Shadowland (Sep 1919-Feb 1920)

SuAOOWLANO The Lost Art of Recitation By Henry Gaines Hawn (President of the Hawn School of the Speech Arts, Carnegie Hall, New York City; Ex-President ot the National Speech Arts Association; Special Lecturer Upon Oral English for Brooklyn Institute of Arts and Sciences, etc..) Editorial Note: Readers of Shadowland will be pleased to note that we have secured the foremost American authority to write tliis series of articles on a subject of universal interest and importance. Years ago Recitation was an art practiced by the greatest artists and enjoyed by all. Sir Henry Irving was noted as much for his recitations as he was for his plays, and it is said that John Maculloitgh used to recite "The Lord's Prayer" so effectively as to bring tears to the eyes of his hearers.. Nowadays we have a few "elocutionists" in every_ community and "Curfew Shall Not Ring Tonight" is still inflicted on us, but real Recitation is almost a lost art. It should be revived. Perhaps Mr. Hawn's enlightening zvords will help to restore Recitation to its proper place among the arts. There is no point where art so nearly touches nature as where it appears in the form of words. — /. G. Holland IF literature is a record of humanity, its experiences, hopes, fears, desires, failures, dreams ; in short, all of life; the oral and physical interpretation of literature by the living person should be appraised as the highest form of art. That it is not, is universally apparent. In social gatherings we listen, at least with complacency, to indifferent music, vocal or instrumental ; to platitudinous "after dinner" speaking, but the moment it is announced "Miss Smith will now recite for us," a pall descends upon the company, the men escape for a smoke and the audience remaining unconsciously assumes an attitude of waiting for a cyclone; most of them watching the tips of their shoes as if ashamed to be foun "among those present." If other evidence of the low estimate placed upon Recitation and Reading is needed, glance at the programs of the entertainment courses announced each season by the Lyceums, the Chautauqua Assemblies, Teachers Institutes, etc., etc. But — not well — when, before any kind of audience a recitation is well rendered, with normal voice and gestures, with genuine feeling, the response and appreciation are instantaneous and thoro. How can it be otherwise? The art of painting makes its appeal thru the eye only; it has no real projection, lacks mobility, and is untrue in size. Sculpture lacks movement and color (it may or may not give actual size). Music gives a mood, emotion, if you will, but its message is most indefinite. But the speaker is a living, sentient personality, employing the element of all arts, tone, movement, color, size; and with these can manifest all phases of life, as acted upon by nationality, sex, age, temperament, mood, and situation. In short, all other arts can simulate, suggest life, whereas speech and action can be life. Since Recitation as an art-form has this signal advantage of other art-forms, how is it that the low estimate of it alluded to above, so generally obtains? From this point on I shall use the personal pronoun : that none of my fellow professionals may be called upon to share the comment of opposing minds, and so, in my own person, I explain that the art of reciting and reading has been cheapened in the public mind by inadequate, nay incorrect, teaching by instructors, and by faulty and inapt execution by those who recite (both amateur and professional). These familiar, class-room talks, will prove something of a challenge, and I enter the arena with full knowledge that in the "method-bound" teacher and pupil alike I shall find earnest and honest opponents, but the great public to whom we appeal and for whom we perform must be the arbiter. I confidently expect to be the victor ; for I shall make no attempt to reduce an art to a scientific formula (a mistake quite general with the teachers of expression) ; and shall leave a wide margin for personal taste and judgment, on the part of the interpreter. Some years ago, I said to a student, "I suffer with such positive art-anger from this wretched reciting, that I think I shall try to write a little volume of 'Elocutionary Donts.' ' The reply was, "Such a b^ok is sorely needed, but please put in a few 'Elocutionary Dos.' " I refrained from writing my book of "Elocutionary JULIA MARLOWE AND E. H. SOTHERN Famous for their Histrionic and Recitative Skill Page Fifty-Seven