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THE PHIDELAH RICE SCHOOL OF THE SPOKEN WORD Figure 1914 OAK BLUFFS MARTHA'S VINEYARD MASSACHUSETTS Foreword MEN are coming to see that thoughts are not thoughts at all while they remain unexpressed. The chick which is not enough alive to break its own shell is to all intents and purposes dead. The intellect which contents itself with speculative theory cannot be counted intelligent. Love is not love which does not find its object. Educators now recognize the unwisdom of cultivating the reflective faculty of the mind at the expense of the expressional. Everywhere the practical is supplanting the theoretical. Witness the number of trade schools and technical schools. We have learned that our thought is not valuable to our neighbor, or to ourselves even, except as we are able to embody it in some outward tangible form. We may do this through the building we erect, the poem we write or the statue we carve. But the most universal method is through spoken words. Foreword WE always carry about with us our voices and bodies; and through them or in spite of them we get our thought out to the world. And whether we will or no, we are judged by the impression thus conveyed. These agents, wisely trained, become the true embodiment of our thought. Left to themselves they misrepresent and betray us. No lawyer, teacher, minister or lecturer, but recalls occasions when success for the moment depended upon the ability to express himself. And this has been true of many of those not in public life,—club-women, social leaders, clerks, artisans. There is a universal need, an urgent demand for a simple, definite, practical knowledge of the art of the spoken word. This knowledge is not a luxury. It is a necessity. Good Advice ARE you looking for clear, definite instruction in the speech arts, either as preparation for the platform or to fit you to teach expression and public speaking in school or college? Do not go to teachers who have not proved their ability to demonstrate the special things they claim to teach. I want to heartily recommend to you the summer classes under the instruction of Mr. Phidelah Rice and Mrs. Elizabeth Pooler Rice. These two people are not only trained teachers, but trained artists of acknowledged reputation. Both are graduates of Leland Powers School and both have been developed under my own personal guidance and direction. Mr. Rice is a college man and was a member of my faculty for two years following his graduation from Leland Powers School. Mrs. Rice has been in our faculty for seven years and is our most valued teacher. Their methods are definite and practical, and founded on scientific principles. It is a great satisfaction to me that they are thus meeting the demand for summer classes where the principles of the Leland Powers School are taught. Leland Powers, Vineyard Haven, Mass. The School's Second Session LAST summer our enrollment of students was just double that of the preceding year. More satisfactory still there was no falling off in the splendid calibre of those attending. The Chautauqua, which was under the auspices of the school, was a success. We were able to offer to the students and townspeople attractions which have no superior in their respective fields in the country. It was gratifying to those interested in the school that the reading recitals drew the largest audiences of the series. Next summer Mr. and Mrs. Rice will again appear on the Chautauqua program as will Mr. Leland Powers. During the closing week of school two public recitals were given by the students. These were largely attended. The work done was most creditable, and valuable experience was gained by those participating. The school has become a recognized factor in the life of the Island and we are fortunate in having the co-operation of the people of the community. Next summer promises a normal growth both in numbers and efficiency. Phidelah Rice MR. Rice is a graduate of Colorado College and of Leland Powers School. Following his graduation from the latter institution he was for two years a member of its faculty. He has had eight years active experience as a reader of plays on the lyceum platform. In the fall of 1914 he is to return to the faculty of Leland Powers School. An Appreciation Mr. Rice in his interpretation of Great Expectations has found himself. His mastery of expression gives him rank with Booth and Irving. The clean-cut chiseled character of his impersonations, the facility and unerring certainty of transition, the accumulation of interest growing out of intimate understanding of the author, reveal the painstaking endeavor of the artist, and make this product a contribution of distinction to the entertainment of mankind. It is not at all likely that Charles Dickens — himself the greatest reader of his day — ever equalled Mr. Rice in power of public presentation. Charles Horswell, Ph. D., D. D., Chicago, Ill. Elizabeth Pooler Rice MRS. Rice is a graduate of the Framingham Massachusetts State Normal School and of Leland Powers School. She is the senior member of the faculty of Leland Powers School. An Appreciation To say that Elizabeth Pooler Rice is the best woman reader of plays on the platform today, is to put it all into one short sentence. This is my opinion, however. She is rare. A play in her hands becomes a vivid and compelling chapter out of real life. Her characterizations are all vital and alive with her own rich young womanhood, and differentiated and idealized by her artist heart. Her art is masterly, concealing all art. Leland Powers. Letters From Students From Blanche C. Martin, whose remarkable contributions toward the personal culture of thousands of young women of Lasell Seminary is too well known to need comment. I HAVE observed that there is no tendency so fatal to the teacher, so sure a sign of fossilism, as the tendency to think of one's education as complete. Hence, as a matter of duty to myself, as well as of privilege, I have taken advantage of the opportunity to assume, as often as possible, the receptive attitude of the student. And the measure of success which has come to me during eighteen years of teaching I attribute largely to my willingness to do this. No matter how profound may be the teacher's knowledge, if she thinks in the same rut and expresses herself in the same terms for too long a time, she ceases to be creative and loses the power to awaken the creative faculty in her students. Our imaginations must be quickened and enriched by another mind and another heart—another viewpoint, in order that we may enter the classroom refreshed and aglow with a renewed appreciation of our work. My summer at the Phidelah Rice School was not only inspiring but restful and profitable—to me the ideal vacation—for there is nothing which so affords ease and balm to the mind as a seeking after truth. Mr. Rice is past master in constructive teaching. Mrs. Rice's work is a revelation, when considered from the standpoint of bodily unfoldment, the expression of the body as a mind manifestation. Letters From Students Those having the advantage of their summer course cannot help coming away with a renewed vision, and with a confident grip on themselves professionally and personally. Blanche C. Martin. From Arthur Beriault, Director of the Department of Expression and Dramatic Art, Metropolitan School of Music, Indianapolis. THE Phidelah Rice summer school is a source of inspiration to its students. I have studied expression with many distinguished teachers but from none have I gained so much real insight into what is basic and fundamental as from Mr. and Mrs. Rice. The philosophy of expression as taught by them is clear, concise and sound. The student learns an infallible principle upon which his work is based. Under careful guidance and systematic training he is led step by step not only to understand and appreciate the art of expression, but to prove in a practical manner, the theories learned. Above all I was made discontented with myself and given the impulse to push forward. I now find greater satisfaction in teaching than before. My enrollment of pupils is more than doubled. I shall always look upon the days spent with Mr. and Mrs. Rice as among the most pleasant of my life. Arthur J. Beriault. Courses of Instruction I. The Speaking Voice. II. Expressive Movement. III. Impersonation. IV. Extemporaneous Speech. V. Public Reading. VI. Practical Drill. VII. Normal Course. VIII. Special Course. The Speaking Voice Mr. Rice Mrs. Rice THIS course includes correct breathing, vocal support, breath control, vocal placing, and the education of the tongue, lips and jaw in correct vowel formation and consonantal articulation. Thus students are given a thorough knowledge of the principles of voice building. But more than this, these principles are made practical in the eradication of the vocal faults peculiar to each individual student. Expressive Movement Mrs. Rice. In this course the aim is to make the body the obedient and graceful servant of the mind. The student is led to see that a training which consists merely of freeing exercises results in lawlessness—leaving the body as free to do the wrong thing as the right. It is only when thought controls this freedom that the body becomes a truly expressive agent—a picture of a mind activity. Courses of Instruction Impersonation Mr. Rice. SELECTIONS involving the impersonation of character are used as drill pieces. The student is let into the secret of this difficult, pleasing and much-abused art. He is led to know the facts—what impersonation consists of—its advantages and its dangers. Extemporaneous Speech Mr. Rice. This course trains the student to express his own thought with facility and effectiveness. We here make practical use of the laws which underlie all public speaking. But we discover that with the art of the spoken word must be combined the art of the written word. So we learn how to assemble and wield the matter of our speech. As a final process we gain, through persistent practice, the much coveted ability to think clearly while we are speaking, at the same time giving proper attention to the manner of the expression. Courses of Instruction Public Reading Mr. Rice. Mrs. Rice. HELPFUL constructive criticism is given the student on selections of his own choosing. This course should be of special interest to those who use the summer school as an opportunity to replenish a depleted repertoire. Practical Drill Mr. Rice. For this course the Practice Book of Leland Powers School is used. The selections therein contained are so chosen and grouped as to represent and interpret, in concrete form, the philosophy of the school. The student is here taught to bring into obedience, in definite fashion his agents of expression, and every principle enunciated in the school's philosophy is put to practical test. Courses of Instruction Normal Course Mrs. Rice. 1914 THE Normal Course offers training in effective methods of teaching the art of the spoken word. Our technique is as definite and practical as the technique of violin or piano, and this fact, backed by Mrs. Rice's wide knowledge of recognized normal methods, makes the course one of the strongest in the curriculum. Special attention is given to methods of handling reading classes in the grades and making the department of expression in High School or College contributive to the department of English. Special Course Mr. Rice. Mrs. Rice. For those who do not wish to give the required three hours a day, a special class has been formed. This class, which is limited in number, meets one hour each day, and such work is given the students as will meet their special requirements. This class was formed at the request of people of the community. The Phidelah Rice Summer School of the Spoken Word Miscellaneous Recitals During the Session 1. A Pair of Spectacles, Leland Powers 2. The Taming of the Shrew, Phidelah Rice 3. Twelfth Night, Elizabeth Pooler Rice 4. Great Expectations, Phidelah Rice 5. Cousin Kate, Elizabeth Pooler Rice 6. The Pigeon, Leland Powers 7. Bible Lecture, Carol Hoyt Powers 8. Students' Recitals Term, Tuition, Hours, Class-Room The term begins July 20 and continues five weeks, the last day of the session being August 21. There will be opportunity, however, for private study after the close of the regular session. The tuition for the five weeks is $50.00 to be paid in two installments. There will be recitations daily from 9 to 12 A. M., except Saturdays. We are fortunate in securing class-rooms of unusual attractiveness. They are within three minutes walk of the beach, and, bordered by wide lawn and fine trees on either side, they stand detached from other buildings. Thus the free air courses through the open windows and affords a pleasant working atmosphere. Rooms and Board. The price of room and board varies from $8.00 per week to $16.00 per week. To Reach the School Go to Boston, then buy a round-trip ticket to Oak Bluffs. The price of this ticket is $3.00. Students will be met at the boat if we are notified as to time of arrival and means of identification. Address All communications should be addressed to The Phidelah Rice Summer School, 108 Hemenway St., Boston, Mass. Chautauqua Week There will be six great days of Chautauqua, from August 10 to August 15 inclusive. A Fairy Island Oak Bluffs is an ideal spot for a summer school. With its picturesque cottages, its adjacent bathing beaches, its wonderful blue skies and bluer waters, it resembles a fairy island. The scene on its streets at night might well persuade one that he had happened upon a fete day in some foreign city. Orientals cry their wares, children laugh, carefree pleasure-seekers stroll and talk—surely no one place could combine a greater variety of attractions.
|Topical Subject (LCSH)||Readers|
|Personal Name Subject||Rice, Phidelah|
|Digital Collection||Traveling Culture: Circuit Chautauqua in the Twentieth Century|
|Contributing Institution||University of Iowa. Libraries. Special Collections Dept.|
|Archival Collection||Redpath Chautauqua Collection|
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|Contact Information||Contact the Special Collections Dept. at The University of Iowa Libraries: http://www.lib.uiowa.edu/spec-coll/contact/index/|
|Number of Pages||17|
|Digitization Specifications||Scanned at 600 dpi, 32-bit color. Master image available in tiff format.|