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A STUE‘Y OF PRESENT PRACT‘ECES AN?)

ADMINSTRA‘TIVE ATTH‘UDES TOWARD
THE DRAMA FROGRAMS Oi“ SELECTED
MICHiGAN HiGH SCHOOLi

Thesis for {he fiegree cf M. A.
MICHIGAN STATE (DQLLEGE
Shimmy James: VWEE'E‘Q-

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Thisistooertlfgthetthe

thesis entitled

A Study of Present Practices and
Administrative Attitudes Toward

the Drama Programs of Selected ’
Hichigen High Schools.

presented by

Stanley J. White

hes been accepted towards fulfillment
of the requirements for

_H..L._degree b.3333!!—

    

Major professor

Date October 26. 125;

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BIOGRAPHY

Stanley James White was born at Harbor Beach, Michigan,
February 28, 1919, the third son of Henry and Frances
White. He was graduated from Harbor Beach High School
in 1937, and entered Michigan State College in Septems
ber of the same year. During World War II, he served
with the 99th Infantry Division in Europe, earning the
Combat Infantry Badge, the Purple Heart, and battle
stars for the Ardennes, Rhineland, and Southern Germany.
Upon discharge from the Army, he returned to Michigan
State College where he was granted the degree of Bach-
elor of Arts in 1948 having had roles in six major the-
atrical productions, and having attained membership in
Theta Alpha Phi, national honorary dramatics fraternity.
He has held teaching positions at Grand Blanc High
School and Flint Central High School.

 

A STUDY CF PlfiSfiTT PRACTIFSS AND ADVINISTQATIVE
VATTITWDES TOWARD THE DRAWA PROGRAVS OF
SELECTED VICWIGAN HIGH SCHOOLS

By

Stanley James flhigg

A THESIS

Submitted to the School of Graduate Studies of Fichigan
State College of Agriculture and Applied Science
in partial fulfillment of the requirements
for the degree of

?%STER OF ARTS

Department of Speech, Dramatics, and Radio Education

1951

THESIS

ACKNOWLE DGT‘ENT

Acknowledgment is hereby made to Dr. Wilson Paul,
head of the Department of Speech, Dramatics, and Radio
Education of Michigan State College, to Professors
Buell, Potter, Nelson, and Campbell for their assist-
ance and supervision in the completion of this thesis;
to Mr. Phillip Vercoe, principal of Flint Central High
School, for his assistance in the formulation of the
questionnaire, and to all those high school administra-
tors who participated in this study.

#*********
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268358

TABLE OF CONT FEET S
CHAPTER
I THE PROBLEM.AND DEFINITIOFS CF TSRVS USED.................
The Problem............................................

Statement Of the prOblelneeeeeeeeeeeeeeeeeeeeeeeeeeee
Importance of the study.............................

Definitions of Tem.‘O................................
Present practices...................................
AChlliHiStrative attitUdeSeeeeeeeeeeeeeeeeeeeeeeeeeeee
Drwna progmmSeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee
Selected Michigan High Schools......................

II P}{OCSDTTPLES........0................................C......

What Kinds of Plays are Being Produced?................

What Persons Are Responsible for the Production of

Play8?..00.0.00...OOOOOCOOOIOOIO0.0COOOOOOOOOCOOOQCO

What is the Educational Atmosphere in'Which Plays are

Produced?...OOOOOOOOOOOOOOOOOOO0.0.0.000...000......

III STATISTICAL SUMHARY OF QUESTIOHPAIRE RETURNS..............
IV DISCUSSION AND SUMMARY....................................
BIBLIOGRAPA .....................................................
APPE'ITDIX A - COTWENTS BY SCHOOL ADFCINISTRATORS. . . . . . . . . . . . . . . . . . .

APPENDIX B - PROPOSED REVISIONS OF DRAMA PROGRAMS................

PAGE

1

plea

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59

46

47

53

CHAPI' ER I

CHAPTER I
THE PROBLEM.AND DEFINITIONS OF TERMS USED

With an ever-increasing number of trained persons engaged in the
teaching of language and communication skills, particularly drama, with
closer public scrutiny of the content of secondary school curricula,
and with the acceptance of the Yichigan Speech Association as a depart-
ment of the Michigan Education Association, this study of Michigan high

school drama programs was felt to be timely and valuable.
I. THE PROBLEM

Statement gf'the problem. The purpose of this study was (1) to

 

investigate present practices in the presentation of high school plays
in the State of Michigan; and (2) to discover administrative attitudes
toward such practices and toward the students and teachers engaged in

them, as revealed through a questionnaire study.

Importance 2£_the study. The results of this study are designed

 

to present an accurate picture of dramatics activity at the secondary
level that might be used as a reference point for any change in methods,

objectives or instruction.

II. DEFINITIONS OF TER‘S

Present practices. The current methods used in employing drama

 

teachers or directors, financing school plays, selecting school plays,

casting and presenting school plays are included in the term, "present

practices."

Administrative attitudes. The attitudes of secondary school

 

principals and superintendents were regarded as being contained in
their subjentive evaluation of the practices and objectives of each

drama program.

Drama programs. This study was not primarily concerned with our-

 

ricular drama. Play production may or may not be a part of regular
classroom.instruction. “any of the smaller schools conduct their
dramatic arts as an extra-curricular activity. The study did attempt
to explore very carefully the preparation and presentation of a play

for a paying audience.

Selected Michigan High Schools. The State of Michigan divides its

 

schools into classes A, B, C, and D according to student population.
Class A schools have an enrollment of 800 and above. Class B schools
have an enrollment of 325 to 799. Class C schools have an enrollment of
125 to 324. Class D schools have an enrollment of 124 or less. The
class B and C schools represent the greatest total enrollment, with 435
schools in.these two classes. A total of 493 questionnaires were sent
to the class A, B, and C schools. Since the class D schools are few in
number and small in population, it was felt that they could be omitted

from the study .

CHAPTER II

CHAPTER II
PROCEDURES

The following questionnaire was sent to the administrator of each
class A, B, and C public and parochial high school in the Upper and Lower
peninsulas of the State of Michigan. A stamped return envelope was in-
cluded with each questionnaire to insure adequate returns.

In formulating the questionnaire, an attempt was made to analyze the
drama programs of Michigan high schools qualitatively rather than quanti-
tatively under these criteria:

1. What kinds of plays are being produced?

2. What persons are responsible for the production of plays?

3. What is the educational atmosphere in.which plays are produced?

The questionnaire attempted to assess the educational and cultural
value of drama activity. An explanation of the items included is in

order.
I. WHAT KINDS OF PLAYS ARE BEING PRODUCED?

The production of a school play should reflect well upon the author,
upon the student-actor, upon the stage crew, upon the director, and upon
the school. The performance of a school play demands high standards of
excellence, and since spectators at school functions expect well-rehearsed
bands, orchestras and vocal groups, and well-coached athletic teams, they

have every right to witness a well-produced school play. Question 15

sought to locate the persons making the choice of play. Perhaps in some
instances it would not be well for the director to make this choice
alone, yet it seems possible that the purposes of education through a
balanced program of dramatic presentations can best be served if the di-
rector is given freedom in his choice of plays. Question 16 regarding
the basis for play selection was phrased affirmatively so that answers

to these items would be clear-cut. Local conditions, such as number of
students, royalty restrictions, religion, etc., often influence the choice
of the school play, but other educational factors should be given equal
weight. Question 17 investigates the matter of royalties. A reference
point in determining the value of the play could be the amount of royalty
paid. Questions 20 and 21 attempt to classify various plays according to
audience reaction with the hope that a pattern of preference might be
revealed as a guide to play directors in their future productions.
Question 22 is designed to reveal specific criticisms expressed by mem—

bers of the audience.

II. WHAT PERSONS ARE RESPONSIBLE FOR THE PRODUCTION OF PLAYS?

Since the finished play is largely the director's responsibility,
question 8 was directly concerned with the academic training of the
director, but question 7 concerning the practical experience of the
director was felt to be equally important. Ideally, a director should
have practical experience in all phases of play production.

Questions 9 and 10 attempted to discover the relative importance

of the stage setting. Probably the director should determine what the

stage setting is to be; its color scheme, decoration and lighting. The
building, painting, and lighting of the set need not be done by the
director, but he should be able to closely supervise such work.

Question 6 attempts to discover whether the directing of school
plays was the duty of a person trained and qualified for the task, or
whether the directing of plays was assigned to teachers regardless of
their training.

III . WHAT I S TEE EDUCAT IONAL AT 11‘. SPHERE IN WHICH
PLAYS ARE PRODUCED?

The health and vigor of a drama program flourish in a school that
believes dramatics activity to be worthwhile. If some administrators
have not been convinced of the worth of curricular or extra-curricular
dramatics, it has not been entirely their responsibility. Drama di-
rectors as a group have never formulated a statement of their stand in
Michigan.

Question 1 was designed to discover if administrators felt that
their drama programs were currently serving any purpose, and question 12
was closely related in that it was meant to discover what the adminis-
trators thought to be the ideal purposes of a drama program.

Question 2 sought to reveal current practices in casting plays. If
drama has educational value, a great many students should have a chance
to participate. Limitations, such as membership in a particular class
or grade, should not prevent students from.participating in a progressive

drama program.

Questions 3 and 4 investigate the financial aspects of the drama
prognnn. In meeting production costs, the tradition has been that
either the class presenting the play assumes such costs, or the Board of
Education assumes them.

Question 18 sought to clarify the importance of the director in the
drama program. With much of the work of play production done after
school hours, qualified directors will be attracted to those situations
in.which additional work merits additional compensation.

In the entire investigation, no mention is made of the stage equip-
ment in.the belief that a successful program.may be had with minimum
equipment. The assumption is that all replies to the questionnaire re-
ferred to plays presented on the familiar proscenium.stage. The recent
interest in central staging, also called arena or circle theatre, should

be investigated by all secondary schools.

 

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CHAPTER III

School
Class A
Class B

Class C

Totals

CHAPTER III

STATISTICAL SWWWAHY OF QUESTICNNAIRE RETURNS

 

Number Number Percent
Sent Replviqfi Replyinr
58 40 69
128 ' 81 63
307 166 54
493 287 . 58

1.

A.

E.

C.

D.

Which of the following statements would you regard as true in
reference to your drama program?

A. Drama is an educational experience for students.

Class A 100%
Class B 91%
Class C 87%

B. Drama is a fund raising device for a class.

Class A 53%
Class B 68%
Class C 78%

C. Drama is a public relations medium.

Class A 83%
Class B 68%
Class C 67%

D. Drama serves as a school-community experience.

Class A 65%
Class B 49%
Class C 59%

E. Drama is good entertainment.

Class A 83%
Class B 77%
Class C 69%

RANK ORDER OF ITEWS IN QUESTION 1 BY ELAN SRCENTAGE

Drama is an educational experience for students. 92.6%
Drama is good entertainment. 76.3%
Drama is a public relations medium. 72.7%
Drama is a fund-raising device for a class. 66.3%

Drama serves as a school-community experience. 57.6%

2. Are your school plays presented by classes, by casts chosen from
the entire student body, or both?

Classes All-school Both
Class A 40% 30% 30%
Class B 59% .09% 32%
Class C 78% .O6% 19%

Mean 59% 10.5% 27%

3.

11

Do proceeds from a play go entirely to the producing group, or is
some percentage returned to a dramatics fund to purchase equipment?

All proceeds to group Percentage returned
Class A 40% 50%
Class B 69% 31%
Class C 80% 20%

New 63% 30.3%

4.

12

Does your school budget alIOW'the purchase of essential equipment
such as sample play scripts, lumber, hardware, scene paint, etc.,
even though all proceeds go to the group presenting the play?

Yes NO
Class A 45% 50%
Class B ' 43% 53%
Class C 38% 57%

 

 

Mean 43% 53%

5.

C.

B.

A.

D.

13

Would you welcome qualified critics or technical advisers from one
of the following areas to evaluate the performance of a play?

A.

C.

D.

RANK ORDER.OF ITEEB IN QUESTION 5 BY DEAN PS3,

Other High Schools

Class A
Class B
Class 0

Michigan Speech Association

Class A
Class B
Class C

Michigan Colleges and Universities

Class A
Class B
Class C

Have No Need For Such Assistance

Class A
Class B
Class C

lfichigan Colleges and Universities

Michigan Speech Association

Other High Schools

Have No Need For Such Assistance

Yes

4-07.
47:“;
48%

50,»;
50%
52;:

65%
48%
45;;

25%
29=<
2 1%

6.

14

Is the responsibility for directing school plays given to one
person or is it divided among the faculty?

One person Divided
Class A ‘ 83% 15%
Class B 70% 28%
Class C 51% 46%

 

 

Mean 68% 29.7%

6.

14

Is the responsibility for directing school plays given to one
person or is it divided among the faculty?

One person Divided
Class A ' 83% 15%
Class B 70% 28%
Class C 51% 46%

 

119911 68 % 2 9 o 7%

7.

15

Has your play director ever participated as an actor or technician
in college, civic, or professional drama?

Yes No
Class A 90% 11%
Class B 73% 21%

Class C 59% 36W

8.

16

On your faculty at the present time, which of the following persons

do

A.

B.

C.

D.

you have directing school plays?

Speech Major

Class A 65%
Class B 4%%
Class C 21%

English Major with Speech Minor

Class A 33%
Class B 49%
Class C 53%

B. A. With No Training In Dramatics

Class A .OB%
Class B 11%
Class C 26%
Other

Class A

English major (1)

Social Studies Major Speech Minor (1)

History major Speech Minor (1)

”any years experience in Elementary School dramatics (1)

Class B

English Major with professional acting experience (1)
Mathematics Major, Speech Minor (1)

One who has had considerable experience in play production (1)
Class sponsor with some drama training (1)

No training but much experience as amateur (1)

Outside director (5)

Social Studies major, Speech Minor (1)

Older teacher with broad experience (1)

Language major'with Mathematics and Speech Minors (1)

English Major (2)

Class C

Ththematics Major, Speech Minor (3)
English Major, Social Studies Minor (1)

D.

17

B. A. with some training in dramatics (3)
History Major, Speech Minor (2)

Person experienced in dramtics (1)
Social Studies major, Speech Minor (2)

Other
Class C

Art Major, Speech Minor (3)

Commercial Hajor, Speech Minor (2)

English Hajor, Journalism.Minor (1)

Civic Theatre Director, M. A. Speech (1)

Iatin Major, Speech Minor (1)

Music Major, Speech Minor (2)

English Major (9)

msic Major (1)

English lhjor with almost a Speech Minor (1)

Any English teacher likely to be chosen by the class (1)
Spanish.lhjor, English Minor with some training in dramatics (1)
English Major, extra-curricular dramatics in college (1)
fiathematics Major with some drama experience (1)

B. S. with four hours college speech (1)

9.

Is the construction, painting and lighting of stage settings done
by:

A. Industrial Arts teacher

Class A 25%
Class B 39%
Class C 39%

B. Dramatics teacher or director

Class A 53%
Class B 51%
Class C 43%

C. Janitorial staff

Class A 1%

Class B 20%

Class C 16%
Do Other

Class A

Switch Board Club (1)

Students plus help of an interested father (1)
Stage technician (4)

Stagecraft classes (2)

Students (1)

Dramatics class (1)

Director and students (2)

Director of staging (1)

Technicians Club and Director (1)

Sets are rented (1)

Class B

Art department (7)

Outside help (1)

Class adviser and students (1)

Physics teacher who is interested in the work (1)
Paint and decorating classes (1)

Students (30)

18

Class C

Professional painter (1)
Community help (1)

Sponsor and students (1)
Permanent stage crew (2)
Art teacher (5)
Combination of A, B, C (13)
Students (43)

19

20

10. Is work on stage settings assigned or voluntany?

Assigned Voluntary
Class A 35% 63%
Class B 34% 66%
Class C 44% 56%

 

Mean 37 . 7% 58 . 3%

11.

21

In view of the fact that other departments of the school are often
aSked to assist in play production, wpuld you say that the majority
of your faculty, clerical, and janitorial staff regard the plays as

a justifiable activity for students?

Yes
Class A 78%
Class B 81%
Class C 78%
Mean 79%

No
0
.02%

.04%

.02%

Uncertain Not Answering
2% 20%
14% 4.98%
12% 9.96%

9% 11.31%

12.

A.
B.
D.
E.
F.
C.

Which of the following items would you regard as benefits to the
student participating in dramatics?

A.

B.

C.

D.

E.

F.

Wholesome Personality Development

Class A
Class B
Class C

Development of Responsibility Toward the Group

Class A
Class B
Class C

Acquisition of Vocational Skills

Class A
Class B
Class C

Stimulation For An Adult Hobby

Class A
Class B
Class C

Development of Appreciation For Language
And Lit eratu re

Class A
Class B
Class C

Training of Discriminating Consumers
of Entertainment

Class A
Class B
Class C

RANK ORDER OF ITEMS IN QUESTION 12 BY MEAN PERCENTAGE

Wholesome personality development

Development of responsibility toward the group
Stimulation for an adult hobby

Development of appreciation for language and literature
Training of discriminating consumers of entertainment
Acquisition of vocational skills

90%
85%
89%

90%
89%
85%

35%
293
25%

75%
587

o
67
3 )0

69%
48%
38%

65%
41%
36%

88%
88%
57.3%
48.6%
47.3%
28.6%

22

13.

14.

23

Does your school have a dramatics club?

 

 

Yes No
Class A 60% 40%
Class B 47% 53%
Class C 18% 84%
Mean 41% 59%

If your school has a drama club, does it have an active program
of play production, or is it social in nature?

Active Program Social
Class A 88% 12%
Class B 82% 18%
Class C 74% 28%

 

 

Mean 81.3% 18.1%

15.

Do students, director, faculty, or combination of these select

the school plays?

A.

C.

D.

Students

Class A
Class B
Class C

Director

Class A
Class B
Class C

Faculty

Class A
Class B
Class C

Combinations
Class A

Director, Department Head, and students (1)
Faculty and students (3)

Students, director, faculty (8)

Students and director (11)

Class B

Faculty, Board of Education, director, students (1)

.05%
.04%
.05%

.08%
.02%
.02%

24

Students and director with director making final selection (1)

Director and faculty (1)
Faculty (2)

Director and Principal (2)
Director and class sponsors (3)
Director only (18)

Students, director, faculty (8)
Students and director (42)

Class C

Students and faculty (2)
Director and faculty (4)
Students, director, faculty (25)
Students and director

25

COLBINATIONS OF STUDENTS AND DIRECTORS III ERCENT

Class A 28%
Class B 52%

Class C 53%

16. On what basis is a play selected?

A.

B.

D.

E.

F.

G.

lhst have a large cast

Class A
Class B
Class C

lbst have more girls than boys

Class A
Class B
Class C

Inst be easily staged in one setting

Class A
Class B
Class C

Must be a comedy

Class A
Class B
Class C

inst have a great amount of action

Class A
Class B
ChssC

lbst have literary merit

Class A
Class B
Class C

tht not involve smoking or drinking

Class A
Class B
Class C

Yes

183::
15%
13%

.083
11%
1on

28%
46;:
61%

.0575
125::
13:;

15%
12%
25%

53;:
445%
29%

3375
443:“:
37523,

26

I.

27

lfust be under $2.25 royalty

Class A 0
Class B .09%
Class C 30%

Must be familiar to the public as a book

or movie

Class A .05%

Class B .O¢%

Class C .006%

Other bases for play selection
Class A

The more recent the copyright date

Able to stage with high school students

Interesting to read

To suit talent and commmity

It helps if play is well-known

lhst be adequate for mixed racial cast

Interested in a good play

Entertainment value

Not offensive to religious public

Desire of club to produce

FMst help maintain varied dramatic fare and yet be worth the
time spent

Class B

Entertaining play

Not definite, varies

General interest

Enst present challenge to students
Have some value in addition to literary
Appropriate for high school group
Fit the community

lbst fit available cast
Educationally sound

No restrictions

Valuable characters and situations
Depends upon the group each year
Comedy usually desired

C.

.—
O

G.

E.

A.

H.

D.

B.

Inst

1'11 st

lilst

Ifust

7th s t

:"u st

lbs t

ITust

Must

28

Class C

Generally wholesome

Fill needs of a particular group

Iferit only

Offer variety

T'ust have good lines

Available talent

Should draw the public

No permanent basis for choice

."oral value desirable

Dust be actable and have a definite interest for teen-agers

Play must be chosen for the audience

Well'written, good conversation, good plot, enjoyable for most

Is the play worth doing? Can we effectively cast it? Can we
effectively stage it? Can we meet the expenses?

RAJ'K ORDER OF ITEI’S IN QTESI‘ICI‘I 16 BY "LIAN PERCENTAGE

be easily staged in one setting 45??
have literary merit 4-33
not involve smoking or drinking 38:33
have a great amunt of action 17.5%
have a large cast 15.373
be under $25 royalty 10%
be a comedy ‘ 8.4%
have more girls than boys 7%

be familiar to the public as a book or movie .03233

17.

29

Indicate the amount you customarily pay for production rights for

each three-act play.
A. $5
Class

Class
Class

(injp.

B. $10

Class A
Class
Class

and

0. $15

Class A
Class
Class

ow

D. 325

Class A
Class B
Class C

E. Over :25
Class A
Class B
Class C

F. Royalty free

Class A
Class B
Class C

.01%

.03%
.05%

21%

.05%
.O4%
19%

6&3

18.

30

Does your play director receive additional compensation over his

base salary ei’dxer in money or in reduced schedule?

 

Yes
Class A 6575
Class B 59:73
Class C 43;"?
Ilean 55.6%

 

19.

Do people in your community sometimes get in touch with you to
comment on a school play?

Often Seldom Never
Class A 45% 48% .03%
Class B 57% 38% .05%
Class C 45% 43% .07%

mean 49% 43% .05%

31

20.

32

School plays which have brought favorable comment.

Each title represents one listing unless otherwise indicated by a

number following.
Class A

Anne of Green Gables
All my Sons

A Date With Judy

A Young Van's Fancyr

B erkl ey Squa re
Beyond The Horizon

Cheaper By The Dozen (4)
Children Of The Moon

Detective, The

Death Takes A Holiday
Dear Ruth (2)

Ever Since Eve

Gold In The Hills
George washington Slept Here
Great American Family, The

Harriet

Inner'Willy, The
Imaginary Invalid, The
I Remember lama (6)

Jane Eyre
January Thaw (5)

Little women (2)
Little Minister, The
Life‘With.Father

Lost Horizon

Let’s Get Together
Lavender And Old Lace

Phrder In A Iunnery (2)

Mother Is A Freshman (2)

Feet Me In St. Ibuis

Nan'Who Came To Dinner, The (3)

Pride and Prejudice
Pygmalion

Peg 0' 3‘.in Heart
Patriots, The

Royal Family
Release
Rest Assured

Sure As You're Born
Spring Green

That Girl Patsy
Tom Sawyer
Time For Elizabeth

What A Life (2)

You Can't Take It With You (5)
Young Abe Lincoln
Years Ago

Zaragueta

Class B

A Full House

Abe Lincoln In Illinois
Arsenic And Old Lace (2)
Almost Summer

Almost Eighteen

All Through The Night (2)

Big Help, The
Barretts of Wimpole Street

Cheaper'By The Dozen (5)
Connecticut Yankee (2)
Charley's Aunt (2)

Don't Take My Penny
Double Door

Date Bait

Dear 1Ruth (2)
Darling Brats

Fool, The
Forever Albert (2)

Great Big Doorstep, The
Goodbye Ty Fancy

Growing Pains

George Washington Slept Here

Happy Journey, The
Heaven Can ‘iIait (3)
Here Comes Charlie

Ice Bound
Inner Willy, The
I Remember mama

Joan of Lorraine
Janie

Junior Hiss (2)
January Thaw

Kind Lady
Letters To Lucerne (2)

Life With Father
Love Is Too inch Trouble

33

last Flight Over
Little women (3)
Lost Horizon

Lease On Liberty
Little Yinister (2)

Pfizer, The (2)

Fleet no In St. Louis (6)
lbrrying marion

Mother Is A Freshman (4)

Night of January 16th

One Foot In Heaven (4.)

Our Hearts were Young And Gay (5)
Our Miss Brooks (5) S
Old Doc

Our Town (5)

Pink Dress, The
Pride And Prejudice

Rich Full Life, The
Ramshackle Inn

Ring Around Elizabeth

Smilin' Through
Stranger In The’Night
Smoke Screen

Sky Road

Servant In The House
Seventeenth Summer (2)
Submerged

Trail Of The Lonesome Pine
Too Hany Dates

Tidings Brought To Many
Take Your Medicine

Taming Of The Shrew

Three Old Paid Aunts

We Shock The Fandly Tree
Western Union, Please
Wedding Spells

You Can't Take It With You (4.)
Young Mr. Lincoln

Class C

Aria da Capo

A Date'With Judy (3)

All The'World Sings At Xmas
A Little Honey

Almost Summer

Are You A Hason

Angell Brats, The

Arsenic And Old Lace (2)
Aaron Slick From.Punkin'Crick
A Billet For Bill

A Ghost In The Belfry
Almost Eighteen '

Absent Minded Professor

Pig Help, The

Bells Of Normandy

Brother Goose (3)

Boarding House Beach, The (4)
Beauty And The Beef

Best Years

Bat, The

Bolts And Nuts

Brainstorm

Bandits For Breakfast

Chonita

Christmas Carol '
Christmas Star Fantasy
Campus Quarantine
Campbells Are Coming, The (3)
Clementine (2)

Charley's Aunt

Cannibal Queen, The
Cheaper By The Dozen (4)
Come Over To Our House
Clock Strikes Twelve, The
Calling All Girls

Cracked Nutts

Don't Take my Penny (6)
Demon In The Dark
Daffydills

Desperate Ambrose (2)
Dear Ruth (2)

Dear Brutus

34

Everybody's Crazy
Every Family Has One (2)

Fighting Littles, The

Ghost Of A Chance

Girl Shy (2)

Great Big Doorstep, The
Growing Pains

Ghosts Nanted (2)

Great Ben Allah, The

George Hashington Slept Here
Grandad Steps Out

Galloping Ghosts

Gay

Green Light, The

Ghost Of Roaring Pines, The

Haunted High School, The
His Ozark Cousin

Here Comes Charley (5)
Home Sweet Homicide
Hearts And Hats

House Beautiful

I Remember Mama

It’s A Riot

It's All In Your Head
Inner'Willy, The (7)

Just Ducky (2)
Junior Prom
January Thaw (2 )
Jeanne d'Arc
June "ad

Little women (5)

lunatics At Large

Love Your Neighbor

Late Hr. Early, The
lavender And Old Lace
Life'With Father

Love Is Too Mich Trouble
Long Lane, The

Late Christopher Bean, The
Lost Horizon

Midnight

Heet He In St. Louis (2)
More The Herrier, The
infumb o Jumbo

Heliss'

Hen Are Like Streetcars
“urder In Rehearsal
"other Is A Freshman (4)

No Bride For The Groom
Yothing But The Truth
Night of January 16th

One Foot In Heaven (4)

Out Of The Frying Pan

Old Man's Money, The

Object 1"atrimony

Our Miss Brooks (2)

Our Hearts Were Young And Gay (3)
One Wild Night

Our Town (3)

Ozark Cousin

Professor, How Could You
Perfect Idiot, The

Poor Married Man, The
Pride And Prejudice (2)
Papa Is All

Papa Says No

Prize Family

Pure As The Driven Snow

Quit Your Kidding

Red Mill, The

Ready Made Family (3)
Riddle Me Riches (3)
Rest Assured (2)
Room.Number 13

35

Skeleton'walks, The (2)
Sing Out Sweet Land
Spring Green

Smilin' Through (2)
Spring Fever

Seventeen

Showdown At Sawtooth
Song Of The South
Summons Of Sariel
Seventeenth Summer (2)
Sunshine Twins, The (2)
Stranger In The Night

There Goes The Bride
That Crazy Smith Family
Tiger House (3)

Tattle Tale

Tish

Twixteen

Tumblin' Creek

Upper Room
Up To Your Ears

we Shook The Family Tree (5)
Who Wouldn't Be Crazy

Wanted , A Hero

'Welcome Home, Jimmy

You're The Doctor

21.

36

School plays which have brought unfavorable comment.

Each title represents one listing unless otherwise indicated by

a number following.
Class A
All My Sons

Dear Ruth

George Hashington Slept Here (2)

Hill Between, The

Class B

Arsenic And Old Lace
A Date'With Judy

Barretts of Wimpole Street (2)
Charley's Aunt

Dear Ruth

Here Comes Charlie

Heaven Can wait

Huck Finn, Detective

Hawk Island

Class C

Arsenic And Old Lace

Bolts And Nuts
Baby Sitter, The

Don't Darken My Door

George washington Slept Here
Hoosier Schoolmaster, The
Hillbilly Courtship

Heart Trouble

Inner Willy, The

John Loves Mary
Life With Father
Night inst Fall

R. U. R.

Inner‘Willie

lbn.Who Came To Dinner, The
lhn.Bites Dog

See HoW'They Run
Singing Ghost, The

Tidings Brought To Whny

You Can't Take It With You (2)

Thn.Who Came To Dinner, The
Ozark Cousin, The

Our Miss Brooks

One'Wild Night

Professor Goes Haywire, The
Ramshackle Inn

Seven Sisters

Tattletale

You Can't Take It With You

22.

If you have had some unfavorable

A.

C.

D.

E.

Choice of play Number of
Occurrences
Class A 6
Class B 16
Class C 34

The training of the actors

Class A
Class B
Class C _ 1

03010

The conduct of the actors

Class A
Class B
Class C

<OIAIA

Stage setting, lighting, make-up

Class A'
Class B
Class C

(0010

Other: One listing per item
Class A

Length of time in.changing scenery

Suggestive lines

Swearing

Occasionally too "high brow" for the commmity

Class B

Swearing

Use of words such as "dance," "darn," "heaven," "movie"
Actors lines

Interpretation

Not including enough unknowns in cast

Language used in play

Can't hear the actors

Our Hearts Were Young And Gay was too long

Actors in performance replaced parts that had been cut

comments were they in regard to:

37

Class C

Actors speak too rapidly, move too woodenly, speak too softly
Educational message

Strong drink bottles in play

Actors failed to respond adequately to training

Conduct of house managers and ushers

Poor acoustics

l‘ystery play proved too scary for elementary school audience
Actors laughing and not knowing lines

38

CHAPTER IV

CHAPTER IV

DISCUSSION AND SUNHARY

In analyzing the data revealed by the questionnaire, there seems to
be no need to justify the presence of the drama program as a curricular
or extra-curricular activity in Michigan schools. In every case, a
majority of administrators stated that their programs were serving the

following functions:

1. Drama is an educational experience for students. 92.6%
2. Drama is good entertainment. 76.3%
3. Drama is a public relations medium. 72.7%
4. Drama is a fund raising device for a class. 66.3%
5. Drama serves as a school-community experience. 57.6%

Let us examine the results in terms of the criteria outlined in

Chapter III.

I. WHAT KINDS OF PLAYS ARE BEING PPODVCED?

A majority of Michigan schools are producing the best plays offered
by the publishers. An examination of the catalogues of such publishers
as Samuel French, Dramatists Play Service, Dramatic Publishing Company,
Bakers Plays, Northwestern Press, etc., shows that the $25 royalty play
is the most expensive, with some few listed at $35 and $50. From.this we
can assume that the publishers have set the $25 price as representative of
their best royalty plays. In Michigan schools, 53% of those replying to
the questionnaire indicated that their customary expenditure for production

rights was $25 for each performance.

39

40

The titles of plays listed in the questionnaire ShOW'all classes
of schools producing all types of plays. There is no indication of the
quality of dramatic effort evidenced by play titles alone to show that
one type of school is more proficient than another.

The fact that certain plays were favorably received in one community
and not in another is worth noting, since it emphasizes the importance of
audience analysis before the selection of any play.

Also of interest is the type of play listed most frequently as re-

ceiving favorable comment. By classes, these plays are:

Class A I Remember Fame (6)
Class B Meet we In St. Louis (6)
Class C The Inner Willy (7)

Gee and Dietrich in their survey of Wisconsin high school drama rate
"I Remember Rama" very highly as Broadway at its comic best. “meet Me In
St. Louis" receives a favorable rating because it is dramatized from a
novel, while "The Inner Willy" is grouped among a class of plays written
for high schools and being of extremely doubtful worth since they have no
perceivable literary base.1

No conclusions can be drawn from.the group of plays listed as bring-
ing unfavorable comment since no significant number is indicated, however,

non-acceptance of plays seems to stem from unacceptable language and

situations, trivial material, or poor preparation.

 

1. Ronald C. Gee, John E. Dietrich, "A Survey of Dramatic Activity
in Wisconsin High Schools: 1947-48,“ The Quarterly Journal 23 Speech,
36:68, February, 1950. _.____..

 

41

If schools have received criticism of their drama program, it has
been in the matter of play selection. Fifty-six schools in classes A,

B, and C indicated that they had received such criticism.

In the selection of plays, Michigan schools indicate that the out-
standing factor has been the need for simple staging. Forty-five percent
of the schools replying stated that the play chosen must be easily staged
in one setting. The next most important factor was the quality of the
play itself. Forty-three percent of the schools replying stated that the
play must have literary merit. High school plays should be "clean" plays,
since 38% of the schools stated that the play should not involve smoking
or drinking. Other replies were scattered. Factors such as a large cast,
a great amount of action, and the suitability for the talent available
were frequently mentioned.

In the choosing of the play, cooperative choice is the rule, with
students and director most frequently'working together in this activity.
In the class A schools there is a marked tendency for the director to
make the choice of play with 40% of them doing so. Other replies were
scattered, with combinations of principal, director, students, Board of
Education, class Sponsors, and faculty mentioned.

In the staging of plays, such as the building, painting, and light-
ing of stage settings, the questionnaire reveals that the play director
is the most important single person engaged in this activity. Complete
responsibility for the stage setting is given to 53% of the directors in

class A schools, 51% in class B, and 43% in class C. Raking significant

42

contributions to this activity are Industrial.Arts teachers, custodians,
and students under supervision. Other persons were mentioned as con-
tributing to the staging of plays such as Art teachers, stage-craft clubs
and classes, science teachers, permanent technicians, and outside sources,

but these are not in significant number.

II. WHAT PERSONS ARE RESPONSIBLE FOR THE PRODUCTION OF PLAYS?

Only in the class A schools is there a majority of persons trained
to direct the dramatics program. In class A schools, 65% of the directors
are Speech majors, in class B, 44%, and in class C, 21%.

The next largest group of persons engaged in play production were
those with English majors and Speech minors. In class A, 33% were in
this classification, in class B, 43%, and in class C, 5 %.

Persons without any drama training amount to .08% in class A, 11% in
class B, and 26% in class C.

Other majors with Speech minors were indicated in the questionnaire,
but they do not form.a significant group since there were not more than
three persons in any one classification.

Play directors in Michigan schools have had'worthwhile experiences
as actors or technicians in college, civic, and professional drama. In
class A, 90% of the directors had participated in such activities, in A
class B 73%, and in class C 59%.

III. WHAT IS THE EDUCATIONAL.ATHOSPH£RE IN
WHICH PLAYS ARE PRODUCED?
Plays produced in Michigan schools have met with the approval of the

school and community. In response to item 11 in the questionnaire which

43

aska, "In view of the fact that other departments of the school are often
asked to assist in play production, would you say that the majority of
your faculty, clerical, and janitorial staff regard the plays as a justi-
fiable activity for students?", 79% of the schools indicated "Yes," .02%
indicated "No," and 9% indicated "Uncertain."

Community response is further investigated by item 19 concerning the
response of the community to school plays. Forty-nine percent of the
schools stated that people in the community "Often" commented on plays,
43% stated that they "Seldom" did so, and .05% stated that people "Never"
expressed a reaction to school performances.

Administrators are largely agreed on the purposes of the drama pro-
gram. In response to item 12 which asks, "Which of the following items
would you regard as benefits to the student participating in dramatics?",

they have indicated the importance of these as follows:

1. Wholesome personality development 88%
2. Development of responsibility toward the group 88%
3. Stimulation for an adult hobby 57.3%

4. Development of appreciation for language and literature 48.6%

5. Training of discriminating consumers of entertainment 47.3%

6. Acquisition of vocational skills 28.6%

Casts for plays in Michigan schools are largely chosen from a
particular class sponsoring a given play. In Michigan, 59% of the schools
present class plays, 10.5% cast their plays from the entire student body,

and 27% of the schools employ both methods in selecting casts.

Proceeis from plays generally go to the class presenting the play.
In 63% of the schools, the entire proceeds from the presentation of a
play go to the class engaged in the production. In 30.3% of Hichigan
schools, a part of the proceeds is returned to a drama fund.

While 43% of Michigan schools give financial support to the drama
program in the form of funds for sample play scripts, lumber, hardware,
scene paint, etc., 53% of fine schools do not do so.

The general practice in Michigan is to present class plays, the ex-
penses for these being borne by the class which also receives the net
proceeds.

As evidence of an interest in improvement of drama programs general-
ly, the questionnaire reveals that administrators are interested in con-
sulting qualified experts in the improvement of their productions, or
having critics attend the performance of their school plays.

To supply information or criticism, 52% of Vichigan schools prefer
to consult the colleges and universities, 50.6% prefer to consult the
Hichigan Speech Association, and 45% feel that qualified persons in other
high schools could be used as resources. Twenty-five percent of the
schools indicated that they had no need for the assistance of any of
these groups.

The presence of drama clubs seems to be proportional to the school
population. Among class A schools, 60% have drama clubs, 47% of class B

schools have drama clubs, and 16% in class C.

The role of the director in the drama program has been recognized
by the fact that 65% of the class A schools give their directors addi-
tional compensation over a base salary, 59% follow this practice in

class B, and 43% in class C also do so.

45

BIBLIOGRAPHY

46

BIBLIOGRAPHY

Bavely, Earnest, "Dramatic Arts in Secondary Education," The Quarterly
Journal of Speech, 32:40-47, Eebruary, 1946.

 

Carruth, Hayden K., Curricular Speech in Vichi‘an High Schools.
0 L ~._- 4 &.
Ann Arbor: The University of Nichijan,‘I950. 12 pp.

 

 

Gee, Ronald C., and Dietrich, John 3., "A Survey of Dramatic Activity
in Wisconsin High Schools: 1947-48," The Quarterly Journal of
Speech, 36:65-70, Februanf, 1950.

 

Schrader, Helen, "State Certification Reqzirements," The Bulletin of
the Eational Association of Secondary School Principals, JaShington,

D. C., the National Association of Secondary School Principals of
the National Education Association, 1949. pp. 85-6.

 

 

 

 

Teacher's Certification Code, 1942 Revision. Lansing, Mich
of Kichigan Department of Public Instruction, 1942. 6

an: State
PP-

 

 

is
0

Statistics compiled by the National Thespian Society as submitted by its
high school sponsors. (unpublished paper read at the Fifth National
Convention of the National Thespian Society, New York City, December,
1950).

APPEIIDIX A

47

APPEITDIX A

COWHEUTS BY SCHOOL AOHINISTRATORS

The framing of the items in the questionnaire did not permit any
elaboration on the part of the respondent, therefore space was provided
for pertinent remarks if he felt inclined to include them. This section

represents a complete listing of all such remarks.

Class A

"The big problem is to get a play that is not slap—stick and that has
something to it---yet not too sophisticated. many of the so-called
popular plays for high school or teen-age are too juvenile. To my way
of thinking, we would greatly welcome a service which would supply the
names of particularly strong plays for high school."

"He have no Senior Play tradition at . All plays have always
been done by the Drama Club. 'We have been unusually fortunate in having
a Principal more interested in the educational value of drama as a teach-
ing device than in earning money. we very often do a play because it is
considered too difficult for high school students." _~

 

"I would like to see drama used as a means of introducing students from
one community to another, but not on a competitive basis."

"Drama training should begin in Junior High. If it did, I feel that there
'would be fewer lOW'grades and poorly adjusted students_in History, English,
etc., because the fear of talking in front of a group would have been
lessened if not completely removed."

"We produce the following each semester:
1. A 3-act professional production at public performances
2. A miniature theatre production for invited, interested persons
3. Assemblies
4. Occasional student directed one-acts"

"Ne have over 350 students taking part in some activity in the Speech
Department. Students may take 6 semesters of stage-craft for credit.
The same applies to dramatics, radio, and debate."

"Twenty weeks or 100 hours of speech are required of every high school
student."

48

"Our facilities are inadequate, our auditorium.is very poor, but our
plays are well done under adverse conditions."

Class B

"We give 2 public plays each year; one by the Junior class and one by
the Seniors. Short one-act plays are often given by other groups for
high school assembly programs."

"If I could arrange such a program, I would require every student in
high school to take part in at least one dramatic production during the
high school course."

"This is my first attempt at a high school play. “any mistakes are being
made (including giving it in June) but it is a truly fine experience for
all of us concerned."

"The Footlighters, our drama club, usually puts on two or three one-acts
for assemblies. These are both comedy and drama. For instance, 'The
Trysting Place' and "Confessional' have been among our best. About the
middle of the year we have a drama night which includes a comedy, melo-
drama, and a drama. Among our best have been 'Submerged,’ 'Where Love Is,‘
and 'Two Crooks And A Lady.‘ This year we tried a tragedy which was a
fantasy entitled, 'Darkness Falls On Laughter.‘ Cur comedies and melo-
dramas have been the usual ones. The money earned supports our club which
has no dues. 'We also do dramatic readings and attend plays as often as
possible."

"Out of a town of about 1,200, an attendance crowd is from 1,000 to 1,200.
Consequently a play has to satisfy all types of people. Especially do we
have to be careful in regard to what the church groups consider right to
be in a high school play."

"Ne have had some very fine Senior Class plays and they have been success-
ful from the financial, social, and aesthetic angle. we have a small

stage and not a good set up for lighting, etc., but we have had satisfactory
results through the splendid cooperation of the Edison Company, our stage
crew, and others. Teachers interested in plays from other schools as well
as students have always been well pleased with our productions, so we do
everything to keep up a good standard of natural acting."

"The club mentioned is a Speech and Drama Club designed to stimulate in-
terest and loyalty regarding all activities in these fields. The chief
activities are:

1. An exchange evening with Charlotte, Michigan Drama Club
2. An evening of one-act plays or long assembly program

49

3. The club supplies the program for the drama meeting of the
local Womens' Club.

It's impossible for one teacher to teach 5 classes, sponsor a club,
coach Forensics and direct two plays a year."

" High School gives ten weeks of speech (five of which are
in dramatics} to every Freshman and Sophomore. A Junior or Senior may
elect one semester of advanced speech. The Junior and Senior classes
present class plays each year. The Thespian Society which has about 60
members sponsors a one-act play festival for all-school participation.
One of these plays is used as an entry to a one-act play festival at
Central Michigan College. Each semester the advanced class in speech
gives a 1 act play for an assembly. The lhsic and Dramatics departments
combine into an operetta once a year."

 

"Ne do not have a gym or auditorium in our high school. Our plays for
over 20 years were produced in the Elks Club, local theatre, or one of
the grade school gyns. The last two or three years, this difficulty has
lessened the number of plays so we are quite inactive. Our Speech
teacher has so much to do with Forensics that he hasnlt had time and we
haven't been able to get a good teacher of drama."

"In our Drama Club we are trying to build a noon hour activity program
in the winter months.

1. one-act plays
2. stage construction

This is good; I'm.interested in the results. ‘We need to examine our pro-
grams in relation.to those in our own status, so as to effect closer
harmony in setting up dramatic goals."

"Here at our experienced dramatics students belong to the
National Thespian Society. 'We have a regular dramatics class 3 periods

a week: one period devoted to class work and two periods on the stage

for rehearsals, etc. we present one-act plays for assemblies and previews
of three-act plays. we usually have one 3 act play a year for the public.
The one-act plays give stage experience needed for the beginner. we
always present a one-act play for'the Play Festival each spring at Central
Michigan College. Our dramatics class is composed of Thespians and be-
ginners. This set up has proved successful for the past 4 years. Until
we can have full use of the auditorium, we cannot increase our number of
three-act plays per year."

 

"Our class plays are primarily fund-raisers, comedies, and comparatively
simple in acting and production. Our drama club plays are chosen for
the value of the literature, acting instruction for the participants,
and so-called value to the community which is literally played to death.

50

Since we are in a college town, we are in competition with their pro-
ductions. we try, therefore, to maintain a standard which will compare
with theirs."

"I should be more than glad to receive criticism from any competent
person at any time during my production. The greatest medicine for
dramatics at is Dramatics Club and Speech classes. we put on a
Christmas play, Junior play, and Senior play, plus several one-act plays
in the Dramatics Club."

"When I came to teach in three years ago, I found that the
school plays had been coached for some time by people who had been ad-
signed to the job because it had to be done for it was a custom.to have
plays. Standards of achievement were low; Laughs were not legitimate.
Attendance was small. I've slowly worked toward a better type comedy,
and in my Dramatics Club we have produced some one—act plays which have
literary merit as well as entertainment value."

"There is much enthusiasm about plays in the high school, especially
among girls. The dramatics club meets every Tuesday after school and
had to be limited to 10th, 11th, and.12th grades in recent years because
of size. About 60-80 join in the fall, a third of whom drop out by
spring when other activities and jobs interfere with rehearsals and club
meetings. Boys are not interested so such anyway. The town for the
last five years has had a lively Little Theatre group which puts on
three plays a year. This group cooperates closely with the high school
and vice versa. They have a professional director. Two Clare Tree
major productions have been brought here by the A.A.U.W."

"Dramatics at is extremely incidental. Facilities are meager
and the inevitable competition for use-time of a combined gympauditorium
precludes working dramatics curricular in concept. It is my personal
belief that dramatics is neglected in the average Mfichigan high school,
poorly done, and that its inherent values are not accomplished because
there is little or no integration with the other educational experiences
in the general English field. we are doubtless typical of schools that
might do much more with drama, but just don't have the 'Little Theatre'
situation that would make high school dramatics meaningful and valuable."

 

"fie need more courses in dramatics. At the present time we have two
classes meeting the first semester. I hope that a second semester course
'will be added next year. All of our rehearsals are on our own time."

"Our superintendent is vitally interested in dramatics and in former
years was very active in directing. He has staged Shakespearean plays
with high school people which were very professional. As a result,
interest among the students is very high. ‘We have a beautiful auditorium
and interested participants, both students and directors, and a community
which expects exceptional quality of performance from.the school. 'We are
very proud of our record and would be most interested in hearing what
other schools are doing."

51

Class C

"Here at we are severly handicapped by a small stage, lack
of lighting fixtures, and a small (but adequate) budget. We are fortu-
nate to have an Art teacher who is trained in stage production and can
do good work with little equipment and money. As a result I think that
we produce exceptionally successful plays. Drama is considered extra-
curricular, and no place is made for it in the school program, except in
English classes. Since we are a consolidated school, and 90% or more of
our students are transported, rehearsals become a headache. I think
drama could be served a great turn if critics were made available to

high school directors, and if there were available more good plays at

low royalties. This would serve the small school director in her attempt
to have speech and drama recognized as a valuable educational tool."

 

"He put on only one play each year---the Senior Class play---mainly for
the enjoyment of those who take part, and for their parents and friends
who attend. Admission is by complimentary tickets only. ‘We do not
raise any money."

"Directing was an assignment for a volunteer. I like it and enjoy see-
ing the students get a thrill out of making a successful finale to a
long, tough job of practising. Extra pay was talked about two years ago,
but whether it comes or not, I feel that time spent and the students'
reactions are worth more than that."

"We feel that our plays have been too much of the hill-billy type. 'We
are limited to $10 royalty plays, or non-royalty plays. Our one big
handicap is the arrangement of rehearsals. This is a consolidated town-
ship school. 7Eny pupils travel back and forth by bus, so find it
impossible to get in for evening rehearsals. ‘He are not allowed to take
any school time for rehearsals. They must be entirely extra-curricular.
Consequently our plays lack the finish and the spontaneity that they
should have."

"All of our school plays have to be given in the Community building,
therefore we have to select a play with a simple setting. We give only
two plays each year, Junior and Senior Class plays. Our students are
very inexperienced, therefore we have to select a play that is not too
difficult for them."

"Because of the pinch of time, several plays have been picked with only
catalogue comment. Often there have been so few boys that I have had to
borrow one from another grade. Such a condition gives no chance for
selection but they've usually been done veuy well anyway. Someone has
said each time that that particular play was the best one put on here.

In some cases it may have been a parent of an actor speaking. The plays
have enough faults, but:the actors become surprisingly natural sometimes."

52

"Our drama prognam.is very limited. we usually give some type of Christmas
pageant and a Senior Class play at the end of the term. Our auditorium

is also the gym and it is impossible to use it for dramatics during the
entire basketball season. This usually begins in early December and ends
in April. Hence no plays except possibly dramatizations in English
classes."

"Our dramatics program needs revitalizing; too much emphasis on money

raising as a class project. 'We need a more adequate dramatics organiza-
tion in which a greater number of ear youngsters are involved."

"I do not feel that the choice of plays should rest with students. As
the weight of criticism goes to the director, he should have the final
choice as to the play presented. We have good responses from the public,
but do too many comedies and not plays of unusual literary value.

"I would like to see a definite period relegated to dramatics. We have
time for Public Speaking, but it does not contain many of those interested
in dramatics."

"Students here have a tremendous amount of competition and interest in
any dramatic production, and every production has been a financial and
entertainment hit."

"We do a one-act play festival. Actually the work is carried on in con-
junction with the English classroom activities."

"Comedies are our usual choice for the Senior plays, but the class in
dramatics has successfully staged more serious things. I would like to
see the Forensic programs or contests in Michigan be expanded to include
contests in the one-act play field as is done in many other states. The
over—all benefits seem greater from such activity than from individual
speech competition."

"At the present time, there is no drama program in . Each
class asks a teacher to direct a play. There has been a tendency to
produce more royalty plays here, usually comedies."

 

APPEN DIX B

53

APPENDIX B
PROPOSED RJVISIOPS OP DRAVA PRCGRA’S

The material in this section is beyond the scope of the study itself
and the findings of the questionnaire, but in view of the written requests
of many administrators for specific recommendations in regard to school
drama programs, the following personal remarks are appended. In the main,
they coincide with his recommendations of an authority in the field of
high school dramatics, the late Earnest Bavely, editor of DRAIATICS maga-
zine which is a publication of the NATIONAL TLESPIAN SOCIETY, represented
by more than 1,000 high schools throughout the nation. He recommends:

1. Our secondary schools should offer, as a minimum training for

all students, at least one semester in dramatic arts study
and appreciation.

2. The high school curriculum.in dramatic arts must offer opportun-

ity for some advanced study for those students who show special

interests and abilities.

3. A third requirement of the modern high school dramatic arts cur-

' riculum is that instruction must be entrusted only to trained
teachers and directors-~persons with broad training and experience
in theatre arts, radio, and motion pictures.

4. The fourth aspect of a successful program in dramatic arts calls
for a high degree of integration with recreation agencies and
actiVities in the home, church, and community.

In view of Bavely's criteria, let us examine the situation in

Tichigan point by point.

 

l. Earnest Bavely, "Dramatic Arts in Secondary Education," The
Quarterly Journal of Speech, 32:45, February, 1946.

 

54

l. The study conducted by Carruth shows that 63% of Michigan schools
offer one or more courses in speech.2 Because many schools simply label

"Speech," it is impossible to determine hOW'much curricu-

their course as
lar drama is taught from his study. However, a definite increase in the
teaching of speech is indicated by the fact that in the school year
1948-49, 56% of Wichigan schools offered one or more courses in speech,
while in the year 1949-50, 63% of the schools offered one or more courses
in speech. It is hoped that a portion of the "Speech" courses is set

aside for the study of drama.

2. Michigan schools that have drena clubs are offering opportunities
for advanced study as Bavely suggests. He recommends further that the
drama club be assigned the complete responsibility for the production of
all school plays, eliminating the outmoded and educationally unsound
practice of presenting class plays. The production of all plays by the
dramatics organization would guarantee to a large degree the use of the
best talent available in school, for it would be only natural that students
with special interests and talents should seek membership in this group.
The point which Bavely makes is that there should be provided a training
ground within the drama club to give members a chance to develop before
being placed on the school stage before a paying audience. In the matter
of play financing, Ravely adds that the well-directed dramatics organiza-

tion should always be permitted to retain a portion of the funds it earns

 

2. Hayden K. Carruth, Curricula:_Speech in Michigan High Sphools
(Ann Arbor: The University of Michigan, 19507: p. l.

 

 

55

for the advancement of its own program. According to Bavely's standard,
Michigan schools need to initiate or expand the activities of drama
clubs, particularly in the smaller schools, and place all dramatic
activity on a sound financial basis by making provision for a systematic
return of receipts into a drama fund.

3. Bavely defined trained teachers and directors as "persons with
broad training and experience in theatre arts, radio, and motion picture."
An investigation conducted by the National Thespian Society among its
troupe sponsors shows that high school play directors feel that the
following courses, listed in order of sponsors' ratings, should be empha-
sized by teacher-training institutions for those expecting to teach and

direct dramatics in the secondary schools:3

a. Voice and Diction j. Public Relations

b. General Speech k. Speech Correction

c. Acting l. Dramatic Literature

d. Organization m. Scene Design

e. Interpretation n. Costuming ) tie

Theatre Wanagement )
f. Stage Directing
0. Radio Techniques
g. Fla! Selection
p. Children's Theatre )
h. Stagecraft History of the Theatre )

tie

1. Stage Lighting )
Take-up

. q. Notion Picture Appreciation
tie ~

 

3. Statistics compiled by the Yational Thespian Society as submitted
by its high school sponsors, and read at its Fifth National Convention
held in FeW'York City in December, 1950.

56

To be certified as a teacher of Speech by the “ichigan State Depart-
ment of Public Instruction, a major consisting of 24 semester or 36 term
hours is required, plus two minors of 15 semester or 23 term hours.4 The
Department of Public Instruction does not specify the courses to be con-
tained in the major or minor fields, but allows each institution to do
so. The following hours are required for a major in Speech at several
Hichigan teacher-training institutions. Also listed are the number of
drama hours in the required total, and the number of elective drama hours

t;
available at each institution.”

 

 

Total Hrs. Drama Hours Hours
Institution Req. ”ajor Reouingifl_ Elective
Central Mi chigan 24 3 h 15
Western Vichigan 27 6 9
Jayne University 24 3 36
Wniversity of Ifichigan 30 3 ‘ 60
Vichigan State 39 (term) 12 (term) 75 (term)

Since teachers of drama are also teachers of speech, the teacher
should have groundwork in Voice and Diction, Public Speaking, and Oral
Interpretation, which all of the above institutions now require. The
play director should have courses in Acting, Directing, Stagecraft, and
Theatre l'~'anagement beyond an introductory course. In any case, the ad-

ministrator should be aware of the amount of specialized work in drama

 

4. TeacherLg Certification Code, 1942 Revision (Lansing, Michigan:
State Department of Public Instruction,—1942): p. 6.

 

 

5. Course requirements and offerings were taken from 1950-51 catalogues
of each institution. ”ention should be made of elective hours in the total
required hours at each institution which permit the student to weigh his
training in the direction of drama if he so chooses.

57

offered by Wichigan institutions. He can reasonably expect a person who
is to direct plays to have taken more than the minimum requirements.
Helen Schrader remarks--

The great disparity in certification requirements for teachers of
speech and drama has significance for the administrator. The best
method by which he may determine whether or not a prospective
teacher is qualified to teach drama is that of examining the number
and kinds of units the teacher can present in his transcript. If
the teacher is certificated as a teacher of drama in a state which
certificates drama under English, the administrator should discover
the number of units this particular teacher has completed in courses
in drama. Such courses should include acting, directing, stage
production, lighting, make-up, dramatic literature, scene design,
and dramatic structure. If the teacher is certificated as a teacher
of speech and if he desires to teach courses in drama, the adminis-
trator should discover whether or not he has had courses in drama

as such. The term "speech" is a broad one which includes departments
of theatre and drama as well as departments of public speaking and
speech correction. It is only by examining specific course require-
ments that the administrator can be certain in some cases that the
prospective teacher of drama is qualified to instruct in that area.

4. Several schools in replying to the questionnaire indicated that
their drama clubs made regular presentations to community groups, thereby
fulfilling Bavely's suggestion that there be integration of the school
drama program with other agencies. A majority of the administrators
stated that one of the values of the drama program lay in training for an
adult hobby. In view of the expressed desire of administrators that a
drama program.serve to train for the future use of leisure time, drama
directors may well emphasize that portion of their programs by concentrat-
ing on the integration of their programs with community agencies.

Conversely, the high school drama program should be so well planned

and executed that public performances become a part of the community

 

5: Helen Schrader, "State Certification Requirements," The Bulletin

2: the NationEl_Association 2: Secondary-School Principals, 33:E5-6,
December, 1949.

 

 

 

58

consciousness. Communities need to be assured of stimulating, interest-
ing entertainment in fine hirh school theatre, and then the educational
values of the program will be more readily credited to it.

Bavely concludes, “No claim.is made anywhere in this article that
the program proposed here is perfectly adjusted to our present educational
and social needs. But one fact should be perfectly clear. A well-planned,
well-integrated, competently—directed dramatic arts program constitutes
an essential part of the modern high-school curriculum."7

The results of a study of high school dramatic activity in Wisconsin
conducted by Gee and Dietrich for the school year 1947-1948 are worthy
of mention here. The conditions in Michigan as revealed by the question-
naire are very similar to those in.Wisconsin.

While the scope of dramatic activity (in.Wisconsin) is encouraging,
certain practices of the secondary schools may be viewed with some
concern. The habit of choosing plays with an eye to large profits
should be discouraged. Too many of the productions are sponsored
by groups whose prime interest is in the profit rather than the
play. The great majority of the schools do not use the nod proceeds
for the extension and improvement of the drama program.

Perhaps the sharpest criticism.to be leveled at the high-school pro-
' gram.is in matters of play selection. The plethora of farce comedy
on.the high-school playbills should be reviewed. ”any of the schools
produce more than one play each year. At least these schools should
be able to experiment with more serious dramatic fare. In addition,
more than three-quarters of the productions have little perceivable
dramatic or literary merit. These scripts are apparently chosen
either because they are cheap-to—produce and easy-to-play or because
the high-school directors have such a limited theatrical background
that they are unaware of the expanse of dramatic material available.

If students are expected to spend several weeks of intensive effort
in the production of a play, some correlation should be found between
curricular goals and extra-curricular practice. The after-school
play should reflect in-school ideas and principles.8

 

7. Bavely, 9p. git-:_., p. 47.

8. Ronald C. Gee, John E. Dietrich, 22, cit., p. 69.

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