O‘Nfllnl~.;lo— 0.90 I . A SURVEY OF THE EXT RACURRJCULAR DRAMATIC ACTIVITIES IN MlcmsAN HIGH SCHOOLS 1951 "191125- Thai: for the 00.51196. .o’I’M. A. MICHIGAN STATE umvek’smti Donald E Heady I 1963 ' ' ...... LIBRA R Y Michigan State University ABSTRACT A SURVEY OF THE EXTRACURRICULAR DRAMATIC ACTIVITIES IN MICHIGAN HIGH SCHOOLS 1961—1962 by Donald E. Heady A questionnaire was mailed to the 778 public and private high schools in the State of Michigan. Five hundred and sixty-nine or 73% of the sample responded indicating that 452 or 77% of the schools had programs each presenting an average of 1.8 plays per year. (570 Of Seven hundred and thirty—one full length plays, which were comedies, were produced. The most pOpular play was Qu§_Tgwn, Over 70% of the plays produced were presented by Junior and senior classes. The average play was presented twice before an average audience of 337 people per performance. The average adult admission was between 75¢ and $1.25; the average student price was over 75¢. The average royalty per play was $43.16 per play totaling $27,434 for the state. Average cost per play was $131.05 per play totaling $85,788 for the state. The average profit per play was $197.40, totaling $89,934 for the state. The director in the majority of the schools selected the plays. The major problems in play selection were limited stage facilities and difficulty obtaining casts. in 94% of the schools the director cast his own plays. An average of four rehearsals per week were used for an average of 50.3 nours per full length play. The stage was available for rehearsal Donald E. Heady about 66% of the time in most schools. The major problem in play production was inadequate staging and lighting facili- ties. The plays were presented in an auditorium-gymnasium type of theatre in over 51% of the schools. Proscenium or traditional staging was used in 93% of the high schools. The total overall average stage dimensions were: 33’ pro- scenium Opening, 21'5” stage depth, and 45’11” wall to wall stage depth. The average stage had two banks of stage-width border lights and 6.4 spot lights. An average of 20% of the schools had no border lights and 24% had no spot lights. About 72% of the schools had some type of lighting control, but only 37% of those with lighting control found it adequate. Only 32% of the schools had use of fly space and 52% of those with fly space found it inadequate. About 12% of the schools with a drama program had a dramatics scene shop and 53% with their own workshop found them inadequate. About 57% of those without their own workshop had use of an industrial arts room. Over 72% of those with use of iUGUS« trial arts rooms found them adequate. About 86.3% of the costumes used for plays were borrowed, the other 13.7% was split evenly between rented and built costumes. The majority of profits from 61% of the plays went into Junior and senior class funds. Only 28% of the proceeds were used primarily for drama funds and stage equipment. Donald E. Heady The average high school play director in the state had 9.8 college or university semester course hours in drama. Only 34.7% of the directors had no formal training. Approxi- mately 134 courses in dramatics were offered in the schools. Courses were offered in less than 25% of the high schools, most of the courses were offered in schools with enrollments of over 1000. Less than 33% of the directors received technical aid in producing plays. About 20% received financial aid and only 9% received aesthetic aid. Sources for most of this aid came from within the school system. When asked where they might obtain future aid 75% of the directors responded that they did not know. Colleges and universities were mentioned as sources in only 20% of the cases. Suggested improvements were: closer communication between speech educators and administrators, improved teacher training, greater opportunities for all school participation, redistribution of production profits, a stronger high school theatre organization, a college or university play reading center, and more available summer workshOps for teachers and students. A SURVEY OF THE EXTRACURRICULAR DRAMATIC ACTIVITIES IN MICHIGAN HIGH SCHOOLS 1961-1962 By Donald E. Heady A THESIS Submitted by Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Department of Speech ACKNOWLEDGMENTS The completion of this thesis was made possible by the patient and understanding guidance of Dr. Nat Eek. The author is also indebted to Dr. John E. Dietrich, Chair- man, of the Department of Speech for the interest shown and the financial support given by the Department of Speech toward this project. The author's deepest gratitude is expressed to his wife, Sue, without whom this thesis could not have been concluded. ii TABLE OF CONTENTS ACKNOWLEDGMENT . LIST OF TABLES Chapter I. STATEMENT OF THE PROBLEM. Definition of Terms Limitations and Objectives Significance of the Problem II. REVIEW OF THE RELATED LITERATURE . Survey Method The Questionnaire Gee Study Meyer Study Lohrey Study Kibler Study III. THE SURVEY PROCEDURE . Selection of the Sample Contents of the Questionnaire Preparation of the Questionnaire Distribution of the Questionnaire Classification of Schools IV. ANALYSIS OF THE DATA . Size and Reliability of Response Analysis of the Response V. COMPARISON OF THE STUDIES Extracurricular Dramatic Programs VI. SUMMARY AND CONCLUSIONS Summary General Conclusions Practical Implications BIBLIOGRAPHY. APPENDICES iii Page ii iv 16 24 64 7O 79 81 Table 10. ll. 12. 13. l4. 15. LIST OF TABLES Classification of Schools Per Cent of Return and Number of Schools with ‘Extracurricular Drama Activities. Number of Plays Presented in Michigan High Schools 1961-1962. . . Total Number of Plays Produced Classed According to Types . . . . . . . Plays Most Often Produced in Michigan High Schools 1961—1962. . . . . . Musical Productions in Michigan High Schools 1961—1962 . . . Number of One Act Plays Produced in Michigan High Schools l96l-l962 . . . . . Groups Sponsoring Extracurricular Dramatic Acgivities in Michigan High Schools 1961— 19 2 . . . . . . Attendance Figures for Performances in Michigan High Schools 1961:1962 . . . . Admission Prices for Michigan High School Productions l96l- 1962 . . Cost For and Profit From High School Plays in Michigan 1961- 1962 . . . Student Participation in Full Length Plays in Michigan High Schools l96l-l962 Responsibility for Play Selection in Michigan High Schools l96l~l962 . . . . Responsibility for Casting High School Plays in Michigan 1961—1962 . . . . Rehearsal Practices in Michigan High Schools 1961-1962 . . . iv Page 22 25 26 28 29 31 33 UL) U7 45 46 Table Page 16. Ten Major Problems in Play Production in Michigan High Schools 1961-1962 . . . . 47 17. Types of Theatres Used for Play Production in Michigan High Schools 1961-1962 . . . . 52 18. Types of Stages Used in Michigan High Schools 1961-1962 . . . . . . . . . 53 19. Average Stage Dimensions for Proscenium Theatres in Michigan High Schools 1961-1962 . . . . . . . . 54 20. Lighting Facilities in Michigan High Schools ' 1961-1926 . . . . . . . . . 55 21. Responses to the Question ”Do You Have Use of Lighting Control?" . . . . . . . . 56 22. Responses to the Question ”Do You Have Use of Fly Space?” . . . . . . . . . . 56 23. Responses to the Questions ”Do You Have Use of An Industrial Arts Room?” and ”Do You Have Use of Your Own Workshop?“ . . . . 57 24. Sources of Costumes in Michigan High Schools 1961-1962 . . . . . . . . . . . 58 25. Use Made of Profits for Dramatic Productions in Michigan High Schools 1961—1962 . . . 59 26. Average Training of Play Directors in Michigan High Schools 1961-1962 . . . . 6o 27. Drama Courses Offered in Michigan High Schools 1961-1962. . . . . . . . . 61 V CHAPTER I STATEMENT OF THE PROBLEM The purpose of this study is to survey and analyze the extracurricular dramatic activities in the Michigan High Schools for the 1961—1962 school year. Definition of Terms Extracurricular is defined as that which does not per— tain to a course of study or is not directly controlled by, or connected with, the curriculum. Although both curricular and extracurricular may be controlled by the same administer- ing body, the programs are different in purpose, approach, and content. In the extracurricular program, participation is on the volunteer basis, while in the curricular program, participation is required. Dramatic activity is defined as a group theatrical production which is designed to be performed before an audience. Although individual presentations differ, at least one produc- tion is given each year. The play is written down, lines memorized, and settings and properties are used. Included are full—length plays, one act plays, and musicals. Minor skits are not included under dramatic activities. In this study, only full length and not one act plays will be fully considered. Michigan High Schools are all high schools in the state of Michigan which are registered with the state's committee for continuing education. All private, church affiliated, and public high schools are included in this definition. 10. 11. 12. Limitations and Objectives This study aims to discover the following information: The number of high schools having an extracurricular dramatics activities prOgram; The title, author, type, kind, and length of each play presented in these high schools; A breakdown of the finances of the extracurricular dramatic activities program as to royalties, price of admission, cost, profit, and use of profit; The groups which sponsor the dramatic productions and the number of students which participate in them; The number of performances of each production and the total attendance; The person(s) responsible for casting and play selection, and the technique used for casting and play selection; The rehearsal pattern for the productions; The major problems in play selection and production; The statistics concerning the stage and physical plant in each high school; The amount of formal training the high school play director has received; An indication of the drama courses taught in the high schools; And the sources of technical, financial, and aesthetic help which are used, or might be used by the high schools in the state of Michigan. This study is not an attempt to evaluate the high school programs as to their worth, but aims to give a clear picture of the situation as it exists today. The analysis of the data in this survey can be used to predict trends in extracurricular dramatic activities in Michigan High Schools. A comparison with similar studies in four other states can be made to illustrate Michigan's place in the national pic— ture of extracurricular dramatic activities in the high schools. Significance of the Problem 1 Recent studies indicate that there are extracurricular dramatic activities in over 50 per cent of the Michigan High Schools. An analysis of the state-wide program may aid college and university teachers in building more effective curricula for the speech and drama teachers. The findings of this study may also aid in the evaluation of individual programs and provide a basis on which speech and drama teachers may compare special problems.2 Since four other studies of this nature have been completed in the states of Wisconsin,3 1All four studies discussed later in this paper indi— cated that over 50% of the high schools in each of the four states had an extracurricular dramatics program. 2Over 90% of the schools returning the questionnaire for this study requested the findings of the study be sent to them. 3Ronald Callaway Gee, ”A Survey of the Extra Curricular Dramatic Programs in the High Schools of Wisconsin 1947-1948” (unpublished Master's thesis, The University of wisconsin, 1949). Iowa,L‘L New York,5 and Ohio,6 these studies offer basis for comparison. The first study was completed in 1949, the next two in 1955, and the latter in 1959. This thirteen year time span offers an additional Opportunity for comparison of the deve10pments in extracurricular dramatic activities over an extended period. This study is the fifth step toward devel- Oping a picture of extracurricular dramatic activities in the high schools on a national scale. 4Margaret Gump Meyer, "A Survey of the Extra Curricular Dramatic Activities in Iowa High Schools 1953-1954” (unpub- lished Master's thesis, The University of wisconsin, 1955). 5Sherwood David Lohrey, ”A Survey of the Extra Curricu- lar Dramatic Activities in the Public High Schools of New York State 1954-1955" (unpublished Master’s thesis, The University of Wisconsin, 1955) 6Robert J. Kibler, ”A Survey of the Extracurricular Dramatics Activities in Ohio High Schools 1958-1959” (unpub- lished Master's thesis, Ohio State University, 1959). (it'll, CHAPTER II REVIEW OF THE RELATED LITERATURE The literature concerning the questionnaire as a survey technique Spans only about 50 years. A brief consid— eration of that literature pertinant to this study is included in this chapter. The bulk of this chapter, however, is concerned with the four important related studies by Gee, Meyer, Lohrey, and Kibler. Survey Method The survey is ”a structured attempt to obtain data—- facts and Opinions—-about the current conditions or status of things."1 The data of a survey is not designed to prove anything right or wrong; it is descriptive not predictive. The survey as a descriptive research technique seeks to as- certain the prevailing situation existing at the time of the study. The survey is predicated on the fact, ”it is essential to know 'where we are and what we have done' in order to know 'where we desire to go and what we want to accomplish.'." Writing on the survey method, Don C. Bliss stated: 1John B. Barnes, The Dynamics of Educational Research (Tempe: Arizona State College Press, 1958), p. 161. 21bid., p. 162. fill!!! ll! lull The purpose of measurement is never to impose an arbitrary uniformity. It is, rather, to discover differences and the reason for their existence, and, most of all to give us some adequate means of esti- mating progress or change. Probably the greatest advantage of the survey tech- nique lies in the fact that it deals with practical problems. ”The survey also supplies information that would otherwise be difficult to obtain.”4 The data compiles through an ade— quately conducted survey may be useful to the handling of practical problems in the future and to subsequent research. The major criticism leveled at the survey method is that it is merely superficial fact getting. As Mulgrave and Baker point out: This criticism sometimes appears to be justified, but is the result of a failure to make good use of the survey method rather than a criticism of the survey method as such. The kind of fact getting that an efficient secretary can do should not be regarded as research. The facts must be adequately and accurately interpreted before the survey method may be considered seriously as a method of research. A very clear definition of the requirements of a survey of higher education is this one by W. C. Eells: A survey of higher education requires a scientific collection and examination of pertinent data, pre- vailing if not exclusively objective in character, concerning a specific problem or problems, system- atically presented and constructively interpreted 3Don C. Bliss, Methods and Standards for Local School Surveys (New York: D. C. Heath and Company Publishers, 1918), p. xx. ”Dorothy I. Mulgrave and Elmer E. Baker, "The Survey Approach," An Introduction to Graduate Study in Speech and Theatre, ed. Clyde W. Dow (East Lansing: Michigan State UnIversity Press, 1961), p. 236. 5Ibid., p. 237. with a View to improvement of the institution or institutigns or phase of higher education with which it deals. The Questionnaire The questionnaire was the survey technique selected for gathering the data for this study. Normally the ques- tionnaire is used to gain information with the investigator absent. Symonds writes that the questionnaire is the instru— ment best fitted to measure conduct.7 Rugg divides the kinds of questionnaire into three major groups: 1. Those asking for facts which the reporter has observed. 2. Those asking for facts to be found in records 3. Those asking for reactions of the individual.8 The following set of criteria is suggested by Symonds for building a questionnaire: The number of questions should be small. The questions should be brief. The questions should cover information desired. The questions should be simple enough to be understood. The questions should not be ambiguous. The questions should be specific, not general. The questions should be stated in acceptable language. The questions should be so arranged that the answers can be made by checking. Avoid leading questions. Ask questions that can be answered.9 l._.| O\O CI) NONU‘I 41‘me 6W. C. Eells, Surveys of American Higher Education (New York: Carnegie Foundation for the Advancement of Teaching, 1937), p. 6. 7Percival Symonds, Diagnosing Personality and Conduct (New York: The Century Company, 1931), p. 122. 8H. O. Rugg, Statistical Methods Applied to Education (New York: Houghton Mifflin Company, 1917). 9Mulgrave and Baker, op. cit., p. 239. Each question in a survey of this type must be one that the respondent not only can answer, but one that he is willing to answer. "The criterion of ability concerns the extent to which a reSpondent, by virtue of his professional preparation and experience, can supply a reliable answer to a question."10 In evaluating a question in terms of willingness to answer, Mulgrave and Baker suggest that the researcher imagine himself in the respondent's situation and try to anticipate reasons for hesitancy on the part of the respondent. Facts of a highly personal nature, those which might be detrimental to professional colleagues and those on highly debatable professional issues should be avoided.11 Studies of extracurricular dramatic activities in the high schools which were conducted before 1949 are limited in number. The reliability of these studies is rather question— able since they were conducted as long as 20 years before the Gee study. However, there are the following conclusions from these studies: 1. Small schools produce almost the same number of full length plays as do larger ones. 2. The prospective teacher of speech will direct plays in eight out of ten schools. 3. Only one-half of the schools have adequate stage facilities. A. A relatively small amount of the proceeds from dramatic productions are used for purchasing dramatic equipment and supplies. lOIbid., p. 2A0. llibid. 5. Teachers directing the play lack adequate training for their job. Gee Studyl2 The first study of this nature was conducted in 1949 by Ronald Gee and was used as a pattern for those following. Gee's purpose was to analyze and evaluate the extra- curricular dramatic activities in the Wisconsin High Schools. He was concerned with: (1) selection of dramatic productions; (2) purpose of dramatic productions; (3) financial adminis- tration of dramatic productions; and (A) the technical facilities.l3 Gee divided his questionnaire into two segments, one concerned with information about individual productions and the other with the ”circumstances under which dramatic pro- ductions were staged in various high schools in the state.”114 These two segments were each divided into two groupings. The first segment was concerned with (l) the title of the productions and (2) the data on these productions. The second segment was divided into (1) the method of casting and selecting plays and the difficulties in selecting scripts, and (2) the available facilities for producing the play.15 The initial letter and questionnaire were sent on February 16, 1949. The follow up letter was sent March 16, 12Gee, op. cit. 131616., pp. 1—2. 1A 15 Ibid., p. 37 Ibid. 10 1949. They were sent to the individual drama teacher or the principal of each school. Of the total mailing, Gee obtained 36 per cent of the drama teacher's names. He sent the remaining 64 per cent to the principals. His initial mailing went to 414 public high schools.16 Responses were obtained from 57 per cent of his sample. Gee's study indicated that 55 per cent of the Wisconsin High Schools responding had an extracurricular dramatics program in 1949. These schools presented an average of 1.7 productions for 1.4 performances before an average audience of 52.4. The major problems in play selection in order of their difficulty were: (1) limited stage facilities, (2) cast too large or too small, (3) objectionable stript material. The director was responsible for casting in most schools and the comedy the most pOpular type of play. The junior and senior classes presented the majority of the plays and charged 20-25¢ admission for children and 35-50¢ for adults. Profits went to the junior~senior fund in most schools. Less than 10 per cent of the profit was used for stage equipment. The stage was available for rehearsal less than 50 per cent of the time. The plays were presented on a proscenium stage with an equal chance of being presented in an auditorium or an auditorium-gymnasium combination. l61bid., pp. 36—37. 11 Meyer Studyl7 Margaret Meyer’s survey was similar to that of Gee; however, she carried it one step further. Her first objec- tive was to analyze and evaluate the educational qualifica- tions of the teachers directing extracurricular productions.18 Meyer's questionnaire "was divided into two parts: (1) the first page, which included the name of the director, school, director‘s training, methods used in play selection, casting, questions related to rehearsals, stage information, financial program, and technical facilities, and (2) page two, which was a listing of the plays produced and signifi- cant data pertinent to each production."19 The questionnaires, marked confidential, were sent on March 29, 1955 to 837 high schools in Iowa. On April 22, 1955, when Meyer assumed the teachers were least busy, she sent a follow up card to the schools which had not responded to the initial mailing. All correspondence was sent to ”Director of Drama” at the various schools.20 Responses were obtained from 42.3 per cent of her sample. Meyer's study indicated that 41 per cent of the Iowa High Schools reSponsing had an extracurricular dramatics program in 1955. These schools presented an average of 2 plays for 1.4 performances before an average audience of 247. The major problems in play selection were not considered in this study. The director was responsible for casting in the 18 l7Meyer, pp. cit. Ibid., p. 1. 19Ibid., p. 19. 20lbid., pp. 19—20. 12 majority of the schools and the comedy was by far the most popular play. The junior and senior classes presented the majority of the plays charging an average price of 25¢ for children and 50-60¢ for adults. The majority of profits went to the junior and senior class funds. The stage was available for about 50 per cent of the time. The average total time spent on rehearsals was 41 hours. Over 90 per cent of the plays were presented on a proscenium stage. The majority of the plays were presented in an auditorium- gymnasium type of theatre. More than 50 per cent of Iowa school teachers had no formal training in dramatics. The quality of over 66 per cent of the plays produced in Iowa were considered of low literary quality. Lohrey Study2 In his study of the high schools in New York, Lohrey also used a two page questionnaire. His aims and objectives were similar to those of Gee and Meyer. He emphasized the importance of dramatic activities through educational leaders and the significance of dramatic activities in determining the cultural level of the students.22 The first sheet of Lohrey s questionnaire was concerned with these areas: "the type of drama programs offered in each school, the selection and casting of the plays, and the 21 22 Lohrey, 9p. cit. lbid. 13 facilities on hand.”23 The second sheet, like that of Meyer, dealt with the individual plays presented. The questionnaires were sent on April 19, 1955, to the 747 public high schools in New York state including New York City, and were addressed "Director of Drama." Three weeks later a follow up letter was sent. Responses were received from 45.6 per cent of the sample. Lohrey‘s study indicated that 41 per cent of the responding high schools in New York state had an extracurricular dramatics program in 1955. These schools presented an average of 1.3 productions for 1.9 performances before an average audience of 379. The major problems in play selection were: (1) limited stage facilities, (2) cast too large or too small, and (3) objec- tionable script material. The director was responsible for choosing the play in only one-third of the reported cases, but in the majority of the schools he did the casting. Over 77 per cent of the plays were comedies. The junior and senior classes sponsored the majority of the plays charging an average of 50¢ for students and 80¢ for adults. The junior and senior class funds received most of the profits from productions. The majority of the plays were presented proscenium style with an even chance of being presented in an auditorium or an auditorium-gymnasium theatre. 23ltid., p. 24. l4 Kibler Study24 The primary import of Kibler's study was placed on Wobtaining information which would describe most accurately the extracurricular dramatic activities”25 in Ohio High Schools. Unlike Lohrey, ”neatness and arrangement were of secondary importance to the information which was desired."26 On February 19, 1959, questionnaires were mailed to the "Director of Dramatics” in 1104 public, private, and church affiliated high schools.27 Kibler’s questionnaire was divided into three general areas: (1) ”material used for identifi- cation purposes,” (2) specific data for individual productions, and (3) ”material relating to the general characteristics of the situation and problems in producing a play."28 The follow up letter was sent on March 9, 1959 to those schools that had not returned the questionnaire. Responses were returned from 57 per cent of the sample. Kibler‘s study indicated that 50 per cent of the schools had extracurricular dramatic activities in 1959. These schools presented an average of 1.7 plays for 1.4 performances before an average audience of approximately 324. The major problems in play selection, in order of difficulty, were: (1) difficulty meeting cost requirements, (2) objectional stript material, and (3) limited stage facilities. The director usually selected the plays and cast them. Over 61 per cent of the plays produced were comedies. The junior and 24Kibler, pp. cit. 25lhid., p. 10. 26lbid. 27lbid., p. 17. 28lbid., p. 19. 15 senior classes sponsored the majority of the plays charging approximately 25¢ to 50¢ for students and 50¢ to 80¢ for adults. Class activity funds received almost all of the profits. The stage was available about 50 per cent of the time. Over 90 per cent of the schools in Ohio used proscenium style stages with an even chance of their being in an audi- torium or an auditorium-gymnasium type of theatre. Although there were some differences in emphasis in each of these studies, the basic aims and objectives were similar. This study incorporated those aims and objectives which had proved workable in the related studies. An addi- tional aim in this study was to discover where the director goes, or would go for outside aid in producing the play. Like Kibler, the author emphasized obtaining complete infor- mation, with neatness and arrangement taking a secondary role. This study did, however, use arrangement in an attempt to create a formal appearance of the form used. CHAPTER III THE SURVEY PROCEDURE Although this chapter deals primarily with the prepara- tion and content of the questionnaire, the selection of the sample and the distribution of the questionnaire are also considered here. Selection of the Sample There were 778 high schools listed in the state of Michigan when this study was begun. This mailing list, ob— tained from the Continuing Education Services at Michigan State University, contained the names of some high schools which were no longer in existence and some which had combined with other schools. However, this was essentially a complete list. Every public and church affiliated high school listed with the Continuing Education Service, that is, every high school in the state, was included on the mailing list for this study. Contents of the Questionnaire The questionnaire used for this survey of the extra— curricular dramatic activities in Michigan high schools was divided into three general sections: (1) that for identifi— cation which was placed at the top of the page; (2) that for 16 17 specific information in individual plays which was in the middle; and (3) that for relating general information con- cerning the producing situation which was placed at the bottom of the pageJ— This same general arrangement was used in the studies of Gee, Lohrey, Meyer, and Kibler, although the amount of the material and the order varied. It was felt that the information on the questionnaire would be sufficient to ascertain an adequate picture of Michigan high school's dramatic activities. The individual items within the three major sections of the questionnaire were obtained by consulting the previous studies and through con— sultation with various members of the Speech Department at Michigan State University. During this planning period, Dr. John E. Dietrich, Head of the Department of Speech, acted as a representative of the Governor's Council for Culture in the State of Michigan. First section.--The first section, that concerned with identification, consisted of four elements: (1) the name and location of the school; (2) the approximate enroll- ment; (3) the name and position of the respondee; and (4) the answer to the question, "Do you have an extracurricular dramatic activities program?” Second” section.—-This section included the following information relative to individual plays: (1) the title of the play or activity; (2) the author; (3) the type; (4) the length; (5) the Sponsoring group; (6) the number of 1See Appendix B. 18 performances; (7) the approximate total attendance; (8) the royalty fee; (9) the price of admission; (10) the approximate cost of the production; (11) the approximate profit or loss; and (12) the number of student participants. Space was allowed for information concerning six plays. Third section.--The third section was divided into three smaller segments. The general headings for these segments were: (1) the play; (2) the facilities; and (3) general information. Since this was considered the most important section of the questionnaire, approximately two- thirds of the page was devoted to it. The first segment of this section entitled ”The Play," was concerned with: (1) responsibility for play selection; (2) problems in selecting the plays; (3) responsibility for casting; (4) rehearsal information, including the average length, number per week, total number of hours and the per- centage of the time the stage was available for rehearsal; and (5) space for listing three major problems in play pro- duction. The second segment, that dealing with facilities, was concerned with: (l) where plays were presented; (2) type of stage; (3) stage dimensions; (4) use of and adequacy of an industrial arts room, own workshOp, fly space, and light controls; (5) the number of border lights and spotlights available; and (6) the percentage of costumes that were rented, borrowed, and built. 19 The third segment in this third section dealt with general information. Specific data requested were: (1) the use of profit from extracurricular dramatic activities; (2) number of hours of course work the dramatic coach had taken in dramatics; (3) the courses in dramatics offered in the school; (4) where the director obtained technical, financial, or aesthetic help; and (5) where he might obtain help in the future. The respondee was also asked to check whether he wanted the results of this study and to indicate on the back of the questionnaire any special problems or explanations. Preparation of the Questionnaire Although the basic organizational design of this ques- tionnaire was similar to that of Gee, Meyer, Lohrey, and Kibler, many items were simplified, or deleted, and others added. The over-all intent in creating the questionnaire was to make the questions worth a complete answer. The sug- gested qualities or characteristics of the questionnaire which were discussed in Chapter II were followed in the prep~ aration of this questionnaire. Neatness and orderliness of arrangement were strived for. The questionnaire was multi— lithed on 8-1/2 by 14 inch twenty pound paper. An IBM electric typewriter with ”elite” type was used to further improve the over-all appearance of the questionnaire. Distribution of the Questionnaire The United States Mail was decided the easiest, most efficient, and inexpensive method of distributing the ques- tionnaire for this study. Since addressograph plates were already available for the high schools in this state, it was decided to use the facilities of the Continuing Education Services. This method of addressing the correspondence for this survey had one drawback. The plates with the names and addresses of the schools were labeled "Principal." In order to increase the chance of the questionnaire being com- pleted and returned by the play director, a general plate, ”Attention: Director of Dramatics,” was added, and this statement appeared at the lower left of each envelope. No attempt was made to obtain the specific teachers' names. The initial correspondence mailed to each school con- tained:2 (l) the questionnaire; (2) the initial cover letter; and (3) the return envelope. The initial cover letter con- tained the Department of Speech letterhead and Dr. John E. Dietrich's signature and title: Head, Department of Speech. The saluation of the letter read "Dear Director.” With the prestige built by the appearance of the letter and the sponsor- ship of Dr. Dietrich, The Department of Speech, and the Mich- igan Cultural Council, it was hOped that the teacher would be influenced to complete and return the questionnaire. The letter stressed the importance of the study to the respondee, the Department of Speech, and the Michigan Cultural Council. 2See Appendix A and Appendix C. 21 The initial letter was mailed February 26, 1962; the first follow-up letter3was mailed March 9, 1962; and the second follow—up letter was mailed on May 10, 1962.1“L The initial letter was sent to arrive at the end of the week, the first follow-up during the middle of the week, and the second follow-up at the beginning of the week. The time—gap between the first two letters was based on a study of the time—gap used in the related studies. The data for the third letter was chosen in hopes that by that time most of the productions would have taken place, or at least been chosen. The teachers would be less reluctant to respond since they would probably have complete information about each play. The form of both follow~up letters was similar to the initial letter. They were designed to remind and motivate the teacher to return the questionnaire. Special emphasis was placed upon the necessity of a complete picture of the dramatic activities in all of Michigan. These letters were signed Donald E. Heady, Project Director. Another c0py of the initial questionnaire and a business reply envelope were sent with these letters to every school which had not responded by March 9 and by May 9. Classification of Schools Gee, Meyer, Lohrey, and Kibler found the classification by enrollment the most effective way of placing the high 3See Appendix D. ”See Appendix E. 22 schools into a meaningful order. The same classification system was used in this study. After a consideration of the enrollment divisions used in the related studies, it was originally decided to place the schools in six groups. However, after about 50 per cent of the return were in, further division seemed necessary. The number of groups was revised to include eight division. These division are listed in Table 1. Throughout this paper the schools will usually be referred to by letter classification rather than enrollment. TABLE 1 CLASSIFICATION OF SCHOOLS Total Number Class Enrollment in Each Class A Over 1500 53 B 1001 - 1500 50 C 501 — 1000 159 D 401 — 500 120 E 301 — 400 107 F 201 — 300 “118 G 100 - 200 111 H Under 100 50 Total 778 23 The Michigan Education Directory5 for 1961—1962 was used to compile a list of the high schools in the state. A 3" by 5” card file was kept of the schools. As the responses were returned, the cards were refiled and the data recorded on 2' by 3' oak tag sheets. Very little coding was necessary, and, for the most part, the raw data was placed on the tabulation sheets. 5The Michigan Education Directory and Buyer's Guide, 196l-1962(Lansing: Michigan Education Directory, 1961). CHAPTER IV ANALYSIS OF THE DATA The analysis is discussed in relation to two aspects. The first section covers the size and reliability of the response, while the major portion of this chapter is con- cerned with the analysis of the response. Size and Reliability of Response Response to the questionnaire was very satisfactory. Of the 778 questionnaires set out, 569 were returned. This number represents over 73% of the entire sample. Most of the response came after the first letter was sent to the schools; 314 or 55% of the total response was returned at this time. The number of questionnaires returned after the first follow-up was 173, representing 30% of the total response. After the second follow-up letter, 82 questionnaires OT 15% of the total reSponse was returned. The reliability of the response is illustrated in Table 2. In each class at least 50% of the schools returned questionnaires. Class A and B schools had an extremely high rate of 100% and 84% return. Class G and H schools had rather low rates of 50% and 51% return. A possible explanation of the low return from G and H schools might be the lack of dramatic program; 50% of the schools in class H had enrollments 24 TABLE 2 PER CENT OF RETURN AND NUMBER OF SCHOOLS WITH EXTRACURRICULAR DRAMA ACTIVITIES Class Schools of in Total No. Per Cent With Without School Class Responding Response Activity Activity A 53 53 100 52 1 B 50 42 84 39 3 C 169 115 62 100 15 D 120 66 55 61 5 E 112 84 75 67 14 F 123 96 77 6O 30 G 111 57 51 29 28 H 40 2O 5O 11 9 Total 778 569 73 452 117 of less than 50. Only three of this 50% responded, and none had a dramatics program. Consequently, the incentive to respond was possibly smallest in these schools. The returned questionnaires varied in completeness of response. However, the majority of those returned were fully completed. The partially completed questionnaires were used in tabulating the data wherever possible. Some of the schools responding indicated that they presented one or two one act plays in English classes and before assemblies as part of their class work. These responses were not analyzed, but were placed with the group of schools with no extracurricular dramatic activities. The data analyzed in this study is from schools presenting at least 3 one acts or one full length play per year. 26 Only 72 of the completed questionnaires were filled out by principals, indicating that 90% of those question— naires answered were completed by the person directing plays. Analysis of the Response This portion of the chapter will deal with the items as they appeared on the completed questionnaires. Extent of the Program As Table 3 indicates, 77% of the schools in the state of Michigan had programs,'each presenting an average of 1.8 plays per year. Over 75% of the schools presented two pro- ductions per year. There is no great difference in the number of plays presented; however, there is an indication that as the schools increased in size, the number of produc- tions increased. TABLE 3 NUMBER OF PLAYS PRESENTED IN MICHIGAN HIGH SCHOOLS 1961-1962 Number of Class of School Plays A B C D E F G H Total 1 6 8 26 16 26 21 16 6 115 2 26 21 60 41 38 39 12 4 242 3 8 5 7 l 3 4 0 l 28 4 0 0 l 0 O 0 0 O l 5 1 0 0 0 0 O 0 O 1 Total No. Plays Produced 90 65 171 101 103 111 42 17 700 Total No. Responses 41 34 94 58 67 64 29 11 398 Ave. No. Plays Produced 2.1 1.9 1.9 1.7 1.8 1.75 1.49 1.64 1.8 27 Nature of Dramatic Material Presented The definitions used in this study for each type of play were taken from John E. Dietrich's study of drama pro- grams in colleges and universities.1 Dietrich makes the following analysis: Any play which has a fundamentally serious message handled in a serious manner is considered drama. Any play which is light in nature and has enter- tainment as its primary purpose is labeled comedy. The term "musical" was taken to include musical comedy, operetta, comic opera, and opera. The majority of those produced in the state were Broadway musical comedies, such as The King and I and Annie Get Your Gun. Classification of the plays according to type has depended entirely upon the author's judgment. Using play catalogues and the descriptions on the questionnaires as guides, and reading plays when there was reasonable doubt as to primary intent, the plays were classified according to the specifications submitted in the definitions above. As Table 4 indicates, comedy is the most popular type of play among schools in every size classification. Many notes on the questionnaires indicated that play directors were giving the public comedies because comedies were the audience favorites. Only schools in classes A, B, C, and D attempted to give a balanced program with serious plays 1John E. Dietrich, ”Survey of Dramatic Activity in American Colleges: 1946-1947," Quarterly Journal of Speech, 34 185-186, April, 1946. 28 making up as much as 20% of their programs. In most of the classes, the serious plays were more popular than either the mystery or the melodrama. TABLE 4 TOTAL NUMBER OF PLAYS PRODUCED CLASSED ACCORDING TO TYPES Class of School D E F G H ED C) Type A Comedy 53 75 8 Serious 20 Musical Comedy-Mystery 9 2 Mystery 3 3 2 9 l—‘LU [DI-JOIUKOJEU'I H mm W) O O\U‘I\] O‘eUl Melodrama Children's H mowwww owwwwmw ooomwmw OOHHtww OOOMHHW 0\ \fi 4:" R) H \1 Total 90 171 101 103 111 Analysis of Plays Although the titles of plays produced in our secondary schools are largely unfamiliar to the person not acquainted with high school theatre, many of the most pOpular plays in Michigan are very well known. Fifteen of the top twenty-five plays have been regularly produced by college and community theatres. Among the plays produced four times or less the percentage of well known plays is smaller. Table 5 lists the twenty-five most frequently produced plays in the order of their popularity. Each play is followed by a breakdown of its production in each of the eight classi- fications of high schools and by the total number of times 29 me H m om mm mm mm mm om Hmooe m o o o H H m o H Hoosoo somsHe son oso osHH .mm m H O H H O N O O mSOHfimm mchCcHOO ComcHwo pm pCmGHoCH mHQmXchEwm mEB .:m m o o o o o m m H soosoo stem one sH acoHco .mm m o o o H m o o m soosoo socch co came on: as: one .mm m o o H H o m H o Hoosoo cormssH moo oHcpHH one .Hm m o o o H H m o H soosoo tosses ncHz oHHH .om m o o o o o m o m scosoo cnossm mcHom Ho oocmpHoQEH one .mH m o o o H m m o o Hassoo .cHecoz HHHHQHHHm .mH m o o o H m o H o seasoo soccos so>o .cHosom a .HH 6 o o m o H m o o Hoosoo Hogoom mHm sH noxoom .6H m o o o H o m o m scosoo mHomc< tonne Hz .UH m o o o H o a o H nsoHsom och .HH 6 o o o o H m m H seasoo H one mmm one .mH c o o o H o m m H Hoosoo ommsnm msoHsso one .mH s o H m o H m o o sconce soHcdeH one .xoopm .xooH .HH w o o m m H H o H sconce mHsoH ocHnm sH oz coo: .0H m o H o m o H H m scosoo nHHHHo t oHQoQ mo mo>0H Hem: one .0 m o o m H o m m m . soosoo sow non cH oxme c_cso so» .m m o H H m H m o H HooEoo zoo ccm mcsow @963 mpsmom H50 .s m o o H H o o m : msoHsom gasps osg< no HmeQ .6 m o o m H H a o H scosoo oomH oHo cos oHdoms< .m OH O o m H m m H H sgonmsz snoH Hsmscms Ho ccmHz .4 HH 0 o H o m a m m HooEoo HsHo HQH xn< .m 4H o o m m c m o H Heosoo conch one Hm someone .m 8H 0 o o o m m m m nsoHsom ssoe nso .H Hmpoe m o m m m o m 4 some HmHm Ho oHoHe scam Hoocom mo mmeo CH vocatosm moEHB .oz m mgmda I mmmHnmeH mqoomom mUHm Z tfi Q Annie Get Your Gun Flower Drum Song Girl Crazy King and I Lil' Abner Pirates of Penzance Finian‘s Rainbow South Pacific Babes in Toyland Best Foot Forward Carousel Fortune Teller Hansel And Gretle Hit the Deck H.M.S.Pinafore New Moon Oklahoma Plain and Fancy Rose Marie Showboat Others 00000 \O CDC)CDCDCDOi—‘CDI-JCDCDF’CDCDOF—I LDI-‘ORDO \O OOOl—‘l—‘OOOOOl—‘OOl—‘r—‘O Ol—‘HHH \] OOOOOl—‘OOOf—‘OOl—‘OOO OHi—‘OIU U) HOOOOOOl—‘OOOOOOOO OOHOO LA) UGOOOOOOOOOOOOOOO 00000 t— KHHCDOCDCHDCDOCDCHDCDOCDC> CDOCDCDH HOOOOOOOOOOOOOOO 00000 H OFAFHHFJFHAFJHHHFJH+Hn3mro «ptuunb-t '\'l DOC)l—JCDCDOOCDCDCDCDC)CD'I—'l--‘l--l |,_.I 42' (J) Total Along with the above mentioned 34 productions of notable musicals, were 12 unclassified musicals and one minstrel show. The 12 unclassified productions were labeled musicals, but the author and title were not given. Although the total number of musicals produced in the state appears 32 small at first glance, it is, nevertheless, surprising when one thinks of the difficulties encountered in producing a musical. They require large cases and frequently many costumes. The dramatic-musical combination requires close cooperation between the music and dramatics teacher in the school or a director trained in both fields. PeOple who can both sing and act are not readily available. Dispite all of these problems, it is heartening to note that musicals are not limited only to the largest high schools. One Act Plays Approximately 230 one act plays were presented in Mich~ igan high schools during the 1961-1962 school year. In eight schools one acts constituted the entire program. Table 7 gives an over-all view of one act play production in the state. In the schools producing one act plays, the drama clubs were much more active than any other group. In 5 schools a bill of one act plays was substiatuted for the usual Junior or senior class play. Approximately 52% of the one acts produced were comedies, 35% were serious, and 13% were melodramas. When schools presented them, the average number of one acts was 2.8 per school. Many other shorter plays were given, but these fall under the classification of ”skits” and were not considered in this study. The most popular one act plays were as follows: The Valient, 4 productions; The Storm, 3 productions; and with 2 productions each, Balcony Scene, Egad, What A Cad, Hillbilly 33 Christmas Carol, Beat It, Beatnick, Elmer, Love Hits Wilbur, Sorry Wrong Number, and Wilbur's Wild Night. Some of the better one act plays produced were: Dark Lady of Sonnets, Second Shephard's Play, Everyman, This Property Condemned, Aria De Capo, Pullman Car Hiawatha, The Boor, and If Men Played Cards As Women Do. TABLE 7 NUMBER OF ONE ACT PLAYS PRODUCED IN MICHIGAN HIGH SCHOOLS 1961-1962 Class of School C Producing Group A B D E F G H Total Drama Club 53 6 13 16 14 7 6 O 118 Drama Department 8 2 11 9 8 O O O 38 Senior Class 3 O O 4 4 9 6 O 29 Thespians l 7 10 l 5 O O O 24 Junior Class O O O 2 O 9 6 O 17 English Department 1 O 2 2 O O O O 5 SOphomore Class O O O O l l O O 2 'Student Council 2 O O O O O O O 2 Freshman Class O O O O O 1 O O 1 Total Number Plays Produced 68 15 36 34 32 27 18 O 230 Number of Schools Producing One Act Plays 24 8 15 l4 l6 8 6 O 101 Average Number Per School 2.8 1.9 2.4 2.4 2.0 3.4 3.0 0 Total Average... 2.6 Indications The over-all picture of the types of plays produced in Michigan High Schools indicated that, while comedy was still prevalent, many very worthy plays were presented. Plays of 34 great dramatists were not frequently produced by any group. A few of the comments written on the back of the ques- tionnaires threw some light upon the reasons for the many plays of dubious quality presented in the high schools. One teacher from a class E school wrote, "My biggest problem is my lack of background in actual production of plays." A teacher in a class D school wrote, I took the play this year with no training in this field, only to help create some sort of interest in the area. . . . But, I do this with no technical background in the drama area--so I would appreciate any aid or instruction I could receive from anyone. A teacher in a class G school wrote, In finding plays, I have gotten very little help from the play catalogues. . . . The Samuel French catalogue reads something like this: "Spring Fever-- 3 act comedy in which cousin John meets his fate in a small town. How Nelly helps him and the complica- tions that ensue will afford an evening of mirth and gaiety. 12 men 3 women.” ----??????? . . . . . If Michigan State could afford us a good reading service, it would be a big help. These, and other comments, plus the figures on teacher training, which are discussed later, indicated that many high school play directors were not well grounded in theatre nor did they have time to do a great deal of reading of plays. Consequently, many of the directors had to rely on published circulars from the various publishing companies to choose their plays. Other comments on the questionnaires indicated that the teacher with little or no drama training looked for a play which was easy to produce with primarily Juvenile casts and a minimum of character parts. 35 Sponsoring Groups Dramatic clubs play a secondary role in sponsoring full length plays in Michigan high schools. Seventy-four per cent of the plays were presented by class groups. Drama groups sponsored only 17%. The drama department or all school play was represented in only 8% of the total productions. TABLE 8 GROUPS SPONSORING EXTRACURRICULAR DRAMATIC ACTIVITIES IN MICHIGAN HIGH SCHOOLS 1961-1962 Number of Full Length Productions Class of School Sponsoring Group Total A B C D E F G H Senior Class 26 23 71 45 45 52 23 11 296 Junior Class 12 12 58 35 41 49 16 8 231 Junior and Senior 0 O 4 1 O 4 2 3 14 Classes SOphomore Class O O O O l l O 2 4 Drama Club 32 14 25 9 5 3 O 2 9O Thespians lO 7 9 2 5 O O 1 34 Drama Department 16 15 9 6 8 6 O 1 61 and All School Music Department 4 1 O 3 O O 1 O 9 Music and Drama Departments 2 2 2 2 2 l 2 1 l4 The dominance of the typical class play was commented on by many of the directors. Only one person liked the idea. Most of the directors pointed out that the limitations placed upon them by using actors from only one class were at times insur- mountable. In some schools the plays are sponsored by classes, but actors come from the whole school. This policy permits wider participation in the productions. 36 Attendance The totals from the performance and attendance items of the questionnaire indicate that 1,288 performances were presented before audiences totaling over 430,649. The fig- urasin Table 9 show that the average audience for each class of schools increased with the size of the school. The size of the auditorium seems to have no relationship to the number of performances given since each group averaged about two performances per play. TABLE 9 ATTENDANCE FIGURES FOR PERFORMANCES IN MICHIGAN HIGH SCHOOLS 1961-1962 Class Performances Total Average Range of of No. of Attend- Attendance Audience School Responses Total Average ance Per Play Size A 88 208 2.2 144,956 1647.2 290-4500 B 54 131 2.1 57,785 1070.0 100-3600 C 140 308 2.0 94.018 621.6 60-6000 D 80 182 2.0 46,810 585.1 25-2000 E 78 188 1.96 35,745 458.3 25-1400 F 90 185 1.99 35,050 389.4 75-1200 G 34 60 2.0 12,135 357.9 25-700 H 15 26 2.0 4,150 270.0 50-600 Total 579 1288 430,649 In each group response to the questionnaires indicates that these two performances were played to capacity or near capacity houses. If two plays were listed on a questionnaire, both usually played to audiences of approximately the same size. This suggests that seats were usually sold out. On 37 questionnaires where a great difference in attendance was indicated, the plays were usually given in two different auditoriums. For example, one class 0 school presented two plays before audiences averaging 200 per performance for three nights. For their production of Oklahoma the audience average was 620 each night for three performances. The plays were presented in the school auditorium, while the musical was produced in the school gymnasium. This production trend is typical of musical presentations in schools of all classes. Audience size is tripled when a musical is presented. Price of Admission There was a great variety of admission prices charged for the performance in Michigan high schools. Table 10 is a composite recording of the ticket sales for all schools. Some interpretation was necessary when reading the question- naires since no space was left to separate adult admission from student admission. When two prices were listed, it was assumed that the larger one was for adults. When three prices were given, these were assumed to be the price for elementary grades or for reserved seats and were separated into the two categories of student and adult. Although there was a wide range of admission prices, certain similarities in policy were noted. Adult prices of $1.00 and over were found in all classes of schools; student prices of $1.00 and over were found in every class except G. The range of student tickets, elementary and high school, was 38 from 25¢ to $1.50. The range of adult tickes was from 25¢ to $1.50. In six of the schools charging only 25¢ for adults, the price was for a children's theatre production where a blanket price was charged. The other school charging 25¢ for adults had a matinee of their production charging a blanket fee. In 71% of the cases, adult tickets cost between 75¢ and $1.25, 48% of adult prices were 75¢, and less than 2% of adult prices were under 50¢. In all cases, 36% of the student prices were 50¢ and over 68% of the total student prices were 50¢ and over. TABLE IO ADMISSION PRICES FOR MICHIGAN HIGH SCHOOL PRODUCTIONS 1961—1962 Number of Productions Admission Price Adults Children 10¢-20¢ O 6 25¢-3O¢ 7 84 35¢-40¢ 5 118 45¢-50¢ 96 241 55¢-75¢ 404 167 80¢-95¢ l2 1 1.00 134 42 1.25 10 3 1.50 3 2 Student activity tickets were used infrequently. In almost all cases this policy was found in schools of over 500 enrollment. In only one case was a free will offering used to pay for production cost. Sufficient money was collected, in this case, to cover costs. 39 Cost of Productions Schools with enrollments of five hundred or more stu- dents spent the most money on their productions. The average cost in class B (1000-1500) was the largest. This group also has the largest average cost for royalties, which may account for their having a higher average total cost than the larger class A schools. With this exception royalties, cost, and profit decrease as the enrollment of schools decreases. TABLE 11 COST FOR PROFIT AND FROM HIGH SCHOOL PLAYS IN MICHIGAN 1961-1962 Class P of t of No. of Royalties Cost r i School Responses Total Average Total Average Total Average A 16 $5,405 $66.74 $21,236 $275.74 $21,544 $312.23 B 33 5,528 110.56 19,370 352.18 10,422 258.17 c 88 6,738 44.38 19,982 154.12 19,463 194.53 D 91 3,362 38.20 9,634 128.45 10,445 163.20 E 88 3,217 35.35 8,515 96.34 12,435 170.34 F 152 2,259 26.94 5,388 68.08 11,171 150.96 G 50 735 22.97 1,364 50.50 3,399 132.08 H 81 190 12.00 299 23.00 1,075 97.73 Total 599 $27,434 $ 85,788 $89,954 Over $85,788 was spent in producing high school plays in the State of Michigan during the year. Of this total, $27,434 was Spent for royalties alone; the average school 40 paid $43.16 per play. Despite this rather high average royalty cost, the average school made approximately $197.40 profit per play. Since the production of musicals not only raises the cost and royalties, but also the profits, no attempt was made to separate them from regular plays. The percentages in favor of making profit in the pro— duction of high school plays is very good in this state. Only $335 in 9 productions was reported as having been lost. Only 15 schools reported they broke even, that is, they neither made nor lost money. All of these ”losers” were pre- sented in schools with over 300 enrollment. Over one-half of these productions were done by schools using a rented auditorium for producing their plays. Some of these rented theatres were Union, and the producing group had to hire a skeleton crew to comply with the law. This added expense was often more than the school's play budget could take. Student Participation The extracurricular dramatics programs in the high schools of the state involved participation of 23,800 students. The activities of these students can be divided into two groups: acting and crew work. Table 12 shows that slightly over 50% or 11,905 of the students were actors. There was no great difference in the ratio of actors to crew members in any of the schools. Larger high schools tended to have larger casts and crews, although the averages were inconsistent. 41 TABLE 12 STUDENT PARTICIPATION IN FULL LENGTH PLAYS IN MICHIGAN HIGH SCHOOLS 1961-1962 Class Actors Crews of Number Group Average Group Average School Responding Total Per Play Total Per Play A 95 2,121 11.1 2,368 12.4 B 60 1,489 12.4 1,610 14.1 c 149 2,529 8.2 3,160 10.6 D 96 1,870 9.7 1,664 9.2 E 98 1,587 8.1 1,432 7.8 F 99 1,513 7.6 1,192 6.2 G 36 583 8.1 346 5.1 H 16 213 6.5 123 4.0 Total 11,905 11,895 Methods of Play Selection In about 52% of the schools, the director is given sole responsibility for selecting 'the play. Some of these directors are aware they are producing plays of dubious quality. Their comments on the back of the questionnaires indicated the lack of time to read scripts and little or no training in drama were two problems in script selection. In 40% of the schools a student—faculty or student- director committee selected the plays. This method was most common in the selection of Junior and senior class produced plays. In 6% of the schools, a student committee picked the plays. Many of the directors pointed out that this was only a formality. In most cases the director picked the play, 42 and the committee approved it. In a very small percentage of the cases, the director and a faculty committee selected the plays. TABLE 13 RESPONSIBILITY FOR PLAY SELECTION IN MICHIGAN HIGH SCHOOLS 1961—1962 Class of School Responsibility of A B C D E F G H Total Director 42 27 6O 3O 32 21 12 l 225 Student and Director 1 1 9 3 6 7 0 O 27 Faculty-Student ll 8 37 27 28 38 17 10 176 Faculty and Director 0 l 0 1 1 0 O O 3 Faculty 0 2 0 O l O l O 4 Problems in Play Selection One of the questions on the questionnaire asked teachers to check their major problems in play selection. The director was given five choices and a blank to specify problems not listed. The director was asked to rank the items in order of their difficulty. Only a few directors misinterpreted this question and merely checked off which ones were problems. These ”tic” marks were considered when the numbers were tabulated. Each of the problems listed in this question will be considered separately. 1. Limited State Facilities.--Three hundred and thirty— four schools numbered this statement as being one of their 43 chief difficulties. Of these 334 schools, 158 placed it as their number one problem. In addition to being indicated the greatest problem, this was the statement indicated as "no problem” by the least number of respondees. The greatest number of schools in each enrollment class placed this at the top of their list of problems. Seventy-one per cent of the high school play directors found this a major problem in choosing a play. 2. Difficulty Obtaining Cast.-—Two hundred thirty- three schools numbered this among their major problems. Over 50 per cent listed it among their top three difficulties in selecting a play. Very few respondees indicated that this was ”no problem.” The major comment written concerning this question was that very few males were available for casting. One director wrote that the basketball coach had forbidden, for no apparent reason, any junior boy to try out for the class play. Although this is an isolated case, it does indi- cate the extremity of the problem in finding a play for weird cast limitations, especially in the smaller schools. Many of the directors who checked this as a major problem listed conflict with other activities as one of their chief produc— tion problems. 3. High Production Cost.—-A little less than 47 per cent of our high school directors find this a major problem in play selection. About 70 per cent of those finding this 44 a problem listed it as one of the top three on their list. Surprisingly, this was the statement which received the least number of responses from directors in schools of the class G and H schools. 4. Objectionable Script Material.--Two hundred seven- teen directors listed this as a major problem. However, less than 50 per cent listed it as one of their top three problems. About 30 per cent find this no problem at all. Objectionable script material appears to be of average importance in select- ing plays. 5. Lack of Student or Audience Interest. This was the problem checked the least number of times. Only 100 schools checked this as a problem. Many of the respondees crossed out either ”student" or ”audience” from this statement before answering. About 50 per cent of those checking this item listed it as one of their first three problems. One teacher even crossed out ”lack" and filled in "too much." Apparently this problem is of only average significance due to the small number of responses and to the large number of respondees who checked this as ”no problem." 6. Other Difficulties. Many specific comments enlarging upon statements already made were included under this state— ment. Many more of the specific comments are considered by the author as production problems and will be discussed later. One problem mentioned by twelve teachers was finding scripts 45 suitable for racially integrated casts. Time for reading scripts and lack of community interest in anything but comedies were two other problems listed by a few directors. Methods of Casting Approximately 94 per cent of the schools in the state permit the director to cast his own plays. Most schools follow this method even when a student or faculty committee is utilized in selecting plays. It appears that, in every case, the director has a voice in the final decision. TABLE I4 RESPONSIBILITY FOR CASTING HIGH SCHOOL PLAYS IN MICHIGAN 1961-1962 Class of School Responsibility of A B C D E F G H Total Director 45 25 71 42 39 5O 15 7 294 Student and Director 3 5 14 4 7 5 7 3 58 Director and Faculty 4 6 10 11 16 8 4 l 60 Other 0 O 0 0 O 0 0 O 0 Total Responses “12 Rehearsals Table 15 shows a general picture of the rehearsal situation in Michigan high schools. The total average of number of rehearsals was 4.1 per week making an average 50.3 total rehearsal hours per production. The stage was available 46 approximately two-thirds of the time. Generally, the larger schools Spent more total rehearsal time per production. The stage was available for an average of more time in class A and H schools. This part of the table might appear confusing unless we take into consideration the places where plays were presented in each class of schools. Most of class A's pro- ductions were presented in the school auditorium. This theatre was available both during the evening and during the day, no matter what time of year. In class H schools the plays are usually presented in an auditorium—gymnasium com- bination. During most of the year, as many of the directors TABLE 15 REHEARSAL PRACTICES IN MICHIGAN HIGH SCHOOLS 1961-1962 Average Per Average Average Cent of Time Class Average Number of Rehearsal Stage is of Reherasal Rehearsals Hours Per Available for School Length Per Week Play Rehearsal A 2.2 hrs. 4.4 71.5 hrs. 72.3 B 2.1 hrs. 4.6 64.5 hrs. 63.9 C 2.2 hrs. 4.2 56.5 hrs. 61.0 D 2.0 hrs. 4.0 45.4 hrs. 65.1 E 1.9 hrs. 4.0 48.1 hrs. 6 .2 F 1.5 hrs. 3.9 39.9 hrs. 66.5 G 2.5 hrs. 3.6 42.8 hrs. 65.1' H 1.7 hrs. 4.0 33.8 hrs. 73.0 Average 2.0 hrs. 4.1 50.3 hrs. 66.6 wrote on their questionnaires, the stage is only available at night since the gym was in use for physical education classes and band practice. During basketball season, the 47 stage in these smallerSChOOlS‘was almost constantly in use day and night for games and practice. Consequently, at night during the non—basketball seasons the stage was readily available for rehearsal. Major Problems in Play Production Space was made available on the questionnaire for directors to list their three major problems in play produc- tion. Even on the partially completed questionnaires this section was filled out. A fairly complete picture of the production situation can be gained from their response. Table 16 lists the ten major problems existing the high schools. Each of these problems will be considered separately below. TABLE 16 TEN MAJOR PROBLEMS IN PLAY PRODUCTION IN MICHIGAN HIGH SCHOOLS 1961-1962 Number of Problem Schools Reponding 1. Poor Lighting and State Facilities 213 2. Conflict With Other Activities 174 3. Availability Of Stage 124 4. Lack of Pr0ps and Scenery 110 5. Lack of Teacher Time 75 6. Lack of Student Training 67- 7. Student Interest and Cooperation 34 8. Getting Male Actors 32 9. Small Budget 30 10. Lack of Faculty Aid 26 48 1. Poor Lighting and Stage Facilities.-—By far the most frequently mentioned problem was that of limited pro- duction facilities. Two hundred and thirteen schools found this a problem. Many stages double as classrooms and one was even used as a hallway during the day. Three teachers who were working in new auditoriums complained that the building design was such that the stage was practically impossible to use. One teacher asked this question: "When are architects going to listen to suggestions for designing high school stages?” Lighting facilities in many schools consisted of over- head border lights and footlights. Spotlights, when they were working, were permanently mounted in odd places with no possibility of flexible uses. Lighting controls, other than the on-off switch were found in very few of the smaller schools. When these schools did have any type of ligh con- trol, few of them found them adequate. A more complete con- sideration of stage and lighting facilities will be given later in this thesis. 2. Conflicts With Other Activities.--Approximate1y 175 schools found this a major problem in play production. One teacher stated: "All of the pe0ple with acting talent are in everything else.” This statement is indicative of the problem facing the high school dramatics teacher in schools with enrollments under 300, although it is not limited to 49 these groups. The more mature student is also in athletics, band, choir, student council, and other activities. The same qualities which are demanded for an adequate actor are those of the school leader. Many of the students in all classes of schools have after school or evening jobs. Working an adequate rehearsal schedule around all of these conflicting activities is sometimes impossible. The director must be content to work with the busy and capable students for short times or with the less capable students under more normal rehearsal conditions. 3. Availability of the Stage.--One hundred and twenty- four schools listed this as a major problem in production. Over 55 per cent of the schools in the state present their plays in the gymnasium. To add to this production situation, some of the directors noted that they had to vie with com- munity organizations for the use of their own stages. Another reason behind the frequency of this problem exists in the schools which must either rent an auditorium or use that of another school. Three directors reported that they had only two rehearsals in the auditorium before they pre- sented their plays. Although such extreme conditions are not prevelant, they do indicate the seriousness of this problem to some schools. 4. Lack of Props and Scenery.--Many of the 110 directors who listed this as a major production problem commented that they had indadequate facilities for building and storing 5O pr0perties and scenery. The stage often doubled as a work- shop for building scenery. Even when a school had facili- ties for building scenery, budget limitations and technical know-how held scenery construction to a minimum. Some directors said they had to be content with plays using only one set, usually an interior. 5. Lack of Teacher Timesn.Most of the seventy-five directors listing this as a major problem felt that they could not adequately teach their present class load and direct worthwhile plays. Two directors noted that they would not direct plays again because too much time was taken from preparing their classes. Since some high school directors often had to be their own set designer and tech- nical director, very little time was left for teaching a full load of classes. Some schools, especially the larger ones, recognized this problem and compensated for it by lightening teaching loads. The director in the smaller schools, however, seldom found this compensation. 6. Lack of Student Training.__Almost all of the 67 directors listing this as a major problem were in schools where no courses in dramatics were taught. In 95 per cent of these schools, directors were forced to cast plays from the junior or senior classes producing them. This did not appear to be a problem in schools with dramatics classes or where all-school plays are presented. 51 7. Student Interest and Cooperation.—-Only 34 directors found this a problem. In over 50 per cent of the schools listing this difficulty, the director had less than five semester hours in drama. It appears that directors with less training in conducting rehearsals are those who suffered most with this problem. In schools with well-balanced programs, teachers sometimes suffered from too much student interest. 8. Getting Male Actors.-—Thirty-two directors in all classes of schools, but primarily smaller ones, found this a major problem in production. As one director pointed out, "The more desirable males are in so many things, I can't get them to try out.” The busy schedule and the attitude that plays were for girls were rated as major factors behind this problem. 9. Small Budget.--Surprisingly only 30 directors noted this as a major problem. However, this is one of the difficul- ties implicit in some of the problems listed above. 10. Lack of Faculty Aid.--Twenty—six directors felt that they were not receiving enough aid from their colleagues. In some schools, teachers were assigned to take and sell tickets, but few directors received help with scenic and costume construction or with makeup and lighting. High School Theatre Facilities The physical plant, which has been discussed to some extent already, is considered in detail here. This section 52 is divided into three sub-sections: auditorium, stage, and other facilities. Auditorium.--School plays were presented in an auditorium- gymnasium combination in over 51% of the schools in the state. Only in schools of over 1,000 was the auditorium the most common theatre used for production. In class H schools 90% of the plays were presented in the auditorium-gymnasium com- bination. Table 17 illustrates that, as the enrollments of the schools increased, the ratio of auditoriums to auditorium— gymnasiums alsoincreased. A few schools presented their plays on the gym floor or on a temporary platform in the gymnasium. Only about 25% of those presenting plays in the grymnasium used arena or central staging (see Table 18). Sixteen schools TABLE 17 TYPES OF THEATRES USED FOR PLAY PRODUCTION IN MICHIGAN HIGH SCHOOLS 1961-1962 No. of Plays by Class of Schools Where Presented A B C D E F G H Total School Auditorium 44 22 36 15 18 ll 3 l 150 School Gymnasium l 1 3 2 7 6 O O 20 Auditorium-Gymnasium 3 15 49 41 35 45 23 10 221 Cafetorium 1 1 6 1 6 1 o o 16 Civic Auditorium O l 4 2 O 2 2 O 11 Multipurpose Room 0 0 l 2 O 2 O O 5 Community Theatre 2 O l 0 0 O 0 0 3 Classroom 1 O l O O O O O 2 Local Movie House 0 O l O O O O O l reported that they used a cafeteria-auditorium or cafetorium for producing their plays. Although this situation presented Ill..l i 53 many problems, the stage was available for rehearsals much more often than in the gymnasium or auditorium-gymnasium situation. Little theatres, civic theatres, classrooms, and even one local movie theatre were used to present high school plays in Michigan during the 1961-1962 school year. Stage.--The proscenium or traditional type of stage was used in over 93% of our high schools. Four hundred schools indicated that they used theatres with permanent prosceniums. TABLE 18 TYPES OF STAGES USED IN MICHIGAN HIGH SCHOOLS 1961-1962 Class of School Type of Stage A B C D E F G H Total Proscenium 52 37 91 57 61 62 29 11 400 Temporary Platform 0 O 5 3 3 4 O 0 l5 Arena 1 l 5 l 2 l O 0 11 Two Theatres 1 l O 1 0 O O O 3 Total 430 Added to this figure is the majority of the 15 schools who, although they used a temporary platform set up, used some type of temporary proscenium as well. Only 11 schools reported using arena or central staging techniques; and three of these schools had two theatres. One school presented their play on the gym floor using the proscenium technique of staging. 54 According to the response received, the average stage in Michigan high schools was 45' 11" wide (wall to wall), had a depth of 21' ", and had a proscenium opening of 33' 11". As Table 19 illustrates, the larger schools had the larger stages. TABLE 19 AVERAGE STAGE DIMENSIONS FOR PROSCENIUM THEATRES IN MICHIGAN HIGH SCHOOLS 1961—1962 Class Average Average Average of Proscenium Stage Stage School Opening Depth Width A 38' o" 29, 3" 56' 2" B 36' 2” 26' 3” 63' O" C 32' 7” 22' 4” 44' 10" D 34' 11” 21' 3" 50' 6" E 32' 10” 20' 2“ 42' 1" F 31' 8” 20' ll” 40' 8" G 29' 6f 17' 23 40' 6: H 25' 2' 13' 29' 0 Overall Average 33' ll" 21' 5” 45' ll" The amount of equipment found in high schools was usually dependent upon the school size. As Table 20 points out, the average number of number of spot lights available for presenting the school play was directly dependent upon school size. The average number of border lights is also indicative of the facilities in the different classes of schools. In reading the figures in Table 20, both columns concerning border lights must be taken into consideration. The number of schools with adequate or near adequate border lights decreased as the size of the schools decreased. TABLE 2O LIGHTING FACILITIES IN MICHIGAN HIGH SCHOOLS 1961-1962 % of % of Class Average Number Schools Average Schools of of Border Lights With No Number of With No School (stage wide banks) Borders Spotlights Spots A 3.3 10.8 16.7 2.5 B 3.6 10.0 12.3 6.6 c 2.4 19.4 6.2 18.8 D 2.3 31.6 5.3 18.4 E 1.9 38.0 4.4 24.0 F 2.6 28.0 3.0 38.0 G 2.2 10.5 1.6 50.5 H 2.0 12.5 1.4 36.3 Overall Average 2.5 20.1 6.4 24.4 Lighting control was expected to be one of the major problems in high school theatres. Seventy-two per cent of the high schools in the state had some type of lighting control or dimmer board. However, only 37 of those with lighting controls found them adequate. As Table 21 illus- trates, the average number of adequate lighting controls decreased as the size of the schools decreased. As was ex- pected, adequate lighting control was a major difficulty in high school play production in Michigan. Fly space is usually important for flexible and elab- orate play production. Due to the enormous installation expense involved, few schools were expected to have any type 56 TABLE 21 RESPONSES TO THE QUESTION "DO YOU HAVE USE OF LIGHTING CONTROL?" Class of School Response A B C D E F G H Total Yes 48 32 75 33 46 45 18 4 301 No 4 9 25 25 18 2O 10 5 115 Adequate 27 12 3O l2 l2 3 8 0 104 Not Adequate l9 15 40 2O 3O 39 10 4 177 of fly space. As Table 22 indicates, only 32 per cent of the high schools answering this question had any fly space. Over 52 per cent of the schools with fly space found it inadequate. TABLE 22 RESPONSES To THE QUESTION "DO YOU HAVE USE OF FLY SPACE?” Class of School Response A B C D E F G H Total Yes 25 16 33 19 ll 10 7 O 121 No 23 23 64 38 54 53 20 9 263 Adequate l7 8 l8 7 4 3 3 0 52 Not Adequate 10 7 13 ll 6 6 4 0 57 Other facilities.-—In order to present a play, many facilities other than those on the stage are important. The producing group must have room to build its scenery. If a 57 period play is presented, the group must have costumes or the funds to rent costumes. In the ideal production situa- tion a group presenting a play has its own scene shOp and wardrobe room. As Table 23 illustrates, only 12 per cent of the 412 directors answering this question had their own workshops. Over 53 per cent of those with a workshop found it inadequate. The usual place for building scenery in Michigan high schools appeared to be either the industrial arts room or on the stage. About 57 per cent of those directors with no workshOps had use of industrial arts rooms. Over 72 per cent of those using industrial arts rooms found them adequate. TABLE 23 RESPONSES TO THE QUESTIONS "Do YOU HAVE USE OF AN INDUSTRIAL ARTS ROOM?” AND ”DO YOU HAVE USE OF YOUR OWN WORKSHOP?” Class of School Response A B C D E F G H Total Industrial Arts Room Yes 14 13 53 25 32 43 13 8 201 No 39 26 45 33 33 22 14 3 215 Adequate 10 10 33 15 23 28 10 7 136 Not Adequate l 3 l5 9 9 l2 2 l 52 Workshop Yes 21 9 l9 5 3 3 2 O 62 NO 31 30 8O 51 62 62 25 9 350 Adequate 12 4 6 2 1 1 0 0 26 Not Adequate 7 3 9 3 2 2 3 O 29 58 In tabulating the data on the sources of costumes, many of the responses had to be interpreted from other data given on the questionnaire. Many directors presenting only modern dress plays such as Time Out For Ginger and Lock, Stock and Lipstick indicated that they built 100 per cent of their costumes. In such cases, it was assumed that the respondee either accidentally filled in the wrong blank or misinter- preted ther term ”built." In cases where there was doubt about the reSponse, the answer was dropped from the tabulation. Fortunately, many of the respondees wrote short notes explain— ing their answers. The response indicated that the total average of costumes borrowed was 86.3 per cent. About 6.7 per cent of the costumes were rented, and 7.0 of them built. Generally, the amount of costumes borrowed increased as the size of the school decreased. TABLE 24 SOURCES OF COSTUMES IN MICHIGAN HIGH SCHOOLS 1961-1962 _ *— Average Percentage by Class of School Source A B C D E F G H Average Rented 17.4 14.3 6.7 10.6 6.5 4.2 5.5 O 6.7 Borrowed 61.8 77.1 88.3 84.7 83.1 91.0 93.7 100 86.3 Built 20.8 9.5 5.0 14.7 9.4 4.8 1.8 O 7.0 59 General Information Use of Profits Table 25 illustrates that 61 per cent of the proceeds from plays presented in Michigan high schools in 1961—1962 went to pay for class activities. The classes Sponsoring plays used this money to pay for trips to Washington, D. 0., graduation expenses, yearbooks, parties, proms, and similar other projects. Occasionally, some of the profits were used to buy a gift for the school. It is conceivable that such money might have found its way into stage improvements, but more often it went for "anything but stage equipment,” as one director put it. Twenty—eight per cent of the profits were used for drama funds and stage equipment. In a few schools some of the proceeds were used to send students to university drama work- shops in the summer or to see professional or university production. TABLE 25 USE MADE OF PROFITS FROM DRAMATIC PRODUCTIONS IN MICHIGAN HIGH SCHOOLS 1961-1962 Class of Schbol Use of Profit A B C D E F G H Total Class Activities 15 18 69 44 46 57 22 11 282 Drama Fund 21 13 20 16 14 2 2 O 88 Stage Equip- . . ment 13 6 l2 5 4 3 l O 44 School Fund 8 3 4 O 6 4 2 O 27 Drama Club 5 2 4 2 O O O 0 13 Gifts to School 2 O 1 1 O O l O 4 Parish O 0 O O 3 l O O 4 Student Council 0 O 2 O O O C O 2 Publications 0 l O O O O O O l 60 Formal Training of Directors Response to the question concerning formal training in drama indicated that the average director had 9.8 semester hours of college or university course work. An average of about 34.7 per cent of the directorsluuino training at all. TABLE 26 AVERAGE TRAINING OF PLAY DIRECTORS IN MICHIGAN HIGH SCHOOLS 1961-1962 O f h Extent of lass 0 SC 001 Training A B C D E F G H Average College and University Semester Hours 26.4 14.2 11.5 8.0 7.0 5.5 4.9 1.4 9.8 % With No . Training 5.8 12.5 23.9 39.0 40.0 56.0 51.5 54.6 34.7 The average number of semester hours for directors in schools with less than 500 enrollment was 5.6. Slightly under 50% of the directors in schools with less than 500 enrollment had no formal training in drama. AS Table 26 illustrates, the amount of formal training of the director increases as the Size of the school increased. Courses Offered in High Schools One hundred thirty-four courses in dramatics were offered in Michigan high schools during the 1961-1962 school year. These courses were offered in less than 25% of our 61 high schools. Over 55% of the schools with courses in drama had enrollments of over 1,000. Every class of schools, except class H, had at least two schools offering a dramatics course. The most frequently listed course was labeled "Dramatics I." As Table 27 indicates, many of the courses such as "Play Production,” were listed separately when they probably belong under "Dramatics I" or some other classifi- cation. Since not enough information was given to classify these courses in a more definite grouping, they were kept separate. TABLE 27 DRAMA COURSES OFFERED IN MICHIGAN HIGH SCHOOLS 1961-1962 Class of School C D E F Total m c) :1: Course A Dramatics I 30 2 Dramatics II Dramatics 111 Play Product. Stagecraft Dramatics IV Stagecraft 11 Acting Verse Choir DON OOI—‘mwomg OOOOHwO-P'H l—‘OOOOUOOIUUU OOOOOOOI—JU'I OI—‘OOOOOOIU OOOI—‘OOHI—‘m 00000000“) 000000000 i-‘F-‘l—‘UJ-P’O‘VQCNUT 1:- Course Total 13 Schools with No Courses 11 13 63 39 49 53 2l 10 279 Technical, Financial, and Aesthetic Help Four hundred thirteen directors responded to the ques- tion "In producing a play do you receive any help?" Only 33 62 per cent of those responding indicated that they received technical assistance. Approximately 20 per cent indicated that they received financial assistance. Less than 9 per cent of those reSponding received aesthetic aid in their production situation. The sources for technical and aesthetic aid mentioned most frequently were: Other teacher (51 cases) ShOp teacher (39 cases) Art teacher (32 cases) Music teacher (15 cases) Administration (13 cases) Janitor (13 cases) @014:me Colleges and universities were mentioned in only seven cases. Civic theatres were named as sources in only six cases. Financial aid was listed as coming primarily from the funds of the class producing the play or from the school budget. In one school a local funeral director, and in another, a beautician helped with makeup. In answer to the question, "If you need help in the future where might you get it?" 75 per cent of the 408 respondees either placed a question mark on the blank or wrote such comments as, "God," "Zen," ”myself,” "none available," or more frequently, ”1 wish I knew." Colleges and universi— ties were mentioned by 20 per cent of the respondees. The other 5 per cent listed books, National Thespians, the Mott Foundation, and civic theatres as possible sources for aid. Only 4 per cent of those returning questionnaires indi- cated that they did not want the results of this study. Approximately half of those stating they did not want the 63 results were principals. Some of the principals asked that the results be sent to one of their teachers instead. One of these negative replies was from a teacher who took most of the reverse side of the questionnaire to list why she would never direct another play. CHAPTER V COMPARISON OF THE STUDIES One of the primary purposes of this study was to ob— tain information which could be used to compare Michigan's high school extracurricular dramatic program with that of four other states. In this chapter, that comparison is discussed. The studies in Wisconsin, Iowa, New York, and Ohio provided data which was used to compare these states chronologically. Only frequently appearing aspects of the extracurricular dramatics programs have been included in this discussion. Extracurricular Dramatic Programs Before the 1961-1962 school year, the number of extra- curricular dramatic programs had not increased noticeably through the years in the four states studied. In 1947-1948, about 55% of all high schools in Wisconsin reported the presence of an extracurricular dramatics program. Iowa schools in 1953-1954 reported 41% of the high schools with such a program. Over 41% of the total schools in New York in 1954-1955 had an extracurricular drama program. In Ohio, 50.5% of the schools had an extracurricular dramatics program in 1958-1959. However, 59.4% of the total high schools in Michigan reported an extracurricular program. The Michigan 64 65 percentage would have been even higher, had the schools presenting only one-act plays been included in the tabula- tion of the data. Several factors might explain the apparent rise in drama activities in high schools. Increased school enroll- ment is one factor which has been consistent. Forty-seven of the schools responding to the survey in Wisconsin, about 36 in Iowa and 154 in Ohio had an enrollment of over 500. In Michigan, 214 of the schools responding to the survey had enrollments of over 500. Since the larger high schools have consistently had a greater percentage with a drama pro- gram, it can be assumed that as the number of larger high schools increased, the drama program increased. In summary, there is little evidence indicating a significant increase in the per cent of extracurricular drama programs in each state. Number of Programs The average number of full length productions has remained constant over the thirteen years in the five dif- ferent geographical areas. The over-all average of produc- tions per year for each school in five states were as follows: Wisconsin, 1.7; Iowa, 2.0; New York, 1.3; Ohio, 1.7; and Michigan, 1.8. Performances The average number of performances for full length productions remained essentially the same. The over—all 66 average number of performances per production was 1.6. The breakdown for each state is as follows: Wisconsin, 1.4; Iowa, 1.4; New York, 1.9; Ohio, 1.4; and Michigan, 2.0. Attendance The attendance per performance of full length produc- tions was relatively consistent with the exception of Iowa. Wisconsin had an average audience of 424; Iowa, 247; New York, 379; Ohio, 324; and Michigan, 337. The over-all average audience per play was 340. Cost Per Production Although not consistent each year in each state, the average cost per production has gone up over the 13 year period. The average cost per production in each state was as follows: Wisconsin, $933 Iowa, $49; New York, $146; Ohio, $103; Michigan, $131. The higher cost in the New York area was probably due to the higher cost of living in that geographical area. There was no great difference in the amount of money spent on productions in the five states. New Profit from Productions The total net profit from productions, for the most part, corresponded directly with the price of admission charged. In Wisconsin the average net profit was $132 and the price of admission was 20¢ to 25¢ for children, 35¢ to 50¢ for adults. Price of admission in Iowa was 25¢ for children and 50¢ to 60¢ for adults, while the average net 67 profit was $110. New York had the highest net profit, $306, and the highest admission prices, 40¢ to 60¢ for children and 70¢ to $1.00 for adults. Ohio's average net profit was $158 and admission prices were .25¢ to 50¢ for children and 50¢ to 80¢ for adults. Michigan's average net profit per production was $197, and average admission prices were 35¢ to 75¢ for children and 55¢ to $1.00 for adults. Geograph- ical location and rising cost of living were probably the two factors accounting for differences in profit and admis- sion prices. Methods and Problems of_§lay Selection. In all five states the director had the primary respon— sibility of play selection. In two states, New York and Michigan, the student-faculty combination was used to a significantly higher degree than in the other three states. The major problems in play selection have remained about the same for the last 13 years. In the Wisconsin, New York, and Michigan high schools, the major problems, in order of their difficulty, were: (1) limited stage facilities; (2) difficulty obtaining a cast; and (3) objectionable scripts. Ohio schools ranked as their major problems: (1) difficulty meeting cast requirements; (2) objectionable scripts; and (3) limited stage facilities. In Michigan, high production cost was ranked almost equal with the script problem. Although the Iowa study did not cover this aspect of play production, it can be assumed that similar problems were found there. 68 Responsibility for Casting There was very little difference found in the four studies considering this item. The director was respon- sible for casting in more than 95% of the cases. However, he sometimes was aided by other faculty or student members. Types of Dramatic Activity Comedies have consistently been the most popular type of dramatic production in high schools for over 13 years. Serious drama did tend to increase, if only slightly, each year. Our Town was, by far, the most pOpular drama in all studies. However, a new play, Diary of Anne Frank showed indications of becoming almost as pOpular. Although Anne Frank was produced only during the time studied in Michigan, it was produced in nine high schools, while Our Town was produced in 16. The Night of January 16th was the most popular mystery play. The comedies varied in popularity; however, the better plays were usually the top ranking comedies in each state. Some of the comedies produced frequently in all states were: Curious Savage, Cheaper by the Dozen, Arsenic and Old Lace, You Can't Take It With You, and Januarv Thaw. The less worthy plays such as Hillbilly Wedding, Finders Creepers, and Lock, Stock, and Lipstick were also among the most frequently produced plays. From 40 to 50 per cent of the plays produced in the high schools were considered to be of little or no literary value. 59 Spthoring Group The junior and senior classes were consistently the sponsors of the majority of the extracurricular dramatic activities in all five states. The drama club, though sponsoring a great deal fewer plays, was the sponsor of secondary import in all states. Use of Profit The junior and senior class funds received the vast majority of the profits in all five states. The only other funds which received profits with any consistency were: the general fund, the stage equipment fund, and many different drama funds. Availability of Stage for Rehearsal The stage was available in the majority of the schools studied for about 50 per cent of the time. Physical Plant The plays in all five states were produced primarily in the school auditorium or in an auditorium-gymnasium com- bination, with about an even chance of using either. The total average stage dimensions for the four states using this question was a 22' by 38' stage with a 32' proscenium opening. There was a consistent increase in stage width over the 13 years studied. The plays were presented using proscenium staging in about 90% of all schools in all five states studied. CHAPTER VI SUMMARY AND C ON CLUS IONS This study, based on a survey by mail and using a one page questionnaire, involved the 761 high schools in Michi- gan. The high schools were divided into eight classifica- tions by enrollment and analyzed accordingly. An initial letter and two follow—up letters were used in conducing the survey. Five hundred sixty-nine or 75% of the high schools in the state responded to the survey. The returns indicated that 452 or 80% of those schools responding, have an extra- curricular dramatics program and produce full length plays. Summary Seven hundred and thirty-one full length plays were presented by our high schools. Of the total plays produced, over 72% were comedies and 14% were serious plays. The most pOpular play was Thornton Wilder's Our Town. Over 70% of the plays were presented by the junior and senior classes; drama groups sponsored only 17%. The average play was presented twice before an average audience of 337 peOple each performance. The price of admis- sion in 71% of the schools was between 75¢ and $1.25 for adults, and in 68% of the schools, students paid over 75¢ for tickets. 70 71 The total amount Spent for royalties in Michigan high schools was $27,434 with an average of $43.16 per play. The total cost for producing plays was $85,788 with an average of $131.05 per play. Profits amounted to $89,934 with an average of $197.40 per play. An average of 17.3 students were used in each play as actors and the same number as crew members. A total of 11,905 actors and 11,895 crew members were involved in play productions. These plays had been selected by the director alone in over one-half of the schools, while in the other schools he was aided by students or faculty members. The major problems in play selection were limited stage facilities and difficulty obtaining casts. In 94% of the schools the director cast his own plays. The average number of rehearsals per week were four for an average of 50.3 hours per full length play. The stage was available for rehearsal about 66% of the time in most schools. The major problem in play production was inadequate staging and lighting facilities. Other major problems were: conflicts with other activities, availability of the stage, lack of prOps and scenery, lack of teacher time, and lack of student training. The plays were presented in an auditorium-gymnasium type of theatre in over 51% of the schools. Proscenium or traditional staging was used in 93% of the high schools re- Sponding on a stage with an average of 33' proscenium 72 opening and an average of 21'5” depth and 45'11" wall to wall width. The average stage had two banks of stage-width border lights and 6.4 spotlights. An average of 20% of the schools had no border lights and 24% had no Spotlights. Seventy-two per cent of the schools had some type of lighting control or dimmer board; however, only 37% of the schools with lighting controls found them adequate. Only 32% of the schools with a drama program had use of fly space, and over 52% of those with fly Space found it inadequate. Only 12% of the schools with a drama program had a dramatics scene shOp and 53% of those with these work- shOps found them inadequate. However, 57% of those schools with a drama program and no workshop of their own, had use of an industrial arts room. Over 72% of those working in indus- trial arts rooms found them adequate. Most of the costumes for plays (86.3%) were borrowed; the remaining 13.7% was split evenly between rented and built costumes. The majority of the profits from 61% of the plays pre— sented went into junior and senior class funds. Only 28% of the profits were used primarily for drama funds and stage equipment. The average director in the state had 9.8 semester hours of course work. One hundred and fifty or 33% of those producing plays had no formal training in drama. Approximately 134 courses in dramatics were offered in Michigan high schools. Less than 25% of the high schools 73 reSponding had some type of drama courses; most of these were in high schools with enrollments over 1,000. Less than 33% of the directors with drama programs received technical aid in producing plays. Approximately 20% indicated that they received financial assistance. Less than 9% of the directors responding received any aesthetic aid. Sources for most of the aid was within the school system. About 75% of the 408 directors reSponding to a ques- tion on sources of future aid, were in doubt as to where to go for technical, aesthetic, or financial aid. College and universities were mentioned as sources for future aid in only 20% of the cases. Only 4% of all 569 schools returning questionnaires stated that they did not want the results of this survey. General Conclusions The data compiled for this study indicates that Michigan has a very active extracurricular program. Comedies are the only plays produced in about one-half of our schools. Serious plays are produced only a small number of times. High royal- ties of better plays seem to be one of the major problems in play selection. At the same time, the non—royalty plays by great dramatists are almost entirely ignored, probably as one teacher put it, because ”classics are too hard for high school students.” Many of the directors found the reSponsibility of directing the class play delegated to them. With little or no training in the field and a limited knowledge of dramatic 74 literature, they were thrown into Situations which were often chaotic. Valuable time was taken from class preparation and other duties to search through a stack of descriptions from play publishing companies. The information given in these brief descriptions seems to be inadequate. The director is often given a group of students to work with who know little about play production. In many schools, the majority of the plays presented are sponsored by the junior or senior class, and the director must choose his cast from the limited number of students within the class. Very few of the students will have been on a stage before and even fewer will have had a course in play production. In some schools, the director can cast from all the students in the school, even though the play is Sponsored by a partic- ular class. This appears a much more satisfactory method. The freshman and SOphomore with talent and interest in drama receive valuable training in smaller parts or as crew members; when they become junior and seniors, they have the background which enables them to handle more difficult roles. Teachers in all size schools often work under very primitive production conditions with inadequate equipment. Due to the wide demand for the stage and auditorium among other school and community organizations, the director often does not have the stage for a great many rehearsals. One situation which might cause concern for our high schools is the use of profits from plays. The extensive use of the class plays and the numerous productions sponsored by, I ll '1 1“" I‘ll“ 75 non-dramatic organizations would indicate that the primary purpose of the play in many schools is to make money which can be poured back into other school activities. While pro- ducing plays to make money is not to be condemned, it is surprising that only a very small amount of the proceeds go back into stage equipment. In spite of the often primitive production conditions, the sometimes untrained directors and students, and the numerous unfamiliar scripts, high school plays are still very pOpular. Most of the plays presented in Michigan play to capacity houses and make average profits of almost $200 per production. High school play directors receive very little help outside their own schools, and apparently not enough within them. In many schools one person has to be director, scenic designer, chief carpenter, makeup artist, publicity manager, house manager, costumer, lighting technician, property master, and sound engineer in addition to teaching a full load of classes. The majority of the directors do not know where to go for technical, financial, or aesthetic aid. Unless this help is forthcoming, few improvements will be made in the quality of plays and play productions in Michigan high schools. Practical Implications While the total picture of extracurricular dramatic activities in Michigan high schools may not be considered an ideal one, it is also not a hOpeless one. The following 76 suggestions are offered to indicate a few of the possible ways in which the high school drama program might be made even better. One need indicated by this study is that of public relations. Speech educators might make administrators aware of the important part drama plays in developing the personalities, minds, and bodies of their young people. If the drama program is thought of as a valuable experience for improving the student as a citizen, for providing him with a well-rounded personality, and for broadening his Sphere of interests, much can be done to improve this program. With re-education perhaps play proceeds will cease to be used for the senior trip to Washington, D. C., but will be used to purchase better stage equipment and pay royalties for more notable plays. Even greater progress can be made toward better dramatics programs through the education of those teachers who are already in the field. A stronger state high school section of the American Educational Theatre Association is one means to this end. A state meeting for teachers and smaller meetings at the sectional level would make it possi- ble for teachers to discuss and solve mutual problems. One act play festivals with demonstrations by professional, college, and university experts would prove valuable to all directors in the field, but especially to those who are un- trained in drama. While much of the responsibility for the improvement of our high school drama programs lies with the play directors . 7 .I . . . {ll all" . {It i. l v. u (I I 2.74 ((III“ I. .K liliinl‘lll“ 1‘ ll]: Ely“ 8" ‘I I‘ll [IA 77 and administrators of the high schools, an equal share of the burden must be placed upon the shoulders of the colleges and universities. Since most of the play directors in our high schools are English or speech instructors, practical courses in play production should probably be required of all who plan to teach in these two fields. Responses to the questionnaires used in this study indicated that many of those directing plays were not aware, as college students, that this would be expected of them. Consequently, all, even those with little or no interest in drama, who might possibly work in this field, should be required to take at least one course in play production and one in dramatic literature. A play reading center at one or all of the major univer- sities would greatly aid practicing directors with one of their major problems--se1ection of scripts. Such a center could be established in which full descriptions of plays pro— ducable in high schools and their cast requirements were made available. These descriptions might also include suggestions for solving any technical problems which might be encountered. Summer workshOps for both teachers and students might be made available to more peOple at more colleges and universities in the state. A group of "field workers" in high school play productions might be used to reach areas with no institution of higher learning. [I‘ll-I'll". ‘1‘ I l 78 Many of these suggestions may not be feasible at the present time, but any or all of them would be steps toward an even more challenging and worthwhile dramatics program in our high schools. BIBLIOGRAPHY Books Barnes, John B. The Dynamics of Educational Research. Tempe: Arizona State College Press, 1958. Bliss, Don C. Methods and Standards for Local School Surveys. New York: D. 0. Heath and Company, 1918. Eells, W. C. Surveys of American Higher Education. New York: Carnegie Foundation for the Advancement of Teaching, 1937. Symonds, Percival. Diagnosing Personality and Conduct. New York: The Century Company, 1931. Articles and Periodicals Dietrich, John E. "Survey of Dramatic Activity in American Colleges: 1946-1947," Quarterly Journal of Speech, 34:185-186, April, 1946. Mulgrave, Dorothy I. and Baker, Elmer E. "The Survey Approach," An Introduction to Graduate Study in Speech and Theatre, edited by Clyde W. Dow. East Lansing: Michigan State University Press, 1961. Unpublished Materials Gee, Ronald Callaway. "A Survey of the Extra Curricular Dramatic Programs in the High Schools of Wisconsin 1947-1948.” Unpublished Master's thesis, The University of Wisconsin, 1955. Kibler, Robert J. "A Survey of the Extracurricular Dramatics Activities in Ohio High Schools 1958-1958.” Unpublished Master's thesis, Ohio State University, 1959. Lohrey, Sherwood David. "A Survey of the Extra Curricular Dramatic Activities in the Public High Schools of New York State 1954—1955.” Unpublished Master's thesis, The University of Wisconsin, 1955. 79 8O Meyer, Margaret Gump. "A Survey of the Extra Curricular Dramatic Activities in Iowa High Schools 1953—1954." Unpublished Master's thesis, The University of Wisconsin, 1955. Other Materials The Michigan Education Directory and Buyer's Guide, 1961- 1962. Lansing, Michigan: Michigan Education Directory, 1961. APPENDICES 81 ll gl|l [ |l.llu‘|llll‘al [I ‘lll‘lll II . \ I. it . 4“ ll APPENDIX A 82 MICHIGAN STATE UNIVERSITY EAST LANSING COLLEGE OF COMMUNICATION ARTS - DEPARTMENT OF SPEECH February 26, 1962 Dear Director: The Michigan Cultural Commission.appointed by Governor Swainson and the Department of Speech at Michigan State University are conducting a research project to survey extracurricular dramatic activities in Michigan High Schools. The period being surveyed is from September 1961 to June 1962. All events which are planned but not completed should be included. We are asking you to cooperate with Donald E. Heady, project chairman, so that we may complete the survey. Please take just ten minutes from your busy schedule to fill out and return the questionnaire. You will find a stamped, return envelope for your convenience. If you are not personally responsible for the extracurricular dramatic activities in your school please give this letter and the enclosed material to the associate who can provide the information. If you have no extra- curricular dramatic program, simply check the space at the top of the questionnaire and return it. The Michigan Cultural Commission and the Department of Speech at Michigan State University want to know how they can best serve you. This survey is one means of acquiring the necessary information. You can help us by providing frank and complete answers to the questionnaire. All individual responses will be held in confidence. It is hoped that this survey will provide an accurate picture of extracurricular dramatic activities in Michigan High Schools. Please indicate on the questionnaire if you wish to receive the results of the project. Thank you for your cooperation and time. Joh E. Dietrich, He.. Dep rtment of Speech JED/ pz APPENDIX B 84 Nuneum.location of school Approx. enrollment Your name and position Doymlhave an extracurricular dramatic activities program? Yes No Tflfles of all Extra- Author Type (i.e., Length of Sponsoring . Approx. Royalty Price of Approx. Approx. Number of auricular Dramatic (Note if Comedy, Play (i.e., Group(i.e., Total Admission Cost Profit Student Adfivities from Sept. Original) Farce, One-Act, Club, Class) Attend. of Prod. or Loss artici ants 1961 to June 1962 Serious etc. + or - t Crew 1' PLMK II. FACILITIES III. GENERAL INFORMATION A- RSSponsibility for play selection? A. Where are the plays presented? A. How is the profit from extracurricular 1. Director 1. In school auditorium dramatic activities used? 2. Student Committee 2. In school gymnasium 3. Faculty-Student Combination 3. In auditorium-gym combined B. How many hours of course work have you [ 4. Other 4. In civic auditorium had in drama? Specify 5. Other Semester hours B. What are the problems in selecting plays? Specify Quarter Number items (1, 2, etc.) in order of B. Type of stage? C. What courses in drama are offered in your importance. 1. Proscenium or traditional high school? Limited stage facilities 2. Temporary platform 1. Difficulty obtaining cast 3. Arena or central 2. High production cost 4. Other 3. Objectional script material Specify D. In producing a play do you receive any help? Lack of student or audience interest C. Stage dimensions in feet? Technical Who Other 1. Proscenium opening Financial Who Specify 2. Stage depth Aesthetic —_—Who C~ Responsibility for casting? 3. Stage width E. If you need help in the future where might 1. Director D. Do you have use of: (yes or no) you get it? 2. Students and director 1. Industrial arts room Adequate___ 3. Director and faculty 2. Your own worksh0p Adequate F. Please indicate on the back of this 4- Other 3. Fly space Adequate questionnaire any special problems or D. A. Specify 4. Light controls Adequate explanations. Verage rehearsal for—full Iength play? E. Please list the approximate number of the G. Would you like the results of this Length (each) ______ No. per week ______ following that you have: questionnaire? Total hours ______ Percentage 0f time stage Border lights Spotlights Yes No E. lisivallable'_____¥ . , F. What percentage of your costumes are: your three major problems in play production. 1. Rented ' ——r 2. Borrowed 2. __ 3. Built ‘— 3. Wm APPENDIX C 86 IHHHIHIHIHIHIH 53:03 .mdmmg swam DmmqucD 85m mamas“: Esmuosmwsax 9.; 809m :00on mo “Guardsmen seam .m 2280 .42 I. >0 0:3 mm .._.:>> m0._n_w~_ mme_mDm "ca-a I .Juui .0523... «now .2. .Oz tiawa mmSU .55“. I II It i. I ll‘ll I! I'll]. Ail-I‘ll"! lull IIII‘ [I Ill. III I ll III .III l. ‘l olll [III I . 1|! 7 Illl‘n ll: APPENDIX D 88 Hittiltlltill'ltllllfl ‘til‘ l.lll|-lllll ‘flIi‘..lt ls‘ (I4 .1; I '1: I‘.’ I'll MICHIGAN STATE UNIVERSITY EAST LANSING COLLEGE OF COMMUNICATION ARTS - DEPARTMENT OF SPEECH March 9, 1962 Dear Director: The questionnaire entitled "A Survey of Extracurricular Dramatic Activities in Michigan.High Schools", Sponsored by the Michigan Cultural Commission and the Department of Speech at Michigan State University, was sent to you last month. We have not yet received your completed questionnaire. Possibly it was misplaced, misdirected, or you have not found time to fill it out. We need your return in order to gain a clear picture of our State's high school drama program. Enclosed is a duplicate questionnaire and a return envelope. Please help us to complete our survey. ' Thank you for your cooperation and time. Sincerely, Donald E. “kw Projgctra ector Michigan State University DEH/fpz APPENDIX E 90 MICHIGAN STATE UNIVERSITY BASTLANSING COLLEGE OF COMMUNICATION ARTS - DEPARTMENT OF SPEECH May 10, 1962 Dear Principal: In February your school received a questionnaire concerning your extracurricular dramatic activities. The answers to this questionnaire will be used in a study being conducted by the Speech Department of Michigan State University in cooperation with the Michigan Cultural Council. To get a complete picture of high school dramatic activities in Michigan, we need a reply from your school. Will you please give the enclosed questionnaire to your play director? If your school does not present plays of any type, will you fill in the top part of the questionnaire and return it to me immediately? Thank you for your cooperation. Yours very truly, EWLLZFZ/fié Donald Heady Project Director DH/fpz a 1‘ III I‘I‘l l lull I I III!!! 1‘ Ilil‘dl Ill (1 it . . ‘I . ‘H I. ‘ Ill,lt.vl 4‘. II t 1. ‘- r‘Ill. ‘1 .llvl .‘l. 17 :1! n I." \ (T I ' it ,. r - ~ w r 3 .‘ 'l d p C , a | r I". I . .' f: 9 ‘ , “c‘ r E1 Hr i i J M, 1 .n‘, f.‘