ELOCUTION AT THE FORTHCOMING COMPETITIONS.

Otago Witness, Issue 2686, 6 September 1905, Page 69

ELOCUTION AT THE FORTHCOMING COMPETITIONS.

By The Judge,

It may be interesting to intending competitors to know exactly from what standpoint their efforts will be judged— hence the following notes. The maximum marks obtainable will be apportioned as below: — 1. Gesture and deportment .. „ 10 2. Quality of voice (production, etc.) .. 15 3. Enunciation, articulation .., .. 25 4. Pronunciation . . „ „ . i 30 5. Inflection and modulation ... .. 2\> 6. Syllabic and oratorical accents, and emphasis of sense and feeling . . 20 7. Emotional, rhetorical, and rhythmical pauses, punctuation, and speed .. 20 8. General conception and interpretation 60 Country competitors, who -are- unable to study the pieces with a good teacher, may find the following brief and hasty suggestions of some slight service: — 1. Consider first the nature of the piece, and study it till you thoroughly understand its purport and intent, before attempting to get your effects. 2. If a poem, find out all you can about the meiie. 3. Consult a good dictionary as to the correct pronunciation of every doubtful word. 4. Be sure you understand all incidental allusions. 5. Underline the important words in every line, and doubly underline words which, require special emphasis. Mark all places where a pause will heighten the effect. A pause should be mad-e when the questions, How? "Which? When? Where? What? can. be asked. (Patry.) Also before important words, and sometimes after these. Likewise, as the result of emotion

6. See that your enunciation is perfectly distinct, but avoid pedantry or affectation.

7. Vary your tempo with the sense of the words — meditation (slow), action (quick). 8. Modulate your voice, als->, with the sense of the words. Begin in middle register of your speaking voice. In solemn or sad passages modulate to a lower key; and pass to the higher register to -express anger, excitement, joy, and so forth.

9. Study rising and falling inflection. C. J. Plumptre writes: "When I ask the question, 'Does Cassar deserve praise or blame?' . . . from the beginning of theword 'fame' till its close the yoir». is sliding upward in the musical scaJe; in pronouncing the word 'blame,' the voice is sliding as evidently downward." One of the commonest mistakes in elocution is the misuse of in-

flections.

10. Recite to the back row. Don't ov-eiclo gesture or facial expression. Eead Hamlet's advice to the players. Be natural ; and if you can't be natural, be as natural as you can.