‘7... ———-——v———— — -- . . ‘...4 ‘Opoofl'.“~~..099 0-0... -uuu... “.‘P'rr .p... 1’ ' . u‘ - I o “ .}.. ‘, . v wau‘. -ONOQfiq-on—q— - o-k~>~OJI‘HIM.-" .V—. -..-"',".".V_,,“'.___ AN ADAPTATEON OF THE. NECKLACE FOR TELIWSDN Thais ht flit Dam of M. A. MiCHlGAN STATE UNIVERSITY Sister Kwin Mario I. H. M. (Hannah) 1956 . g ' . 'Mfiq‘ !‘ THE-51$ AN ADAPTATION OF THE NECKLACE FOR TELEVISION By Sister Kevin Marie I.H.M. (Hannon) A THESIS Submitted to the College of Communication Arts of Michigan State University of Agriculture and Applied Science in partial fulfillment of the requirements for the degree of MASTER OF ARTS Denartment of Speech 1956 AC KNOWLEDGLEE NT The author wishes to express her appreciation to Dr. Robert P. Crawford and Mr. Lee Frischknecht. ‘ V V -L ’ ’. "_.."._‘ g$7$—l\ I\ s n A V..". .V. ‘ - ‘ ' ‘ .V. 'n \ n‘, n I! \;_u__\l y - *1; I‘ I I‘- I v I '14"L"% .‘ I\ €81- The purpose of this study is to show that it is possible to take one of the classic short stories studied in the secondary schools of Michigan; adapt it for television; and produce this TV drama using a high school cast. The selection of The Hecklag# for this study was based on a careful consideration of both the short story and the television medium. The story offered material suitable for production within the limits of time and space. It had a suitable theme and was practical in terms of continuous production. In writing the adaptation it was necessary to have the script pass through three stages of deve10pment: the scenario, the manuscript and the production. In preparing for the production the producer had to select the cast on the basis of telegenic suitability, quality of characterization, and projection. Once the cast was selected meetings were held to study the production possibilities of the script, design the scenery, list the props, make the light plot, decide upon the costume requirements, select the music and plan the make up. The rehearsal schedule was divided into three periods: the read-through, the walk-through and the camera rehearsal. During the read-through period the producer worked on vocal interpretation. Action was blocked and camera shots were planned during the walk-through and executed during the camera rehearsal. iii The Necklace was produced over station WEAR—TV and a kinescOpe recording was made of the production. The kinescOpe was shown to the high school teachers and students of Resurrection High School and their reactions and comments were recorded in the final chapter together with the producer's analysis and recommend- ations. The experience was of great value to both the cast and the producer. The students received television acting experience and the producer was able to supplement the theory of production with actual experience. This study is an introduction to the problems and procedures involved in writing and producing a television adaptation of a short story. It could be expanded to include other adaptable forms of literature and the information gained from adaptation and production could be made available to prospective television writers and producers. iv TABLE OF CONTETTS Chapter Page I. IHTRODUCTICVOOOOOOOOOO0.00.... 1 II. WRITING THE ADAPTATION........ 6 Principles Application of Principles Script III. PRE‘PRODUCTICN PROBLEMSOOOOOO. 66 IV. PRODUCTION ANALYSIS . . . . . . . . . . . 90 BIBLIOGRAPETYOOOOOOOO00.0.0000....000... 97 c O C I I .00. CHAPTER I INTRODUCTION Television, like Rabelais's "Gargantua," is a stripling giant, growing so rapidly that it cannot be ignored or overlooked by educators. True, it's a Johnny come lately among the media of communication, but it attracts and influences youth more than any other channel of education.1 In a recent survey it was discovered that 80 percent of today's teen agcrs spend over three hours a day before the television screen.2 What other media of communication possesses such a magnetic holding power? Many teachers deplore the fact that modern teen agers are more interested in television programs than they are in class work. It has been suggested that instead of trying to compete vith this new media or complain about it, educators ought to use it. After all, as the ancient Chinese philOSOpher said, "One picture is worth a thousand words."3 Indeed many teachers have already capitalized on this fact. i William A. Coleman, "TV in 53," America, Vol. 88 (March 7, 1953) , pp. 6211-625. 2 . James Keller, Careers that Change the World, (Garden City, New‘YorI: Permabody, 1950?, p. 93. 3Ibid., p. 9b. -2- In November of 1951, Miss Gloria Chandler initiated a series of television book programs for children on station KING-TV, Seattle, Washington, under the general title, Telaventure Tales. The program combined drama and story telling. The results were gratifying to Seattle teachers. Libraries within viewing distance reported that within two hours after the program was shown, all books written by the particular author of the day had been withdrawn from the library. The public and parochial schools of Philadelphia cooperated to proouce Storvtime on UTIL—TV. This program, which went on the air in 1951, featured stories by guest authors and librarians. It was viewed by many classes, and when the experiment was over, educators declared that class room activities were stimulated, vocabularies enlarged and librarians were kept busy supplying books. These are but two examples. There are many more. During the past ten years educators all over the United States have gradually come to realize the potentialities of television and have given it careful consideration. At the present time about nineteen educational television stations are beaming signals to a potential of forty million people in this country. hMarion Elizabeth Corwell, "Television Programs Designed to Stimulate Interest in Reading Books" (unpublished Master's‘thesis, Dept. of Speech, Michigan State College, lQSh), p. 11. Charles Arthur Siepmann, Radio, Television and Society (New York: Oxford University Press, 1950), p. 103. -3- However, if television is to realize its vast potentialities, in a way at all adequate, those responsible for the shaping of the policy will have to remind themselves, or be frequently reminded, that worth while subject matter must be brought to more viewers and wdth as much emphasis and attractive presentation as possible. To accomplish this, more educators will have to actively engage in television activities. It was in the hope of stimulating high school English teachers to use television as a tool for introducing the short story unit that this thesis evolved. One of the major considerations for this thesis was that of choosing a story for television adaptation that would be of value to the average high school audience and which could be adaptable to limitations of the average television studio. The Necklace by Guy de Maupassant had both qualifications. It would be of value to students because it was one of the classics studied in many Michigan high schools. Moreover it was a technically perfect story because: 1. It had a definite setting or background. 2. The story revolved around a predominant character. A. It was original and dynamic. B. It was presented under the strain of a strong emotion. 3. One outstanding event was chosen to develop a single effect. h. All minor events and incidents contributed directly to the development of the action which led to the climax. 4;- The Necklace could be adapted to the limitations of the average television studio because it would only require two major sets and a system of rear—view projection could be used for the exterior scene. The number of characters could be limited to seven and no more than two characters would need to appear on the screen at the same time. This latter point was an important consideration because of the limited size of the television screen on the home receiver. The purpose of this thesis was fourfold: (l) to write a half hour television adaptation of The Necklace; (2) to analyze the writing problems; (3) to produce this drama over station WEAR-TV; and (b) to analyze the production problems. So that there will be no misunderstanding of the terminology used by the writer, the following qualifications of some of the phrases used in the title of this study are offered. Adaptation, as used in this study, is a translation and not a transference of material from one medium to another. The process calls for rearrangement of the text of the original material in consideration of the potentialities and limitations of the television medium to which the material is being adapted. The Necklace, by this the writer means that the theme, plot, setting, and characters in the drama were based on those in de Maupassant's short story. The Necklace was the first short story written by de Maupassant. -5- Production problems describes all the problems involved in directing the play, including a consideration of casting, blocking, designing, costuming, lighting, camera movement. Television program directors are continually searching for new sources of material. Since the area of classic short stories offers a wealth of ideas for television drama, the writer selected a classic short story, wrote the script, and made an analysis of the problems involved in writing and producing an adaptation. Such a study should be of value to persons who might be called upon to write and produce programs of a similar nature, under similar conditions. A study of this type is of particular value to the author, since her primary purpose in coming to Michigan State University was to obtain both a theoretical and practical knowledge of television. In doing a thesis of this nature, she will be able to supplement the theory obtained from course work, with the practical experience of producing a drama. Outline E£.EDEEEE£§° -- For the purposes of this study, the problem will be divided into the following chapters: Chapter I will give an introduction; Chapter II will include an analysis of the writing problems and an acting script of the author's adaptation of The Necklace; Chapter III will discuss pre-production problems; and Chapter IV will give an analysis of the production. -6- CHAPTER II WWTTIWG THE ADAPTNTION Principles of‘Friting Preliminary Considerations. -—'The first preliminary consideration for adaptation is the source from which the play is to be written. It may be a narrative poem, a novel, or a short story. Whatever the source, the playwright should choose something that interests him; something that will be of interest to his audience; and something which can be condensed into conformity with the demands of the television medium and still adhere to the principles of unity, emphasis, and coherence; and something “mich contains several clearly outlined episodes and a justifiable climax. Secondly, it is of prime importance that the play appeal to the viewers. This appeal will differ with the age level of the audience, for‘vanying age levels have varying dramatic interests. For example, high school students enjoy the idealistic and romantic, while grade school children demand action and suspense. It is important, therefore, that the writer decide the age for Winifred‘Ward, Theater for Children (New York: D. AppletOn Century Company, 1939), p. 61:52. 7John E. Anderson, "Psychological Aspects of Child Audiences," The Educational Theater Journal, II (December, 1950), -7- which he is writing, and make his adaptation accordingly. After the age group has been decided upon, the author is ready to select the specific story from one of the previously mentioned sources. In making an adaptation for television the playwright should select only that which can be played, only that which has significance to the eye and the ear. Nerds should be judged in the fonns of pictures and sounds. In the graphic words of Victor Forge, "The writer should be able to see how it is going to look and hear how it is going to sound." The television writer has a rich supply of material at his disposal. Older forms of fiction, such as the novel or the short story, can easily be adapted to television. As a matter of fact, it has been proved over and over again, in radio and motion pictures, that the presentation of familiar material is welcomed by the audience.9 Television offers countless opportunities for bringing the best in literature to a vast number of homes. Specific Considerations. -- To the unitiated it may appear that adaptations are an easy way out of the problem of digging up program material. Actually, it is often more difficult to write a good adaptation than it is to create a new play, and in 10 any event it calls for knowledge and skill. This is because Hoyland Bettinger, Television Techniques (New York: Harper and Brothers, 1955), p. 87. Q I Ibid., p. 9-00 10 Ifild. , r). 97. -8- there is always the temptation to incorporate everything that was in the original, regardless of how unsuitable that material is to television. High selectivity and a thorough conception of the ll potentialities and limitations of television are essential. Visual continuity is a difficult problem for the writer, but it will be an impossible one for the producer unless the writer makes it practical from a production standpoint. In live television, transition scenes are made in the control room. The writer, 12 therefore, must use transitional devices that are producible. He must be well aware of what the cameras and microphones can and cannot do. This is because television is a cooperative activity and the final production is the result of many minds, talents, and skills working together. To satisfy everyone concerned, the author must make meanings clear, characters dynamic, plot development well defined, and finally, he must arrange the script in proper form. In order to produce a drama that will satisfy everyone, the script should pass through three stages of development: the scenario, the manuscript, and the production script. The scenario explains the play in outline form. It is based on action and should describe the type of drama, the characters, the divisions of the play, the action, the required 11 Ibid., p. 96. 12Tbid., p. 95. Ibid., p. 930 -9- settings, the mood, in short everything that happens should be described. The theme, the real point of the plot, should be stated clearly.l)'1 The primary function of the scenario is to simplify the play so that it can be judged for what it really is, when stripped of all its trimmings.15 If the scenario seems workable, the author goes on to write the manuscript. The manuscript is the completed script and has all the dialogue and stage directions necessary to indicate the action and outline the mechanics of production, but it leaves the production details for the producer to work out.16 In developing the dialogue, the playwright should make his characters act like real human beings in real life situations. Only when this is the case does 17 William Archer the audience respond to the dramatic situations. further stresses the importance of character by stating that the play will be of small account as a work of art unless character at every point enters irmo and conditions its development.1 1hLajos Egri, The Apt 92 Dramatic Writing (New York: Simon and Schuster, l9h6), p. 3. Bettinger, 22. cit., p. 98. 16 Ibid., p. 99. 17 Ward, op. cit., p. 8h. 8 William Archer, Play—Making (New York: Dodd, Mead and Company, 193E), p. 72. -10- Besides acting real, the characters must speak character- istic dialogue. In adapting a short story, dialogue must be carefully selected and condensed, since it has the threefold function of clarifying the situation, telling the story, and showing the character.10 Short natural conversation which gets to the point at once is the only kind of dialogue Which is successful. The form of the television script follows the format used for motion picture manuscripts. hr. Bettinger gives the following rules: Picture directions and camera cues are written on the left side of the page; audio directions, sound effects, music cues, and dialogue are placed on the right. The page is thus divided into two main columns: the one on the left, headed "video," has all the video information needed; the ore on the right, headed "audio," contains all the audio information as well as the dialogue. The dialogue should be double—spaced, but not the video or audio instructions, which should be brief and explicit. The names of the characters should be in full caps. The pages should be numbered in both upper and lower right- hand corners for quick handling during the rehearsal. There should be a title page giving the name of the piece, a word or sentence classifying it, and the running time. If it is an adaptation, or if it is copy- righted, complete information of this kind should also appear on the title page. Page one should list the cast, with a brief description of each of the members; the number of sets and their description should be given; any special motion picture footage or stills should be28escribed, as well as any special effects or properties. lgEgri,‘92.‘git., p. 228. 2r)Bettinger, 22. cit., D. lO2. -11... The production script is complete in every detail. However, it does not reach this stage until the last rehearsal has tnorgfm.all cues, production directions, and warnings to light. This is because there are four principal staff members using the script during the production; the production director, the technical director, the video engineer, and the audio engineer. Each one must follow a separate set of cues. All camera switches (cuts, fades, and dissolves) may be made to stand out by under— scoring lines. A set change can be indicated by ruling a dotted line across the page. Throughout the script certain strategic points are used for writing in running time. When a switch from the studio to film is called for, there must be a warning cue for the technical director. This should indicate the exact time for starting up the projector, allowing time for it to come up to speed so as to bring the picture in at the designated time. A smooth television script requires complete cooperation of all who are concerned: the producer, who directs the camernen from the control room; the director on the studio floor, who translates the producer's messages to the cast; the video engineer, who adjusts the lighting; the video engineer, who makes the cuts, fades, and dissolves; and lastly the audio engineer, who controls the sound.21 Even though the production script differs from the first manuscript, the author must consider the audience, the machinery, Gilbert Seldes, Iriting for Television (New York: Double- day and Company, IQSB), p. 155. -12- and the production time or his adaptation will not be practical production material.22 The audience is subject to countless distractions. It is the writer's job to catch the interest of the audience at once and to see to it that the story is well on its way within the first few minutes. Therefore it is the playwright's first business to reveal to the audience the who, what, where, when, and why of the story. This presentation is called exposition.23 Because the television play is contained in a unit of time less than half that of the average play, the opening must be developed without ceremony. Exposition must be limited to the essentials and characters must be quickly introduced and identified. The television audience is not willing to wait for the minor characters to discuss the affairs of the dramatic principals. Instead, the principals themselves must usually present their own exposition and begin to involve themselves before the eyes of the audience. As soon as the characters are introduced they should begin to lead the audience on to the main conflict of the play. This step by step progress to point of issue is called progression. Gilbert Seldes has written that the motive power for forward 2 movement is supplied by conflict. S Conflict involves a struggle 22 Ibid., p. 17. 23Barnard Hewitt, Art and Craft pf Plangroduction (J. B. Lippincott Co., New York, l9hO), p. 73. 2 11John Howard Lawson, Theory and Technique pf Playwritigg and Screenwriting (New York: G. P. Putnam's Sons, 19h9), p. 178. Seldes, 22. £12., p. 157. -13- and a choice, and may be between character and character, between a character and a social order that is represented by another individual, or even within the character himself.26 It is important that the conflict be identified and explained as soon as possible because the viewer's interest cannot be assured until he is brought to a point where he can literally question the outcome of the conflict. This outcome is brought about by the rising action which leads up to the turning point or crisis which is the most significant dramatic situation in the play.27 In order to maintain the interest of the audience, the crisis should be followed by a rapid development of the plot until the climax is reached. The climax is a concrete realization of the theme in terms of an event. The adaptor must make mire that the highest point of interest is contained there.28 Besides imposing a faster pace on the television play the playwright must emphasize clarity in his dramatic construction. In many instances it is necessary to over—emphasize the important elements of the plot. Because of this necessity for repeated emphasis, the television drama has developed a more obvious type of 29 dramatic construction than that assumed by the stage play. 26 Ibid., p. 158. Milton.Marx, The Enjoyment pf hrama (New York: F. S. Crofts and Co., lQhO), p. 73. 28 Lawson, 22. cit., p. 267. Seldes, £0 Cite, Do 390 ~1b- As Hoyland Bettinger has pointed out: Because of the conditions of the television medium, limitations in plot development, exposition, characterization, and picturization are often believed necessary in order to assure that the infaBmation given will be picked up and understood at once. lelevision machinery should be the author's biggest concern. After all, if he writes without thinking of the practical side (floor space, available scenery, cameras, microphones, and lights) he will have to take the entire script apart later on to make it suitable for production. Time is another very essential element for the author to keep in mind. He must remember the overall time allotted for physical movement, and changes of costumes and makeup while the program is on the air. It is important, too, that he keep in mind the time granted to a program by the audience for capturing attention or losing it to another station. In summary, the writing of an adaptation ior television is a matter of following these five considerations: 1. The author should select a suitable story that will appeal to a stated age level and be adaptable to television. 2. He should have his script pass thnaugh three stages of development: the scenario, the manuscript, and the production script. 3. He should see to it that his characters are real and that they speak characteristic dialogue. h. The adaptor should consider the television audience and the television medium. 5. The adaptor should consider the principles of dramatic structure. Fettinger, pp. cit., p. 1h. -15- Application of Principles The author selected The Necklace for television adaptation because (1) this short story offered material that was of sufficient dramatic importance to make the production over television worth while for the intended high school audience; (2) it offered a story capable of production within the character- istic limitations of the television facilities at Michigan State University. In order to test the dramatic importance of the story, it was necessary to determine the needs of the intended audience and then to write an adaptation that would satisfy these needs. The author selected a high school audience because she had taught students in the secondary grades for several years and was acquainted with their needs. She chose The Necklace by Guy de Maupassant because it was one of the short stories read and analyzed in the ninth grade. The teen age audience would appreciate and profit by the production. They would appreciate it because it is one of the classics studied in high school; and they would profit by it because it is a story that requires an audience to do some thinking, some judging, and some evaluating. The Necklace has a strong and worth while theme. It is the type of presentation that leaves a semi-permanent impression upon an audience. The theme concerns peeple who are never satisfied with what they have, who have a superficial set of values, who fail to face -16- reality, and who, as a result, meet with failure and disappointment. Such a theme is a valuable consideration for youth living in a materialistic age. The theme conforms with the norms of morality and presents evil as evil. De Maupassant's ideal, or rather idea, comes to life as the plot unravels. It is the story of a selfish girl who is eventually caught in the web spun by her own greed. Mathilde Loisel is one of those girls who has a superficial set of values. She selects a paste necklace.from her wealthy friend's jewel case, loses it, and works ten years to pay for it, only to find out that the original necklace was worthless. The plot is strong and would make an audience want to listen until the end of the play in order to find out what happens. It is not until the last line that Jeanne Forrestier reveals that the necklace was only paste. Here is a play for an audience who likes to think; here is a play that today's youth should have. The high school audience would be interested in the play because the story is well on its way within the first few minutes. The opening scene gives the setting, shows the incompatible marriage of the Loisels, and depicts Mme. Loisel's unhappy disposition. There is a rapid development of the incidents leading to the crisis: 1. Invitation to ball 2. Procuring a gown 3. Borrowing of necklace h. Success at ball 5. Fast departure -17- The crisis occurs when Mathilde discovers that she has lost the necklace. It is followed by a rapid succession of incidents which lead on to the climax: 1. Searching for the necklace 2. Securing the substitute necklace 3. Payment of debt. The climax of the story takes place When Mathilde and Pierre discover that the necklace was not genuine. The drama ends here and the conclusion is coincident with the climax. The story is fast moving and should catch and hold the attention of the intended teen age audience. In order to determine the facility of producing The Kecklace within the characteristic limitations of television it was necessary to: (1) break down the story into a scene by scene chart; (2) write the scenario; and (3) write the script. Charting the ad ptation. -- As Bretz and Stasheff have stated, "One good method in adaptation is for the director to sit down with the original script and work out the scenes into which . . . . . 1 . his script Will be diVided."3 Therefore, following the general analysis of the form and structure of'fhe Necklace, the writer began the process of charting the adaptation. This required (I) a structural breakdown of the story in order to determine the essentials of its dramatic composition; (2) a process of selection and compression, in order that the elements be adjusted to the l. . . 3 Edward Stasheff and Rudy Pretz, The TeleViSion Program (New York: A. A. ‘-.'Iyn, Inc., 195:1), p. 273. fit» 3!le ”rile- I Q'?|.F «.3. I i Ilka». -13- chief television limitation, that of time. breakdown of the action is as follows: This scene by scene Scene Plot Line Exposition Act I, chne I Mathilde is distressed Mathilde is not because she does not happy because she have a new dress to yearns for the things "ear. Pierre cannot afford. Act I, Scene II Mathilde has the The more she has, the dress, but weeps more she wants. because she has no . jewels. Act I, Scene III Mathilde borrows a She uses everyone to necklace from her further her selfish wealthy friend. ends. .Act II, Scene I Mathilde loses the Mathilde is starting necklace. to pay the price for her selfishness. .Act II, Scene II Pierre searches for Mathilde begins to the lost necklace. lean on her husband. Act II, Fcene III They replace the lost Mathilde is too proud piece of jewelry. to admit that she lost it. Act II, Scene IV Mathilde and Pierre Mathilde's beauty work ten years to pay fades, but through for the necklace. suffering she becomes less selfish. .Act III Mathilde learns to her Mathilde is shocked. chart, the author began the process of selection. dismay that the necklace was only paste. She realizes what her pride has caused. Following the breakdown of the play into a scene by scene By selecting certain important elements to be retained in their entirety and by elinummting and adding others, it was possible to incorporate the -19- substance of the short story into the script. The author kept the scenes which best illustrated Madiilde's selfishness and the results of this weakness of character. Segments demanding extravagant sets were omitted. Additional scenes. -- Because the completed adaptation would have to be contained in a unit of thirty minutes' time, and because the reading time of the short story was only twelve minutes, several minor scenes had to be added. In order to emphasize Pierre's long search for the necklace, scenes in the police station, newspaper office, and cab station were added. The ballroom scene was omitted because of the elaborate set demands an&.the description of the party was taken care of in the dialogue which the author added. PIERRE You looked lovely tonight, Mathilde. Why, you were really the most popular lady at the ball. MATHILDE Oh Pierre, it was a wonderful party. All the ministers asked me to dance, and the ladies loved my dress. Ch, I'll never forget this night. PIERRE I'm glad you enjoyed it. I had a good time myself. KATHILDE Pierre, don't try to fool me. You slept all evening in that little ante room. 'Why, I even had to wake you up when it was time to go home. -20.. In writing additional dialogue, the author had to consider three things: (1) the technique of infonnal conversation; (2) the technique of dialogue imitation; and (3) the technique of visual tenns. The technique of informal dialogue. —- Fecause television dialogue is less formal than the short story conversation, certain changes had to be made in The Necklace. It was recognized, for example, that many lines were too studied and precise for the life- like manner of television speaking. For example, when in the short story, Mathilde discovered that she had lost the necklace, Pierre declared, I'm going back over every foot of the way we came and see if I cannot find it. In adapting this part for television, the author changed the lines to: I'm going back over every foot of the way. If you dropped it, I'll find it. The technique of dialogue imitation. -- Imitation was another problem that the adaptor faced. "Any additional dialogue written by the adaptor will try to keep the style and feeling of the original."32 It was necessary to include many speeches in the adaptation that were not in the original. This required a study and an imitation of Guy de Maupassant's style. It was discovered that de Maupassant's dialogue, though stylized in the manner of Nineteenth Century prose, was never— theless short and easy. The lines of Pierre and dathilde in the first scene illustrates this: 2 3 Ibid., 171. -21- She looked at him with irritation, and said, impatiently; "What do you expect me to put on my back if I go?" He had not thought of that. He stammered, "Why the dress you go to the theater in. It seems all right to me." Consequently, in most cases, additional dialogue was included in the script in this fashion. In the opening scene, for example, the writer wrote the following lines: PIERRE Mathilde, this is the coldest winter we've had in twenty years. KAT H I IL E Who told you that? PIEYRE Says so, right on the front page of the Paris Gazette. Technique of visual tenns. -- In making a television adaptation it is necessary to state many ideas in visual rather than in aural terms. Robert Greene calls this technique the use of charades. The key to visual writing is the use of the Charade. A Charade is simply this: Through symbolic representation, an idea is communicated. The idea may have originally been stated in words, but the Charade translates it into 33 symbolic picture language which stands for the same thing. .An example of this appeared in the first scene as follows: 33Robert S. Greene, Television Writing (New York: Harper and Brothers, 1952), p. 23. -02- i-HA'PEIILJJE I3 .RSAT-EIIJG TP’E DISHES NCISILY IN TIE KITCHEN CUPEOAR . Sn GETTIKG tr] ia+ L 'J DINNER IN THE KITCFEN IN A LCWaR MIDDLE CLASS APARTLEHT. PIYRRE IS READING THE PAPER. CAMERA PEHS ON KATHILLE, DOLLIES BACK AND IHCIFDES PIERRE. The above Charade tells the audience three things: (1) it is mealtime; (2) Mathilde is upset; and (3) Pierre is preoccupied. In writing dialogue, therefore, the adaptor must: 1. Keep it informal, that is short and easy. 2. Imitate the original. 3. Use visual tenns. The last step in charting the adaptation was the construction of a comparative chart showing the outline of the drama as it would be adapted. This second chart described the play in outline form and was called the scenario. The Scenario Theme. -- Plot. -" Conflict. People who are selfish, rrasping and proud usually bring about their own unhappiness. Eathilde Loisel, a selfish materialistic minded woman, borrows a necklace, loses it; and rather than admit that she lost it, buys another to replace it. She works ten years to pay for it, only to learn in the end that the borrowed necklace was worthless. -- The conflict was internal. Mathilde's deep seated pride vied with her sense of honesty. She had the choice of admitting that she had lost the necklace, or of buying a new one to replace it and pretending it was the original. Characters. - Mathilde Loisel - a beautiful, selfish, unsatisfied young bride. Pierre Loisel - a hard working petty clerk, completely satisfied with himself -- the victim of a nagging wife. -23- Jeanne Forrestier - wealthy young socialite. Maid, Cab Driver, Jeweler, Editor - differentiating traits are up to the director. Setting. -- Paris, winter of 1830. ——_——_¥ Mood. -- Serious. Required Settings. -— The Loisel apartment Jeanne Forrestier's bedroom A park The scenario showed that The Necklace did present specific production problems. The actual floor space at s,ation WKAR—TV is at a minimum. This limitation meant a restriction upon the number of sets that could be used. To solve this problem the author recommended the use of suggested realism. Thus, it was not necessary to use elaborate sets. For example, a vanity table and several chairs could simulate an elaborate boudoir; a littered desk, a newspaper office; and a park scene projected on the rear view projection screen, would suffice for the outdoor scene. A second consideration was that a large portion of it had to be reserved for the television equipment; camers, micrOphone booms, dollies, lighting stands, floor monitors, title rollers, and cables. The writer had to keep in mind that the technicians needed sufficient room to Operate. A cameraman, for example, has to have room to operate his camera, and the boom operator had to be able to place his boom in a position to pick up the required sound. The playwright handled this problem by calling for only seven characters, four of whom had only walk-on lines. -7h- Since time is of major importance in television production, the writer had to capture the attention of the audience in the first scene. Therefore Mathilde and Pierre were quickly introduced and identified and the conflict began before many minutes had passed. The author had to make provisions for transitions between scenes. In making the adaptation for The Necklace, it was decided that relatively simple transitional devices should be employed because of the inadequacy of production facilities. For instance, a clock was used to bridge the gap of time between Pierre's exit to search for the necklace and his return, four hours later, without it. One of the prdblems faced by the television writer and solved in part by the transition, was the problem of continuous action. When, for example, it was necessary for Pierre to move from one set to another in the second act, the author had to pad his action for a time sufficient for him to make the move from one set to another. This problem presented itself when Pierre had to leave the jeweler's and get back to the next set for flue next line. It was decided to give Mathilde the opening lines and supply her with a piece of business with which she might occupy herself until Pierre appeared. The prOblem of three costume changes was anticipated and solved by having Mathilde make one costume change behind a screen in the Loisel apartment. Her ten years of drudgery were filmed -25- ahead of time and thus, three costume changes could be eliminated on the night of the performance. Therefore, in writing the script the author: 1. Used few characters. 2. Recommended suggestive realism. 3. Recommended simple transitions. h. Padded action to allow for scene changes. 5. Used a wooden screen and a film clip to solve costume changes. Summagz. —— The selection of'The Necklace for this study was based upon a careful consideration of both the short story and the television medium. The story offered material suitable for production within the limitations of time and space, and was selected because it had a suitable theme, because it was one of the classics studied in the secondary grades, and because of its practicality in terms of continuous dramatic production. It was also hoped that the story of The Hecklace might benefit from a television performance, because of the sense of intimacy provided by the medium. THE TELEVISION SCRIPT THE NECKLACE Adapted from a short story by Guy De Maupassant Running time 29:30 Number of sets 3 Number of characters 7 Place Paris Time 1380 —26-~ CKARLCTERS MATHIIEE. -— She is about twenty-one years old. Perhaps she could be referred to as one of those pretty and charming girls who, as if by a mistake of destiny, was born into a family of employees. She suffers intensely, feeling herself born for all the refinements and luxuries of life. Her taste is cheap; she is attracted by the gaudy rather than by the genuine. PIERRE. -— Pierre is about twenty-eight years old. He is a hard- working petty clerk, totally unaware of his wife's discontent. He is completely satisfied with himself and the world about him. Though he is the victim of a selfish, nagging wife, he remains to the end a loving and devoted husband. Jeanne. -— Jeanne is about the same age as Mathilde, but her background is quite different. She comes from a family of wealth and culture. Her daily schedule is one of parties, beauty appoint— ments, and other social engagements. She possesses about her an air of dignity, grandeur, and poise. Although she is generous with her superfluous goods, she is not above looking down on those who are not quite as fortunate as she. Maid. —- She is a typical young French servant W10 is completely devoted to her mistress, Madame Forrestier. Cab Driver. -- He is a hard-working middle-aged man. -27i Editor. -- He is a matter of fact type of individual, money- grabbing and sarcastic. Jeweler. —- He is a smooth-talking salesman. He is demonstrative, effervescent, and not above flattery. TITLE ON ROLL DRUM THE NECKLACE by GUY DE EAUPASSANT MUSIC ADAPTBD FCR.TEIEVISION S by ( SISTER KEVIN KARIE ( Y BLACK DISSOLVE (L) HATHILDE “T CUPBOARD SUPER SLIDE 1880 DOLLY IN ILSE SLILE INCLULE PIERRE (S) CLOZE UP NATHILDE ACT I SCEEE I A SECOND RATE APARTMENT KITCHEN ARRATGTTG DISPES MOISILY I? TPE CUPBOARD. PIERRE IS RELIIiG THE PAPER. PIERRE Mathilde, this is the coldest winter we've had in 20 years. KATU its (roves TO TABLE) Who told you that? PIERPJB sad-31m HER) (Says) so...right here on the front PIERRE IN BACKGROUND 27 page of the Paris Gazette. MATHILLE Nell, I believe it; '1en I was walking on the Boulevard I nearly froze in that cloth coat of mine. PIERRE (Lockiui OUT THE WI now) Why go downtown in weather like this? ‘Fe don't need anything do we? MATHILLE (BUSY AT Tao TABLE) Can't you understand? I like to go downtown. Window shepping is the only pleasure I have. -29- PIERRE SITE AT TABLE: MATHILLE GOES TO CUPBOARD (5:) DOLLY IN - PIERRE PIERRE Kind of a waste of time if you ask me. We can't afford those things, you know that. MATHILDE Oh, I know it -- how well I know it -- but I can dream, can't I? FOLLOW PIERRE TO PIERRE (RISES) CUPBOARD Sure...sure. Dream all you want to. Say, what did you say we were having for supper. EATHILDE (moves TO TABLE) I didn't say. PIERRE (WALKS OVER AND UTcoTBBs TPB SOUP) Oh, the delicious stewl I know of nothing better than that. TATHILBB (SITS AT TABLE TO THE RIGHT OF P ERRE) (BITTERLY) IS CLOSE UP EATHILDE (Of) course you don't. £70 / PIERRE (nevus TO HEB) What is the matter, Mathilde? -30- HATHILDE You are satisfied with stew served on a table cloth three days old. Other young couples are eating quail served on shining silver dishes. But you...you know nothing better than stew. PIERRE (MOTIONS TO Row.) (3) COVER PEOE EIGHT Q7 ._- / (What) is the matter, hathilde? We have a maid to help out. What more could you want? (D Iz-IEDIUIuI SHOT h’ATEiILDE I’ATEIIIJE Z: [Eyr that) more could I want? WHAT MORE COULD I WANT? Look at the dirty walls, the worn out chairs, CE) CLOOE UP PIERRE (the) ugly curtains...Oh why did I let myself marry a petty clerk? PIERRE (LOOKS AT I—IEE, LOCKS A LITTLE A31—1A:.-.7ED) Well, why did you? MATHILDE (GOES OVER TO TPE TABLE A 7E) SITS Dom-I) (II) 2 SHOT fl DOLLY OUT INCLULE PIERRE {gecause) I had no dowery, no means of becoming known and loved by rich and distinguished men. -31- PIERRE (IIJJ. TO N R, PITS HIS HEN DON HE? ”O'ULLLR) You don't mean that. You've worked hard today. You are tired, we should get out more. EATHILDE We certainly should. PIERRE (BEACHES IN HIS POCKET) Here...here is something that will please you. LMTIIIHE (3) E. s. :IATPILOE E FIFE) is it? PIERRE Read it. MTRILDE (TEARS 0.9E“ T E ““V"LO“E TAKES OUT TVE CARD AND EADS) The Minister of Public Instruction DOLLY IN CLOSE UP LATHILDE and‘ adame Georges Ra mpouneau (H) request the r‘ hQrVfl EDITOR A reward?...How much of a reward? PIERRE (PROUDLY) 2M)fiamm. EDITOR 200 francsl Excellent...Now how shall we word this ad? MUSIC...BRIDGE CAB DRIVER IN LIMBO ANSWERS PHONE. PIERRE CHANGES CLOTHES FOR APARTTENT SCENE. ACT II SCENE IV PIERRE PUTS CVERCOAT OVER.CIDTHES. DRIVER Ponjour, Paris Cab Company... Yes, Monsieur. What can I do for you? You say your wife dropped a necklace in one of our cabs, Monsieur? One of the cabs on the Rue de Martyres run is not much help, Monsieur. Our drivers go all over Paris. A diamond necklace? Mais oui, Monsieur. I'll ask the drivers if they saw the necklace, but...I do not guarantee. TAKES OUT HIS PAD, PULLS PENCIL FROM BEHIND HIS EAR. MUSIC...BRIDGE TO SCENE V. {3) 2 DIZZ (E) 2 SHOT D. 0. COVER /“ FADE KUSI / BEIORE / RCLM #2 CI7 / / SHOT /E7 -56— ACT II SCENE V JEIELRY SHOP...JEWELER IS SHINIMG JEWELS. MATHILDE IS SEATED. PIERRE IS TRYING TO REASON'WITH HEI. PIERRE It is the only way, Mathilde. We can wait no longer. we'll have to replace the necklace. JEWELER Bon jour...Bon jour. Some jewels for Madame, Monsieur? I have the most beautiful jewels in France. What would you like? PIERRE we are looking for a necklace... A diamond necklace. JEWELER (IOCKING CLOSELY AT PIERRE) (I) understand. Something that will become Madame, yet...um...something reasonable, eh, Monsieur? TummE(mANX) Here is the box. The name of the necklace is inside. We would like to see something just like it. ('5') h B s .1312st /E7 -57- Jammm(mmmm) (Ah) La Belle...Monsieur must love F O LION H Dd / CUE 7 FUSIC / c. U. PIERRE /§7 Madame very much. Just one minute. I have the very necklace you're looking for under this counter....Ah yes, here is what you're looking for. Look at the cut, the cut is perfect. And the design. You can see it had expert handling and the sparkle... Monsieur, did you ever see such a sparkle? PIERRE How much? JEWELER (ERIE) h0,000 francs...and for such a beautiful necklace. You like it, Madame? PIERRE h0,000 francs? Excuse me just one second. HE WALKS OVER TO EATHILDE GIEEEIIEE), it will take everything we have. Everything...And what we have will only pay for half the cost. we'll have to borrow the rest. AM TO JUELER / -¢8- MATHILDE What about the money your father left? PIERRE Father left me 18,000 francs. I'll have to borrow 22,000. It will take a lifetime to pay it back. MATHILDE (Eh) Pierre: PIERRE we'll have to let the maid go; move on the other side of town. IATHILDE Oh Pierre: PIERRE (TIE) sorry, Mathilde, but there is no other way. EATHILLE Yes, there is no other way. (GIVING HIM A SLIGHT PUSH) Go and ask the jeweler to put the necklace away for us. PIERRE (MOVE-S To JEVIELER) Oh, jeweler...Jeweler, we'll take the necklace. D. I. 1 SHOT JEJELER DISSCLVE BLACK ’i TSIC AS PIERRE ENTERS OUT D. I. AS HE SITS -59- EATHILDE LEAVES JEWELER It will look beautiful on Madame. Shall I wrap it up, or would she like to wear it? PIERRE I don't have the h0,000 francs with me. I wonder...would you put the necklace away for me? I'll pick it up Friday. JEWELER Of course, Monsieur. Friday. I'll put it away...Now give me your name and address. HUSIC...BRIDGE ACT II SCENE VI LOISEL APARTKENT KITCHEN PIERRE (WALKS INTO THE KITCHEE'sLowLY) Did you return the necklace? MATRILDE Yes. I went over to Madame Forrestier's this afternoon. PIERRE (SITsl Did she notice, Mathilde? r1 {‘aAr I71- .IAq (1T) 0. a. ....'7_.ILI.»:L -60- MATHILDE W)? 0h, Pierre, she didn" (3’3 2 SHOT even bother to open the box. She just tossed it on the bed. PIERRE hell , it's well for us that she didn't notice that the necklace was not the same. MATHILDE (It) will take us a lifetime to (3‘) CU PIERRE /B7 STAND BY FILM (1;) o. s. F:I."~.T'TILL‘I". [117 D . I Q I'er'kT H . pay for it, Pierre. You know, I've been thinking, if we both work we can get it paid for twice as fast. PIERRE (TIE), Liathilde. I will not hear of it. HATTIILDE But, Pierre, it's the only way. I'll take in washing and sewing. It's hard work, I know, but it's the only way. PIERRE (LEAws ON TABLE) (YES), Mathilde, it 1.5 hard work... much too hard. I will not have it. ROLL FILM D. I. B. C. U. HATHILDE DIZZ BLACK OUT DIZZ (Q 2 SHOT ‘u I. O. -61- IATHILDB (TITH LEOIHION) Pierre, I must. It's all my fault. I must pay the debt. I must. PIERAE AND MATHIILE CPANCE CICTHBS, ADD MAKEUP REQUIRED TO HARE TUE TEN YJAR AGIN‘G . Q Q ROLL A OWE flIHUTE FILM CLIP. SUPER YEARS. FILM SHOWS KATHIILE SEWING, PIERRE WORKIfi} A93 INTO 'EB NIGHT, HATFILLE COMING HOME WITH GRCCERIES, MATHILDE SCRUBBING TF3 FLOOR ACT III I EARS LATER. HATHILDE AHD IERRE ARE SITTIWG ON A PARK BENCH. Well, Mathilde, we're all paid up. I felt like a king yesterday when I made that last payment. Yes, we're free at last...But it's taken ten years and we've worked hard...very hard. PIERRE (Nathilde), tell me, why did we come to the Emperor's Park? You know it's right across the street from Madame Forrestier's, don't you? BLACK SUPER D. O. COVER -62- HATNILDE Yes, I know. That's why I came. we've paid everything. We have nothing to be ashamed of. I want to see her, Pierre. Let's just sit here and wait until she comes by. MUSIC....TO INDICATE PASSAGE OF TIME. PIERRE RISES, FACES BACK AND FORTH. "TERTB TO 3.1 aTHILDE. PIERRE Here she comes. I-LATHIU‘JE (CALLI‘B) Jeanne --- oh, Jeanne. JEANNE Yes? KATHILDE Oh, Jeanne, it's good to see you. It has been years since we've seen one another, hasn't it? JEANNE But, Nadame...I don't know you. You have made some mistake. MATHILDE (RE), I have not made a mistake. You know me well. OT) /57 ('7‘ I). F. (,3) 2 SHOT 2 SHOT ~63— JEANNE 6 (I75) afraid you're thinking of someone else. I am Madame Forrestier. IATHILDE CREE) I -- I am Eathilde Loisel. warm (UTTERING A CRY) (Oh)1 Oh, my poor'Mathildet How changed you are. {ow very changed. EATHILDE (YES), I've had hard days since you saw me last. Ten years of wretched days and all because of yrur necklace. JEANN' Because of me? How so? TATHILDE Remem beg) the diamond necklace... The one I borrowed to wear to the Hinisterial Ball? J EANTIE (YES), I remember. What about the necklace? MA THILDE tell, I lost it. You must be mistaken, Mathilde. You returned that necklace years ago. Why, I remember the morning you bro ght it back. No... No... you are mistaken. I'm sure you returned it. MA TH ILDE 633), I did not return your necklace. I deceived you. I lost your necklace on the way hove from the ball. We bought another just like it. It cost h0,000 francs and for the past ten.years we've been paying for it. It was not easy for us, but it's all over now, and we owe no one. JEANNE (LQOKITIE STUHHSD) (EOE) say you bought a diamond necklace to replace mine? KATEILDE Ah, then you didn't notice. They really were just the same. I was afraid... -55_ .mmws(mw3mmwnn) (E) SATHILOS a. c. U. /67 (Oh), hathilde...my necklace was EUSIC paste. It was worth SOO francs at most... MUSIC...STAB...EATFILDE PUTS HER HANDS TO HER FACE...TNEJE MUSIC IJUSIC LETTER TITLE AND CREDITS ON ROLL DRUM TBE TUSCKLACE BY GUY LE NAUPASSANT ADAPTED FOR TELEVISION BY SISTER KEVIN MARIE DIRECTED BY LEE FRISCHNECHT ASSOCIATE DIRECTOR PEGGY FISHER LIGHTING DIRECTOR BOB IRWIN STAGIFU'DIRECTOR LEAN WAGNER CAST MATEILDE GERRY DE SMITH PIERRE - ED MCGUIRE JEANNE — JUDY TONLANOVICH JEWELER - BOB KUTAS MAID - NAN SHEEHE CABBY - LAWTON NINE EDITOR - DICK HILLS THIS HAS BEEN A MICHIGAN STATE 'NIVERSITY TELEVISION PRODUCTION CHAPTER III PRE-PRODUCTION PROBLEMS This section includes the problems encountered during the seven-week preparatory period for the television production. This pre—production period was divided into seven periods. 1. Casting 2. Pre-planning 3 Read-through h. 'Walk-through 5. Dry rehearsal 6 .Camera rehearsal 7. Dress rehearsal 1. Casting Once the play had been written and played upon the stage of the author's imagination, a cast of characters was selected. There is a wide variation in the patterns of auditions and rehearsals. Each director chooses the method which best suits his particular set-up. But no matter which pattern is used, the purnose remains the same. Auditions are designed to acquaint the director with the ‘talents of those who are trying out for the show. Auditions give 'those who are trying out for the show an opportunity to display ‘their talent.3h 311Charles F. Lindsey, Radio and Television Communication (IJew York: McGraw-Hill Book Co., Inc., 195?), p. 23S. -66- —67- In professional situations, everyone should be given a chance to try out, and those who are patently the best should be selected. Before casting roles for The Necklace, the producer had the opportunity of observing the students of Resurrection High School during the preparation and presentation of their annual talent show. Since every student was required to be in the performance, it was possible to observe all those who were interested in trying out for The Necklace, and eliminate those who 'would not qualify. Because of the number interested, it was necessary to set aside two days for casting. The students came to the convent and tried out for parts during their study periods. The producer gave a short synopsis of the play and a brief description of each of the characters in the play to each of the prospective try-outs. She explained the nature of the production and the time which the rehearsal period would cover. The students were given an opportunity to ask questions. Then each was given a chance to read selected scenes. If the student showed an aptitude for the role, he or she was asked to re—read the scene and incorporate certain suggestions made by the producer. Many of those who auditioned proved that they had the ability to act. This made the decision of the cast a difficult one. In making the final decision, each member was chosen primarily for his or her quality of characterization, telegenic suitability, and power of projection. —68- After the final decision was made on the cast, all were notified that the first rehearsal would be held on February 16, 1956. The producer began a series of pre-planning activities. 2, Pre-planning The pre—planning period was one of the most important stages of the pre-production time. Meetings and conferences were held to: 1. Study the production possibilities of the script 2. Design the scenery 3. List the required furniture and prOps h. Make the light plot 5. Decide costume requirements 6. Select music 7. Plan makeup The first pre-planning session occurred before the members of the cast were assembled for the production. A meeting was held in the conference room at station'WKAR-TV. The program manager, the director, the video technician, the set designer, and the producer were present. It was decided that The Nggklacg would be done live and kinescoped on Friday night, March 30 at 9:00. Then the script was read and each of the staff members tested it for suitability in his department. For example, the scene designer felt that the rear—view projection screen positioned on an ’ angle could be used for the park scene; however, the video engineer said that if the screen were positioned in that way it would present lighting problems. Therefore, it was decided to keep the screen -69- straight. The director saw complications in having the main set cloud his view, so the designer came to his rescue and repositioned it. The jewelry store was the biggest stumbling block. An array of jewels would be too reflective for good picture resolution, and the extravagant furnishings of a better class store would be a strain on the studio's budget and space. To solve this problem, the designer suggested using selective realism and keeping the jewelry under cover. When each of the staff members felt that the drama could be produced effectively and in compliance with the limitations of his department, the meeting was adjourned. Designing the scenery was an important part of the pre— planning. Samuel Selden recommends that sets be an organic part of 35 the production. Moreover, they should be attractive, expressive, projectile, simple, utilitarian, practicable, and organic.36 It is the producer's job to determine how many settings will be needed and what general arrangement should be made in order to establish the mood of the scene.37 When this is determined, the designer makes the studio look as it should in tenns of the play. He places acting areas, furniture and apertures where they should be in terms of the producer's and director's plan of composition, picturization, and camera movement. This statement is reinforced by Lee Simonson's deduction that ”the test of a good design continues to be its 35Samuel Selden and Hutton D. Sellman, Stage Scenery and Lighting (New York: F. S. Crofts and Company, 1938), p. 6. 36Ibid., p.7. 37Ibid., p. 20. -70- 38 effectiveness in interpreting a script in performance. Four steps are necessary to achieve this effect: (1) floor plans, (2) rough sketches, (3) elevation drawings, and (h) construction of sets. After the production meeting was over, the staff artist drew up the floor plans in accordance with the recommendations of the producer and the director. The floor—plans are designed to give a view of the set, including all furnishings and nronerties, that ' will take place on the studio floor, as seen when looking down on the set from a position up in the grid.39 The floor-plan was valuable for four reasons: (1) It enabled the designer to determine whether or not the useable floor space was adequate. By drawing furniture, cameras, the roar—view projection screen, and the boom microphone to scale, he was able to estimate the remaining acting space; (2) It revealed an unnatural arrangement, an awkward placement of conversational groups; (3) The director was able to block the actions to the camers. He reproduced the exact measurements of the floor—plan on the floor of the rehearsal room and thus provided actors,from the first walk- through rehearsal, with a clear-cut diagram of what they would work with; (h) The floor-plan made it possible for the electrician to plot the placements of his lights. He was able to determine where the light would fall, from what direction it would come, and what special effects were called for. 8 . . . 3 Lee Simonson, The Art of Scenic Design (New York: Harper and Brothers Company, l9)0 , p. E9. 39.. . . Hillard J. briedrich and John N. Fraser, Scenery for the Amateur Stage (New York: Macfiillan Company, lQFh), p. 80. -71- After the floor plans had been approved by the producer and director, the staff artist made rough drawings of the verious sets. These sketches were valuable for three reasons: B. C. D. ‘ l. The designer was able to develop his gray—scale color scheme, adhering to the rules recommended by Howard Chinn. The total range in brightness used in scenery painting should not exceed a 20 to 1 ratio. ’This range should be covered in 10 steps, each having a reflectance of 2 times that of the next darker step. Large areas of the set should be held between the numbers 2 and 7 inclusive, extreme black and white being used only for small accent features. Color may be used to obtain the various tone values in scenery and at the same time provide a more natural environment for the performers. To achieve uniform reproduction, samples of all scenery colors, paints, and materials should be observed over the television system and numbered in accordance with the nearest gray-scale step. At least a small area of both extreme black and white should be included in every scene to aid video level adjustments. The reflectance of relatively large (as seen by the camera) adjacent areas should not differ in tone value by more than two to one (two standard steps on the gray—scale). Extremely large monotone areas, particularly those which are dark, should be avoided. If unavoidable, very large areas should be broken up by a pattern and should be light in tone (eg., gray-scale steps 2 to h). Details which appear in long shots should be kept relatively bright. Continuous horizontal lines or structures of either dark or light tones should be avoided or broken up by a pattern or texture. -72- H. A low gloss paint should be used for all scenery painting and should be applied in an even manner. I. Extremely dark, highly polished furpature and similar stage properties should be avoided. ’ 2. Both the producer and the director were able to put themselves into the position of the spectator. 3. They were able to show them to other members of the production staff for sample reactions. In making the rough sketches, the studio artist began with the demands of the script. Since The Necklace was a realistic play, he had to create the illusion of life as it might have been lived by Pierre and Mathilde Loisel in Paris in the late 1800's. The designer used suggestive realism because of the limitations imposed by the facilities at station WKAR-TV. In this way it was possible to use a minimum number of realistic details, and still create the illusion of life in Paris in 1880. To illustrate: a littered desk was enough to give the audience the illusion of a newspaper office; a park bench in front of the rear-view projection screen simulated the park scene; a dressing table and two or three chairs sufficed for the exclusive Parisian boudoir; and a jeweler in front of a natural background was 911 that was needed to create the jewelry shop. Once the floor plans and rough sketches had been drawn up and approved, the scene designer Was ready to plan the construction of the sets. 110Howard Chinn, Television Broadcasting (New York: MoGraw— Hill Book Company, 19R2), p. 27h. -73- In planning sets for The Necklace, the first requirement was that they be light in weight since, like all other sets used at station WKAR-TV, they would have to be set and struck again in record time. The designer decided to use flats, hanging units, and the rear—view projection screen. The flats were designed so that they could be taken apart quickly and stored away for further use without too much difficulty. They were to be approximately nine feet high and four feet wide, supported by a triangular frame hinged to the back of the flat. (This frame is properly called a "jack.") Hanging units were used to simulate the jewelry shOp, taxi office, and editor's shop. In planning these sets, the artist used the cyclorama. The cyclorama is a semi-circular hanging made of stout duck, which hangs from a rod which is about as high as the light grid. In planning the park scene the rear—view projection screen ras used. (This screen is made of a translucent cellulose acetate and is placed fifteen feet in front of the projector. A four by five inch slide is projected on the screen.) Another ore-planning session was held to decide upon the furniture and hand-props that would be used in the production. The following list was drawn up. -7h— Furniture Scene 1 Hand—Props Scene I “as plate Small table 2 chairs gcene 2 Newspaper Teakettle Pans and spoons Invitation Tablecloth Table service Oval picture C?cene 2 Vanity table Stool Straight chair Small table Scene 3 Jewelry Hat-box Cosmetic jars Perfume bottles F-iirror, comb, brush Duster 2 small oval pictures chne 3 Chaise-lounge Chair Table Wall phone Folding screen —-a—- Evening bag Gloves Table clock Book Small table _ -75- Scene h Large desk Newspapess, books in Pencils, paper Wire basket bookcases L“oat rack .chne S ficene 5 Pencil Paper Hind phone dcene 6 9cene 6 Potted Plant Woocen'vriting desk Wall cases (shadow boxes} Ornate chair Scene 8 bisplay racks Jewelry Sales pad Pencil Scene 8 Old rocking chair i Old fashioned writing desx Scene 9 Dress Needle, thread Quill, ink, paper Bag of groceries Coins Pail and scrub-brush Scene 9 Park bench -76- After the sets were designed, a meeting was held with the video engineer to discuss the lighting problems. Lighting for The Necklace was limited by five conditions: 1. It was a continuous production 2. Scene II had to be played in front of a large mirror 3. The last scene had to be played in front of the rear- view projection screen h. The floor space was limited 5. The production was going to be kinescoped. 1. Continuous production. -— The action of this multi—set show as continuous. Therefore the production could not be snapped to make lighting adjustments. This meant that all the settings used on the show would have to he prelighted at one time. 2. Using a mirror. -- Since Scene II had to he played in front of a large mirror, the video engineer had to make sure that the lighting instruments would not be seen in the reflection of the mirror, doreover, the intensity of the light had to be balanced so that there would be no noticeable difference between shots taken of reflected images and shots taken directly on the set. It was decided that the mirror would serve as a secondary source of light, This could be accomplished by placing general or area source instruments so that the light falling on the mirror would be reflected back into the playing area. 3. Roar-view projection screen. - The park scene had to be enacted in front of the roar-view projection screen. Since light falling on the screen had the tendency of washing out the projected picture, it would be necessary to keep the light from falling on the screen. -77- h. Limited floor space. -—’The shourwes to originaae from Studio B, which is hO' x 50'. wince the script called for several sets, scenery would take up considerable room. The little space that would be left would have to be kept free for the movement of two cameras and two boom microphones. In planning the lighting it was necessary to make sure that there would be no spot lights in the path of the microphones, because if the boom passes through a beam of light it produces sharp shadows. 5. hinescoping. —- The production was going to be kinescoped. This meant that high key lighting would be used in order to obtain the best possible picture. The basic light pattern that was used to light the sets is included here. (See Figure 1, page 78) Costumes. —- In deciding upon the costumes, the author had to consider the period, the action, and the television medium. First, the author considered the period. The Tecklwce took place in France in the late 1800's and therefore the characters had to dress accordingly. It was necessary to select period costumes which would reflect the dress of the day, the spirit of the play, and the disposition of the character. Second, the action of the play had to be considered. Since there would be considerable movement in the play, practicality had to take priority over antiquarian accuracy. For example, the bustles would have to be removed from the dresses in order that the girls might move about rith greater ease. -79- Third, the television medium had to he considered. (The image orthicon tube produces a halo effect when stark whites or dead blacks or an extreme contrast of both are used.) l"heref‘ore, the male characters wearinr dark suits would have to wear light blue shirts instead of white. After the speech department had given consent, the costmnes were selected from the 1880 rack in the costume room. The selection of sound for the production of The Necklace was confined to the choosing of record music. Pefcre auditioning the records, the author went through the script and marked all music directions. If the music was to continue under talking, a wavy vertical line was drawn down the page and a sharp horizontal line indicated the termination of the music. After marking the script, the author determined the mood of the music demanded by the over-all theme and the action of each scene. The charted it as follows: Theme-serious, but not heavy Transitions Scene I flood—joy. athilde is delighted be- cause Pierre is going to buy her a new dress. Scene 2 Hood—joy. Mathilde hopes to borrow jewels. (W .1 "N." .~ .2 '3 ' rd if" IV; '1' -78- . I I I l . i, .. . f . > . , . . . . \.. c".‘-'_ “ 3‘ 1. 7'. '3 / =.' \ ) 'L'xK-"w’ “ i \F‘ \\ .. q - . .. §' .3 £5 :- L. .1 . ‘ 'x.. . I (I -- .l—axua— . a, ‘..._ . . w .— .._ A... _' .4 .‘ .I . .. _-.~_-.-.—._-~Jm.‘.. s.— a.. .A‘._ v — ‘D-vu - “Cu--E -- ‘ /‘«uxtanhi ~J I ; . ! i/ hi I I I . , 1’.” I» // / / I - -/ I I 1...‘ ,_£ ' v( I EL.-- 9 = a‘ s ' ‘, ' ‘J r! ""1' )f-r'f'v' ,,,, ..JJ-«“' ~ . |._.-1 v t a ' I 3 1““! 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I 9 I; ’O’ - '“1“y‘.':\ "‘..'"’ ..o I. "I“"tc' ..' - .-. . .. v. _ . 1 :‘ J -‘ .- ‘4 ... \.‘Q .".¢..\.'Jy‘ c. ,5. 0.. '\ MO ... - an i! a a Q . .( I (X. {I'I .2 F n”! 3. .. 2.1% q, I': A} V {.§-. T -. 5;" I ‘ ‘fgf‘r' ) .. (-5.: ‘ A x' I in I -.- “If; on. \- ‘.4 ... -‘auu J.)».u...--,. .U .. .L‘». {1 06 . 'QO‘ 1 nag in I A.” .. f" .. b - u 4‘ III—nv?-_‘1“-’. 3' ‘5'. “N :Itfl‘ V. fiI in. c: 1 ' ‘\.).‘- ‘\;.-, 4"! A». . ~«.....o Scene 3 Mood-serious. Jeanne analyzes Mathilde. Scene h Mood—fear. Mathilde discovers necklace is gone. Mood—anxiety. necklace. Scenes 5-? searches for Scenes 8-9 Heed—serious. They realize that they must replace the necklace. With the script marked and the mood of the entire play and each scene determined, the remaining task was to locate records that would fit the re uirements of the scri t. To insure harmo. , care had to be taken to choose one composer, or at least one tyne of orchestration. Since the program was going to be kinescoped, the records chosen had to be cleared for filming regulations. After hours of selecting, rejecting, and listening, the following records were selected from the B. G. Library: Required husic Selected Husic Theme 80 302 Evening Expectations Transitions ?cene 1 BG 530 B Satirical episode ficene 2 BS 115 Fridges E -8l— icene 3 3G 115 A Scene h—S PG 115 B Scene 6 BS 115 C Scene 7 EG 538 Murky and Hystical *‘J (j) 530 S39 Moment of Fear $cenes 8-9 After the records had been selected, they were cued. This means that the record was played up to the spot where the desired chords were located and a yellow grease pencil was used to mark the soot. After the records were cued, they were numbered with masking tape. The numbers indicated the order in which they would be played during the performance. Since the mechanics of playing the records will not be discussed in a later chapter, the author will discuss it briefly here. The records should be placed on a turntable and the needle carefully placed on the marked spot. A few minutes before it is time to bring in the music, one hand is lightly placed on the edge of the record to hold it stationary, while the other hand turns the switch that starts the turntable in motion. The volume is completely turned off until about a second before the music is to be played, -32- then the hand is lifted rom the record and the volume is brought up to the desired point. The audio man must be exact about bringing the volume up. If it is brought up too soon, the music becomes distorted as the record would still be picking us speed. On the other hand, if the music is brought in too late, the actual spot might be passed and the effect of the music lost. I‘he last pre—planning meeting was held in the makeup department of station YKAR—TV. Since the makeup man would not be in town on the night of the production, it was necessary to draw un a tentative makeup plot. All makeup had to be one shade darker than usual because the show was going to be kinescoped. The following Max Factor requirements were listed: Character Description hakeup Mathilde Attractive young 5 N Panchromatic black French bride pencil to line natural wrinkles. dhite grease cream to line bone structure. No. 1 lipstick Hathilde 'fired and worn after Bone structures to be ten years of hard work lined with black grease paint...Hair powdered Pierre Petty clerk, homespun, 6 Y Panchromatic black about thirty years pencil to line natural wrinkles in face. Grease highlights on nose bridge and eye bones. black uencil to draw mustache and sideburns. -83.. Character Description Hekeup Pierre Tired and worn after Eye shadow to line ten years of hard fleshy parts of face labor. (fill in). Black vencil to line more wrinkles. Powder hair. Cabby Riddle-aged S N Panchromatic eye Frenchmen shadow. Llack pencil Editor to line natural wrinkles, to draw in Jeweler mustache and sideburns. Jeanne Peautiful, wealthy S N Panchromatic. Ho. young French girl 1 lipstick. Ahite (about twenty—one grease cream to line years). bone structure. Red Wig) kaid Plain...about same 5 H Panchromatic. No. age as Jeanne l lipstick. Frown nencil on eyebrows. Natural wrinkles to be lined with black pencil. 3. Read-through The script was read in its entirety during the first read- through rehearsal. During this initial reading, the procucer found it profitable to interject brief comments, but she did not make a cetailed critique of the interpretations until the cast had finished reading. Th read-through followed by a second, took place around a table. The meeting was informal and was designed to orient the case with the script and with the individual roles. -8h- Reading rehearsals continued every night after school for the first two weeks. At these rehearsals the producer worked carefully with the cast on vocal interoretation and characterization. The students had their lines memorized by the end of the second week and they were ready to begin blocking. Remorizing lines first and blocking later W95 not the ideal method of drilling for a television performance, but since the producer had never had any television evperience, it was the most practical method. At the end Of the two week period the director came to the convent to block the action. h, Walk-through This was the most important stage of the practice. It was here that most of the problems and details of camera movement were worked out. This blocking of shots meant that a specific lens was assigned to a specific camera. Then a description of the shot and the instructions for the movement of the camera were written on the script. The director had the choice of using the conference room at WEAR-TV and transferring the floor plan of the studio to this rehearsal hall by means of masking tape, or of using three small convent parlors and a dinette to simulate the four sets. Since these rooms were adjoining and since they were furnished, the director decided to use them for the first blocking sessions and then move to the conference room to polish the action. When the cast began rehearsing in the conference room, the biggest problem was to get the performers to play nearer to each other so that they would be within the frame of the television cameras when the time cane to transfer to the studios. They were also directed to hold their positions so that the camera would not have to follow'them about the playing area unless this effect was desired by the producer. Many of the actors' actions had to be suppressed, esnecially during the instances when closeups were planned, since too much motion would do one of four things: defocus the shot, out off a portion of the performer, lose the performer completely, or block another actor. As the actors rehearsed, the director was constantly on his feet playing tte part of first one camera and then another, as he viewed the action fror each camera position. Since television cameras are equipped with four standard lenses, the director had to plan his choice of lens. Using a portable Dyston fele-viewer, he was able to move around from spot to spot establishing definite lenses and camera positio:s. S, bry rehearsal This was the period in which the cast and the technical crew transferred to the studio in which the play would be performed. Since the working script and a tentative selection of lenses had been carefully prepared during the blocking period; and the position of the members of the cast for every shot had been worked out during the walk-through rehearsals, this period served as a visual check on the lens choice and actor position. Facial expressions and the manipulation of parts of the body which were to be taken in closeups a", {)— were carefully scrutinized. minute attention was paid to the hand gestures of Mathilde during the last lines of the play when she discovers that the necklace was only paste. These details were observed in order to decide their best execution. The movement of the members of the cast was also watched. Pi,rre's walking pace in the first two scenes, which had been slowed down during the walk-through rehearsal, was further retarded. The twirling of the delighted Mathilde had to be played on the diagonal with respect to camera position in order to maintain the correct comnosition for the shot. Recheck on all movements previously drilled upon was the prime purpose of the dry rehearsal. 6. Camera rehearsal Development of the cast had been the major consideration during all previous rehearsals. New, during the camera rehearsal, consideration of the technical aspect of the production was the main issue. The personnel required to operate the studio equipment is vast. The exact number of people working on a production is in great part determined by the equipment. The general grouping of personnel at station WEAR—TV included: 1. Technicians 2. Projectionist . Audio engineer . Video engineer . Cameramen . Switcher 7. Producer and directors -37- During the camera rehearsal the camermen, engineers, director, and nroducer became a working unit. The audio engineer controlled the sound as it came over the two boom microphones which were located on either side of studio E. The video engineer controlled the light shading of the pictures from each of the studio cameras. The director ore-cued each shot by instructing the cameraman over the telephone system between the control room and tie studio. In this "my the cameramen knew just which ca era would be used, what area the camera would occupy to take the shot, that lens would be used, and what the composition of the shot would include. Since this information had been written on the left side of the script, the director merely referred to the script and called out his instructions tc the technical crew in the studio. The director did his own switching and manipulated the controls which would switch or dissolve from one camera to another. Three cameras were used in this production. Two studio cameras, a tripod dolly, and a pedestal dolly, followed the action of the performers. The third camera was used for a brief period at the Opening to pick up slides; for a one—minute segment within the drama which was on 16mm film. The switcher was responsible for coordinating these three pieces of equipment. During the camera rehearsal both the director and the producer were able to study the composition of shots seen by the studio cameras and the film camera. It was necessary to make sure that the cameras were not picking up the microphone booms or portions new of the scenes outside the set. All the techniques which the cast had mastered during the seven—week rehearsal nericd were visible CT) the monitors, When the director felt that it 1.7.93 TIGCGSSPIIY, the action was stonned and errors in actor or camera nlacement were corrected. Both the director and sroducer were nleased to Obse‘ve that the majority of the members of the cast were able to concentrate on lines and gestures despite the distractions of the cameras, lights, microshcnes, and technical crew. However, two of the minor characters were somewhat distracted, but once they were acclimated to the technical side of television, this condition lessened and the cast seemed ccmnletely at hone in the television studio by the night of the dress rehearsal. 7. Dress rehearsal This rehearsal was the one viich most resembled the actual broadcast. Split second timing and coordination was necessary, since both the cast and the crew were working under rigid timing conditions. Though most of the rough edges had been smoothed down prior to tie dress rehearsal, there were still some imwerfections in both the dialogue and :ovement. For example, the maid's lines were too hurried and her voice sounded muffled; the editor lacked enthusiasm; and Jeanne lacked etnression in Scene 3. An illustration of incorrect movement was exemplified in the scene in which Kathilde sleet on the couch while Pierre searched for the necklace. dathilde forgot to move over to the right side of the couch before reclining. Therefore, when she delivered her line of dialogue she could not be seen. This was remedied by reminding her that she was working with very limited space and this precise movement had to be made. This example serves to illustrate the precision demanded by television. The director regulated the composition of each shot. He used closeuo shots as much as possible and avoided xtreme long shots except for short periods of time. He made sure that there was neither too much space above the heads of the performers, nor too much floor soace shoWing to unbalance pictorial composition. After this rehearsal the weaknesses were pointed out to both cast and crew and last-minute instructions were given before the final production. LI '. I; PTER FRULn i ic A 11w '7"". f“" I l \ YSIS Audience Reaction In the last analysis, the success of any production is determined by the reactions of the intended audience. oince The Necklace was produced for a high school audience, the author showed the kinescope recording to the pupils and teachers of Resurrection High School and recorded their reactions. both the faculty anc followed. ELIE-“A TH l C .woof. W: C‘ 2-4 .L ‘ftlkl‘ELj Comments were given by student body during the discussion which Reactions and comments were charted as follows: EHPATHIC rat‘s .‘ f“ ‘(1 RmsfiCfloso SCENE CF TEKCVBRS OF TTUDHVTS 1 Fair Good 2 Good Good 3 Fair Good flh Very Good Good 5 Good 000d 6 Good Good 7 Good Fair 8 Fair Good 9 Fair Very Good -90- -91- I PJP'V‘I ‘ 1‘ ('1 r‘ 'f‘\'f‘|1\ '1 Cbli- Ll....4T.WI‘-_‘ (‘ ;‘ 3T l'L'JJ . i i. b.) convincing. Pierre stood in front of the editor and it was hard to see him. 1 Mathilde lacked maturity. Slide of the necklace superim— Tierre seemed relaxed and posed over titles was very at ease. good. Pierre's makeup was not professional. Mathilde's weeping was overdone. 2 Mathilde's gown did not fit Pierre's expression of concern her properly. at the end of the scene was Mathilde did an excellent well done. job of delivering her lines while changing her costume Mathilde's dress was eautiful. behind the screen. 3 It was effective to have If the other girls had wigs, the camera shoot into the the maid should have had one mirror. too. Jeanne was too heavily Mathilde should have looked made up. closer at the jewels. Eathilde's responses seemed too mechanical. L Mathilde acted better in Rathilde's weeping and leaning this scene than in any on the chaise lounge was over- other. done. Pierre's telephone The use of the clock as a conversation was excellent. transitional device was "just like the movies." 5 The editor's costume was The editor seemed to be out of focus. -92- COHTETTS OF TEACHERS COXVEUTS 0? STUDEWFS Cab driver's French accent Cab driver shr'gged his was cervincinQ. shoulders too opten. g) The jeweler looked the nart.The jeweler foun‘ the jewels The set used for the store too quickly. did not look as convincing as it perhaos could have. Kathilde had the same dress Fierre did not have sideburns on and it looked as though in this film clip. she wore the same outfit hathilce's hair was too for ten years. modern looking. The transition between the Kathilde did not look as film clip and the park though she had been working scene was too abrunt. hard for ten years. The facial exnressions of The music stab was splendid. Mathilde and Jeanne were excellent. -93- Eroducer's Analysis The actual television broadcast of The T*ecklace was a culmination of seven weeks of work. The experience was of great value to toth the cast and the producer. The students received television acting experience and the producer was able to supplement the theory of production with actual experience. As a result of the study the author was able to make the following recommendations for prospective television writers and producers: Recomnendations for writers. 1. The adaptor should be familiar with the nature and content of the original. 2. He or she should also have a kncwleige of the television medium and be aware of its limitations and its creative tools of expression. 3. The selected short story must be one that can be told within a limited period of tim . h. The story must be practical from a production standpoint. A. One that can be presented under the conditions of continuous production. B. One that requires a limited number of characters, sets, and costume changes. 5. The story should be one that would have genuine audience appeal and dramatic value. Recommendations for the producer of the short story adaptation. l. The producer should select the cast on the basis of characterization, telegenic suitability, and power of projection. -9h- 2. ‘The producer must study the production possibilities of the script so that h or She can: A. Design the scenery. b. List required furniture and props. C. Make the light plot. D. Select music. n. Plan costumes and makeup. 3. The producer must spend hours rehearsing for the show. A. The read-through period is spent working on vocal interpretation. 8. The walk-through period is spent on blocking the action. C. The camera-rehearsal period is used for working out the technical aspect of the production. The following critical analysis of the performance was prepared with as much objectivity as the author could draw upon to reach the necessary conclusion of this creative experiment. The technical phases of the production worked out smoothly and were responsible for many realistic effects. One of the staff members suggested that a greater variety of camera angles would have added to the overall pictorial composition of the sh0w. The recorded music was effective. The mood of each scene was set by the opening music, which gave the audience a brief introduction to what was to come. In two or three places, however, the music was too loud and made a harsh rather than soft transition. The settings designed for the production were effective as the background surrounding for the various scenes, and conveyed the -95- suggestive realism that the producer had hoped to achieve. The rear-view projection screen was particularly effective in creating the illusion of "The Emperor's Park." Although the actors failed to give the emotional impact that the producer had been trying to achieve, they did accomplish the feeling of ensemble acting in scenes two, four, six, seven, and nine. Moreover, not one of the characters missed a line, which was quite an accomplishment in view of the many distracting elements on the studio floor. ‘ The members of the cast were only juniors in high school and many of them lacked the emotional maturity that the various roles demanded. However, as the author watched the drama progress from the first read-through to the final production the was pleased to note nrogress made by Mathilde, who had had little or no previous acting experience. Pierre's projection had improved steadily each week and on the night of the show his portrayal of die poor hen- pecked petty clerk was excellent. The makeup was overdone and tended to detract rather than add to the production. Kathilde did not look as though she had rorked for ten years in scene nine. Pecom"endaticns for further studv. —- This study has been an introduction to the problems and procedures involved in writing and producing a television adaptation. The study was limited to the consideration of the problems encountered.1n the adaptation and production of a short story. It could be expanded to include other -95- adaptable materials such as novels, biographies, and dramas. dach literary and dramatic form would present nrotlems of adaptation and production in keeping with its respective character. If studies were made of each of these forms, the information gained from television adaptation and production could be made available to prosnective television writers and procucers. 311311072"; NW 3 ( 'Ci‘CS Archer, William, Tlaymakinfi. NerrYork: dcdd head and Company, l93h. Bettinger, Hoyland, Television mechniques. New York: Harper and f ) Brothers, 19 )0 Eretz, Rudy and itasheff, Edward, The Television Hrogram. NeW'York: .5; . .'"‘. 0 ”33m, i nC . , 1951. Chinn, Toward A., 1'elevision IroadcrstinW. Yew York: Kciraw—Hill Book Company, l?”2. Tddy, William 0., Television the Eves of Tomorrow. New York: Prentice Hall, Inc., irih. C+ Egri, Lajos, The Ar of Dramatic riting. YeW'York: Simon and . Z— ”chuster, l9ho Triedrich, Willard J. and Traser, John P., icenery for the Anateur Staie. New York: Uachillan Company, 1955. —-—.—:—- ' Green, Robert 8., Television'writing. NeW'York: Barter and Trothers Co., 197?. Hewitt, Parnard, Art and CraFt of Play Brodvction. New York: J. B. Linnincott Co., lVNC. Keller, James, Careers that Change the World. Garden City, Vow York: Permabody, 1950. Lawson, John H., Theory and Technique of Playwriting and Screen— writing. New York: G. r. Putnam's Cons, 19h}. Marx Hilton, The Eniovnert of irama. New York: F. 5. Crofts and Com pa ny , Periodicals Anderson, John E., "Psychological Aspects of Child Audiences," The Cducational Journal. II: 285-91, December, 1950. -97- -98- Unnublished Katerial Corwell, Yarion Elizabeth, ”Television Programs Designed to Stimulate Interest in Feeding Books." Unpublished Laster's thesis, Denartment of Speech, Lichigan State College, 195h. Date Due 3300M USE ONLY Demco~293