CREATIVE DRAMATICS IN
RELIGIOUS EDUCATION

TI'msIs for II'IG Degree OI M. A.

MICHIGAN STATE UNIVERSITY
Barbara Jean Wallarab

1960

If

 

 

 

I III; III“ I III III I III III, III I ~

" Ultivcmt’

CREATIVE DRAMATICS IN

RELIGIOUS EDUCATION

by

Barbara Jean Wallarab

AN ABSTRACT

Submitted to the College of Communication Arts
of Michigan State University in partial
fulfillment of the requirements
for the degree of

MASTER OF ARTS
Department of Speech

1960

Approved:

 

 

ABSTRACT

It was the purpose of this work to show the importance and
possibility of a creative religious experience. Although there are
many means at the disposal of the educator which provide an
atmosphere conducive to creativity, that of creative dramatics
and its related activities was the concern of this thesis. The
objectives were to (I) lay a solid foundation confirming the
importance of creativity in the religious experience and relate
how creative dramatics is one valid and valuable method of
attaining and maintaining a creative atmosphere; (2) show
specifically how each of the creative dramatics activities could
be applied in a religious education program.

An extensive investigation of the ideas of outstanding
people in the field of religious education was made in order
to establish a solid background for the value of a creative
approach with children and youth in religion. In the field of
creative dramatics many of the leading authorities were referred
to. Miss ward, foremost leader, and Helen Willcox, an early
pioneer in creative drama in the church school whose ideas are
still fresh and applicable, were major sources. Margaret Fisk
Taylor was the major source for the material on creative movement.

The objectives were carried out by organizing and develOping
the material into four chapters which discussed:

(1) Creative Religious Experience Through Creative

Dramatics I
I

(2) The Creative Dramatics Method in Religious
Education

(3) Role Playing in Religious Education

(4) Creative Movement in Religious Education.

First discussed was the religious experience as a creative
one, pointing out the aims and goals in religious education, and
the value and use of various art forms in religious education.
Out of this discussion evolved the idea of creative dramatics
as a natural and logical method to employ in the church school.
The child's physical, social, mental and religious development
was correlated with his dramatic instinct at various ages. Dramatic
activities appropriate for various periods in the child's life
were discussed and related to the concerns of the religious educa-
tor. The process of story dramatization was outlined and specific
examples of stories, poetry and other sources to use for dramati-
zation were given. Sources and materials which are available for
practical use were listed at the conclusion of the discussion.

The related activities of role playing and rhythms and
creative movement were discussed separately because of their own
particular significance. The role playing method was discuSsed
and examples of situations adaptable in the church program were
cited. In the section on creative movement it was shown how this
activity is spiritual in its basic nature. Rhythm.activities for
elementary children which are preliminary to creative movement as
a form of worship were discussed in detail in their relationship
to a church program. Creative movement techniques and suggestions

for songs and Scriptures which may be interpreted through movement

were given.

-.._I- ——_. A

The work was concluded with a final chapter summarizing

its content.

CREATIVE DRAMATICS IN

RELIGIOUS EDUCATION

by

Barbara Jean Wallarab

A THESIS

Submitted to the College of Communication Arts
of Michigan State University in partial
fulfillment of the requirements
for the degree of

MASTER OF ARTS

Department of Speech

1960

ACKNOWLEDGEMENTS

The author wishes to express her deep appreciation
and most sincere thanks to Dr. Jed Davis for the time and
effort he so generously contributed and the encouragement
he gave in the supervision of this thesis.

The author also wishes to acknowledge Dr. John Walker
for his help in the planning of her program of graduate

study.

ii

 

 

 

 

 

 

TABLE OF CONTENTS

Page
INTROD UCT ION O O O O O O O O O O O O O O O O O O O 0 O O 1

Chapter

I. CREATIVE RELIGIOUS EXPERIENCE THROUGH
CREATIVE DRAMATICS . . . . . .. . . . . . 5

Religious Experience As A Creative
Experience

Aims and Goals of Religious Education

Art Forms In The Creative Religious
Experience

Creative Dramatics In The Religious
Experience

II. THE CREATIVE DRAMATICS METHOD IN RELIGIOUS
EDUMT ION . O O C C O O O O O O O O O O O 1 9

The Child's Deve10pment
The Kindergartener
The Primary
The Junior
The Junior High
The Senior High
Dramatic Activities
The Kindergartener
The Primary
The Junior
The Junior High
General Uses of Creative Dramatics
Story Dramatization
Choosing the Story
Setting the Mood
Telling the Story
Planning the Dramatization
Playing the Story
Evaluating the Dramatization
Possible Problems
Sources and Materials

iii

 

 

Chapter Page
III. ROLE PLAYING IN CHRISTIAN EDUCATION . . . . . . 61
The Role Playing Process
Setting the "Stage"
Defining the Problem
Casting the Scene
The Playing
Analyzing the Playing
Illustrations of Situations
IV. CREATIVE MOVEMENT IN RELIGIOUS EDUCATION. . . . 81
Creative Movement for Primary Children
Creative Movement for the Junior Child
Creative Movement for the Adolescent
V. SUMMARY AND CONCLUSION . . . . ... . . . . . . 99

BIBLIOGRAPI-IY O O O O O O O O O I O O O O O O O O O O O O 104

iv

 

INTRODUCTION

In recent years creative dramatics has been introduced and
successfully practiced in many religious education programs
throughout this country. The continued and increased use of it
points up its recognized value. The material which has been
written for the area of creative dramatics in the church has
be plentiful but limited to many short articles in magazines
or single chapters in books. An extended examination of both
the theoretical and practical relationships of creative dramatics
and religious education has not been made. Since it is becoming
a widely accepted and used method, such a study would seem to be
justified.

The major terms of the tOpic will be defined and explained
briefly here. Each of these will be elaborated upon as they
are examined in the general text. The terms creative dramatics
and playmaking are used interchangeably and refer to activities
in which informal drama is created by the players.1 The earliest
of these with small children is dramatic play in which the child
plays out real life situations as he becomes more conscious of
the world in which he lives. Much of this dramatic play comes
about naturally to the child without adult guidance as he plays
house, store, school, fireman, and the endless other situations

encountered in his daily environment.

 

1Winifredward, Playggking With Children (New'York:.Appleton-
Century-Crofts, Inc., 1947), p. 10.

 

 

In guiding the child in creative drama one of the first
activities introduced to hum is that of pantomime. Pantomime
is more than action without words; it is the portrayal of ideas
through actions alone. Through gesture, bodily movement, and
facial expression, a mood, or character doing some meaningful
activity is created. From this nonwverbal expression of
significant activity evolves characterization, the portrayal
of a person through the use of the whole body plus the voice.
Once characters are established they are placed in situations
which contain conflict. This conflict builds to a climax and
is resolved in a conclusion, forming a complete story. These
stories are dramatized spontaneously, i.e., without the use of
a director. When they are a product of the players' own
imaginations in which they have created their own dialogue and
action, story dramatization is the result.

A closely related activity is role playing. Role playing
is a technique in which people spontaneously act out problems
of human relations and analyze the enactment with the help of
participants and observers.2 It is used with older children
and adults in a group situation in order to clarify and better
understand social issues. A complete story is not dramatized
and the conflict may not be resolved during the role playing
but only presented and examined in order to stimulate further

discussion, thought and insight.

 

zAdult Education Association of the U;S.A., How to Use Role
Playigg, pamphlet #6 (Chicago 11, 1956), p. 5.

Creative movement in the church is the interpretation of a
religious idea or mood through rhythmic movements and designs.
It is more than pantomime; it is more closely related to modern
choreography and is a definite form of worship. "It is an

imaginative extension of intellectual conviction and spiritual
insight."3 It is an outward physical expression of an inward
spiritual feeling. Many times music, poetry or poetic prose
will contribute as a background and direction for the movement.

Religious education is defined as: organized activities and
experiences designed to guide persons to a greater awareness
and realization of a Spiritual Power alive and at work in the
world today. It is the seeking of ultimate Truth and the
continuous striving to live according to this Truth.

The ideas and materials presented in this study have evolved
from the Judaic-Christian heritage. This, in a sense, limits
the use of the study to the Jewish, Catholic, Greek Orthodox
and Protestant faiths. Each of these, in turn, because of their
own specific doctrines and beliefs may find some of the particular
suggestions and materials unsatisfactory to them. However, the
basic concepts and theories may be applied and adapted to any
religious organization which is striving to provide a creative
and living religious experience for their children.

This work is not concerned with Eggmgl drama or any other
of the arts such as music or painting'but rather with creative

or informal drama activities. The ages for this study are confined

 

3Margaret Fisk, The Art of the Rhythmic Choir (New'York:
Harper and Brothers, 1950), p. 3.

to four through seventeen and the situations considered are those
of weekly church school sessions, summer vacation church schools,
and youth fellowships and clubs.

This work proposes to: (1) lay a solid foundation confirming
the importance of creativity in the religious experience and relate
how creative dramatics is one valid and valuable method of attaining
and maintaining a creative atmosphere in a religious education
Program; (2) show specifically how each of the creative dramatics
activities can be applied in a religious education program.

The first chapter will discuss the religious experience of
the child as a creative one and correlate the aims and values of
religious education with those of creative dramatics. The following
three chapters will treat separately and in detail the methods of:
(1) creative dramatics; (2) role playing; (3) rhythms and creative
movement. Because rhythm.and rhythm activities for the young child
serve as a basis for creative movement and are of special significance
in themselves they will be examined with movement even though they
usually precede pantomime and story dramatization in the creative
dramatics sequence. Each section will be concluded with suggestions
of supplementary sources and materials which may be used for the
specific activity. The final chapter will summarize what has been

covered in the preceding pages.

CHAPTER I

CREATIVE RELIGIOUS EXPERIENCE THROUGH

CREATIVE DRAMATICS

The twentieth century has been called the "Age of Anxiety"
and as we look at the conditions in the world today there is
reason to see why this may be true. In our own country not
a day goes by when the newspapers are not filled with headlines
showing evidence of the moral degradation which surrounds us.

The young peOple of the nation are constantly exposed to

forces and influences which may lead to destructive activities

and attitudes. The same young peOple will be expected not only

to live in this world but to live in peace or literally perish

if their attempts fail. This peace must be more than an outer
absence of war or hostility but a peace within the individual
which allows him to attempt to solve his problems and differences
by other means than futile armed aggression and physical

violence. In our world of crime, hatred, injustice, and emotional
immaturity, is there any means by which this peace may be achieved?

Sir Richard Livingstone said in 1944:

If you want a description of our age, here is
one. The civilization of means without ends;
rich in means beyond any other epoch, and almost
beyond human needs; squandering and misusing them
because it has no overruling ideal: an ample body

with a meagre soul. . .Science and politics
are essential but they are not enough without
the spiritual strand, which, using the word
in its widest sense, we may call religion.

It is now sixteen years later and our world still fits
this description. Because our young peeple are in the process
of growth and because they will be responsible for the survival
of tomorrow the challenge of religious education is to find a
way to reach children and youth in an attempt to guide them as
they face the array of problems before them.

Religious education has never before had so
serious a challenge to teach new ways in human
relationships. To open up such burning con-

temporary issues inevitably involves danger;
to evade them will invite disaster.2

Religious Experience As A Creative Experience

How may religious education contribute to the facing of
the danger--the overcoming of the disaster? Psychologists
have shown us that those experiences which we have as young
children form.ideas and patterns which make a deep imprint
upon us and influence attitudes and behavior throughout life.
A moral conscience and spiritual awareness should be brought
to life and developed within the child in order to give a
spiritual sensitivity to his adult decisions and responsi-
bilities. However, although a degree of influence may be had

upon an individual if he has contact with the spiritual as a

 

1Richard Livingstone, On Education (Cambridge: university
Press, 1954), p. 99.

2Sophia L. Pahs, Today's Children and Yesterday's Heritagg.
(Boston: The Beacon Press, 1952), p. 186.

child, without constant cultivation the realities of life may
smother out the seeds which were planted in childhood. The
religious experience must be a vital and continuous creative
process in order to be alive in the experience of men. A
process is a constantly growing, ever changing, dynamic
phenomenon. All experiences within the process interact and
affect each other. The religious process is not 3 rebirth of
the spirit but a series of rebirths as year by year familiar
and oft repeated words and creeds suddenly take on new meanings
and become living truths for the individual. The true religious
experience is one of constant discovery and realization and
cannot be separated from the life experience.

In his infancy the child obeys his father and much of his
behavior is determined by the "no, no" or "do this", "don't do
that" commands of his parents with no comprehension or question-
ing of the reason behind them. But as he grows he begins to
wonder and ask why and seek explanations for the discipline
placed upon him, And in finding the answers through questioning
he comesto find, within his own self, the reasons for the
danger or wrong doing in his activities and modifies them
accordingly. Too many times this inquiring procedure does not
appear in the realm of religious thought or is stifled by those
to whom.he turns. His religion becomes nothing more than a
group of "thou shalt note" with no real understanding of the
reasons behind them. Soon he becomes disinterested or dis-
couraged with this stuffy and meaningless religion and either

departs from it completely or allows it to become merely a social

.formality. It is the responsibility of the religious educator

to see that this does not happen but rather that it becomes

a vital and stimulating part of life.

It is not a way of life presented by an
authority outside ourselves; it is rather
a way of life that deveIOps through a
growing understanding of our own basic
needs and deepest yearnings, and the needs
and yearnings of others.3

Those in a position to guide the religious growth in a
child (parents, teachers, church leaders) must realize that
spiritual concepts are more than spoon fed doctrines and
beliefs. They should be regarded ". . . as a vital and
healthy result of his own creative thought and feeling and
experience as he responds to life in all its fullness."4

This creative experience is concerned with self expression
and is a personal one throughout the process of creativity.

Creativity has occurred when, through conscious effort, inter-

pretations are made and the child recognizes new relationships

in thinking, learning, and doing. "It starts when the individual

is directed by the experiences which he has had and ends in the

form of a new expression."5
Through proper stimulation and direction, the child can
develop certain innate qualities which he possesses which inter-

act to produce creativity. He has imagination or the ability to

 

31bid., p. 135.

4Ibid., p. 16.

5GladysAndrew's, Creative Rhythmic Movement for Children
(New York: Prentice-Hall, Inc., 1954), p. 21.

see or go beyond reality or rationality as the average adult
experiences it. Perception, grasping the essence of a thing
seen for the first time, is his. The child possesses insight,
feeling the vibration of human emotions before they become
visible. Enthusiasm, the eagerness to enter into each newly
presented experience is always evident. He approaches life
with freshness and originality or spontaneity. Concentration,
not being distracted or sidetracked by problems of everyday
life is the final quality which helps to produce creativity
in the child.6

If he is able to go beyond earthbound rationality; if he
is capable of tearing away the extraneous and recognizing the
core or essence of a Truth; if he can become sensitive to the
feelings and thoughts of others; if he can maintain an eagerness I
for all of life; if he is not afraid of exploring original ideas
or living according to newly realized Truths; if he is able
to keep his highest thoughts and goals unburied by the in-
numerable everyday problems and perplexities, the child is in

a position to attain a creative religious experience.
Aims and Goals of Religious Education

The aim and responsibility of religious education becomes
a tremendous and exciting one in this light. The innocence,
simplicity and purity of a child in his relationship to God is

a spiritual reality. It is up the religious educator to

 

6Ruth Tooze, Storytelling (Englewood Cliffs, N.J.: Prentice-
Hall, Inc., 1959), p. 17.

10

guide the child in what is his natural capacity for a spiritual
experience into a vital and mature spiritual experience. This
will not be accomplished by merely throwing out information or
performing traditional ceremonies which cloak the individual
with a one day a week rite to be performed. It must be more
than the repetition of words and thoughts of others. It must

be a realization within each person and then acted upon by

each. ". . .words and doctrines come alive only when they are

expressed in actions."7

From the discussion of religion as a creative experience
we have already implied the goals and aims of the religious
educator. The most vital, overall aim of religious education
is, ". . . to lead the child to a vital experience of God, to
rediscover the experience of transcendence."8

From the Christian view its aim has been said to be to
lead the child to see ". . . Christianity as a way of living,
as a life that was actually lived . . . only personal experience
will bring it to life."9 In doing this the religious educator
is concerned with the individual, with the person. Each being
has his own unique personality which sets him apart from every
other. The leader recognizes these differences and respects

them. He does not try to fit all into a mold but rather helps

each to deveIOp his own potentials to their highest degree.

 

7Fred P. Corson, The Christian Imprint (New York: Abingdon
Press, 1955), p. 103.

8Doris Chaplin, Children and Religion (New York: Charles
Scribner's Sons, 1952), p. 219.

’Livingstone,‘gp; cit., p. 193.

11

Outward form will then take second place to inward growth.

The wise educator will realize that, ". . it will be the

quality of the inner life rather than the forms of conduct
which will make and keep life good."10

Recognizing that each religion will have its own specific

aims and goals we will, for our purposes, summarize the aims
of the religious educator as guiding the child to: (l) a dis-
covery of a path by which he can seek communion with God;
(2) growth in the development of the interaction of religious
values, attitudes and concepts with everyday life; (3) a con-
tinuous and deepening realization of the significance of the
religious experience in his own life and in the world.

As a conclusion to the discussion of the aims and purposes
of the religious educator the responsibilities to the child
as stated in the Pledge to Children from the White House
Conference of December 7, 1950, are outlined below:

1. From your earliest infancy we give you
our love, so that you may grow with
trust in yourself and others.

2. We will recognize your worth as a person
and we will help you to strengthen your
sense of belonging.

3. We will respect your right to be your-
self and at the same time help you to
understand the rights of others, so
that you may experience cooperative

living. . .

4. We will encourage you always to seek the
truths

 

IOCorson,‘gp: cit., p. 91.

 

12

5. We will provide you with all Opportunities 11
possible to develop your own faith in God. . .

Art Fonms In The Creative Religious Experience

There are many ways in which one may strive to attain these

goals of religious education. One of them is through the arts.

The artistic or aesthetic experience contributes a height and

depth of feeling to living which pure rationality does not

necessarily attain.

Albert Einstein said, "It seems to me, that the most
important function of art and science is to arouse and keep

alive this feeling [Eosmic religious experience] in those who

are receptive."12

The expression of a truth through one of the many art

forms may become a much more vital and meaningful experience

than weeks of spoken words. That which is good and true cannot

be separated from the beautiful, indeed, it is the beautiful

itself.

The beautiful is inseparably united to the
good and the true, and the human mind that
has not deveIOped the experience of it has
failed to realize the whole of reality, for
the very nature of the sense of beauty is
such that through it we gain a clearer concept
of the other two values. . . the desire for
artistic enjoyment has been a potent factor
in bringing a peOple back to higher ideals
which underlie a peaceful intercourse between
nations . . . a sense of beauty is as vital

 

11Eahs,‘gp; cit., p. 156.

12Albert Einstein, quoted in Lewisohn, "Drama and the
unseen Currents," Progressive Education (January, 1931), p. 92.

13

to the complete existence of the race as is the
sense of justice.1

Christianity and artistry need not be isolated or separated
from each other but each may enhance the other. Jacques
Maritain, author of.Art and Scholasticism, has said this:

If you want to produce Christian work, be a
Christian, and try to make a work of beauty
into which you have put your heart . . . Do
not make the absurd attempt to sever in your-
self the artist and the Christian. They are
one, if you really are a Christian, and if
your art is not isolated from your soul by

some aesthetic system . . .

Creative Dramatics In The Religious Experience

Creative Dramatics and its related activities give the
child the awareness of beauty through drama and build within
himnan appreciation and deeper understanding of good drama
which in later years will provide him.with the ability to
be a discerning observant or participant in formal drama
within the church.

But creative dramatics has values other than that of the

deve10pment of an appreciation for an art form. Inherent in

its values and aims in any situation are those qualities
sought after by the religious educator. Let us look closely
at the goals and purposes stressed in this activity.

In creative dramatics the personal deveIOpment of each

participating child is the primary goal rather than the

 

l3Herbert Langfeld, quoted in Doris Chaplin, g2; cit., p. 219.

14Jacques Maritain, quoted in Margaret F13k9.22a.£££:' P' 3'

 

14

entertaining of a child audience. Under the guidance of an
-imaginative leader the children create scenes or plays based
upon stories with which they are familiar, planning and
improvising their own dialogue and action. Scenery and
costumes are rarely used. After each portion of a story is
planned by the children and played it is evaluated by the
group and gradually a complete play is deve10ped. One of
the most valuable elements of this activity is the working
together within a group and the Opportunity given to every
child to place himself in the position of another and try to
understand how and why he feels and acts the way he does in
various situations.15

The values of creative dramatics in a secular setting
are many and can be summarized as:

(1) Experience in thinking creatively and independently.
Imagination, initiative, and resourcefulness develop rapidly
in an atmosphere of skillfully guided creative dramatics.

(2) Deve10pment of sensitivity to personal relationships
and a deep human sympathy through analyzing and playing
varied characters in diverse situations.

(3) Practice in strongly motivated social co-Operation.

(4) Controlled emotional release. Healthy, constructive

outlets are afforded for emotional drives in the dramatic stories

and situations.

 

15Ann Viola, "Drama With and For Children: an Interpretation
of Terms," _peech Teacher, (November, 1956), p. 305.

15

(5) Experience in thinking on his feet and expressing
ideas clearly and effectively. Gains poise, as well as flexi-

bility of body and voice.

(6) The beginning of an appreciation of a great art.16

The aim is not to make actors but to deve10p imaginative
beings and appreciative citizens; to widen their horizons,
mentally, ethically and spiritually.17 Personal appreciation,
the power to enter into the lives of others and to realize
how they feel and react to situations, is an element of great
importance in the kind of character that religious education
should seek to foster. We see that the aims of creative
dramatics fit naturally into the aims of the religious educator.

William Meredith states clearly how the two fields naturally

complement each other:

Man's attitude toward his fellow men and toward
God determines to a great extent his future
course of action. How to arouse sentiment

and create new outlooks upon life also is

the problem of religious educators. Religion
should create an appreciation for all the
better and ennobling things of life. The
growing popularity of dramatization as a method
of awakening social, aesthetic, and intellectual
interests, and of creating and sustaining
Christian bearing toward one's fellow men,
indicates that it is serving a truly educa-

tional purpose.18

The importance of the building of moral attitudes and

concepts in creative dramatics cannot be emphasized too much

 

16United Presbyterian Church in the UkS.AJ, "Leads for
Leaders", Informal Creative Dramatics With Children (Philadelphia:

U. P. Church, U.S.A., n.d.), p. 9.

17Grace Overton, Drama in Education (New York: The Century
Co., 1926), p. 93.

18William Meredith, Pageantrz and Dranmtics In Religious
Education (New York: Abingdon Press, 1921), p. 112.

16

in considering its place in a religious education program. 'Miss
Ward stresses this factor in her works. The widest Opportunity
for a leader of creative dramatics comes in the establishing
of attitudes in character and personality. A large portion
Of the effort and time is spent in analyzing the characters,
their actions, and reactions to their situation. Discussions
Of the motives of the characters, the ethical implications
of what they do or say, and the cause and effect of their
activities are necessary phases Of this experience. As the
participants are forced to think and express themselves con-
cerning these elements, childish attitudes are gradually laid
aside and mature and insightful ones deveIOp. They are lasting
ones because they have not been imposed by the leader but rather
are a result of the child's own thinking and living through of
the stories and lives of the characters. As the human qualities
of the characters--honesty, deceit, courage, cowardice, love,
hate, and other vices and virtues-~are vividly exemplified
through the characterizations the children cannot help but judge
them according to their true worth.19
The ultimate Objective Of any learning experience in a
church related situation is to help the students find a closer
relationship with God. It has also been the tendency to regard
the religious experience as something isolated from all other

daily experiences. The creative dramatics method naturally

 

l9Winifred ward, Creative Dramatics (New'York: D. Appleton
and Co., 1930), pp. 28-29.

l7

integrates the everyday, vital experiences and feelings of the
child with their deeper significance in relation to others and
to higher ideals. In experiencing creativity, a glimpse Of
truth, a moment of beauty, the child's understanding of
spiritual forces deepens.

Before one begins to use this method it is important that
he has a knowledge of the reasons and significance of the aims
and values Of it and how these are applicable to religious
education. Without these the results may be more harmful
than helpful.

Many good peOple in their enthusiastic use

of dramatic activities have been the greatest
enemies to the movement. Before one can make
skillful use of any device he must know the
aim--the end to be attained...It is only as the
use Of dramatization can be defended in terms
of ends that this method may be held valid.

One must know the desired goal in order tO
make purposeful use of any method. While an

aim without a method of attainment is useless,
on the other hand, a method without an aim

is blind.20

Summary

It has been the purpose of this Opening chapter to
establish a solid background upon which to base the ideas and
techniques in applied creative dramatics in religious education
which shall be discussed in the following pages. It has been
shown how’s meaningful religion must be a creative one. This
creativity implies questioning, searching, growing, experiencing

life in all its fullness in order to come to a clearer understanding

 

ZOOverton,lgp; cit., pp. 13, 94.

18

Of the meaning of Spiritual Forces in our lives and making
these Forces a vital and inseparable part Of our existence.

The responsibilities and goals Of the religious educator
have been explored. The value of art forms as expressions
of the spiritual experience were briefly discussed as an
introduction to creative dramatics as a valuable method to
be used in a religious education program.

After discussing the values and aims Of creative dramatics
it was shown how creative dramatics was a natural complement
to the purposes and practices in religious education. The

chapter concluded with the recognition of the fact that this

method is meaningless unless first based upon sound thinking

and purposeful action.

CHAPTER II

THE CREATIVE DRAMATICS METHOD IN RELIGIOUS

EDUCATION

The purpose Of the first section of this chapter is to
outline the child's physical, social, mental, and religious
develOpment. Section two will correlate this development
with the dramatic instinct and specific dramatic activities
he enjoys during the various periods of his life. Section
three will examine all aspects of the story dramatization
process, including suggestions for specific stories and
materials to use for various ages. There will be given in
conclusion to the chapter, a list of books and sources which

the leader may find valuable in his work with creative dramatics.
The Child's Development

Although there is no distinct line that can be drawn
separating each period of childhood develOpment there are
certain qualities and characteristics which consistently
appear at various ages. It should be emphasized that the
classifications given below over-lap each other and individuals
within each will show varying degrees of development. However,
in order to discuss these characteristics most effectively an

age division similar to that employed in many church schools

will be made.

19

20

Age Grade Church Department
5 Kindergarten Kindergarten
6-8 1-3 Primary
9-11 4-6 Junior
12-14 7-9 Junior High
15-17 10-12 Senior High

For each group a brief summary of the physical, mental,
social, religious, and dramatic development will be given to
aid in understanding the reason for childrens' behavior. This

knowledge will help in adapting the dramatic method in each

period.
The Kindergartener

The five-year-old is energetic and restless. His attention
span is short and when tired he loses his temper easily. He
is enthusiastic about his activities and proud of his own
accomplishments. His play involves the large muscles and he
should not be expected to do close and exacting work.

This is the "Here and Now" or realistic period with
primary interest in the familiar and immediate world of sounds,
smells, and actions.

Socially, he is self-centered but is beginning to recognize
the prOperty rights of others. He is now able to play co-
operatively with other boys and girls and finds security in the
companionship of his young friends but needs much love from
his family and teacher. He should be given responsibility for

small routine jobs and given chances to "help".

21

He is beginning to understand the concepts of forgiveness
and love and it is important that his questions are answered
simply and patiently. His enjoyment of simply told Bible
stories and tales revealing Biblical customs of daily life
is now in evidence.

He hears the meanings of hymns, songs, and poems and loves
the rhythm of words in family and group worship. Church is
regarded as a "special" place in learning about God and the
Bible.1

His world of make-believe is his life and it colors many
of his activities. It is his way of understanding the world
and making clear to himself what he supposes to be in other
people's minds. In his play he is constantly imitating the
life happenings which go on about him.and is "not so much
concerned with the act as with the 'feel'".2

He loves to impersonate or voluntarily assume a temporary
personality different from.his own. It is a spontaneous self-
expression in an attempt to enlarge his experience by living
in a different environment and "being" a different person for
a short time. The child's world of make-believe colors all of

his activities. It is the way in which he makes clear to himself

 

1United Presbyterian Church, Christian Faith and Life At A
Glance (Philadelphia: Board Of Christian Education, 1958), pp. 4-5.

2Grace Overton, Drama in Education (New‘York: The Century
Co., 1926) p. 85.

22
what he supposes to be in other people's minds. It is essentially

an impulse to understand the world and goes much deeper than

imitation.3
The Primary

During this period the rate of physical growth and develOp-
ment is slower than that of the first five years. In the early
primary grades the large muscles are still important and hand-
eye coordination is not complete. Although he is energetic
and full of life he tires easily and is subject to childhood
ailments. He likes noisy and active Outdoor games and sports.

He is able to handle most routine jobs and small chores
and is able to take simple responsibilities and should be given
the Opportunity to do so.

Playmates become more important to him and many times he will
have one special friend. He loves to do things in groups; he
is making wider community contacts and joining organized groups
such as Cub Scouts, Brownies and choirs. Going on excursions
and day trips and learning about his community are favorite
activities.

The attitudes which the teacher and parents have about
religious concerns will be felt and unconsciously impressed
upon the child. Many questions will arise in the realm of

the religious which should be answered directly, simply and

 

31bid.

23

honestly. He has a fairly well develOped idea of God as
Creator but is puzzled how God can be in different places
at the same time--how He can hear prayers from many persons
all at once. He needs help in growing in understanding of the
greatness of God and should begin to develOp the concept of
God as a Spirit, active in His world but also dwelling in the
hearts of men. The love of God can be best shown through
actions and attitudes of love in his environment. His concept
of natural law is weak and he is likely to confuse God's
activity with magic. He needs help in understanding that God
works through laws which Operate in human life so that he does
not attribute all disasters and accidents to the will of God.
He has a general notion of right and wrong, in accordance with
the standards set by the adults in his environment. He knows
that tightness and wrongness are different and that he must
choose between them many times each day. He is curious about
other churches and learns a great deal about them and abOut
life in ancient times through projects, pictures and stories.
He can cooperate with the church staff in simple duties and may
share in church services occasionally through junior choir
participation.4

His dramatic play will no longer deal with real situations
and people but with fantasy and fairy tale characters. Stories

of miracles will appeal to him. He especially enjoys rhythm,

 

4United Presbyterian Church, op. cit., pp. 4-5, and Mary
Alice Jones, Guiding Children in Christian Growth (New York:
Abingdon-Cokesbury Press, 1949), pp. 29-30.

24

pantomime and impersonation activities. As he reaches the
third grade he will be better equipped to begin actual story
dramatization. Until then he should dramatize short incidents

within a longer story or stories with simple plots.

The Junior

M ...-A ...-«A.._
(..-

As he reaches the upper elementary grades the child's
physical development becomes refined. The small manipulative
muscles are now'usable and he has good coordination. However,
in his hurry and enthusiasm he may be prone to numerous
accidents such as tripping, breaking and spilling.

The junior's attention span is increased but he is in
a hurry to become active. His interests are wide and he loves
knowledge as such. He is able to discuss and report on tOpics
of interest and becomes interested in science and geography
and peOple and events of the real world. The world is no
longer one of make believe and fancy. Now he is realistic
and admires physical and moral bravery of historical figures.

Socially, taking increased responsibility and working
with others on committees and in group activities are within
the junior's capacity. Sex differences are evident and some-
times open antagonism between boys and girls results. Both
boys and girls enjoy all kinds of creative activities which
employ the arts.

1 If simply stated, great ideas can be understood. The
ability to think in terms of meanings rather than facts only

is reached. He is now able to understand and put into action

25

the love concept and finds more ways in which he may serve
Others. At this time he may attend the morning worship services
more regularly and become familiar with the church sacraments
and their significance. Learning how the Bible was made and
preserved and how the early church began with Paul's work
are tOpics to be introduced to the junior.5

The development of his dramatic instinct will largely
be a result of his environment: the number of playmates and
their cultural background; the space and facilities which have
been available up to this time for dramatic activity; the
encouragement, disapproval, or indifference Of parents and
teachers toward him; and his reading habits. Group participa-
tion now becomes foremost and he as an individual is important
for what he contributes as a unit in the group. The spontaneous
dramatization of a story with a beginning, middle, climax and
end is desired. There is no longer satisfaction with the playing
of isolated incidents. The center of interest is mankind,
real peOple rather than animals or fantasy. Stories of heroes
are well liked. A distinct period of preparation is needed
and one playing of the story is not sufficient for him. The
group works harder to create the apprOpriate atmosphere than
they did when younger and may want to use a suggestion of
prOperties and scenery. The dramatic unit is not complex and
contains much action rather than long passages of dialogue.

The need for an audience is still not felt.6

 

5United Presbyterian Church, 32; cit., pp. 4-5.

6Helen Willcox, Bible Study Through Educational Dramatics
(New York: Abingdon Press, 1924), pp. 34-35.

26
The Junior High

Upon reaching the age Of eleven or twelve and through to
the mid-teens many changes will take place within the child.

It is the period of puberty and the attainment of sex char-
acteristics. There is much physical change and because of
rapid muscular develOpment, gangliness and awkwardness abound.
There is a continual breakdown of childhood patterns and a
self-concern over the physical and emotional changes going on
within. The boys become active participants in sports while
the girls' active participation in games lessens and is
supplanted by active spectatorship.

There will be an increasing ability to deal with ideas,
words and symbols. Discussion may be held on the basis of
research and reports. The imagination takes flight in the
world of books and literature and there is an awakening interest
in adult men and women and all their works and ways. Characters
in literature will be infused with the adolescent's own personal
emotions.

He is increasingly aware of society and the center of
influence is shifting from the home to peer groups where the
desire to conform with the group is intense. He wants to be
independent from adults but still needs direction and a feeling
of security from the home. He wants to be recognized as an

individual, not as a child.7

 

7United Presbyterian Church, 32; cit., pp. 5-6.

27

He will sense the seriousness Of life as he finds himself
in a world which is ready made for him. There will be a sense
of the insignificance of human life compared with the vast span
of the ages and the incredible size of the universe; a sense
of incompleteness and frustration in many experiences even
though they are enjoyable ones; a sense of the sacred as some-
thing which is at once overwhelming and attractive.8

He is concerned with the formation of ideals and spends
much time in daydreams in which he creates a world and his
relationship to it, not as it is but as he wishes it to be.
The ideals which he forms now will, in many cases, direct his
conduct throughout life.9

In early adolescence the religious curriculum.may go
back over what has already been put before him but will now
be re-interpreted in a new light. He will see the whole Bible
as one story of God's activity in history and seek an under-
standing of great themes such as: who man is; what God wants
of us; what he has done for us. He will see questions about
the church's action in the world in the light of events in
the past and the present, and consider its witness to the world
of today. He will understand the church as a community of

people working to carry out God's will.10

 

8VictorA. Murray, Education Into Religion (New‘York: Harper
and Brothers, 1953), p. 83.

90verton, 22; cit., pp. 61-62.

10United Presbyterian Church, 92; cit., pp. 5-7.

28

Now the "whole world is a stage and he is playing the
leading role."11 His dramatic instinct becomes a stronger
and clearer challenge to the leader who works with him. The
junior high person has increased capabilities of appreciation
which have come with the years, richer possibilities of
interpretation, and the ability to undertake a real task and
hold it until its accomplishment.12

His sense of form in drama is rapidly develOping and more
interest is shown in the setting. There will be more comments
on co-participants' lines and actions, and characters will be
discussed more in detail. There is a new appreciation of
individuality and personality. An awareness of more subtle
dramatic effects is develOping, such as irony and suspense.

An audience is desired at this stage of dramatic develOpment.
The Senior High

As the youth progresses through high school he grows out
of the awkward age and almost completes his growth as he approaches
his senior year. There is a continued independence from the
\family, and group standards are the determining factors for many
activities and attitudes. Groups Of both sexes are testing
authority and tradition. This is a period of dating and co-
educational activities; a period Of experimentation in ideas

and social relationships.

 

110verton,‘gp; cit., p. 61.

12Charles A. Boyd, Worship In Drama (Philadelphia: The Johnson
Press, 1924), p. 4.

29

There is a keen appreciation Of the difference between
claims that persons or institutions make for themselves and
their actual worth or performance. The meaning of evil and
good becomes significant. Much attention is given to the
practical implication of religious faith. Responsibilities
of church membership are faced and the church as the conscience
of the community in social action is personally felt.13

We see these concerns manifested in the dramatic instinct.
The high school person is fond of subtle moral problems and
often discusses them with an amazing cleverness or sOphistry.
He sees the bad in the good and the good in the bad. He
questions the conventional answers and attitudes. He is
curious to discover the underlying principle that unifies
the qualities of the characters and welds them together into
the person. He perceives the importance of the mind and
establishes attitudes toward life and its purpose. He now
prefers formal plays or pageants which he has created himself
and which he may present for an audience. Rhythmic choir
participation and role playing also contribute to the dramatic

activity during this age.14
Dramatic Activities

Having briefly viewed the progressive growth of the child,

giving special attention to his religious and dramatic development

 

13United Presbyterian Church, op. cit., pp. 6-7.

14Willcox,'gp; cit., p. 64.

30

let us look more closely at the dramatic instinct and how it
may be utilized in the religious education program.

It has been said that the function of the dramatic
vinstinct is to: "Aid the individual in adjusting himself to
his spiritual environment, as the instincts of hunger and
self-preservation aid in adjusting him to his physical
environment."15 The following pages will show how the
spiritual environment may come alive to the child through

creative dramatics activities.
The Kindergartener

Because the kindergartener is active and restless the
creative dramatics activities which are introduced by the
teacher should contain much action and little plot. In
working with the child and encouraging him in his dramatic
play it is important that acquiring an outer imitative
technique does not become an end in itself. Rather, outer
movement is the means to a higher end, that of the expression
of inner spiritual awareness.16

The stories and activities chosen for this age should
help the child as he begins his exploration in the new world
of understanding people and relating himself to them. The
stories used should be short and simple with the emphasis
on action, for the average listening span is relatively

short and the power of concentration is undevelOped. The

 

151bld., p. 29.

16Ibid., p. 78.

31

sentence structure used in the stories should also be brief
and the vocabulary should be simple. There should be just a
few characters doing things in familiar surroundings.

Bible stories which can be played effectively if kept
simple are the Christmas story and the story of the Good
Shepherd, both of which show God's love for us. In the latter
story the children especially enjoy being the sheep while one
is the shepherd who makes sure all his sheep are safe.

In order to help them.in understanding the love concept,
events in which love is shown through action in everyday life
may be employed. They may play such situations as: (1) helping
mother and father at home: washing dishes, making beds, sweeping,
dusting, baking, setting the table, planning surprises,
raking leaves, pushing a wheel barrow, cutting hedges, watering
flowers and washing the car;17 (2) helping an Old person,or
another person in need, across a busy street or carrying a
package for him; (3) sharing toys and other possessions with
others.

The ways in which God shows His love to us through nature
can best be shown through rhythm activities which will be
discussed in detail in a later chapter. There are many aspects
of nature which the children enjoy playing. They love to be
the many things which God has given us; animals, flowers, trees,

sunshine, rain and snowflakes.18

 

17Ruth Lease and Geraldine Siks, Creative Dramatics In
Home, School and Community (New‘York: Harper and Brothers, 1952),
p. 288.

18Winifred ward, Playggking With Children (New'YOrk: Appleton
Century-Crofts, Inc., 1957), p. 201.

32

Other types of activities for this age may be short
incidents involving:
(1) manners and customs of Bible times
(2) familiar home situations
(3) rhymes and short poems
(4) songs
(5) incidents which happen in class or objects brought
to the session may be adapted by the quick thinking
teacher (a quarrel over a toy may result in a
playing activity involving the idea of sharing; a
letter brought may lead into the postman as a
helper in the community and this could introduce
discussion and playing about all the kinds of
peOple in the town who serve us.)
It is important to point out that at this age the leader
should not expect to work toward polished, individual performances.
The emphasis, rather, should be on group interaction in a spirit

of joy and growing awareness of life about them.
The Primary

The first and second graders will enjoy the same type of
activities and stories as the kindergarteners. However, they
are able to concentrate longer now and can begin to appreciate
simple plots. Pantomime, in which their action expresses an
idea or a complete situation, such as David watching over his
sheep and killing the lion when it attacks, proves to be

enjoyable and provides a good basis for characterization. Other

33

pantomime activities might include many of the occupations
in Biblical times; the various attitudes of the travelers in
the parable of the Good Samaritan; or any of the characters
to be played in a story, poem, or song. The leader should be
sure that the information given to them and the action
decided upon is authentic and correct.
The stories should have plenty of action and contain a
simple dramatic plot. Stories containing symbolism should
be avoided as it will probably be misinterpreted or missed
completely by the concrete-thinking primary child. In playing
the stories it is important now to talk about the characters
their relationship to each other, their motivations and
feelings.19
Incidents in the life Of Jesus and Old Testament figures
such as Joseph, Moses, and David are good ones for the latter
part of this period.
Specific examples are as follows:
(1) Incidents in the life of David
a. David as a shepherd
b. David's triumph over Goliath
c. David's refusal to take revenge on Saul
in the cave
d. David's friendship with Jonathan
(2) Incidents in the life of Joseph
a. The coat of many colors given to Joseph, and
the brothers' jealousy of him

b. The brothers throwing Joseph into the pit

c. Joseph in Egypt, forgiving his brothers

 

19Olaf Hanson, "Please Tell me A Story," International JOurnal

~---——- A [A . ‘AP‘\ 1

34

(3) Incidents in the life of Moses
8. Pharoah's daughter finding him in the reeds
b. Mbses and Aaron before the Pharoah

Many stories of contemporary life or of peOple and places
other than the united States may also be adapted to dramatiza-
tion. The stories related in the various church curricula
and lesson outlines also may provide sources for dramatization,
provided they possess inherent dramatic qualities.

Poems also provide a good basis for creative play,
creative dramatics, and rhythmic movement. The following four
books of poetry contain selections which can be used in
these activities. Under each book are listed specific poems
included in it. In each collection there are many other poems
not listed which are adaptable to various situations.

Hubbard, Alice and Babbitt, Adeline, The Golden
Flute, John Day Company.

 

"Clouds," Helen Wing
"Morning Clouds," Nellie B. Miller
"The Wind," Christina Rossetti

Stevenson, Burton E., Home Book of Verse For Young
Folks, Henry Holt and Company.

"Clouds," Norman Ault
"The Building of the Nest," Margaret Sangster
"The Grass," Emily Dickinson

Literature Committee of the Association for Childhood
Education, Sung Under the Silver umbrella, The

Macmillan Company.

"The Falling Star," Sara Teasdale

"The Tree Stands Very Straight and Still,"
Annette Wynne

"Autumn Woods," James S. Tippett

"White Fields," James Stephens

"April and May," Anne Robinson

"A Summer Morning," Rachel Field

35

McFarland, Wilma, For A Child, The Westminster Press.
"Daisies," Frank D. Sherman
"Come, Little Leaves," George Cooper
"The Baby Seed Song," Edith Nesbit20
Other sources may be hymns, letters, weekly bulletins

or papers, current books, newspaper clippings, life situations,

Bible stories made contemporary, and pictures.
The Junior

The junior ages, nine, ten, and eleven are the optimum
years for story dramatization. This group is now ready for
more complex plots and characters. Their interest in heroic
figures and their desire for adventure and realistic stories
Open up many possibilities from the Bible. Examples from the
Old Testament are:

1. Joshua and‘Caleb - two of the twelve spies
sent into Canaan, the Promised Land

2. The Division of land between.Abraham and Lot

3. Gideon breaking the idols in his father's
household (Judges 6:1-32)

4. The story of Joseph

5. Isaac and the Wells (Genesis 26:18-32)

6. Fate of the Gibeonites (Joshua 9:1-27)

7. The story of Elijah

8. Prophets such asAmos21

 

20Lease and Siks, 22; cit., pp. 242-243.

21Willcox,‘gp; cit., p. 51.

36

Many of the parables of Christ are now effective:
1. The Good Samaritan
2. The Prodigal Son
3. The Ten Talents
4. The Wise and Foolish Virgins
Incidents in the Life of Christ:
1. Jesus choosing Peter for His Disciple
2. Zaccheus
3. The Widow's Mite
4. The Woman at the Well
5. Jesus In the Temple As A Boy
6. The Rich Young Ruler22
As in the primary age group poetry, songs and non-Biblical

stories can also be adapted to the juniors.
The Junior High

In the years of early adolescence the story dramatization
is still valuable as the stories and their meanings become
more complex. It is at this time that a desire for an
audience may arise. It is necessary for the leader to be

especially aware at this time that:

Young peOple need to learn the difference
between the theatrical, which should not

be brought into the church, and the dramatic.
The theatrical expression is always external,
something put on. The dramatic is always
genuinely felt, arises in the inner self and

moves outward.23

22Ward,‘gp; cit., p. 203.

23Harold Ehrensperger, "Drama Is At Home In The Church,"
International Journal of Religious Education, XXXIII, No. 10
(June, 1956), p. 17.

37

Up to this time the children have been eager to participate
in creative dramatics without thought of an audience or with
little self-consciousness. But as they desire an audience and
become more conscious of their physical appearance they may
tend to think of the outer effect they are making rather than
the inward feelings they are experiencing. It is the leader's
reSponsibility to keep them aware of the fact that the outward
form is an expression of the inward feeling. The junior high
person who has never done this type of activity may be too
self-conscious to begin participation in it now. The leader
must be sensitive to the group and its reaction if this is new
to them.

In leading the stories the teacher should guide the
students in discovering within old favorite characters,
qualities which they had not been aware of before. The shadows
and subtle blendings of the heroes may now be brought out more
clearly. More complex plots as well as characters will challenge
the teenager who has had previous experience in story dramatiza-
tion. The lives of the Biblical characters may now be played
in greater detail. The children will be able to understand the
growth and change that came about in these heroes through their
lives. Suggestions for various incidents which involve
Opportunity for character develOpment are listed below.

(1) Joshua
a. The Scout - Numbers 13 and 14
b. The Leader - Joshua l

c. The Judge - Joshua 9

d. The Governor - Joshua 20

(2)

(3)
(4)

38

Saul, how he came to be king

a.
b.
c.
d.

e.

People's request for a king - I Samuel 8:1-22
Anointing of Saul - I Samuel 10:1-16

Popular Acclamation - I Samuel 10:17-24
Rescue of Jabesh-Gilead - I Samuel 11:1-11

Coronation of Saul - I Samuel 11:12-15

Both books of Samuel

Nehemiah and Ezra - restoration of Jerusalem

after the exile - requires more imagination and

creative work on the part of the leader and players

(5) The Prophets

Selections from.the New Testament might be:

(1) Incidents and parables from the four Gospels

(2) The Acts

(3) The Life of Paul

(4)

a.

g.

Stoning of Stephen - Acts 7

Road to Damascus - Acts 9:1-8

Visit by Ananias - Acts 9:10-18

Persecution by the Jews - Acts 14

Incidents on his missionary journeys - Acts 13-20

Imprisonment experiences - Acts 16 and 24

In Rome - Acts 28

The Witness of Peter and JOhn

a.

b.

C.

Healing of the lame man - Acts 3:1-16
Hearing before the council the day after their
arrest in Jerusalem - Acts 494-22

Deliberations of the council after the second

arrest of Peter and John, when they were condemned

39

to be flogged - Acts 5:12-42

d. Return of Peter to the house of Mary, mother
of Mark, on his release from imprisonment -
Acts 12:1-1724

Other tOpics of interest are the lives of saints, events
in church history, and contemporary figures of the church.25
Role playing, the playing of problems which the young peOple
face in life is an effective technique and will be discussed
in a separate chapter.

Another variation at this point in develOpment may be
semi-spontaneous drama in which the situation and characters
are described to the group a wed; in advance. Each person
is given a general tapic which he is supposed to incorporate
into his dialogue. He will think about and do research on
this subject in the coming week. Although actual lines are
not written or memorized the players will have one or two
rehearsals in which they work out their action and general
dialogue. The situation is then played before the group the

following week. Suggested tOpics are: "Why I Am A

 

(pertaining to the faith or denomination to which he belongs);
incidents in the early history of the church; the beginnings
of Protestantism; the church's stand on pacificism or dis-

armament; and other contemporary issues.26

 

24Willcox,lgp; cit., pp. 23, 62-64.
25Ehrensperger,{gp; cit., p. 4.

2GMarjorie Curry, "Experimental Projects written On the
Junior High Level to Illustrate Drama In the Field of Christian
Education Within the Local Church" (unpublished Master's thesis,
Pittsburgh-Xenia Theological Seminary, 1953), p. 54.

40

Creative dramatics may also be used in formal plays which
the Older junior high schoolers may wish to present. There
are three different ways it may be incorporated. (1) At
tryouts, after the people are familiar with the situation and
characters, short scenes with spontaneous dialogue may be
given. This ride the actor of his book and line-reading and
enables him to show the director his ability with characteriza-
tion and bodily movement. (2) During rehearsals formal scenes
may temporarily be turned into improvisations in order to
achieve naturalness in players who tend to recite lines.

(3) Improvised dialogue may be developed in crowd scenes.27

The senior high school students will also enjoy semi-
spontaneous drama, however, at this age their interest turns
to formal play production. Creative dramatics activities which
the older adolescent enjoys are those of role playing and

creative movement which will be discussed in the following

chapters.

General Uses of Creative Dramatics

It has been shown that there are many situations in which
creative dramatics may be adapted at the various ages. Although
the Bible story or other written material with religious values
is the most common basis, there are many other Opportunities for
its use, such as:

(1) Supplementing a group experience (Example - after
a missionary talk the group may play out a story

involving his work)

 

27Ann Viola, "Drama With and For Children: An Interpretation
of Terms," Speech Teacher, V, NO. 4 (Nevember, 1956), p. 304.

(2)

(3)

(4)

(5)

(6)

41

Suggesting the right attitude to take in
everyday problems (Example - losing games,
getting along with siblings and parents)
Making background material come alive
(Example - the occupations of peOple in

Old Testament times)

Preparing the group for a challenging or new
experience (Example - joining church, welcoming
visitors to the class)

Helping build standards (Example - behavior
on dates)

Incorporating creative dramatics in a worship
service at a youth meeting or in a service for

a Special seasonal occasion.

The leader must constantly use as much originality, awareness,

and resourcefulness as possible in order to make the creative

dramatics experience a fresh and vital one.

28

Story Dramatization

Since story dramatization comprises a large portion of

the activities in the field of creative dramatics it is

necessary that its techniques are understood. The following

phases of the
l.

2.

process will be discussed:
Choosing the story

Telling the story
Preparing the dramatization

Dramatizing the story

Evaluating the story

 

42

Choosing the Story

All stories are not suitable for dramatization. The
leader must be able to recognize the story with dramatic
potential and likewise the story which lacks dramatic
elements. Not only the dramatic values but the religious
and educational values for the particular age involved must
be analyzed.

The religious implications will be noted first. It
should have a significant message for the world today and
be selected with regard to the spiritual needs of the players.
Which truth or truths (of all those possibly inherent in it)
will be meaningful for the particular group? Many stories
from.the Bible may be dramatic but may have no meaning for
the child or merely confuse him in certain phases of his
develOpment.

In considering the educational values the first considera-
tion must be that of truth. The story must embody essential
truths of human life and character. The characters in it
must be true to themselves and to life. There should be
enough characters in it so that each player will be given
Opportunity for active participation sometime before the
dramatization is concluded.

The characters within the story will largely determine
the dramatic potential of a story. First, there should be a
hero-figure or a protagonist. He is the pivot on which the

plot revolves, the connecting link between the other characters,

43

the unifying force. He should be intelligible to those people
playing the story. They should be able to understand and
sympathize with him. There will be a character who interferes
with the hero's interests and activities. He is known as

the antagonist. This interference with the hero will take
different forms: (1) a character showing Open hostility to

the protagonist; (2) an innocent misunderstanding on the part
of someone else which interferes with the protagonist's goal;
(3) and in stories for older children, an antagonistic force
within nature or within the hero himself and not another

actual character. The supporting characters will reinforce
either one of the two conflicting forces.

As has already been implied in the discussion of
characters, there must be conflict Of some kind. It does not
have to be physical combat but can be qualities of character
and personality within the characters or social forces which
cause the struggle. Another element within the story must be
suspense, which has significance. In other words, the players
must £2£2.Vh3t the outcome is. The suspense should culminate
in a decision which is felt to have importance. The conclusion
must follow the logic of cause and effect in the moral realm:
it could not have ended otherwise. The characters remain true
to themselves.29

Qualities to look for in considering dramatization should

be: true-to-life characters; plot containing conflict; suspense

 

29Willcox,‘gp; cit., pp. 10-11, 18, 24.

44

and decision; worthwhile and significant theme or central
idea; and possibilities for action and dialogue.30

TO summarize, one may ask these three basic questions
when considering a story to dramatize in religious education:
(1) Has it inherent dramatic values? (2) Has it an ethical
or religious message for the church and for the world today?
(3) Is it appropriate in subject matter, form, and teaching,

to the stage of development of the persons who are to handle

1:231
Setting The Mood

It is the leader's reSponsibility to create an atmos-
phere conducive to creativity and to bring to the children
his own "firm convictions and deep personal experience,
through his appreciation and knowledge of it, in the religious
heritage of the race."32 He must be able to help them feel
the joy of discovering new truths and of Old truths applied
to new situations.

". . . to some children, this vicarious experience
provides the only opportunity to experience beauty."33 It
is up to the leader to proceed gently but with enthusiasm and

to allow his imagination to soar with the children's, so all

 

3oBarbara Anderson, "Creative Dramatics -- A Good way To
Teach," International Journal of Religious Education, XXXIII,
No. 2 (October, 1956), p. 8.

31Willcox,‘gp; cit., p. 9.

32Hulda Niebuhr, Ventures In Dramatics With Boys and Girls
Qffithe Church School (New York: Charles Scribner's Sons, 1935)
p. xvii (introduction).

33Margaret WOOds, "Creative Dramatics," NEA Journal, XLVIII,
No. 5. (May, 1959), p. 53.

45

the participants, eager or shy, experienced or newcomers, may
be able to share the joy of creativity.

The leader must be able to arouse the curiosity and
interest of the children so they care what happens. ". . . the
child is motivated [to action} by the mood set by the
teacher."34 His own attitude will help to set the mood desired.
Other helps in gaining interest and awakening the imagination
may be appropriate recordings, hymns, letters, short films,
Objects, pictures, or questions.

A good motivating activity involuntarily captures the
child's interest and carries him into the enthusiasm of
group discussion without his realizing it. The leader should
keep certain considerations in mind as the motivation period
is prepared. He should think of the children and the material.
The story must be analyzed in order to find the theme and
strong appeal. Then the kind of receptive mood that must be
created for the specific story must be determined. It is
important that the motivation does not become more involved
than the actual creative dramatics experience. The children
should not be so overwhelmed with an abundance of introductory
material that the actual playing period is a letdown for them.
Motivation approaches should be varied and fresh in order that

the children respond eagerly each time.35

 

34Ibid.

35Lease and Siks, 22; cit., pp. 101-102.

46

Telling The Story

The storyteller is the medium through whom

the story comes to life, the transmitter,

the reflector, the catcher of the spark be-

tween man and man, God and man.36

The effective storyteller will use all the experience he

has had and will build the richest background possible in
order to cultivate the spirit of storytelling. Preparing
stories to tell is not isolated preparation for each one but
rather a continual process, reading and thinking about as much
literature as possible and gaining experiences of beauty which
will become a part of him and in turn enrich the stories he
tells. He must like, enjoy and want to tell the story. It
lmust belong to him, knowing it so well that there is no
possibility of forgetting it. He must develop his voice so
that it has the correct pitch and appropriate strength. He
must practice the pacing of the story, working on changes in
tempo and using pauses effectively. The words used must fit
the story, must be appropriate to the characters, the time,
and the place Of the action. One must never talk down to the
children but yet use vocabulary which will be understandable
by the listeners. He will not sacrifice the literary values
Of a great story by watering it down into words of one syllable
for his young audience. He will wait with this story until

the listeners reach an age of understanding and appreciation

of it as it was written.37

 

36Ruth Tooze, Storytelling (Englewood Cliffs, N.J.: Prentice-
Hall, Inc., 1959), p. 15.

3711314., p. 40.

47

Each leader will have his own individual method of
preparation and presentation of the story but a few steps
to follow are:
(l) Outlining the story including the introduction,
main events, climax and conclusion
(2) Having a clear mental picture of each phase
of the story
(3) Practicing looking at the audience and speaking
tO them
(4) Practicing telling the story to an imaginary
or actual small audience
(5) Using direct discourse whenever possible
(6) Coming to know the story so well that the
enthusiasm for it shines through to the
listeners.38
Jeanette Perkins Brown has expressed the idea that there
is too much "pouring-in" in storytelling and not enough
Opportunity given for a pouring out by the children after the
story has been told. "Emotions are roused for which no outlet
in action is provided." The listener completely identified
himself with the hero. He not only toils and suffers with
him vicariously, but he also vicariously enjoys the unearned
emotional satisfaction of the hero's earned reward and feels

no need for real effort on his part to achieve such satisfaction.39

 

38Hanson,‘gp; cit., p. 4.

39Jeanette P. Brown, The Storyteller In Religious Education
(Boston: The Pilgrim.Press, 1951), p. 6.

48

Similarly, the limitations of listening only have been
expressed by Morrison:
To teach is to tell, but it is also to live
and to understand, to stimulate thinking and
wondering, to provide rich experiences, to
extend horizons of expression, to help children
use what they learn, to guide,them.in becoming
active learners---involved, participating,
searchingfio
In these examples we see two affirmative reasons for using
the creative dramatics technique. 0n the other side of the
picture it should be emphasized that even if the story passes
the "dramatic potential" test, before using it for dramatiza-
tion the leader should be able to say "yes" to the following
final criteria: (1) Can it be brought into line with the
problem of the lesson? (2) Will it aid in making the situation
real? (3) Will it aid in giving the mind clearer precepts?41
After having answered these questions affirmatively the leader

may proceed to the planning of the dramatization with the

children.

Planning the Dramatization

Before the leader attempts to guide the children in
planning and carrying out a dramatization he should have a
clear idea of the many possibilities which the selections
Offer. He must have considered the various characters and

their personalities so he can lead the class into purposeful

 

40Eleanor Morrison, "Use‘Many Related Teaching Procedures---
Third and Fourth Grades," International Journal of Religious
Education, XXXV, NO. 7 (March, 1959), p. 18.

41Overton, op. cit., p. 95.

49

pantomime and characterization. He should have reflected on
several possible scenes of action which will enable him to
ask stimulating questions to guide a class into informal play-
ing within a one-hour period.42
Although the children will be eager to play the story

immediately upon the teacher's suggestion to do so (in many
cases, if they are familiar with story dramatization they
will suggest it themselves) there needs to be planning and
working on characterization. Working on characterization
can be one Of the most beneficial phases of the process. In
leading this part the teacher should see that great care is
taken to:

. . . relate the feeling to the action, so

that the stirring of the imagination and

emotions to an appreciation of the charac-

ters represented may be the means of devel-

Oping a more sensitive reaponse of the human

being to the real world.43

Discussion and practice should be had in characterization

and dialogue before they are actually incorporated into the
actual playing. It is important to talk about the way in
which the inside feelings of the character affects his
outward action. Inner thoughts and feelings affect posture,
walk, facial expression and bodily movement. They should each
"try on" the various characters, getting the "feel" of them.
Each child should have an idea of the kind of person each

character is. He should know how he looks, how Old he is;

how he feels toward the other characters. The main characters

 

42Lease and Siks, 22g cit., p. 175.

43Overton, 22; cit., p. 96.

50

may first be pantomimed with the entire group taking part.
Each child, in his own place, will do a specific action in
the way he thinks the character would. Individuals may then
try on various characters as the remainder of the group
observes.44

By experiencing a variety Of emotional characterizations,

a child will learn to distinguish between destructive and con-
structive emotions and he will find this experience of value
in personal application. The dialogue should be introduced
as naturally as possible. The children should be encouraged
to think aloud in prOper sequence some of the things that
might be said.

All the children should be allowed and encouraged to take
part in the discussion and decisions which will be made. The
planning period should include these considerations by the group.

(1) How many and what scenes are to be included?

(2) How many characters are to be included in
each scene?

(3) Where in the room each action will take place.

(4) How each scene will begin - who begins the
scene and what are they doing?

(5) Where the exits and entrances are to be.45
The importance of good listening and watching should be

stressed if a part of the group will not be participating in the

first playing.

44Lease and Siks, 22g cit., p. 173.

45
Eleanor Morrison, "Use Many Related Teaching Procedures,"
International Journal of Religious Education, XXXV, No. 5
(January, 1959), p. 14.

51
Playing the Story

The actual playing period is the most valuable part of
creative dramatics for it is here, as the child plays his
character and reacts to Others who are playing with him.that
understanding, insight and emotional release are most likely
to take place. The outer mechanics of the playing may be
poor in first attempts but this does not necessarily indicate
that there has been no inner growth within the child because
of the experience. During the first playing the children will
discover many things which they forgot about in their planning
or which need modification or enlargement. The evaluation
period, therefore, is another vital phase to the creative
dramatics process. It helps to improve the subsequent play-
ings and to gain deeper insight into the characters and plot

through discussion.
Evaluating the Dramatization

During the evaluation and the re-planning session in
which the children decide on improvements to be made, the
leader should let the children express themselves and try
their own ideas even if he can see they are making errors.

For "play loses its dramatic value. . . when it ceases to be
creative expression and is organized and imposed upon a person
or group."46 This does not mean that he stays completely

out of the picture. It is necessary that he guide them by an

occasional suggestion or a question which will provoke thought.

46Ehrensperger, pp; cit., p. 17.

m

('1

A...-

52

Words of encouragement are needed to be given by the leader,
also. His ability in guiding the children will be improved as
he actually works with them. It is only through the actual
experience that he will become more adept and sensitive in
this special kind of leadership. Miss Ward expresses the
role of the leader in this way. Children cannot create "out
of a vacuum” but must discuss and experiment with the scene
in many ways, being encouraged with sincere praise from the
leader. He should not impose his own standards but remain
flexible enough to accept ideas and interpretations other
than his own, thereby helping the children set their own
standards by which to grow. The teacher must gain rapport
with the children and guide their efforts, not direct them.47
There are many things which the leader of creative
dramatics should remember.
(1) Know your children; become sensitive to their
needs and feelings.
(2) What happens to the child is always more
important than what happens to the play.
(3) Never force a child to take part, yet see
that all the children are given the Opportunity
to participate in some way.
(4) A well-planned motivation is essential.
(5) The children should know the story well before
attempting to dramatize it; it must be clear in

their minds.

 

47Ward, Playggking, p. 278.

53

(6) The groups should share in the planning process.

(7) Avoid telling exactly what to do and how to
do it.

(8) Let the children evaluate their own efforts
as much as possible.

(9) Find something good in the contribution Of each
child.

(10) Play the story as many times as the children
are eager to do so, giving many different
children the Opportunity to play the different
parts.

(11) Don't be easily discouraged if first efforts
seem to fail. Improvement comes to both the

leader and the children through experience."8
Possible Problems

When a teacher becomes enthusiastic over the use of
creative dramatics it is important that he not over-use it
or think it an answer to all his classroom problems. It
should always have spiritual values and never be used merely
as a "time-filler."

The possibility of confusing merely spectacular effects
with essential dramatic and spiritual values should be pointed

out. Examples of this are Jacob's dream as he wrestles with

 

48United Presbyterian Church, Informal C.D. With Children

(Philadelphia: Board Of Christian Education, n.d.), p. 9.

54

the angels on the ladder or the rolling back of the Red Sea
for MOses and his people to pass through. The exploitation
of a small child because he will look angelic in certain
poses, such as being small Samuel in a prayerful attitude,
must also be avoided. Each situation must have particular
value and meaning for the child himself.49

When playing just a portion of a story the leader must
be careful that it does not lead to misunderstanding or mis-
conception of what eventually happens. An.example of this
would be that of playing the scene in which Joseph is thrown
into the pit by his brothers. The players should know that
this is not how the story ends but is only a small part of
his life.

The spiritual values, their emphasis and message must
be carefully thought through. For instance, the story of
Esther has many natural dramatic elements in it but its
content is a glorification of revenge. The character of
Esther should be stressed and the story clearly placed in
its historical setting. The character of Ruth is another
example. Her readiness to change her religion was a matter
of course for her time and culture. PeOple changed gods as
they moved from place to place for they believed that each
country had its own set of gods. Naomi, with her convictions,

is the main character in the story.50

 

49Willcox, pp; cit., p. 17.

SOWard, Plazggking, p. 198.

55

The question about playing the part of Jesus is Often
raised in religious education. It may be pointed out that
Jesus came to earth as a human being and was a man who
mingled with men. The stories show His warm, human qualities
and are identifiable with the finest qualities in our own
lives. The children can be prepared for the experience of
having Jesus as the central figure in a creative play by
making it a high privilege to play this part. The whole group
may grow in reverence and in the feeling that Jesus was a
real person.51

One of the biggest practical problems encountered is
the training Of leaders. A teacher with no training or
background or having no feeling for the dramatic should not
attempt creative dramatics. WorkshOps and/or weekly training
sessions or classes should be attended before using this
activity in the church school.

At least an hour should be allowed for work in a story
dramatization. In many cases the vacation church school
session proves to be a more satisfactory arrangement than
the sunday school session. In nice weather it is possible
to play the stories outdoors in order to have more freedom
and space. With careful planning and arranging, space can
be made available in the average building. The biggest

problem is that of teacher training rather than time and space.

 

51W'ard, Playmaking, p. 198.

56

Sources and Materials

 

The amount Of literature being written in the area of
creative dramatics is steadily increasing. Many of the
denominations have available through their boards of
education books, pamphlets, booklets and articles about it which
are easily obtainable at low cost. There will be no attempt to
give an extensive list of suggested materials but only those
which are most outstanding. In turn, in each of them will be
found bibliographies giving a detailed account of books useful
in the field.

Other bibliographies may be obtained by merely writing
to the following places:

United States Children's Bureau

Washington, D. C.
(a yearly list of books for children,
representing a careful selection covering
a wide range of interests, annotated and
classified by interests and ages.)

Association for Childhood Education
National Education Association Building
washington, D. C.
("A Bibliography of Books for Children,"
classified and annotated.)

American Council On Education

Washington, D. C.
("Reading Ladders for Human Understanding,"
annotates by age groups, books which are
helpful in developing inter-group and
interracial understanding.)

National Conference of Christians and Jews

203 N. wabash Ave.

Chicago 1, Illinois
("Reading For Democracy," helps develOp good
will among cultural and racial groups.)

International Council of Religious Education
("A Child's Religious Library," a brief
list of religious books for children.)52

52Jones, pp; cit., pp. 157-158.

57

The books listed below have been found to be valuable
to the present writer and have been suggested by authorities
such as ward (creative dramatics), Tooze (storytelling) and
Chaplin (religious education).

The first section will give books for use by the leader
for creative dramatics and storytelling. The second section
will contain titles of stories and collections and other
sources which may be used by the children themselves.

These books may be Obtained through any good general or

religiously affiliated book store.
Sources for Leaders
Barton, Lucy. Costuming the Biblical Play. Walter H. Baker

Company. 1937.

Brown, Jeanette Perkins. The Storyteller in Religious
Education. Pilgrim Press. 1951.

Burger, Isabel. Creative PlayLActing. A.S. Barnes & Co.
1950.

 

Cole, Natalie. The Arts In the Classroom. John Day Co.,
1940.

 

Haaga, Agnes, and Randles, Patricia. Supplementary Materials
for Use In Creative Dramatics With Younger Children.
University Of Washington Press. 1952.

Lease, Ruth 0., and Siks, Geraldine B. Creative Dramatics

for Home, School, and Community. Harper and Brothers.
1952.

Niebuhr, Hulda. Ventures in Dramatics. Charles Scribner's
Sons, 1935.

 

Sawyer, Ruth. The Way of the Storyteller. Viking Press. 1942.

 

Shedlock, Marie. The Art of the Story-Teller. Dover Publications.
1951.

Smither, Ethel. The Use Of the Bible with Children. Abingdon
Press. 1937.

58

Ward, Winifred. Playmaking With Children. D. Appleton-
Century Co. 1957.

 

ward, Winifred, ed. Stories to Dramatize. Children's Theatre
Press. 1952.

 

Willcox, Helen L. Bible Study Through Educational Dramatics.
Abingdon Press. 1924.

 

Sources for Children

Stories of the Bible

 

Bowies, Welter R. The Story of the Bible. Abingdon.

 

de la Mare, Walter. Stories From the Bible. CosmOpolitan.

 

Hogner, Dorothy. The Bible Story. Oxford.

 

Jones, Rufus. The Bgeresus and His Companions. Macmillan.

 

Klaber, Florence. Joseph, The Story of Twelve Brothers.
Beacon Press.

 

Petersham, Maud, and Petersham, Miska. The Christ Child.
Doubleday. The Story of Jesus. Macmillan. Stories From
the Old Testament. Winston.

 

 

 

Smither, Ethel. Early Old Testament Stories. Abingdon.
Later Old Testament Stories. Abingdon.
First To Be Called Christians. Abingdon.

 

Yates, Elizabeth. Children of the Bible. Aladdin Books.

 

Stories and Sources With Religious Background

Bailey, Albert E. Daily Life In Bible Times. Charles Scribner's
Sons.

Bainton, Roland H. The Church of Our Fathers. Scribners.

Ceder, Georgiana D. Ann of Bethany. Ethan, The Shepherd Bgy.
Joel, the Potter's Son. Abingdon.

Fitch, Florence Mary. One God. Lothrop. Their Search for
God. LothrOp.

Foster, Genevieve. Augpstus Caesar's World. Scribners.

Lau, Josephine. Beggar qugof Galilee. Abingdon.

S9

Niebuhr, Hulda. Greatness Passing By. Scribners.

Shore, Maxine, and Oblinger, M. M. The Slave Who Dreamed.
Westminster Press.

 

Smither, Ethel. A Picture Book of Palestine. Abingdon-Cokes-
bury Press.

 

Stories of Saints and Heroes

 

De Wohl, Louis. St. Joan,gthe Girl Soldier. Farrar Straus.

 

Farjeon, Eleanor. Ten Saints. Oxford U. P.

 

Cullen, Margaret. St. Francis of Assisi.

 

Gaer, Joseph. YounggHeroes of the Living Religions. Little.

Jewett, SOphie. God's Troubadour (St. Francis). Crowell.

 

Larnen, Brendan, and Lomask, Milton. St. Thomas Aquinas and
the Preaching_Beggars. Farrar Straus.

Pauli, Herta. Bernadette and the Lady. Farrar Straus.

Summary

In this chapter the develOpment of the child, with Special
emphasis given to the religious and dramatic instincts, has been
explored. The periods of growth have been divided into five
sections according to age and common characteristics. Stories
and sources which are apprOpriate for each period have been
given. The basic process of story dramatization which can be
adapted to any of the age levels has been explained. Included
in the discussion were possible problems and common errors
confronted in working with this activity. A brief list of the
most valuable bibliographies, books, and stories which are
available for further study in the various aSpects of the field

concluded the chapter.

60

This material gives a basis for understanding what
creative dramatics in religious education is in terms of
specific and concrete ideas and methods for use in the
church school. The fundamental understanding gained and
interest created from it may lead the reader to further
investigation of creative dramatics by reading books which
give in great detail general creative dramatics techniques,
and by attending workshops which will result in actual

practical experience in the church program.

CHAPTER III

ROLE PLAYING IN CHRISTIAN EDUCATION

In adolescence or throughout the junior and senior high
school eXperience we have seen how the child becomes more
and more concerned with social problems and is guided to a
great extent by the actions and attitudes of his peer group.
He is now more capable of and eager to discuss problems
and gain insight into them. For these reasons role playing,
a form of informal drama, may play a valuable part in the
youth group activities of the church.

The purpose of this chapter is to show exactly what
role playing is; its values, its uses, and its process.

In describing the basic techniques and methods of role

playing, the creative aSpects of it will be emphasized. The
discussion will reveal that this activity is a natural tool

for grappling with the problems and questions which religious
educators must bring before their young peOple. The last
portion of the chapter deals with specific illustrations of
role playing activities which have been successfully conducted.
This will help to clarify the meaning and method of role
playing and also give a direction and a concrete basis from

which to apply it in future situations.

61

 

62

Role playing is ”the spontaneous acting out of roles in
the contest of human relations situations."1 The terms
socio-drama and role playing are used interchangeably for
they both refer to the interaction of peOple as they face
and attempt to solve problems by the assuming or "putting on"
of personalities different from their own.

An operational definition will best show what role play—
ing is. The leader(s) of a group becomes aware of a general
social problem or a specific situation which the group is
facing. Either this specific situation or a situation which
exemplifies the general problem is described to them by the

leader. Certain members of the group either volunteer or
are asked to assume the "roles" of the persons in the
situations presented to them. The players then act and talk
as they think the "problem characters" would. After a time
the leader steps the scene and the group discusses the
attitudes and ideas brought out in it. When all these steps
have been followed, role playing is the result.

The values of role playing are many. It helps the person
to "get out of himself" and see himself as others see him.
Many times a subject or situation may be too sensitive an
issue to handle in an ordinary discussion but by seeing or
experiencing it from a more objective viewpoint and taking it
out of the personal context, playing the ideas of other

personalities, decisions and understanding may be reached. It

 

lAdult Education.Association, How to Use Role Playing,

pamphlet #6 (Chicago 11, Illinois, 1956), p. l.

63

allows many attitudes and feelings that fundamentally affect
the group process, but which are usually left unexpressed and
subjective, to be brought before the group for review. It
clarifies the issues and "clears the air".

Role playing is widely recognized as a method of helping
peOple to broaden their understanding of and to empathize
with others. The gaining of insight into personal as well as
other peOple's feelings also may result from a role playing
experience. Because it is a way of experimenting with human
relations in a learning situation, the participants can
make mistakes and try new approaches without chancing the
damage that experimentation in real-life situations may
involve.2

Socio-drama stimulates and motivates discussion because
of the concrete and vivid way in which it presents the
problem. Everyone becomes involved and group action becomes
more dynamic. Although mainly social in purpose, it calls
into action latent individual capacities.3

Role playing also gives the leader insight into the
way in which individuals and the group as a whole see them-
selves and others. For example, a socio dramatization may

reveal that a young person has a false impression of the

way his parents think or feel about him. The leader, noting

 

21bid., p. 7.

3Charles Burns, Jr., "Using Role Playing in Christian
Education," International Journal of Religious Education, XXXII,
No. 5 (January, 1956), p. 13.

64

this misconception, may correct it by conducting further role
playing sessions and discussions on the problem.

As has already been indicated, role playing is eSpecially
valuable for the development of attitude changes within the
individual. In order to show this through the scientific
method, an experimental situation was designed in which two
groups of eight members each were worked with for three
weeks, for two hours each week. The one group had discussions
about various problems and the other group role played the
same problems which group "one" discussed. The justification
for using it as a method for producing attitudinal and
behavioral changes was based on the listed seven criteria.
They worked from the hypothesis that role playing experiences
increase an individual's:

(1) leadership initiative

(2) prominence in the group

(3) ability to aid in the attainment of group goals
(4) c00perativeness

(S) friendliness to others

(6) desirability as a friend

(7) general social adjustment.

It was reported after extensive testing that there was a
greater change among role players than among the control

subjects.4

 

4John Mann, "The Effect of Role Playing Experience on Self-
Ratings of Interpersonal Adjustment," Group Psychotherapy, XI
(March, 1958), p. 27.

65

Before continuing with the process of role playing, the
values of it will be briefly summarized. It can aid in
improving interpersonal and intercultural relations by
facilitating insight and understanding of others in religious
fellowships. It helps in changing attitudes and behavior
by: (l) securing a new-found ability to look objectively
at oneself; (2) seeing oneself from the other's point of
view; (3) better understanding of the causes of behavior;
and (4) beginning to face reality. It develops spontaneity
and stimulates group participation by giving increased
freedom to do so. It encourages group members who characteris-
tically do not enter into the discussion to contribute in the
analyzing of the problem. It helps the individual with inner

conflicts and problems.5
The Role Playing Process
Setting the "Stage"

The type of problem presented to the group will depend
somewhat on their experience and age, and their number. The
larger and less mature they are the more general and simple
the problems will be. Before introducing the ideas to them.
it is necessary to sensitize the group to a feeling of need
for this activity; disturbing their complacency and making

each person aware of his need for learning and understanding.

 

sRosemary Lippit and Ann Hubbell, “Role Playing for Personnel
and Guidance Worker," Group Psychotherapy, IX.(April, 1956), p. 103.

 

66

This may be accomplished through discussion, films or recordings,
or a story or case presented by the leader.
The physical preparations are few; a chair or two, a table,

and space for action is all that is necessary for almost any

role playing situation.
Defining the Problem

The explanation of the scene to be played should give
enough background and content so that all will understand the
situation and know the types of persons to be played but not
in so much detail that there is no room for original thought
or creative feeling.

They should know the attitude of each of the peOple toward
the problem.and any outstanding reasons why they feel as
they do. The personality of each character should be clear in
the mdnds of the players. The time and place and the immediate
specific conditions of the situation should be known, also,

before the playing commences.6
Casting the Scene

Persons should be chosen because it is thought they can
carry the role well and are not likely to be threatened or
exposed by it. No player should be stereotyped for certain
kinds of roles or be type-cast. The leader should see that
no one is over-urged to take a role or asked to take a role

unless he is definitely willing to do so. In casting an

 

6Burns, op. cit., p. 13.

67

unfavorable character it is wise to assign it to a person
who has enough status in the group or personal security to
carry it without stress.7

After being cast the players may be given a few moments
to think through their characters. ESpecially for an un-
trained group the leader must take responsibility for getting
them into the role by asking them questions about their

characters.
The Playing

As the action begins the leader should take a "back
seat" and be heard only if a beginner is in trouble and would
seem to profit by the suggestions of a line to say or some
action to take. The spontaneity of the situation must be
protected above all. It is from the Spontaneity of reactions
that the "reality" arises. The atmOSphere should be one of
permissiveness so that the real feelings of the players may
be voiced and shared rather than the "right" or "expected"
answer be parroted. The participants must play their roles
in response to their associates' words and attitudes as well
as convey their own personal interpretation of the part. They
must continually remember that role playing is interaction.

The length of the playing will vary for each situation.
It is largely a matter of the leader, through experience,
"feeling" when the apprOpriate time has arrived to conclude.

Time must be allowed for enough interaction to take place so

 

7Adult Education.Association, 22; cit., p. 13.

68

that the entire group will be able to have enough concrete
reactions in order to analyze the playing and see the problem
in a new perspective. To be worthwhile it should continue
for at least three minutes. Six to eight minutes is a good
length but not necessarily the best. Other criteria for
cutting the action may be:

(1) It has develOped enough so the group can
project what would happen if the action were
continued.

(2) The players have reached an impasse and the
action and conversation are becoming repetitive,
irrelevant, or sluggish.

(3) A natural closing has been arrived at.8
Analyzing the Playing

Much of the value of this technique depends upon the
discussion following the spontaneous dramatization. The
effectiveness of this discussion is limited in turn by the
accuracy and relevance of the observation by the group while
the role playing is in progress. The leader can help improve
observation by pointing out to the audience certain qualities
and attitudes to watch for before the playing begins. Sometimes,
various members of the audience may be assigned specific

characters to observe and note their reactions to the other

 

81bid., p. 17.

 

69

characters. The group develops new insights and perceptions
to the degree to which they are able to empathize with the
players.9

If the players comment first on whyWflmmyacted and
spoke as they did it allows them to set the tone for con-
structive criticism. If they show by their own observations

that they are not self-conscious in analyzing the characters

 

they portrayed, and not themselves, the observers are more
likely to feel free to express their full reactions.10

The discussion must be guided with tact and diplomacy.
The leader must be sensitive to the personal feelings and
sensitive spots in the group. Keeping the evaluation as
impersonal and objective as possible will help in this matter.
It is important that the observers focus their discussion on
the situation and the characters portrayed rather than on
the acting ability or the convincingness of the interpretation
of the roles. The main emphasis should be on how this playing
has furthered the understanding of the problem or situation
to be solved. This can partially be done by commenting about
what they actually saw rather than restricting their remarks
to only what should or should not have been done. The group
may speculate upon what the individuals were feeling, what they
wanted from.the fellow players, why they acted the way they did,

and what they all can do to help improve the situation.

 

9Mary Carter and Louise Schryner, "Human Relations--Best
Relations," Library Journal, LxXXIII, No. 1 (January 15, 1958), p. 129.

1oAdult Education Association, 22; cit., p. 18.

70

Besides oral discussion, reaction sheets, anonymously
filled out, may be given the group. This helps transmit the
group's feelings and aids the leader in planning for the next
session. It also gives the members an Opportunity to express
their feelings and helps them summarize the session for them-
selves.11

The situation may be re-played after the evaluation
period in several different ways. The changes may be:

(1) using the same peOple for the same characters
but changing some attitude or quality within
the character,

(2) the persons within the role playing group
exchanging roles to see what the situation
looks like from a different angle

(3) an entire new "cast" playing the situation.

Variations may take the form of a soliloquy in which one
player shares his normally censored feelings and thoughts.
The "alter-ego" technique follows the same idea: an example
might be that of a father and son having a conflict over the
use of the family car. Four people would be involved in the
role playing. Two of them.would be the "surface self" of the
boy and the father. The other two would be the "inner self"
of the boy and the father. This is more complex and needs an
experienced group who work well together and can time their
spoken thought well so that complete confusion is not the result.

It can be most effective.12

 

ll
Lippitt and Hubbell, 22; cit., pp. 107-108.

12
Burns, 92; cit., p. 13.

71

Because the group usually responds enthusiastically to
role playing it is important that the leader does not over-
use it. Only when it deals with social problems and seems
to be the best method to gain understanding and possible
solutions should it be introduced. The director should take
care that the sessions do not become only "fun" or "acting”
periods but that they are sincere and serious efforts toward

insight and growth.

Illustrations of Situations

The most common use for role playing will be that of
solving typical problems common to teenagers and their church
communities. Incidents involving church loyalties, family
relations, race relations, and school problems are just
a few of the general tOpics which may serve as bases for
this activity. Some suggestions for situations which may
be adapted, modified or merely serve as "thOught stimulants"
are outlined below.

(1) The youth fellowship has been trying to get
permission to send two representatives to the annual a11-
church meeting in which plans are made for the following
year. They want to show the adults that they can take
responsibility. They have succeeded in doing this and their
representatives are chosen and ready to go when they discover
that the time and date for the meeting coincides exactly with
the biggest dance of the year. .Almost every member of the

youth group is planning to go to the dance, including the two

representatives. What are they to do?

72

Setting: It is a week before and the two representatives
are talking over the problem with the youth leader.

(2) Helen is angry with her mother for making her do all
the "dirty work" around the house (empty garbage, burn trash,
go to the store, etc.) while her brother "sits around doing
nothing." "It isn't fair!" she complains.

Setting: Her mother has just asked her to burn the trash
and Helen rebels! Her brother is in the room, lounging in a
chair with a Papular‘Mechanics Magazine taking all of his
attention.

(3) A Negro family has just moved into the neighborhood
and has two children the same age as most of the youth group
members. It has been suggested by some of the members that
they invite the new "kids" to their next meeting. Tom and
his friends, who are quite active in the group, say they will
quit if the Negro family joins them.

Setting: It has been two weeks since the new family moved
in and the president of the group (as yet, he has expressed
no definite view on the problem) and Tom and Bill, who wants to
invite them, are outside the church, talking before the meeting
begins.

(4) John accidentally broke a lady's window while playing
baseball. As soon as it happened he immediately started to
run away and urged the others to join him but they didn't. He
is angry with them for not doing so because he feels they would
have wanted him to run with them if they were the ones who had

broken the window; The woman saw John running away and knows

73

he was the guilty one although he hasn't returned to the
scene of the "crime" as yet.

Setting: It is the next day and John is not speaking to
two of his fellow ball players who are trying to talk to him
about it. The arrangements for paying for the window have not
been settled yet.

(5) A Republican state senator is coming to talk about
the "Christian and politics--Can They Mix?" Sue and Joe are
not coming to hear him because their father is a Democrat and
he said they didn't have to sit and listen to the senator if
they didn't want to. "Everyone knows what crooks the Republi-
cans are!" is his final say on the subject.

Setting: Sue and her friend Betty are arguing heatedly
about Sue's attitude. They are in the school cafeteria eating.
The civics teacher happens to pass by their table with his
tray and hears that they are talking "politics" and "govern-
ment". He makes a casual remark to them about their interest
and Betty then asks him if he will talk to them a minute about
their disagreement.13

Another use may be that of preparing for some event in
which the youth group is to participate. An example of this
possibility is described in the following paragraphs.

The church is growing and changing but the youth group
doesn't seem to be getting any larger. So they decide to get

all the names of new young people in the church area who are

 

13Suggested by ideas in.Marjorie Curry, "Experimental Pro-
jects Written on the Junior High Level to Illustrate Drama In
the Field of Christian Education Within the Local Church”
(unpublished‘Master's thesis, Pittsburgh-Xenia Theological
Seminary, 1953), pp. 47-52.

74

not attending. They also check in their old records and make

a list of all the old members who have dropped out but who
still could be active. They decide to go out in couples and

visit each of the peOple. In order to practice the "approach"

they will take in talking to their "prospects" and also to

become acquainted with various attitudes they will be confronted

with, they role play the possible situations. Each couple has

an Opportunity to "interview" while the others play the roles

of the various people.

Old Members
(1) Girl quit because she was bored with the church

activities.
(2) Boy got his hot rod about six months ago and works

on it or is at the track most of his Spare time.

(3) The girl isn't home but the parents urge the visitors
to come in and they tell them how much they want "Jill" to
start going again but don't know what to do with her; she won't

go and won't tell them why not.
(4) Boy is going steady with a girl who isn't interested

in church activities. They go to the show or bowling on

Sunday evenings.
(5) Person is now attending another church and is active

in its youth group.

Possible New'Members:
(1) Parent comes to door and becomes angry when they

explain their mission and indignantly tells them.to leave and

slams the door in their faces.

75

(2) A very shy girl who is interested shakes her head
"yes" timidly but with no conviction when they ask her and
tell her about their group. All her responses are one or two
word answers.

(3) {A boy who "knows everything there is to know about
religion" plies them with questions concerning their doctrines
and beliefs and gives them a detailed account of his previous
activities in all phases of church life. He thinks he will
attend their meetings and get them straightened out.

(4) A girl who really isn't at all interested.

(5) A boy who responds with interest and says he will
start coming.14

A third variation is that of develOping a creative drama
out of a role playing situation. A most effective sample of
this was given by a group of ninth graders as a result of
a week's camp experience in a combination role playing-
creative dramatics experiment. The problem they were given
to consider was that of juvenile delinquency and the Christian's
attitude toward it. In the first morning's devotional period
they were told of an actual happening in Philadelphia a few
years ago. A young Korean exchange student went out to mail
a letter one evening and was attacked by a group of boys who
killed him in the scuffle. There was no personal animosity
toward the victim. They had never seen him before; he just

happened to be the unfortunate person who was walking alone in

 

14Suggested by ideas in Hulda Niebuhr, "Trying on Life,"
International Journal of Religious Education, XXXI, No. 2
(October, 1954), p. 12.

76

that vicinity at that time. Earlier in the evening the boys
had tried to attend a local teen dance but were refused entrance
because they were not properly dressed and did not have the
money for admission. After leaving the dance they wandered
about the streets. Then, when they saw the lone Korean they
attacked him. The boys were captured and their story head-
lined the newspapers. The American public was outraged at
their deed and demanded severest judgment upon them. The
Korean family, after hearing of their son's death considered
the matter and sent word that they wished to press no charges
and asked that the boys be given as light a sentence as
possible. In the meantime, they were raising a fund in their
village, in their son's memory. The money was to be used for
scholarships for the boys to go to college when they were
released. They said that as Christians they believed this
was the action they should take.

The camp groups decided they would like to use this
happening as a basis for thinking about this problem con-
fronting all teenagers. Aspects they wanted to consider were:

(1) What mdght have been the general background of the
boys?

(2) What were the individual boy's personalities like?
their problems? were they all just "no good"?

(3) What may have been the particular circumstances of
this specific evening? Why were the boys together?

(4) What was the deciding factor in their decision to

attack the victim? How'were they feeling? What did they want?

77

(5) What were their feelings immediately at the time of

the murder? What did they do?

(6) How did the Korean family react to the news of the

son's death?

(7) How did they arrive at their final decision? What

were their motivations?

(8) What was the law's attitude toward the boys? toward

the Koreans' decision?

(9) How did the boys feel when before the judge? upon

hearing the Koreans' attitude?

The group broke up into small buzz groups each discussing

and playing the roles involved in the various questions under

consideration. As they played the various scenes they decided

to make them into a play, showing the whole progression of

events. They created a remarkably sensitive and insightful

final product. On the stage was a large platform which they

played on for indoor scenes. Street scenes were played on the

floor level. A table and chair were on the platform and

adapted for use for each scene. music and simple lighting were

incorporated.
Before the scenes began one of the boys who was in the
gang appeared and sang, as if to himself, the popular teenage

song at that time, "I'm Just A Lonely Boy". This theme ran

through the playing. The idea of each person being alone, not

knowing what to do, not being able to find a place or a purpose,
was brought out as perhaps a major reason for what happened.

The different types of boys portrayed were: the leader of the

78

gang, rough and tough; the boy who was his good friend but
more sensitive to the "right", a sympathetic and likable
character; the timid fellow who didn't really want to be

in the gang at all but was too afraid not to go along with
it. The other three "knew'their way around", were bored and

restless, had potential ability if placed in a different

environment.

The several scenes were:

(1) One boy in his home and his mother and sister asking

him why he didn't stay home more. The mother, tired and worn

out.
(2) Another boy in his home and the parents are angry

and shouting at him.and each other about various home problems.

The boy leavesin disgust.

(3). These two boys and three others are standing on a

street corner making fun of a timid fellow in the neighborhood

who is on his way to the store for his mother. They "persuade"

him to forget about it and come to a dance they‘ve heard of.

(4) Girls selling tickets to the dance, music and dancing

in the background.

(5) The boys arrive and are refused admission.

(6) They go out on the street, angry, not knowing what to

do; wishing they had some money.
(7) The Korean boy is in the home in which he lives, writing

a letter to his family. He talks to the woman of the house about

his family and life in the v.3. and then leaves to mail his letter.
(8) The boys are standing on the street and the Korean student

walks by. No one else is about. They get the idea to just "take

him down" and see if he has any money on his person.

79

(9) They attack him and suddenly he stops struggling.

He is dead. They are unbelieving and frightened. And then they
scatter in all directions.

(10) The Korean family receives notification of their
son's death. They are stunned and sorrowful. The mother
suggests they go and pray.

(11) The boys are standing (heads erect, eyes down, hands
behind their backs, feet apart) in a triangular formation on
the platform in a 3/4 position to the audience. The judge is
talking to them very sternly. He then tells them of the
family's reaction to the tragedy. They say nothing at all and
when he excuses them they turn and slowly walk away, one by
one. As they go, the song "Lonesome Valley" is sung quietly
in the background. During the last verse (You must go and
stand your trial, you must stand it all alone) only one boy
is standing by himself. As it ends, he also exits.

It had a strong impact upon the audience and would seem

to have a lasting effect on the participants.15

Summary

The values of role playing for a group as well as for
individuals were first pointed out in this chapter. Following
this a discussion was had of the process to use in working
with socio-drama. The last portion dealt with actual illustra-

tions of it, showing three possible variations: (1) a technique

 

15James Buell, director, presented at Boston university,
Boston, Massachusetts, July, 1959.

 

80

for the sole purpose of gaining insight and understanding into
social problems; (2) a method to use as a pre-experience or
"trying on" of a new situation soon to be faced; (3) a basis
for a creative drama, in which no lines are written or

memorized, but a complete play is worked out.

CHAPTER IV

CREATIVE MOVEMENT IN RELIGIOUS EDUCATION

The purpose of this chapter is threefold. Its first
objective is to explain how creative movement of the body
may be a means to a spiritual experience. For many years a
stigma has been placed upon the use of bodily movement as
a form of worship in the church. Activities which in any
way may have a relationship to the term "dance" have been
frowned upon. It is important to show that the principles
and concepts behind creative movement in the church today
have a religious and Spiritual foundation.

The use of creative movement as a conscious form of
worship is preceded by experience in rhythm activities.
Therefore, the second portion of the chapter discusses the
use of such activities with children in the religious
education program. Section three discusses the use of
creative movement with the adolescent. The chapter is
concluded by a list of sources which will be valuable for
the leader of rhythmic activities to acquire.

The Judaic-Christian heritage has explained the human

body as divine and spiritual, maintaining it was created not

81

82

only for physical use for also for spiritual honor. The
physical being is for man's work but first for God's work,
allowing Him to come to His most complete revelation and
service in the world, through each individual. The body is
the House of God. He dwells in the body and through it finds
expression in the life of man.1

Know ye not that your body is the temple

of the Holy Spirit? Glorify God, there-

fore, in your body and in your spirit,

which are God's.

I Corinthians 6:19, 20.

This concept places upon man a renewed dignity and a
tremendous responsibility. If this idea becomes significant
to the individual, his life takes on new meaning and purpose.

It is the task of religious education to lead each person
into a new realization of the use of the body as a means of
worship and spiritual power. One of the best ways this can
be done is through creative or symbolic movement. Other
terms which may be used interchangeably with creative move-

ment are choric movement, religious dance, and rhythmic choir.

Erika Thimey, a pioneer in this field, said in explaining

her reasons for her experiments in symbolic movement:

Believing the body to be an instrument

of the soul, I have sought to create a
new form of worship through the art of
the body in motion. It is my intention
that this worship be not merely for the
personal gratification of the participant,
but that it serve mankind by bringing a
sincere religious experience to the con-
gregations that behold it.2

 

1Fred P. Corson, The Christian Imprint (New'York: Abingdon
Press, 1955), p. 96.
2Erika Thimey as quoted in Margaret Fisk, The Art of the

Rhfihmic Choir: Worship Through Symbolic Movement (New York:

 

83

Others have expressed its therapeutic and religiously
uplifting values for the participating individual as well
as the observing congregation. Margaret Fisk Taylor has
said that whether it is for the sake of presenting it before
a congregation or for the sake of each individual experiencing
this feeling its first purpose must be that of "being adequate
to meet this hour in existence--full of power, vision and
faith."3
Symbolic movement is the expression of a religious idea,
thought, or feeling through the art form of movement. The
bodily movement is noble, reverent, solemn and full of holy
grace. The entire body expresses an idea or feeling.
The movement is not just a method of going
from one place to another, but it is felt
and guided as each part of the body reaches
into space with dignity and purpose.4
"It helps each individual to experience the finding of
union with God. . . it is a basic approach to direct religious
experience.” It offers growth spiritually, through the ex-
pressing of spiritual vision; mentally, through understanding
and planning with a group; physically, through training in

posture and body coordination; socially, through group activity;

psychologically, through practicing exercises that release

tensions and express faith and joy.5

3Margaret Fisk, "The Bible Into Life Through Symbolic Move-
ment," International Journal of Religious Education, XXXII, No. 3
(November, 1955), p. 16.

4Martha Cornick, "Religious Dance," Motive Magazine (March,
1954), p. 17.

5Margaret Fisk, "Spiritual Therapy Through Symboli: Mgv:::::,
International Journal of Reli ious Education, XXX, No. e y
1953), p. 12.

84

Creative movement is an active form of worship. It is
not thought or speech alone but it involves the whole nature.
It is universal in its expression. "It expresses the joys
and sorrows, the fears and h0pes of mankind today. ‘And yet,
not only mankind today, but of all men and of all races in

all ages."6
Creative Movement for Primary Children

Rhythm is a part of all life. We see evidences of it all
about us in nature; the seasons, the rotating of the heavenly
bodies, the flapping of the wings of a bird, the beating of
the human heart.

. . . if we look carefully about us we shall
perceive that all natural movement, whether
it be produced by a human being or by natural
forces, is rhythmical.7

It is more than just stress and meter. It is with the
rhythm of the whole that one must strive to be in accord.

It must be within the person and all his functions. He must
be made aware of the existence of rhythm in all the universe
in order to intensify and beautify his abilities. "The more

the sense of it is developed in movement, the more artistic

and free will be the-result."8

 

6Curt Sachs as quoted in Fisk, The Art of the Rhythmic Choir,
P. 28.

7Carrie Rasmussen, "Rhythm in Bodily Action and Creative
Dramatics," Quarterly Journal of Speech, XXII, No. l QApril,
1936), p. 291.

81bid.

85

Some children seem to have an innate sense of rhythm while
others have to be directed to a feeling of it. But in either
case, movement is the child's most natural and satisfying means
of expression. It is his universal language. Through it he
can communicate his thoughts and feelings. Because large, free
movements are natural outlets for his thinking and feeling,
guided creative rhythms can help him in organizing and experienc-
ing his feelings in outward form.9

The religious educator is not concerned with the attain-
ment of a highly polished technique or set pattern of move-
ment; he is primarily concerned with the spiritual develOpment
within each child. An expressive rather than an impressive
experience is sought.10

In watching and working with children in religious dance,
Ruth St. Denis said:

I see children growing straight and well-
prOportioned, swift and sure of movement,
having dignity and grace, and wearing
their bodies lightly with power.11

V A ten year old expressed her feelings in this way, "I

love to dance because it makes my mind and body strong and

I am able to express my soul."

 

9Gladys Andrews, Creative Rhythmic Movement for Children
(New York: Prentice-Hall, Inc., 1954), p. 25.

1°1b1d., p. 34.

11Fisk, The Art of the Rhythmic Choir, p. 56.

86

In order to be able to direct rhythmical activities
it is necessary to know the fundamental elements of them.
Rhythm has been scientifically defined as, "the measured
release and recovery of energy and consists of repeated
units or patterns which take form in line and design, and
movement." In movement there is time, a definite portion of
duration; force, power or energy; and space, distance or
area.12

The leader may utilize the natural and spontaneous
movement in directing rhythmic exercises, such as walking,
running, skipping, marching, and hOpping. It is the leader's
responsibility to set the situation and make the children
aware of the movement possibilities of their bodies. For
instance, in introducing a session, the leader may say,
"We all have arms; what can we do with them?" As the children
make attempts at different types of movement, new ways may
be suggested to them and they may experiment with these
suggestions.' The leader does not think for the children,
however, but rather helps them in thinking through their
rhythmical problems for themselves. They should be encouraged
verbally. It is of primary importance that the leader take
clues from the children rather than always giving clues to

them.13

 

12Elizabeth Sehon and Emma O'Brien, Rhythms in Elementary
Education (Neerork: A. S. Barnes and Co., 1951), p. 6.

13Andrews, 22; cit., p. 35.

 

 

87

Rhythm.may be guided through the use of various types
of accompaniment. These may range from simple hand clapping
or foot tapping to using a record player. The percussion
instruments are those which produce sounds when they are
struck. Any of these make excellent forms of accompaniment.
A general classification of them is as follows:

1. Drum, wood and gourd instruments - for
walking, hOpping, leaping, jumping,
skipping, galloping, running

a. drum

b. tambourine

c. claves and rhythm sticks (produce
stacatto sounds)

d. wood and temple blocks (produce
hollow sounds)

e. rattles and maracas

2. 'Metal Instruments - sustained movement such
as bending, stretching, twisting, turning,
swinging, and swaying

a. gong
b. cymbal
c. triangle
d. bells

3. Keyboard Instruments

a. Xylophone - simple melodies and differences
in pitch

b. Piano - produces melodies, harmonies, and
rhythm simultaneously as well as moods and
qualities of sound

4. Vocal Accompaniment
a. singing
b. spoken words
c. chants
The pianist plays a most important part in the rhythms

period for he can:

 

 

88

(l) Quickly make adjustments to the mood or
spirit of the activity

(2) Accent the music and rhythm at will

(3) Change tempo, intensity and quality

(4) Start and stop wherever required or desired

(5) Cut, lengthen or play selected portions of
the music as desired.14

Each of these accompaniments can be adjusted and used
for the various ages.

The kindergarten and early primary child should be given
the Opportunity to use large muscles, become aware of the
various parts of the body, and learn to respond to definite
rhythms.

There are locomotor movements in which the child's complete
body is moved or tranSported from one place to another; and
axial movements in which he stands in one place and flexes
and extends his body in many directions from one central
point. Suggestions for each of these are listed and may be
incorporated into specific tOpics and lessons according to
the leader's imagination and ingenuity. They may proceed
out of a study of God's Wonders in Nature, Community Helpers,

Daily Duties, and the capturing of moods and feelings.

 

1"Sehon,_gp_._ cit., pp. 19, 26.

89

Locomotor Movements

 

Walking
a. tired, sad, glad, proud, lazy
b. various animals - Noah's Ark or God's creations
c. mother, father
d. David and Goliath - difference between large and
heavy steps and light and agile steps
Jumping and H0pping, Running
a. fast and slow a. joyful, fearful
b. animals and birds b. butterflies
c. bouncing balls c. bees
d. pOpcorn d. waves
e. hail stones e. snow
Leaping Skipping
a. glad, proud, lazy a. on a hot day
b. zig-zag b. on a cold day
c. over puddles c. little and big steps
d. lightning
e. rain
Sliding Gallo in
a. fast, slow, lazy a. fast, 310“: friskily
b. quietly b. messenger's horse

c. parade horse

Axial Movements

Complete Flexion and Extension (bending and stretching)

a.
be
Co
do
e.
f.
8.
h.

butterflies from the cocoon
sun rising and setting
planting seeds

bread rising

pumping water

water fountain

flowers growing

ringing church bells

Twisting

a.
b.
Co
d.
e.

90

Swinging and Swaying

sowing seeds

water sprinkler

weather vanes

sweeping

looking in back of selves

Striking and Beating

a.
be
Co
do

cleaning rugs
beating drums
ringing gongs
to show power, anger, defiance16

a.
b.
c.
d.
e.
f.

trees

fields of grain
flowers

water ripples
bells ringing
rocking baby in a
cradle

These movements may be combined into a unit expressing a

theme or showing a process such as:

(1) Seeds curled up snugly in the earth, lying very still,

then slowly uncurling as they grow, suddenly peeking up above

the ground, sprouting new green shoots and leaves, wiggling

toes as the roots grow downward, swaying with the ground and

turning to seed to be covered by snow, sinking into the ground

to wait once again for spring.

(2) Caterpillars spinning cocoons, resting quietly in

them then gradually emerging, stretching their wings and

flying about as butterflies.

(3) How we are sent our water -- different kinds of

clouds (frothy, filmy friendly ones; fat, fluffy ones; black

rain-filled ones); rain, hail, snow, rivers and seas, wells

(dipping into them.with a bucket), fountains.

These are just a few suggestio

activity appropriate for this age group.

us for the type of rhythmic

Margaret Fisk Taylor's

 

16Sehon, pp;_cit., pp. 65-66.

91

books Time for Wonder, written especially for the young primary
child, and Time for Discovegy, for older primaries, are two
excellent sources for further investigation. They are included

in the list of suggested sources at the end of this chapter.
Creative Movement for the Junior Child

The juniors will have more ideas of how to incorporate
kinds of movement into various stories they wish to express
rhythmically. They will be more aware of mood and emotion,
and enjoy working with the Judaic-Christian cultural heritage
which would include the Jewish folk dances. In some groups
there may be a member or two who will be able to compose their
own simple melodies for accompaniment and should be encouraged
to do so.

A Thanksgiving theme can be well adapted to movement.
Possible activities making up a complete unit might be:

a. plowing the earth

b. sowing the seed

c. cutting the crOp

d. gathering the grain

e. gleaning in the fields

f. Thanksgiving procession

g. rejoicing (Psalm.of Thanksgiving)

The Christmas story with accompaniment of the various
Christmas carols can also be effective. One group of children

form.a circular star and move across the "heavens" to the east.

92

People working in the fields, shepherds tending their flocks,
and the regal wise men studying the heavens, all stop their
activities to look at and follow the star. Each of these
groups will be moving rhythmically to represent their
respective tasks. As they follow the star the angels appear
and proclaim the good news through creative movement, also.
Each group will conclude its movement as the members within
it bow before the Christ in the manger.

Gustave Holst's recording of The Planets also provides

 

a basis for original and creative movement as they explore
and come to an increased knowledge of the wonder of God's
creation, the universe. Included in the same theme might

be the hymn, "This Is My Father's World."

Creative Movement for the Adolescent

 

As children approach junior high and high school their
movement can become more reverent and have a more conscious
feeling of worship. They begin doing much of their movement
for the church sanctuary as they interpret rhythmically
Scripture and hymns.

With adolescents religious dance can most easily and
naturally achieve psychological and aesthetic effects. It
can help them to realize the religious experience in a new
dimension. Instead of knowing "about prayer", they can say

that they have "experienced worship".17

 

17Fisk, The Art of the Rhythmic Choir, p. 12.

93

Technique and specific, planned gestures will mean little
and lose their significance if the participants are not made
aware of, and experience the inner feeling of reverence. It
is only when there is an outward manifestation of this inner
awe that creative movement in the church is meaningful.

The leader should have an inner sense of serenity,
assurance and joy which radiates about him.as he guides his
pupils. Besides being trained in technical matters and having
a sense of creativity the leader should also be sensitive to
the need for dignity and beauty in a church sanctuary, and
enjoy experimenting with movement and designs.18

A basic attitude for the group to take toward the selection
with which they are working may be taken from a statement
by Isadora Duncan when she told her dancers to:

. . . listen to the music [poetry, Scripture]
with your soul, feel an inner self awakening,
feel that it is by its strength that your
head is lifted, that your arms are raised,
that you are walking toward the light.19

The three, universal symbolic movements of worship may
be used as a basis for much of the choric movement in the
contemporary church. These three actions out of which all
other movement may evolve are: (l) actions of humility,
kneeling and bowing the head; (2) actions of prayer, center-

ing of the hands in meditation; (3) exaltation of the

spirit, upward reaching of aspiration and joy.20

 

181bid., p. 31.
191b1d., p. 36.
20Margaret Fisk, "Religious Expression Through Rhythm"

International Journal of Religious Education, XXIX, No. 6
(February, 1952), p. 9.

94

In beginning work with choric movement the simple,
everyday action of walking should be introduced. Basic
requirements for this, as for all other action, are simplicity
and integrity. walking sessions may be based on Scripture
references such as: ". . . walk in newness of life." (Romans
6:4) or "If we walk in light, as he is in the light, we have
fellowship one with another." (I John 1:7). The walking
should be done with Spiritual awareness and sensitivity,
letting it truly be an expression of the whole person.21

Other sources for walking may be "Jesus walked This Lone-
some Valley" and the parable of the Good Samaritan with the
walks of the various people who see the Samaritan on the road,
accompanied by music.

Kneeling is a basic reSponse of the human spirit. The
attitudes of kneeling may be those of humility, penitence,
quiet waiting, relinquishing of pride, or the giving over of
troubles and burdens. Calls towvorship such as, "0 come,
let us worship and bow down, let us kneel before the Lord,
>our Maker," may serve as a basis for experience in kneeling.
Portions of many hymns may also suggest kneeling. An example
of this may be the line, "Drop thy still dews of quietness,
Till all our striving cease---" from the song "Dear Lord and

Father of Mankind."

 

21Fisk, "Bible Into Life Through Symbolic Movement," pp; cit.,
p. 16.

95

To reach up after kneeling is as natural as breathing
after exhaling. There are many portions of the Bible which
are full of the sense of lifting up our souls, of reaching
upward: "I would that men would pray everywhere lifting up
holy hands." (Timothy 2:9). The Psalms offer many possibilities
for praise and exaltation.

Specific songs and selections from the Scriptures may
be adapted to the experience and needs of individual rhythmic
choirs. The following are examples of selections which
have been used successfully with creative movement choirs.

1. My Faith Looks Up To Thee

2. Joyful, Joyful, We Adore Thee

3. Worship the Lord In the Beauty of Holiness
4. Gracious Spirit, Dwell With Me

5. Dear Lord and Father of Mankind

6. God So Loved the WOrld (Steiner)
7. Jesus walked This Lonesome Valley
8. In Christ There Is No East or West
9. There's A Wideness In God's Mercy
10. For the Beauty of the Earth
11. This Is My Father's WOrld

12. Joy To the World

13. Angels From the Reilms of Glory
14. Gloria In Excelsis Deo

15. O Come, 0 Come, Immanuel

16. Psalms: 23, 100, 139, 150 (music by Cesar Franck
for 150)

 

96

17. The Beatitudes

18. The Good Samaritan

19. The Prodigal Son

20. The Lord's Prayer

21. I Wonder As I wander

22. Ruth (music by Franck)

23. Mary's Boy Child (Harry Belafonte)
24. When I Survey the Wondrous Cross
25. Yigdal (Jewish hymn)

For anyone who plans to work or experiment with creative
movement in the church it is suggested that the works of
Margaret Fisk Taylor be added to the permanent church library.
Her books cover all age groups; give invaluable detailed
information about techniques, activities, selections; and
give a history of creative movement. They are not only
practical but above all, inspiring. The beauty of her
personality and faith shines through her written words. Her
series includes the following books:

The Art of the Rhythmic Choir: Worship_Through
Symbolic Movement. Harper & Brothers, 1950.
This is a basic book in rhythmic movement
which gives ideas for the use of it in the
church and gives the leader basic background
materials and techniques.

Time For wander. (from author, mimeographed).22
For six and seven year old boys and girls,
but adaptable for children four to ten.
Contents include: wonders of nature, seeds,
raindrops and sunbeams, butterflies, and

spring's awakening; "For the Beauty of the
Earth;" change of moods, etc.

 

2ZAthor's address: Mrs. Margaret F. Taylor, 30 N. College
Street, Athens, Ohio.

97

Time For Discovery (from the author, mimeographed)
For eight and nine year old boys and girls, but
adaptable for children ages eight through eleven.
Contents include: discovering how we move: bend,
run, leap, jump, walk, stretch; creative movement
dealing with planets, storms, and the ocean.
Creative design suggestions for: "This Is My
Father's World;" "All Creatures Of our God and
King"; "Twelve Days of Christmas", etc.

Time for Understanding (from the author, mimeographed)
For ten and eleven year old boys and girls, but
adaptable for children ages nine through
thirteen. Contents include: contrast of move-
ments and moods, movement with stories, poems,
sculpture, creative design suggestions for:

"In Christ There Is No East Or West"; "The
Lord's Prayer," etc.

Creative Dramatic Movement With Children (from the
author, mimeographed)
Complete manual for leaders with material
covered in Time for Wonder, Discovery, and
Understanding as well as additional material
covering different subjects to interpret.

 

Look Up and Live. St. Paul, Minnesota; Macalester

Press, 1953.

For adults using symbolic movement to express
religious ideas and moods. Contents include
the interpretation of spirituals: "Nobody
Knows the Troubles I've Seen"; "Jesus walked
This Lonesome Valley", etc. Also hymns:
"Dear Lord and Father;" ”Rejoice, Ye Pure

In Heart"; and "The Lord's Prayer".23

Other books giving aid in techniques and suggestions in

the field of rhythmic movement are:

Andrews, Gladys. Creative Rhythmic Movement for
Children. Prentice-Hall, Inc., 1954.

Dixon, Madeleine. The Power of Dance. The John
Day Company, 1939.

Evans, Ruth. Forty Basic Rhythms for Children.
‘ U. S. Textbook Company, 1958.

thms In
Sehon Elizabeth and O'Brien, Emma. Rhy
Elementary Education. A. S. Barnes and Co., 1951.

 

 

23Margaret Fisk Taylor, Time For Wonder, 1959, p. 43. (Mimeo)

98

Underhill, Evelyn. Worship. Harper and Brothers,
1937.

Summary

This chapter has defined and explained the Spiritual
values which creative movement has in the church. Rhythmic
movement for the primary child was introduced with a dis-
cussion of rhythm.which is an essential and basic element
of all movement. Types of movement that could be incorpor-
ated into various activities were discussed and specific
units to develOp were suggested. Discussions and suggestions
for the junior child and adolescent were also given.

Specific selections to be used in the church as well as books
which are helpful guides in creative movement endeavors were

listed as concluding material in the chapter.

CHAPTER V
SUMMARY AND CONCLUSION

In order to meet the needs of the moral and spiritual
problems of the present day and world it is necessary that
the religious educator lead his people into a vital and
living religious experience. It was the purpose of this
work to show the importance and possibility of a creative
religious experience. Although there are many means at
the disposal of the educator for providing an atmosphere
conducive to creativity, that of creative dramatics and
its related activities was the concern of this thesis. The
objectives were to: (l) lay a solid foundation confirming
the importance of creativity in the religious experience
and relate how creative dramatics was one valid and valuable
method of attaining and maintaining a creative atmosphere;
(2) show specifically how each of the creative dramatics
activities could be applied in a religious education
program.

An extensive investigation of the ideas of outstanding
people in the field of religious education was made in order
to establish a solid background for the value of a creative

approach with children and youth in religion. In the field

99

100

of creative dramatics many of the leading authorities were
cited. Miss Winifred Ward, foremost leader, and Helen
Willcox, an early pioneer in creative drama in the church
school whose ideas are still fresh and applicable, were
major sources. Margaret Fisk Taylor, the most active
contributor to the rhythmic choir idea in the United States,
was the primary source for the material concerning creative
movement.
The objectives were carried out by organizing and
develOping the material into four chapters which discussed:
(1) Creative Religious Experience Through
Creative Dramatics
(2) The Creative Dramatics Method In Religious
Education
(3) Role Playing In Religious Education
(4) Creative Movement In Religious Education
First discussed was the religious experience as a creative
one. The aims and goals in religious education and the value
and use of various art forms in this field were pointed out.
Out of this discussion evolved the idea of creative dramatics
as a natural and logical method to employ in the church school.
The first chapter showed why the creative dramatics experience
in religious education is a valuable one.
Before discussing the specific methods of creative
dramatics, the child's physical, social, mental and religious

development was correlated with his dramatic instinct at

‘various ages. Dramatic activities apprOpriate for various

101

periods in the child's life were discussed and related to the
concerns of the religious educator. The process of story
dramatization was outlined and specific examples of stories,
poems and other sources to use for dramatization were given.
Sources and materials which are available for practical use
were listed at the conclusion of the discussion of the creative
dramatics method in religious education.

The related activities of role playing, and rhythms and
creative movement were discussed separately because of their
own particular significance. The role playing method was
discussed and examples of situations adaptable in the church
were cited. In the section on creative movement it was shown
how this activity is Spiritual in its basic nature. Rhythm
activities for elementary children which are preliminary to
creative movement as a form of worship were discussed in
detail in their relationship to a church program. Creative
movement techniques and suggestions for songs and Scripture
which may be interpreted through movement were given. The
works of Margaret Fisk Taylor and others in the field were
suggested for the person interested in applying this technique
in religious education.

After establishing a common ground and applying specific
creative dramatic techniques to the work in religious educa-
tion, it was shown how the correlation of the two fields is
a reasonable and practical one. Although creative dramatics
would seem to be one effective method for stimulating and
develOping creativity in religion it was not suggested that it‘
is the only technique to use in the creative work of the

religious educator.

102

The basic philosOphy and theory behind creative dramatics
may be applied to the materials used in almost any religious
faith. The frequency of the use of Christian sources and
materials inevitably came about because of the writer's
limited background and not because of inherent limitations
within the technique. It may be effective in many religious
organizations.

The use of creative dramatics in religious education has
been in effect for several years but its growth has been slow
because of the lack of leadership and a creative spirit within
the church. Further work and study in this field is necessary
in the practical training of leaders of young pe0ple. The
danger in using creative dramatics in the church is that peOple
who are enthusiastic about its principles attempt it without
having had any training in how to apply its techniques with
children.

This study has attempted to justify the use of creative
dramatics in the'churCh program. It then has given an over-
all yiew of the possibilities which this activity may offer.

Its primary purpose has been to examine its scope and potential
effectiveness rather than give a detailed report of the practical
aspects of it. Sources already giving that type of information
have been suggested for the further investigation by the interested
reader. The next and most important step in this field is the
actual experience. It develops the imagination and skill which

no amount of reading will do.

103

In conclusion, this study has shown that theoretically
and practically creative dramatics when skillfully guided
can lead to a living and vital religious experience for the

child.

BIBLIOGRAPHY

Books

Allstrom, Elizabeth. Let's Play A Story. New York: Friendship
Press, 1957. ‘

Andrews, Gladys. Creative Rhyphmic Movement For Children.
New York: Prentice-Hall, Inc., 1954.

Bailey, Albert Edward. Daily Life In Bible Times. New York:
Charles Scribner's Sons, 1943.

Brown, Jeanette Perkins. The Storyteller In Religious Educa-
tion. Boston: The Pilgrim Press, 1951.

Burger, Isabel B. Creative Play;Acting. New York: A. S.
Barnes, 1950.

Chaplin, Dora P. Children and Religion. New York: Charles
Scribner‘s Sons, 1952.

Cole, Natalie. The Arts In The Classroom. New York: John
Day Company, 1940.

Corson, Fred P. The Christian Imprint. New York: Abingdon
Press, 1955.

Dixon, Madeleine. The Power Of Dance. New York: The John
Day Company, 1939.

Ehrensperger, Harold. Conscience On Stage. New York: Abingdon
Press, 1947.

Fahs, Sophia Lyon. Todayis Children and Yesterdayjs Heritag .
Boston: The Beacon Press, 1952.

Fisk, Margaret P. The Art of the Rhythmic Choir: Worship

Through Symbolic Movement. New York: Harper and Brothers,
1950.

Haaga, Agnes and Randles, Patricia. Supplementary Materials
For Use In Creative Dramatics With Younger Children.
Seattle: university of washington Press, 1952.

Johnson, Raymond B. What Is Happening In Religious Education?
Boston: The Beacon Press, 1948.

104

105

Jones, Mary'Alice. Guiding_Children In Christian Growth.
New York: Abingdon-Cokesbury Press, 1949.

Creative Dramatics

Lease, Ruth G. and Siks, Geraldine B.
New York: Harper and

For Home; School and Community.
Brothers, 1952.

Livingstone, Richard. On Education. Cambridge: University

Press, 1954.

Manwell, Elizabeth and Fahs, Saphia. Consider the Children--
How They Grow. Boston: The Beacon Press, 1940.

Murray, A. Victor. Education Into Religion. New York: Harper

and Brothers, 1953.

Ventures In Dramatics With Boys and Girls Of

Niebuhr, Hulda.
New York: Charles Scribner's Sons,

the Church School.
1935.

Overton, Grace 8. Drama In Education. New York: The Century

Company, 1926.

Overton, Grace S. Dramatic Activities For Youpg People. New

York: The Century Company, 1927.

Rasmussen, Carrie. Choral SpeakingpFor Speech Improvement.
Boston: Expression Company, 1943.

Sawyer, Ruth. The way Of The Storyteller. The Viking Press,

1942.
Shedlock, Marie. The Art Of The Storyteller. New York:
Dover Publications, 1951.

Smither, Ethel. Early Old Testament Stories. New York:

Abingdon Press, 1954.

Smither, Ethel. Use Of The Bible With Children. New York:
Abingdon Press, 1937.

Sehon, Elizabeth L. and O'Brien, Emma. Rhythms In Elementary
Education. New York: A. S. Barnes and Company, 1951.

Tooze, Ruth. Storytelling. Englewood Cliffs, N.J.: Prentice-

Hall, Inc., 1959.

United Presbyterian Church. Christian Faith and Life.
Philadelphia: Board of Christian Education of U. P.
Church in U.S.A., 1958.

ward, Winifred. Creative Dramatics. New‘York: D. Appleton

and Company, 1930.

106

Ward, Winifred. PlaymakipgTWith Children. New York: Appleton-

Century-Crofts, Inc., 1957.

Ward, Winifred. Stories To Dramatize. Anchorage, Kentucky:

Children's Theatre Press, 1952.

Willcox, Helen. Bible Study Through Educational Dramatics.
New York: Abingdon Press, 1924.

Anderson, Barbara. "Creative Dramatics-2A Good way to Teach,"
International Journal Of Religious Education, XXXII

(October, 1956), 8-9.

Brehm, Mabel. ”Making A Play In Vacation School," International
Journal Of Religious Education, XXXV (May, 1959), 10.

Burns, Charles. "Using Role Playing In Christian Education,"
International Journal Of Religious Education, XXXII

(January, 1956), 13.

Carter, Mary and Schryner, Louise. "Human Relations-~Best
Public Relations," Librarerournal (January, 1958), 129.

Cornick, Martha. "Religious Dance," Motive (March, 1954), 17.

Fisk, Margaret. "The Bible Into Life Through Symbolic Move-
ment," International Journal Of Religious Education,

XXXII (November, 1955), 16.

Fisk, Margaret. "Religious Expression Through Rhythm,"
International Journal Of Religious Education, XXXIX

(February, 1952), 8-9, 34.
Fisk, Margaret. "Religious TV For All the Family," International
Journal Of Religious Education, XXX (October, 1954), 14.

:Fisk, Margaret. "Spiritual Therapy Through Symbolic Movement,"
International Journal Of Religious Education, XXXIX

(February, 1953), 12.

Hanson, Olaf. "Please Tell Me A Story," International Journal
Of Religious Education, XXX (October, 1953), 4.

Lewisohn, Irene. "Drama and the Unseen Currents," Progressive
Education, (January, 1931), 92.

Lippett, Rosemary and Hubbell, Ann. "Role Playing For Personnel
and Guidance werkers," Group Psychotherapy, XI (April, 1956),

89-114 0

107

Mann, John. "The Effect of Role Playing Experience On Self-
Ratings of Interpersonal Adjustment," Group Ppychotherapy,

XI (March, 1958), 27.

McKean, Myra. '"The Bible Into Life . . . Dramatizing Itfl'
International Journal Of Religious Education, XXXI

(November, 1955), 8.

Morrison, Eleanor. "Use Many Related Teaching Procedures,"
International Journal Of Religious Education, XXXV

(January, 1959), 14.

Morrison, Eleanor. "Use Many Related Teaching Procedures--
Third and Fourth Grades," International Journal Of
Religious Education,XXXV (March, 1959), 18.

‘ Niebuhr, Hulda. "Trying On Life," International Journal Of
Religious Education, XXX (October, 1954), 12.

Rasmussen, Carrie. "Rhythm In Bodily Action and Creative
Dramatics," Quarterlprournal of Speech, (April, 1936),

291.

Viola, Ann. "Drama With and For Children: An Interpretation
of Terms," Speech Teacher (November, 1956), 305.

Woods, Margaret. "Creative Dramatics," NEA Journal (May, 1959),

53.

Unpublished Material

Adult Education Association. How To Use Role Playing. Pamphlet

#6, Chicago, 1956.

Anderson, Barbara. "Course Outline For Creative Drama,"
Pittsburgh. (Mimeographed.)

Curry, Marjorie. "Experimental Projects Written On the Junior
High Level To Illustrate Drama In the Field Of Christian
Education Within the Local Church." Unpublished Master's

thesis, Pittsburgh-Xenia Theological Seminary, 1953.

Reese, Kate. "Dramatics In Religious Education." Unpublished
Master's thesis, Department of Religious Education, George

Peabody College for Teachers, 1934.

Taylor, Margaret. Time For Wonder. Washington, D. C., 1959.

(Mimeographed.)

United Presbyterian Church. Informal C.D. With Children.
Philadelphia: Board of Christian Education of U.P. Church

In U.S.A., n.d. (Mimeographed.)

108

Other Sources

 

. Personal interview with Mrs. Truman Morrison,

 

Edgewood Pe0ple's Church, February, 1960.

Barbara wallarab‘was born in Davenport, Iowa in 1936.
After being graduated from Davenport High School in 1954,
she attended Tarkio College in Tarkio, Missouri, where she
majored in speech, English, and secondary education. In
May, 1958, she received the Bachelor of Arts degree and
in September of that year began teaching English and speech
and directing the dramatic program at Glenwood High School
in Glenwood, Iowa.

In the summer of 1959, she attended the Religious
Drama WorkshOp at Boston University where she studied
creative dramatics under Miss Winifred ward. In the fall
of 1959, she began work toward the Master's degree in theatre
at Michigan State University, where she also was the graduate
assistant in the Children's Theatre program. In the summer
of 1960 she was a member of the teaching staff of the High
School Communication Arts Institute which is sponsored by

Michigan State university.

HICHIGQN STQTE UNIV. LIBRQRIES

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