2. Author‟s Note
These notes are purposely very
concise
There are no explanations and
discourses, the idea being that the
student should by study of the
notes gain a sound knowledge of
the essential facts, but not be
hampered in his research work.
He should be free to apply his
knowledge in his own way, and in
the manner he finds most helpful to
his practical work.
Interpretation depends upon
individual taste; it is the outcome of
a capacity for sentiment and
emotion. This cannot be directed by
an text book.
Ethel C Barber
Director of Elocution:Penrhos College
January 1934
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3. Elocution : The Language:
Its meaning Formation of
& uses Lyric, phonetic
value & symbols
Tune of Breathing
Expressive
Speech
Voice The elements
Production of Elocution
Prosody The Lyric and
Epic
Platform Interpretation
Deportment:
Preparation for
platform Click for
performance return to
contents
page 3
4. Elocution:
Its Meaning and Uses
“What is Elocution?”
This is a question which is frequently asked, for
the word “elocution” is misunderstood oftener
than most others in our language.
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5. Elocution: Its Meaning and Uses
Elocution books describe it as the art of
speaking in such a manner that the voice
may be heard, the words understood, and
the sentiments and feelings appreciated by
those to whom they are addressed.
The world in general looks upon students
of Elocution as harmless lunatics, who
run madly about a platform, gnashing
their teeth and rolling their eyes all for
no purpose.
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6. Elocution: Its meaning and Uses
Few realize that everyone
who uses his voice in the
course of his social,
professional, or commercial
career is an elocutionist –
and far too many a bad
Elocutionist.
Therefore everyone who
depends upon his voice to
make himself understood in
his everyday life should, if
he is to get the best out of
himself, study Elocution.
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7. The Language: The Formation
of the Lyric, The Phonetic
Values and Symbols
The complicated English language, which the
foreigner finds so difficult, is both redundant
and deficient.
There are five vowel symbols :
a, e, i, o, u, to express nineteen vowel sounds.
„A‟ alone represents five sounds; these are
heard in tale, mat, tall, ah, rare; „c‟ in cent, „s”
in sent and „sc‟ in scent are three symbols with
one sound.
These are typical of the whole alphabet.
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8. Tune of Expressive Speech:
Inflection, Emphasis, Pause,
Modulation, Pitch
Inflection is the varying or gliding of the voice on
words for the purpose of denoting their meaning.
Emphasis is a particular stress laid on certain
words or parts of a discourse with a view to
expressing the speaker‟s sense of their
importance in statement and argument.
Pause is a cessation in speaking for a
perceptible period of time
Modulation is power to vary and inflect the
voice.
Pitch is the height and depth of a sound: it must
not be confused with voice registers; these are
only used in song.
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9. Breathing
The
motive
power of
voice is
breath;
without
breath
there
could be
no sound.
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10. Voice Production
Voice production is
the cultivation of
those organs which
are used in making
voice.
Air, driven up from
the lungs, sets the
vocal cords in
motion. This vibration
of the vocal cords
lays the foundation
for voice; it cannot
be termed voice,
being merely a
laryngeal whistle,
until it has gained
Resonance.
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11. The Elements of Elocution:
Gesture, climax, anti-
climax, intensity, restraint
o Gesture is a posture or movement of the
body to assist in the meaning of the
spoken word: it is an action expressive of
sentiment or passion.
o It has been termed „the poetry of
movement‟.
o Through all gesture must be spontaneous
and directed by the heart, the body must
be disciplined by means of exercise.
o Gesture should be used to express
emotion, not to depict words.
o All gestures must have a definite meaning:
mere flowing, graceful movements are
useless.
o In all cases exaggerated and too frequent
gestures render the whole performance
ludicrous. Shakespeare says;
“Nor do not saw the air too much
with your hand”
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12. Prosody
Prosody is the
science of
Versification; it
deals with
various types of
verse(or line)
and their
formation.
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13. The Lyric and Ode
The lyric is a form of poetry
which was originally
composed to be sung to the
accompaniment of the harp
or lyre.
The ode was formerly written
to be set to music. It is
dependent for its beauty on
the metrical construction and
poetical inspiration.
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3
14. Platform Deportment:
Preparation for Platform
Performance
The study of Elocution not only improves our
natural powers of speech, but extends our
knowledge of the language and promotes
appreciation of literature. It benefits us
physically and socially. Dramatic Elocution is
of professional value.
The requirements of an Elocutionist are a
voice which is completely under control,
pliable organs of speech, ability to make his
words expressive, facility of inflection, power
to emphasize and modulate effectively, and
also ability to phrase the subject matter
regardless of punctuation.
All of this is useless without the right
personality and the great gift of imagination.
In order to achieve perfection there must be
complete co-ordination of the physical,
mental and spiritual qualities.
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4
15. Platform Deportment: Preparation
for Platform Performance
The first step in preparing for public
Presentation is decide upon a
programme. In selecting this, the
type of audience must be taken into
consideration, and the aim of the
reciter should be to uplift his hearers
without boring them.
It must be remembered, too, when
deciding upon a programme, that
there should be a connecting link
between the items; they should be
chosen in accordance with some
underlying scheme.
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16. Platform Deportment: Preparation
for Platform Performance
Having arranged a programme,
each selection should be
thoroughly studied; it should be
read through aloud, and
consideration given to the
meaning, rhythm, inflection etc.
When the author‟s meaning has
been grasped, the selections
should be read aloud till known.
Success can only be gained by
thinking about the incidents and
characters and trying to imagine
them.
This will enable the reciter to give a
valid performance.
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17. Platform Deportment: Preparation
for Platform Performance
On reaching the platform, step
easily forward with a smile and
slight bow. Survey the audience for
a few moments before beginning.
The reciter‟s eyes should not
wander from individual to
individual, nor be fixed on anyone
in particular: he should look ahead
so that the audience can see the
expression of the eyes.
The final bow should be
simultaneous with the short
backward step before turning to
leave the platform.
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18. Interpretation
The greatest asset of a reciter is
imagination ; it is the faculty of
forming mental pictures, then
extending those images into his
work.
It is the free play of ideas – the
quality by which we are enabled to
decompose and build up or own
ideas.
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20. Bibliography
Barber, Ethel C, (1934), The “Guide” Handbook of
Elocution, Davis & Moughton
Ltd., Birmingham, Great Britain.
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