis.
Here is an example from “David Copperfield”:
“Here is our pew in the church. What a high-backed pew! With a window
near it, out of which our house can be seen, and _is_ seen many times
during the morning’s service by Peggotty, who likes to make herself as
sure as she can that it’s not being robbed, or is not in flames. But,
though Peggotty’s eye wanders, she is much offended if mine does, and
frowns to me, as I stand upon the seat, that I am to look at the
clergyman.”
In this passage the reciter is for the time being a little boy
endeavoring to sit quietly in church and fix his eyes on the clergyman.
She must be simplicity itself in order to depict the David and his
surroundings, lending a sympathetic eye that probes the brain and heart
of the child squeezed between his mother and nurse, and she must see
every detail as he describes it.
In order to do this successfully, intuition is essential. It will
inspire the voice to a like comprehension, with the result that her
listeners will be able to see that little weary figure quite plainly.
Thus, in everything undertaken, the student must learn to merge her
personality into that of the man, woman, or child of whom she is
speaking, so that the words spoken seem indeed to fall from the lips of
the characters portrayed.
APPROPRIATE GESTURE
Appropriate gesture presents difficulties, and, although occasionally a
powerful aid, it is more often a stumbling-block to the inexperienced
reciter. Many otherwise excellent recitals have been marred by
superfluous demonstrations, which remind one forcibly of the action
songs and recitations performed in a kindergarten, whilst not a few
reciters hedge themselves in with boundaries. They will mention the sea,
and point to a horizon, indicate distant hills, wood and lake,
frequently forgetting their respective situations. I have seen upon more
than one occasion a reciter engaged in a ludicrous juggling of her
scenery, pushing the sea aside to make room for the hills, and merging
her forests in the lake. This forgetfulness, usually engendered by
extreme nervousness, renders an artist ridiculous. How much better,
then, to refrain from gesticulation, unless she has mastered its
intricacies.
In drawing-room reciting the voice must expand according to the acoustic
properties of the apartment. A good way of making the voice carry is to
imagine it an india-rubber ball, which is being thrown against the
opposite wall. This thought will gradually insure its elastic
properties.
When reciting, the eyes should be kept from roving among the audience,
nor should they be fixed in a strained, glassy stare on the ceiling, for
they are too useful to the performer, and will be needed to express
different shades of thought.
If the reciter is nervous, she should endeavor not to show it by
twisting her fingers or moving her feet. The best cure for this
harassing affliction is to glance quietly at the audience _before_
beginning to recite. Taken individually, they will be found far from
alarming. After this, a determined endeavor should be made to
concentrate the mind on the artistic rendering of the recital.
[Illustration: FIG. 3.--The epic radius, or mental zone.]
To many elocutionists, costumes are a help, enabling them to grip more
powerfully the character portrayed. In this case a certain amount of
gesture is advisable, but there are no hard and fast rules. Actions must
be governed by discretion and common sense.
The hand may properly be called a second tongue. As such it should be
treated, and, to continue the simile, should not be allowed to stammer
behind or chatter meaninglessly before the reciter.
The hands and arms are capable of a vast amount of expression when
properly used.
Gesture may be divided into three classes:--
1. The epic radius, or mental zone, is the movement above the head and
horizontal with the shoulder (Fig. 3). These are sweeping and graceful,
_not_ jerky movements, indicating such sentiments as honor, conscience,
awe, veneration, &c., and may be used with advantage in such lines as--
“Great ocean! strongest of Creation’s sons,
Unconquerable, unreposed, untired,
That roll’d the wild, profound eternal bass
In Nature’s anthem, and made music such
As pleased the ear of God! original,
Unmarr’d, unfaded work of Deity.
From age to age enduring and unchanged,
Majestical! inimitable! vast!
Uttering loud satire day and night on each
Succeeding race, and little pompous work
Of man!--unfallen, religious, holy sea.”
In Shakespearean recitals and other blank verse, this epic zone may be
used, as, for instance, in such pieces as the choruses of Henry V.
[Illustration: FIG. 4.--Rhetorical radius or moral zone.]
2. The rhetorical radius, or moral zone, includes the movements of the
arm from breast to shoulder and from the region of the heart (Fig. 4),
and may be used to appeal, implore, beseech, express love, hate, fear,
contempt, &c., as in Queen Katherine’s speech in Shakespeare’s “King
Henry VIII.,” Act ii. Scene 4:--
“Sir, I desire you do me right and justice,
And to bestow your pity on me.”
3. The colloquial radius, or vital zone, from below the waist (Fig. 5),
is used to express ordinary sentiments that do not emanate in the heart
or higher intellect, and may be used to give point to a simple, everyday
occurrence, or narration, as in--
“Only a pin, yet it calmly lay
On the tufted floor in the light of day;
And it shone serenely fair and bright,
Reflecting back the noonday light.”
During the long winter evenings, when amusements and entertainments are
cordially welcomed in home circles and at friends’ firesides, the youth
or maiden who is unable to play or sing, may, with a little care and
practice, provide a delightful item in the programme, which will add
considerably to the evening’s enjoyment.
[Illustration: FIG. 5.--Colloquial radius or vital zone.]
An hour’s regular practice a day will work wonders with the voice of
these aspirants, and there are many simple and exquisite poems that are
easily committed to memory, for the student is far more likely to
succeed and give pleasure to others in memorizing at first only the
simplest and shortest poems, remembering always Shakespeare’s invaluable
counsel to players:--
“Speak the speech, I pray you, as I pronounced it to you, trippingly on
the tongue; but, if you mouth it, as many of your players do, I had as
lief the town-crier spoke my lines. Nor do not saw the air too much with
your hand--thus; but use all gently; for in the very torrent, tempest,
and (as I may say) the whirlwind of passion, you must acquire and beget
a temperance that may give it smoothness ... Be not too tame, neither,
but let your discretion be your tutor; suit the action to the word, the
word to the action, with this special observance, that you o’erstep not
the modesty of Nature.”