COMPETITION FESTIVALS.

Otago Witness, Issue 3942, 1 October 1929, Page 21

COMPETITION FESTIVALS.

HINTS FOR COMPETITORS T i be i } f H llowi , ng °bservations by Air CulJU ‘. lge ? f tbe elocution sections at the Dunedin ( ompetitions festival in the shape of hints to competitors ’will elocmti’on-— ° Ve lnterestin S students of “ The time to begin preparing for a competition is about 12 months before it takes place Select your pieces careful y, and always choose them from works of literary merit, Xou have an enormous ncld to browse over—the whole realm of Bnghsh literature; therefore it is foolish to waste time on trashy selections. Choose suitable selections—fittiu- your age and sex. You are more likely to succeed if you do this. Before memorising the words, study them close!v find out the rea! meaning, get into the spirit of the lines; when this is done you mav memorise not before. If the selection is from a Play, read the whole of the plav. study the characters, and the relation of the excerpt to the context. “In ‘ character sketch ’ work, von should study your character until you can think in the terms of the person you have chosen Until you can do this you are not likely to be able to present a vivid representation. Most competitors ‘dress up, come on to the stage, and speak words, but they do not appear to be thinking them. It is not easy to act, and it cannot be done by hurriedly learning some words and giving an order to a dressmaker for a fancy costume. Be sure that your dressing of a part is correct, from top to toe. Be careful to make an appropriate entrance and exit. See that your facial make-up is convincing. You must look the character. This is an art in itself, and cannot be acquired without a lot of practice. “ Before beginning any recitation make a bow to the audience. This is an act of courtesy. Do it gracefullj- and without fuss. Do not hurry on to the platform, walk easily, with good carriage. Take your stand about the middle of the platform, it is not wise to come too far forward. It is best to keep your scenes and objects on the stage itself and not among your audience. Do not gesture for the sake of gesturing. Gestures should look as if they belonged to the words, and not manufactured for them. You should never nod or otherwise recognise anyone in the audience. Look through the adjudicator, in other words, do not look at him. It is apt to disconcert a reciter to see him suddenly lean over and write furiously. The thought that ‘ I have done something wrong ’ is likely to spoil your train of thought. Look upon the adjudicator as your friend; remember he is looking for your good points as well as your faults, and is anxious to be of service to you in your act-. “ Never begin reciting while people are moving about in the hall. Wait until they are seated. Occupy the few seconds by taking a few quiet, deep breaths. This will help you to feel composed. Announce the titles of your selections, with the author’s name added. Don’t elocute! Be natural. Be spontaneous. Be vivid. Remember that facial expression is an allimportant thing in reciting. The thought conies first—or should do —the words after; therefore facial expression should slightly precede speech.”