« PredošláPokračovať »
when the body is at rest, may be too difficult for boys to fall into at first; and therefore it may be necessary, in order to avoid the worst extreme, for some time, to make them extend the arm as far from the body as they can, in a somewhat similar direction, but higher from the ground, and inclining nore to the back. Great care must be taken to keep the hand open, and the thumb at some distance from the fingers; and particular attention must be paid, to keeping the hand in an exact line with the lower part of the arm, so as not to bend at the wrist, either when it is held out, without motion, or when it gives the emphatic stroke. And, above all, the body must be kept in a straight line with the leg on which it bears, and not suffered to bend to the opposite side.
At first, it may not be improper for the teacher, after placing the pupil in the position, (Plate 1) to stand some distance, exactly opposite to him, in the same poa sition, the right and left sides only reversed; and while the pupil is speaking, to show him by example, the action he is to make use of. In this case, the teacher's left hand will correspond to the pupil's right; by which means he will see, as in a looking-glass, how to regulate his gesture, and will soon catch the method of doing it by himself.
It is expected the master will be a little discouraged at the awkward figure his pupil makes, in his first ata tempts to teach him. But this is no more than what happens in dancing, fencing, or any other exercise which depends on babit. By practice the pupil will soon begin to feel his position, and be easy in it. Those positions which were at first distressing to him, he will fall into naturally; and if they are such as are really graceful and becoming (and such it is presumed are those which have been just described) they will be adopted, with more facility than any other that can be taught him.
On the Acting of Plays at Schools WALJER.
HOUGH the acting of plays, at schools, has beer
universally supposed a very useful practice, it has, of late years, been much laid aside. The advantages 2rising from it have not been judged equal to the inconve. ņiences; and the speaking of single speeches, or the actor ing of single scen-s, has been generally substituted in its stead. Indeed, when we consider the leading principle, and prevailing sentiments of most plays, we shall not wonder, that they are not always thought to be the most suitable employment for youth at school; nor when we reflect on the long interruption to the common school exercises, which the preparation for a play must neces. sarily occasion, shall we think it consistent with general improvement. But, to wave every objection from prudence or morality, it may be confidently affirmed, that the acting of a play is not so conducive to improvement in elocution, as the speaking of single speeches.
In the first place, the acting of plays is of all kinds of delivery the most difficult; and therefore cannot be the most suitable exercise for boys, at school. In the next place, a dramatic performance requires so much atten. tion to the deportment of the body, so varied an expression of the passions, and so strict an adherence to character, that education is in danger of being neglected; besides, exact propriety of action, and a nice discrimination of the passions, however essential on the stage, are but of secondary importance in a school. It is plain, open, distinct and forcible pronunciation, which school buys should aim at; and not that quick transition from one passion to another, that archness of look, and that jeu de theatre, as it is called, so essential to a tolerable dramatic exhibition, and which actors themselves can scarcely at. tain. In short, it is speaking rather, than acting, which school boys should be taught; while the performance
of plays is calculated to teach them acting, rather than speaking.
But there is a contrary extreme, into which many teachers are apt to run, and chiefly those who are incapable of speaking themselves; and that is, to condemn every thing which is vehement and forcible, as theatrical. It is an odd trick, to depreciate what we cannot attain ; and calling a spirited pronunciation theatricat, is but an artful method of hiding an utter inability of speaking, with force and energy. But, though school boys ought not to be taught those nice touches which form the greatest difficulties in the profession of an actor, they should not be too much restrained from the exertion of voice, so necessary to strengthening the organs of sound, because they may sometimes be too loud and vociferous. Perhaps nine out of ten, instead of too much confidence, and too violent a manner of speaking, which these teachers seem so much to dread, have, as Dr. Johnson calls it, a frigid equality, a stupid languor, and a torpid apathy. These must be roused by something strong and excessive, or they will never rise even to mediocrity; while the few who have a tendency to rant, are very easily reclaimed, and ought to be treated, in pronunciation and action, as Quintillian advises us to do, in composition; that is, we should rather allow of an exuberance, than, by too much correctness, check the vigor and luxuriancy of
nature. Though school boys, therefore, ought not to be taught the finesses of acting, they should, as much as possible, be accustomed to speak such speeches, as require a full, open, animated pronunciation; for which purpose they should be confined, chiefly, to orations, odes and such single speeches of plays, as are in the declamatory and vehement style. But as there are many scenes of plays, which are justly reckoned amongst the finest composi. tions in the language; some of these may be adopted among the upper class of boys, and those, more particu. larly, who have the best deportments; for action, in scenes, will be found much more difficult, than in single speeches. And here it will be necessary to give some additional instructions respecting action; as a speaker who delivers himself singly to an auditory, and one who
addresses another speaker, in view of an auditory, are under very different predicaments. The former has only one object to address; the latter has two. For if a speaker on the stage were to address the person he speaks to, without any regard to the point of view in which he stands, with respect to the audience, he would be apt to turn his back on them, and to place himself in such positions as would be highly ungraceful and disgusting. When a scene, therefore, is represented, it is necessary that the two personages, who speak, should form a sort of picture, and place themselves in a position agreeable to the laws of perspective. In order to do this, it will be necessary that each of them should stand ob. liquely, and, chiefly make use of one hand. That is, supposing the stage or platform where they stand to be quadrangle, each speaker should, respectively, face the corner of it next to the audience; and use that hand, and rest upon that leg, which next to the person he speaks to, and which is farthest from the audience. This disposition is absolutely necessary, to form any thing like a picturesque grouping of objects, and without it, that is, if both speakers use the right hand, and stand exactly fronting each other, the impropriety will be palpable, and the spectacle disgusting.
It need scarcely be noted, that if the speaker in a scene, uses that hand which is next the audience, he ought likewise to poise his body upon the same leg: This is almost an invariable rule in action; the hand should act on that side only, on which the body bears. Good actors and speakers may sometimes depart from this rule, but such only will know when to do it with propriety.
Occasion may be taken in the course of the scene, to change sides. One spenker, at the end of an impassioned speech, may cross over to the place of the other, while the latter, at the same moment, crosses over to the place of the former. This, however must, be done with great care, and so as to keep the back from being turned to the audience. But if this transition be performed adroitly, it will have a very good effect in varying the position of the speakers, and giving each an opportunity of using his right hand--the most favorable to grace