On Sundays, she was the favorite lector at our church, reading the liturgy with an elegance instilled by her mother and grandmother, both trained elocutionists.
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She was president of the Wells College Club of New York, and a trustee of the Library Lecture Association."City to Use Radio for its Free Lectures" New York Times (January 23, 1927): E1. She also served on the executive board of the National Association of Elocutionists."Election of Officers" Proceedings of the National Association of Elocutionists (1898): 272.
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In her recent book The Elocutionists: Women, Music, and the Spoken Word (University of Illinois Press, 2017), Marian Wilson Kimber addresses the oft-forgotten, female- dominated genre of elocution set to musical accompaniment in the United States.
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"Readers and Singers" Werner's Magazine (August 1897): 782. Zachos also wrote one-act plays, poems, and pieces for recitation. Her own performances as a dramatic reader were admired for their "penetration and magnetism"."The New York State Association of Elocutionists" Werner's Magazine (May 1900): 315.
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Louise Woodworth Foss (1873) Louise Woodworth Foss (1883) Louisa Woodworth Sanborn Foss (April 19, 1841 in Thetford, Vermont - September 22, 1892 in Malden, Massachusetts) was regarded as the best American elocutionist in her day. Compared to Charlotte Cushman, Foss was counted among the first woman elocutionists in the world.
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It also offered a course of study to train students for the Chautauqua traveling lecture circuit. These public lectures became a popular form of entertainment and the College offered training courses for those who wished to become a lecturer or performer on the circuit. She also remained active in the National Association of Elocutionists, the Woman’s Christian Temperance Union, and local community groups.
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Southwick was active in early associations for the promotion of the field of elocution and oratory. In 1892 she was listed as a member attending the First National Convention of Public Readers and Teachers of Elocution.Proceedings of the First National Convention of Public Readers and Teachers of Elocution, Columbia College, NY, June 27 - July 2, 1892, Official Report (1893). This organization changed its name to The National Association of Elocutionists, and eventually the National Association for the Advancement of Speech Arts.
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In the 18th century 'polite society' now considered Scots as 'provincial and unrefined' and much of the gentry endeavoured to rid itself of the former national tongue. Elocutionists such as Thomas Sheridan and John Walker were employed to teach Scots, both in London and Scotland, the formalities of proper English. However, this status was not universally accepted by all educated Scots of the period and a new literary Scots came into being. Unlike Middle Scots, it was usually based on contemporary colloquial speech.
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Rachel Shoemaker always maintained a connection with the school founded with her husband in some capacity, acting as president when no one else was chosen. She compiled a number of books for elocutionists, and she studied and wrote much upon the subject. She taught thousands of students and read in many cities, including Philadelphia, New York, Cincinnati, Minneapolis, Toronto, Hamilton and Montreal. The school founded by herself and her husband prospered from the beginning and trained some of the most successful readers of the day.
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He also developed a technique of speaking in clear, modulated tones directly into his mother's forehead wherein she would hear him with reasonable clarity. Bell's preoccupation with his mother's deafness led him to study acoustics. His family was long associated with the teaching of elocution: his grandfather, Alexander Bell, in London, his uncle in Dublin, and his father, in Edinburgh, were all elocutionists. His father published a variety of works on the subject, several of which are still well known, especially his The Standard Elocutionist (1860), which appeared in Edinburgh in 1868.
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Bernard was a late example of a class of professional platform reciters and elocutionists who were in vogue throughout the English-speaking world during the nineteenth and early twentieth centuries. Other notable examples of reciters are F. Matthias Alexander, originator of the Alexander Technique and Lionel Logue of The King's Speech - voice coach to King George VI.The King's Speech, Logue, M., Conradi, P. London: Quercus 2010. Bernard, fiercely resisted any suggestion that he was a voice therapist and, as society and fashions changed, his melodramatic acting style was seen as increasingly old-fashioned and unsuitable for the new media of sound and film.
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Jim Bludso was a poem from the Pike County Ballads of John Hay, a familiar set piece in the repertoire of elocutionists, actors and other public speakers; the Kalem Company had already made a one-reeler out of the same property in 1912. For the film, Browning fashioned his script from both Jim Bludso and another poem, Little Breeches. Much of the film's dramatic arc also came from a 1903 stage play adaptation by I.N. Morris. Hay's original poem memorialized Jim Bludso's courage and selflessness in sacrificing his own life so that the passengers on his burning boat might survive.
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By 1893, she had performed over 800 concerts, acting as her own manager and in February of that year, she began to manage for other performers, such as Sissieretta Jones. She appeared with Jones in her 1893 concert tour at Carnegie Hall. Nahar was often mentioned as one of the best elocutionists of the day, along with Hallie Q. Brown and Henrietta Vinton Davis and was praised for her management of concert tours. In 1896, she planned a trip to Europe including venues in London and Paris and in 1899, Nahar made a trip to London, under the patronage of the Consuelo Vanderbilt, Duchess of Marlborough.
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Blood urged her to move to Boston and study at the Emerson School where she graduated with a bachelor's degree in Oration in 1889 and a master's degree in Oration in 1890. She then joined Mary Blood in Chicago where the two women established the Columbia School of Oratory (now Columbia College Chicago) in 1890. Anticipating a strong need for public speaking at the 1893 World's Columbian Exposition, which celebrated the 400th anniversary of Christopher Columbus's arrival in the Americas, Blood and Riley were inspired to open their school in the exposition city, Chicago, and adopt the exposition's name. She served as secretary of the National Association of Elocutionists and was a member of its Board of Directors until her death on March 7, 1901.
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Chamber music ensembles also found in Albert Hall an ideal venue with its good acoustics, including the Brisbane Chamber Music Society of the 1920s, the Queensland State String Quartet of the postwar years and the Musica Viva Society in the 1960s. Demonstration of Austerity Cooking, Albert Hall Brisbane, 1942 In addition to many church-related events presented by Albert Street Methodist Church and other denominations, Albert Hall was the venue for performances and awards ceremonies of numerous schools, tertiary institutions and examining bodies. It was also used by local ballet studios and visiting dancers, as well as elocutionists, magicians and puppeteers. Over the years many miscellaneous events which were clearly ‘of their time’ took place as well, such as the "Gramophone concerts" of the 1920s, "Austerity cooking demonstrations" during World War II, and spelling bees and talent quests during the 1950s.
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John James Henry Savage Lyons (1854 – 31 May 1913) educated at Adelaide Educational Institution, taught at John Whinham's North Adelaide Grammar school, married Mary Ann Morgan on 25 December 1877 Membership was invited from the city's elocutionists: E. Reeves, C. Morgan, Benjamin H. Gillman, E. H. Shaw, H. T. Sparrow, R. A. C. Herbert, A. Norton, C. C. Paltridge, J. H. Lyons, Miss Wadham, Aileen Bancroft and Miss Pizey and soon reached a high standard of performance, with critics enthusiastic rather than generous. Later members included Walter Bentley, E. H. Shaw, Mary Bancroft, Beatrice Gordon, Marion Woodcock, Charles Morgan, Richard Herbert, J. D. Furlonge, Frank Seaton, Fairfax Kendal, Tom Potts, Kate Shirley, Marian Daniels and Alexander Cochrane. The club appears to have folded after a triumphant 1899 season which ended anticlimactically with a poorly-attended finale at the Theatre Royal.
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Curry's method of teaching elocution (or what today we would call speech or public speaking) emphasized individuality, intellectual engagement, spontaneity, creativity, and rigorous technical training. He developed a system that centered on the idea that all expression comes from within, and that vocal intonation, posture, and gesture cannot be dictated, but must happen naturally as a reaction to genuinely felt emotion. This was in contrast to many elocutionists of his day, who favored mechanistic methods that were rule-based, artificial, and imitative. Curry “believed that his greatest contributions to students were in his ideas for encouraging positive attitudes toward life and his method for training the mind. He wanted his students develop a way of thinking that ensured the words, when spoken, would have inner content” Curry's rejection of the imitative method is evident in his writing: > Action cannot be improved by one human being prescribing a gesture for > another.
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Judd was a popular speaker at community events, schools, and in theaters, especially in New York City, where she was based, but also on national tours.Joseph Dana Miller, "Women Elocutionists" National Magazine (November 1900): 55. Of her interpretation of The Book of Job, a signature piece in her wide repertoire,"Miss Ida Benfey" The Parisian (February 1898): 195-196. the Times noted that "Miss Benfey has taste, understanding, and uncommon powers of expression, and her new undertaking cannot fail to interest many persons.""Ida Benfey's Reading" New York Times (January 22, 1899). She was also known to read works by women writers; an 1896 recital included texts by Mary E. Wilkins Freeman and Ruth McEnery Stuart, with both authors in the audience."The Public Readers" New York Times (February 5, 1896). At the 1920 centennial commemoration of George Eliot held at a Columbia University, Judd performed scenes from The Mill on the Floss, accompanied by a trio of women musicians.
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