NE DRAMATICS‘ PROJECT E THE CHOOL LEVEL 2A GREAT FOR CHILDREN 0 JUNIOR MGM S Thesis for the Degree oi M. A; M‘CHXGAN 51' ATE COLLEGE Margarei‘ EHen Ferguson 1950 _.- flaw“? _ This is to certify that the thesis entitled - , “A Project in Creative Dramatics for Children of the Junior High School Level' presented by Margaret E. Ferguson has been accepted towards fulfillment of the requirements for MA. degree ianQfinh— / Major professor Date MM— 0-169 A CREATIVE DRAMATICS PROJECT FOR CHILDREN OF THE JUNIOR HIGH SCHOOL LEVEL By MARGARET ELLEN FERGUSON A THESIS Submitted to the School of Graduate Studies of Michhgan State College of Agriculture and Applied Science in partial fulfillment of the requirements for the degree of MASTER OF.ARTS Department of Speech, Dramatics and Radio Education 1950 [1‘ ‘I‘ Acknowledgement is hereby made to Doctor Wilson B. Paul, Miss Eleanor Chase, Mr. Donald 0. Buell, and Miss Lucia Morgan for their assistance and supervision of this thesis; to Mr. Ralph W. Duckwall, Jr., and to Mr. Harold F. Niven, Jr., for their assistance with the technical aspects of Chapter IV. Bill-.3301 TABLE OF CONTENTS CHAPTER I. INTRODUCTION: AIMS AND VALUES OF ,CREATIVE DRAMATICS II. BACKGROUND MATERIALS Historical Background The Synopsis of Master sgxlark The Author of Master Skylark Evaluation of the Story III. THE SCRIPT IN PREPARATION DevelOping the Scenario for Master Skxlark The Scenario for Master sgzlark IV. STAGING THE1DRAMATIZATION Scenery and Properties Scene Designs Costumes and Make-up Costuming the Production Costume Chart Make-up Make-up Chart Lighting the Production Lighting Plot The Coordination of the Whole Production PAGE 28 35 38 N6 N6 58 66 67 77 81L 81+ 87 9o 92 96 101 .1011. CHAPTER PAGE Stage Manager's Cue Sheet 108 Rehearsal Schedule 112 PrOp List 113 v. smamay AND RECOLNNNIDATIONS 115 Story List 117 BIBLIOGRAPHY 120 \J..4L_ .L .J ITIIIY1WK‘\DIT~H '7'.'\'5T. * T‘vo f. ~V) 1r TYr '1(_:! 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It should be understood at this point that When preparing a project of this nature the teacher does not decide the form of the scenario in an.authoritar- ian manner and present it to the children. Rather the scenario should be evolved through group planning and depend upon.the evaluation of the incidents by the child- ren. This evaluation is based upon their interest in the scenes and.the importance of the separate incidents in the deve10pment of the central theme. However, it is necessary for the teacher to have some definite basic plan in.reserve in order to stimulate and guide the children. She may make suggestions, or point out the need for a certain incident which the group fail to realize, but essentially her capacity is one of advisor and her main function is to help in the formation of the scenario by the children through assistance in.the unifi- cation of their ideas. A? The scenario for Master Skylark cpfild be evolved in the following manner; ( All of the‘events in the story are listed in the order in Which they occur. 1. 2. 3. h. 5. 6. 7. 8. 9. 10. 11. 12. 13. 15. 16. 17. 18. The arrival of the players in Stratford. Nick's home relationships. Nick's school difficulties. Nick and Hodge start for Coventry. Nick and Hodge argue on the Warwick Road. Nick meets Carew, and they Journey on together. Nick sings for Carew, is christened Master Sky- lark. They arrive in Coventry, Nick meets the players. Sings at the May Day play. Nick plans to return to Stratford. Father disowns Nick. Nick starts for London with the players. He trys to escape but is caught and brought back. In St. Albans, he again tries to escape, meets Blacksmith, is brought back again. Arrives in London, is locked up in the attic. Meets Cicely Carew. Carew's offer to make him.famous is refused. Heywood protests to Carew. 19. 20. 21. 22. 23. 21;. 25. 26. 27. 28. 29. 30. 31. 32. 31+. 36. 37. 1+8 At the Rose Playhouse, Nick runs away and tries to find Shakespeare. Finds Shakespeare has left London, is caught by Carew and locked up again. Nick is taken to St. Paul's Cathedral school. He sings for Master Gyles. Receives training from Master Gyles. Nick takes acting and dancing lessons. Carew hides money for the children. Notice comes that the children are to sing before the Queen. Arrival at the Palace, giving the play. Talk with the Queen, refusal of her offer. Returns to Gaston Carew. Carew takes Nick to the Falcon Inn. Nick escapes, finds Shakespeare. Heywood brings word of Carew's arrest. At the Mermaid Tavern, Player requests that Nick visit Carew in prison. Nick visits Carew, promises to care for Cicely. Cicely disappears. Nick follows Gregory, finds Cicely, they escape from.Gregory When they meet the apprentice. At the Inn, they see Gregory again, board the coach heading Nerth. 1+9 38. Wayfaring their way to Stratford. 39. Nick is turned away by his father. ho. The children meet ShakeSpeare again, all ex- planations are made. kl. Nick and Cicely are happily settled in Nick's home at last. Those scenes which form the basis for the main plot are retained as a necessary part of the scenario. How- ever, the number of incidents and settings may still be too numerous and complicated to be included in one drama- tization. The next step is the development of a place sequence division of these remaining events as follows: Stratford, Coventry, London, and back to Stratford. Next, all the events which occur in Stratford in the ear- lier part of the book are analyzed in order to determine whether or not they might be combined into fewer scenes. All of the incidents in Stratford may be combined in one location by making a few minor changes in dialogue and telescOping the time sequence. The location which may be used for this scene is the lane in front of Nick's house. The incidents which are included may begin with the arrival of the players in Stratford, and end with the scene in which Simon disinherits Nick hfter hearing that he had run off to Coventry. This scene is moved from.its original place in the story and combined with 50 the earlier incidents in Stratford in order that all of the early incidents in this location may be played with- in.the same scene. The events which occur on the Warwick Road are also included, thereby eliminating the need for an extra setting. The same general procedure is followed with the events which occur in Coventry. The tavern setting is chosen as the basic setting. Large windows Opening on to the Inn yard will permit Nick's singing in the play to be in- cluded. The episode in which Nick tries to escape and is protected by the Blacksmith may be transferred to this location by having Nick run out into the street, then the Blacksmith, who hears the noise of the chase enters the tavern just as Nick is driven back into the tavern by the crowd. Particular effort is made to include this incident because it has exciting action, it shows that Nick makes a sincere attempt to return home, and it of- fers a vivid Opportunity for the characterization of Carew as he handles the crowd. All of the incidents which take place on the way to London may be eliminated because they are not vital to the main.plot and they offer a difficult production problem.involving horseback riding. 51 The events which occur in London are the next group to be considered. The number and locations of happen- ings are reduced as much as possible in order to facil- itate production and avoid short chOppy scenes. It is found that five locations are necessary if all the basic incidents are to be included. The first of these is the scene in Carew's home. Nick may be locked in the up- stairs sitting room.of the house instead of the attic, so that the other incidents which occur at the house may be included in this setting. The time lapse should be cut as much as possible and the meeting with Master Gyles may be transferred to this location. Although the dancing lesson is not part of the main plot, it is in- cluded because it Offers one of the best opportunities for comedy action. This scene should also include the arrival of the boys from.the cathedral to tell Master Gyles of their invitation to perform.for the Queen. Nick and Cicely may than go Off with the boys to Join in.their celebration and Carew may be seen hiding the money Which later becomes Cicely's inheritance. The next scene may occur in the Court of Elizabeth, where the entertainment is given. This scene might be played almost exactly as it is written in the book, but the group will have the Opportunity to create the form of the entertainment. The playing of the Queen and.her 52 court will provide a source of interesting characteri- zations, and will also offer an Opportunity for many children to participate in the scene. The next scene may be located in the garden of Shakespeare's London home. Nick rushes in and tells his story, then Heywood follows and.tells; Of Carew's ar- rest. This scene may also include the arrival of the player Who asks if Nick may visit Carew in prison. By playing this event in here, the need for playing the Mer- maid Tavern episode could be eliminated. The events in the Falcon Inn need not be used as a part of the scenario because they are written in a style which is largely descriptive and contains very little important action. An alternate form.of playing the Court and Garden scenes may also be considered. Nick could meet Shakespeare at the end of the Court scene and.the remaining events of the garden scene might follow as they are outlined in the previous description. This combination.has the ad- vantage of eliminating the additional setting, thereby, simplifying production. This form will not be used in this scenario however, since it would also be necessary to eliminate Nick's final escape from.Carew. Such a change would seem to weaken the main theme. S3 The next scene in London occurs in the Newgate prison. Little change from the Book's treatment of this scene is needed, aside from.the fact that the talk between Shakespeare and Carew may be played to enable the audience to see how Shakespeare finds where the money is hidden. The final scene in London might be set in.a street not far from Carew's home. The entrance to an Inn might be included in the setting. The unsuccessful search for Cicely may be brought out in a conversation between Nick, Jonson, and Shakespeare. Then while Jonson and Shake- speare go to the house to get the money, Nick might see Gregory and run after him, The scene could continue as JOnson and Shakespeare return to find Nick gone, and the moving Of Cicely and Nick to a different location by Gregory may follow in quick succession. The children may then meet the apprentices and escape from Gregory. As the apprentices go Off, leaving them.in front Of an Inn to wait for Will, Nick sees Goole coming and the children Jump into a coach heading North. The eXperiences of the children on the return to Stratford do not seem important enough in their relationship to the main plot to warrant their inclusion in the scenario, although some of them. would be interesting to play if the group is not giving the dramatization for an audience. 51L In the final scene Nick and Cicely are back in Strat- ford. The setting may be the same as that used in the be- ginning scene. Nick and Cicely are turned away by Nick's father, as they start to leave they may meet Shakespeare and his friends. Nick and Cicely may then.relate to the group all their adventures on the trip from.London, and what happened between Nick and his father. Shakespeare could then send John Combe to explain. Nick's father and mother may come out Of the cottage and the scene would end as the book ends. Shakespeare and his friends leave, while Nick and Cicely are happily settled with Nick's parents. 8 An alternate form of this final scene might be set at Shakespeare's Stratford home. The children might enter and tell their experiences. The remainder of the scene would then follow the book, except for the.final inci- dent. This would.be played by having both Nick's parents come to ShakeSpeare's home to get him, thereby eliminat- ing the final scene at Nick's home. In Spite of the fact that this form follows the events in the book in a closer manner, it will not be used in this scenario for two reasons. The first reason is that by playing the scene on the same set as the first scene the production is simp- lified. Second, the satisfaction of the ending would.seem to be increased by seeing Nick and Cicely settled at the Atwood home. 55 In the above manner the rough scene sequence of the scenario may be set up, and the evaluation of each inci- dent is made. The scenes are also evaluated on the basis of their contribution to the qualifications of ac- tion, interesting dialogue, necessary eXposition and illustration of good characterization. As has been pointed out earlier, long descriptive passages are usually cut, or eliminated all together. The incidents which involve production problems too difficult to be hand- led with simplified staging are either eliminated or transferred to other locations. The participation in this process by the group will increase their understand- ing of the whole project and help them.when they actual- ly start to play the story. The problem of the deveIOpment of the various char- acterizations was mentioned in connection with the evalua- tion of the story. By eliminating the scene where Ca- rew has much of his personal struggle with himself, it is hoped that his character may be more readily playable for children. In this scenario he is usually shown as a fairly happy and likable person with much Of his cruelty eliminated. His greatest wrong toward Nick is his refusal to permit Nick to return to Stratford. When Carew is in prison, he repents, and Nick forgives him. His character must not be played in so evil a manner that the aud- ience won't also forgive hima It should be 56 emphasized in this scene that Carew accepts his punish- ment as Just and fair. To balance this modification of Carew's evil, Gregory Goole has been built up as the main force of evil in the play. He is made to represent all that is evil, unkind, and unpopular. The characterizations of Margaret Atwood and.Cicely Carew Offer a different problem.in playing. Both of these characters are important to the main.plot of the story, however, in the book they are essentially weak characterizations. If the story is to be played effect- ively, both of these characters must be strengthened in the scenario. This may be done by dialogue, and by the individual work of the children who are playing the_ parts. The whole group may also aid in the strength- ening if they are made to realize that these characters are important to the story, and must have well rounded characterizations. Margaret Atwood must be placed in an important light, through the use Of dialogue and her own manner Of behavior, in the first scene. The relation- ship between her and Nick must be emphasized here if the rest of the story is to have pr0per meaning. Her place as mediator between Nick and.Simon Offers an excellent Opportunity.for her characterization. By bringing her into the final scene at the Atwood's cottage, the re- union between Nick and her can be shown most effectively, 57 and her acceptance of Cicely can be a very moving scene. In considering the characterization of dicely, she may be included in all Of the events at Carew's home and the chase sequences that follow. She may also be included in the court scene if it is found that such action would be helpful. On the return to Stratford, She may be the one to relate their adventures on the way, and her differ- ence in background can be pointed out by What she chooses to relate. Her actions toward the Atwood and her de- light over becoming one of the family will serve to in- crease the satisfaction of the ending of the story. The following scenario is the result of the planning described above. It is a suggested form in Which the story might be played. It is by no means the only form, and would require modification and variation in its application to the various types of groups which might want to play this story. Such factors as the size of the group; the time to be spent on the preparation; and the form.of presentation are all points which might alter the scenario form. Act One 58 II. The Scenario for Master.§kylark Scene One Time: The last day of April, 1598. Place: A country lane outside the Atwood's cottage at Stratford-on-Avon. PeOple in the Scene: Nick Atwood, Margaret Atwood, Simon Atwood, men of the town council, boys of the town, the group of players, Gaston Carew. EWents which occur in the scene: 1. 2. 3. Players arrive in Stratford. Simon refuses to permit Nick to see the play. Carew and actors fight with Burgesses and Bail- iff, and Sir Thomas Lucy. Carew is arrested. Discussion of player's fight between Nick and his friends, Nick's lessons unprepared. Carew (has been released) overhears argument between Nick and Hodge as they plan to go to Coventry. 7. 9. Scene 59 Hodge leaves, and Carew makes himself known to Nick. He hears Nick sing, Offers him.a part in the play at Coventry. They start off for Coven- try. Hodge tells Nick's parents where he has gone and Simon diswwns Nick. Two Time: Afternoon of the same day. Place: The Blue Bear Inn at Coventry. PeOple in the Scene: Players, Inn keeper, Carew, Nick, Thomas Heywood,.Black- smith and townspeople. EWents which occur in the scene: 1. 2. 3. LL. Carew and Nick arrive at the Inn, and relate their experiences, Carew says Nick will take part in the play. Play begins in the inn yard. Nick sings. Nick finds that Carew expects him to go to Lon- don with the players, but he refuses. He makes friends with Heywood. Nick runs away from Gregory while Carew is on Stage 0 6. 60 Nick meets the Blacksmith and crowd, Carew en- ters and settles the diSpute. Scene Three Time: Four Days later, Later Afternoon. Place: Upstairs sitting room.of Carew's London home. PeOple in the Scene: Nick, Cicely Carew, Gregory Goole, Carew, Dancing Master, Master Gyles, and Boys from. St. Paul's. Events which occur in the scenes: 1. 2. 3. Carew locks Nick in the room. Cicely finds him and makes friends. Nick bells her what has happened. Carew returns, explains to Cicely, gives Nick some pointers on acting and.a new suit of clothes. Dancing Master arrives, gives Cicely and Nick a lesson. Master Gyles arrives and hears Nick sing. He Offers to.train him. Boys from.school come for Master Gyles, they tell that they are to entertain at Court. Gyles, Nick and.Cicely go off with the boys. Carew counts his fortune and sets up some for both Cicely and Nick. Then.he hides money in secret panel. 61 Act Two Scene One Time: Two months later, late afternoon. Place: The Throne room.of Greenwich palace. PeOple in the Scene: Queen Elizabeth, Nick and the other boy players, and the people of the Court. Events which occur in the scene: 1. Entertainment is given. 2. Queen asks Nick tO stay and be a member of the Court Choir, but he refuses, saying he wants to go home. Scene Two Time: A week later, evening. Place: Garden of Shakespeare's London.home. PeOple in the Scene: Shakespeare, JOnson, other players, Nick, Heywood, player. Eyents which Occur in the scene: 1. Jonson, Shakespeare and the other players are discussing Will's new play. 2. Nick rushes in, tells his story. 3. Shakespeare promises to take him.home. h. Heywood enters, tells Of Carew's arrest. 62 5. Player enters, repeats Carew's request that Nick be permitted to visit him in prison. 6. Shakespeare says he will take Nick to the pris- on the next day. Scene Three Time: The next afternoon. Place: Newgate prison People in the Scene: Carew, Nick, Shakespeare, Jailer, other prisoner. ENents Which occur in the scene: 1. Nick talks with Carew. He forgives him for his actions and promises to look after Cicely. 2. Carew gives Nick the gold chain of the Master Player. 3. Carew tells ShakeSpeare of the hidden.money, and asks that he see that both Nick and Cicely are provided for. Act Three Scene One Time: The next day, evening. Place: A street in London, near Carew's home. PeOple in the Scene: JOnson, Shakespeare, Nick, Gregory, Cicely, Apprentices, and the coach driver. 63 Events which occur in the scene: 1. 7o Jonson, Shakespeare and Nick find that Cicely is gone from.the house, the men decide to re- turn and search for the money. Nick sees Gregory and runs after him. JOnson and Shakespeare return with the money and find Nick gone, they go Off searching for him. Gregory enters with the children, moving them to another house to hide them. They meet the apprentices, and the children tell the boys they are being kidnapped. Greg- ory runs away. A Apprentices leave the children at the Inn to wait for Shakespeare. Nick sees Gregory returning, and they run off to board the coach for the North. Scene Two Time: A week later, afternoon. Place: A country lane in front of the Atwood's home at Stratford-on-Avon. PeOple in the Scene: Nick, Cicely, Simon, Shake- Speare, Jonson, players, JOhn Combe, Margaret. Events which occur in the scene: 1. Nick and Cicely arrive in Stratford. 2. 614- Nick greets his father, but Simon refuses to admit he knows him, saying he is no son of his. Turning away from the cottage, the children.meet Shakespeare and the players and.tell them.what has happened. Shakespeare is overjoyed to find them, for he has been searching for them all the way from London. He sends John Combe in to eXplain to Nick's father. — Nick's parents come out and everything is set- tled. Shakespeare gives Simon the money, and offers him.the job of caretaker. Everyone leaves, and Nick, Cicely, Simon and Margaret are seen settled happily at last. CHAPTER IV STAGING THE DRAMATIZATION The planning for staging the dramatization may be done in a similar manner to that of evolving the scena- rio. The children should work cOOperatively on this section of the project, with guidance from.the teacher. The problem Of production is not a separate and individ- ual one since it was considered throughout the planning of the scenario. The number and location of the scenes having already been determined by group planning, and so derived.that they permit the portrayal of the math theme, the next step is to find a satisfactory method of representing each scene. The elaborateness of the pro- duction is usually determined by the limitations of time, Space and funds at the disposal of the group. If the project is to be done in a school room, the settings cannot be as elaborate as they might be if the school auditorium is to be utilized. However, the imag- ination and creative ability of the group may be util- ized in the production Of the play, no matter where it is to be presented. If considerable time and work has been devoted to making this unit a large project, the satisfaction Of the group may be increased, if they are 66 permitted to give it for a larger audience than their classmates. Such an Opportunity might be found in a school assembly or the presentation of the play for the parents of the children. If the more elaborate performance is planned the group will have the Opportunity to design and create a more complete production. This large production should still, however, be of such a nature that the children may plan and execute the staging themselves. Both forms of production, classroom.and school auditorium, will be out- lined in this chapter. V The term.production indicates all the phases of the dramatization. ‘It will be discussed in this chapter under the division of the major phases in the following order: Scenery and Properties; Costumes and Make-up; and Light- ing. 67 I. Sceneryand_Properties In planning the scenery the group should decide, through discussion and mutual agreement, what details are necessary and desirable in order to establish the location of the scenes and to reinforce the action of the dramatization. The mood and style of the story are of primary importance in determining the character Of the settings. Since Master Skylark is essentially a realistic story, that is the characters and events are developed in a realistic manner, not dealing with fan- tasy or dependent upon magic forces for the resolution of the plot, the settings should reinforce this real- istic mood. There are other elements in Master Skylark, however, which must also be considered before the set- ting is determined. The story is set in a historical period, and contains strong elements of adventure. These, too, must be expressed in the settings. It may be seen then, that the group has a definite challenge in the planning of a setting which will fulfill the require- ments of the dramatization, be simple enough to construct so that the group can do the work themselves, and compar- atively inexpensive. 68 It will be possible to meet all the requirements of the scenario, the mood and style of the story, and the limitations of economy of time and money, if the settings are well planned and executed. The teacher should point out that it is not always necessary to present a large amount of realistic detail on the stage, but that the setting may Often be more effective if careful selection and emphasis of the more significant aspects of the location are represented. The terms selected realism and simplified staging should be explained and demonstrated to the group. By the use of these two methods, the group may evolve their settings in a satisfactory manner. The terms are direct- ly applicable to the problem.with which the group is dealing. Selected realism has already been indicated, in the suggestion of the teacher. The choice of few imp- ortant and significant details are often more effective than a great many smaller details which may only confuse and clutter the setting. In order to fit the story, the settings must include basically realistic elements. The details which the group will choose to emphasize in each scene will be those which are characteristic to each location, and are realistic in nature.3LThe historical setting may add to the selection of detail, since this factor of the story may be very effectively emphasized 69 in the settings. The use of period architecture and furniture may establish the period of the Whole play as well as the location Of the scenes. The adventurous mood of the story may be included through the use of color in'both the settings and the costumes. The utilization of simplified.§tggigg will correlate well with the policy of selective realism.in.the develOp- ment of the sets. The term.means just what it implies; the simplification of the staging for the simplest and most utilitarian representation Of the scenes. The term implies a minimum amount of construction, with a1msximum amount of utilization. For example, if a section of the scenery or a prOperty is used in.more than one setting, that is to satisfactorily serve two or more needs, then time, work and eXpense have been saved. The staging has therefore been simplified. The use Of selected realism is a help rather than a hindrance to this simplification, for the absence of unnecessary detail makes the repetition of the scenery less noticable. After the general style and location of each scene has been determined, the group should consider the re- quirements of each scene as an individual part of the whole staging process and its relationship to the complete production. As each scene develOps the group will then be able to see various methods Of simplifying the 70 construction and staging of the scenes. The number of scenes required indicates a need for settings which are quickly and easily changed. Careful planning and organization will facilitate these changes with a minimum.of confusion. The settings for the dramatization as outlined in the scenario are: A country lane on the edge of Stratford- On-Avon, showing the front of the Atwood home; an Inn in Coventry, the interior public room with large windows Opening onto the innyard; the upstairs sitting room of the Carew home in London; the throne room in Greenwich Palace; Shakespeare's garden at his London home; Carew's prison cell at Newgate; a street scene in London, near Carew's heme, and including the entrance to an Inn; and the final scene which is the same as the first. In considering the requirements for the first scene, as outlined earlier, it is evident that this scene will be readily adaptable to selection and simplification of detail. The Atwood cottage, a hedge row, and.perhaps a tree are all that are necessary. The cottage may be rep- resented by a simple flat, with a profile piece added at the top, to suggest the Tudor extension, and a door Open- ing in the lower section. A profile flat is made by adding a section of composition board to a regular flat. The composition board may be cut in the desired shape to 71 represent the outline Of the side of an Elizabethan house, while the other details are painted on. The ground row is a simple profile piece, painted to resemble an English hedge row. The tree may be a small profile flat rein- forced and braced at the base to form the trunk, with a cut out foilage border at the tOp. The house flat would be placed stage left, near the front; the ground row would extend across the center back of the set; and.the tree would be placed downstage right. (See floor plans and set designs for more detailed placement). If this first scene were being planned for the class- room.dramatization, a three fold screen might be utilized as the front Of the cottage. A simple ground row could be painted on large sheets of paper and used as the back- drOp for the scene. In analyzing the requirement for the public room of the Blue Boar Inn in Coventry, which is the setting for the second scene, the basic requirements aside from.the general tavern atmosphere are an entrance to the inn yard, where the play is performed, and an entrance to the street. Windows to the inn yard are also added as light motivation and so that the actors may seem to watch the stage for their cues. The scene may be represented by the use Of a simple four fold unit of four flats hinged together. The door may be in the left stage center wing of the piece, and 72 the windows in the center section. The center section should be the largest with the top profiled as a Tudor Arch. The unit may be painted to give the effect of rough stone walls. A rough cross leg table and two benches are the only furniture required. In the classroom production of this scene, a simple paper backdrop of windows in a stone wall would serve as adequate scenery with a rough table and benches as the only furniture. Carew's London home may be represented by reversing the unit used in the second scene. The walls in this scene should be painted to representthe wood paneling. The addition Of a fireplace unit in the center section would be useful in the action of the play. By reversing the unit the door is placed stage left, this would be used as an Opening to the hall and the rest of the house. Heavy and ornate furniture would be in order, a large chair, a rectangular table, and a small stool by the fireplace are the necessary pieces. A painted backdrOp Of the fireplace would serve for the classroom production, plus a table and a large chair as the necessary furniture. The entrances may be made from the Open wings. 73 Scene four, the throne room of Elizabeth's palace, must be ornate and.spacious. The same four fold unit may again be used as the basic setting. The wood panel- ing side is used, with the rich hanging before the cen- ter section. A two step dias may be placed just in front of the hanging, with the throne elevated on this platform, No other furniture seems necessary, or advis- able, since the scene requires a large group on stage and all the available space is necessary for effective play- ing. Entrances may be made from the wings for all but the Queen and her party, who may enter through the door left. The throne either alone or on a platform would serve as the necessary scenery for the classroom.production. The throne may be simply a high backed chair which has been painted or draped to give it a more ornate appear- ance. For the garden of Shakespeare's London home the tree and hedge units Of the first scene may again be used. In this scene the tree may be placed up stage right and behind the ground row, which is placed at an angle from center right to upStage left. A profile flat down left may be painted to represent a portion of Shakespeare's house which extends Off stage left. Entrances may be made from.the house from behind the profile piece, while 71+ Nick and Heywood might enter from just in front Of the hedge row. The bench and table used in.acene two may be used as garden furniture if the playing of the scene seems to indicate a need for furniture. In order to play the garden scene in the classroom, the group may again use the bench and table used in scene two. A garden backdrOp may be painted for add- itional atmosphere, this would include garden foliage and trees. The prison scene may utilize the basic four fold unit previously described in the second scene. The rough stone wall effect will fit this setting. The cen- ter unit Opening may be filled with two sets Of bars to represent the Openings of two prison cells. Carew and the other prisoner would play behind these bars. The stage area in front of the unit would be the prison cor- ridor. The entrance stage left would lead to the ent- rance to the prison. NO furniture is needed for this scene. In the classroom this scene may be played with a divided stage, one half the prison cell, the other the corridor where Nick stands talking with Carew. The division of the acting area may be made in the manner which is easiest for the group, a simple screen.might serve the purpose most effectively. 75 For the representation of the street scene in Lon- don the offstage sections of the previously described profile house flats are used. The Atwood's cottage flat is placed downstage right with the unused portion paint- ed tO represent a London house, while the flat previous- ly used for Shakespeare's home is placed downstage left, with the unused portion painted to represent the exterior of the Inn. The two extreme wings of the four fold unit, stone wall side, may be placed at an angle extending from upstage Of the two houses toward center stage back. The Opening between these wings would be filled by a large double gate, supposedly opening into the innyard. The reverse side of the previously used ground row, which is painted black, is placed about three yards upstage of the gate Opening to mask the area. All entrances and exits are made downstage of the profile flats, right stage exits leading to Carew's home and Stratford, and left stage exits to Shakespeare's home and Goole's hideout. NO furniture is needed, but a bench might be used just in front of the inn. For the classroom presentation, a painted backdrOp of a street scene, two houses and an Inn would be most effective. A bench would also be useful in this setting to add variety of position in a small area. 76 An excellent reference for ideas and plans on scenery construction is, The Artigf Play Production, by JOhn Dolmen, Jr.1 More specific reference materials may be found in Theatre for Children,2 by Winifred Ward. 1JOhn Dolman, Jr., The Ar ‘9; Play Production, revised edition (New YOrk: Harper and Brothers Publish- era. 19A6). pp- 3A9-382. 2Winifred Ward, Theatre for Children (New YOrk: . D. Appleton-Century CO., Inc., 1939), pp. 201-213. t a . 7 1 I - .. ' l K I x , ‘I . l I . . I p . . , 4 C < ‘ '7 Jr '* . ‘ . . . b . E .n“ - .. , ‘ . .. . ‘m‘ \r -‘ 1‘.- . e ¢~ _ r ‘.', . ,al ‘ ” .~ . « I I'- ‘ . V . ' 1’ \ 3 . g. Q \ fr 0 . 1‘, y. . r . . ' , | . .r . 71’. ~ - ‘ "4... - ‘- o - g _ . Yr ‘ ‘ ‘. u - . . ' .‘J , .3 ’ e '.r- . 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' We“ .'- 'wmm — ‘ I .‘. '.I- l—- —:' - ‘\-‘ ‘.‘ ’ r Eur v t ’ V ‘.‘-1:. €- '/ ‘ 4" .5- Wm M... .— -..fi I oillflfil.‘yre . .éofl. m w a ... . a. a .I r.'\.0..o.l 1..~3.‘£_‘1 m r . 1.x -.. . I n (-‘.’. ... a a. a. , . m . _ 3/ u u .1 a ..n . . ._ _ , a a a m . .. . _ i . a . _ a 2 ~ _ u . . a . \ w .. 1.2.34 ' x / .,.. . a rut!“ . a _n “ _., a .. . v1 . ._ a .1 m _. i i . i i lrl. {I A u ..vl. ‘.’. I. ‘0 o I I Q -. 8A II. Costumes and Make-up A. Costuming the Production The production Of Master Skylark is set in 1596, late in the Elizabethan period. Lavish and elaborate costumes are characteristic of the times. The ruff or stiff pleated neck piece was pOpular with both men and women of the upper classes. Men's apparel was as or- nate and colorful as that Of women. The short slashed trunks or embroidered doublet both worn with long hose or tights, were common apparel, with the new knee britches . growing in popularity. Both the slashed and Open Over- sleeve were still worn, while the wide lace falling collar was Often substituted for the ruff. The women of the wealthy classes wore wide full skirts supported by a roll of padding at the waist called a farthingale. The bodice was usually cut in a deep point at the front of the skirt and a.low and re- vealing neckline was the usual style. The ruff and wired collar were both popular and were worn together in some of the most elaborate costumes, may illustrations uanlizabeth show her use of this combination. The skirt was often Open from the pointed bodice, allowing an elaborate underskirt of brocade or embroidered silk to to seen. 85 In Master Skylark the Court scene will include:men and women dressed in this style of fashions. Also the characters of Carew, Heywood, JOnson, and Shakespeare will be in similar styles. The costumes of Carew and Heywood, in particular, will be elaborate for as actors their fashions were COpied from the Court. Illustrations indicate all the lower classes tried to copy the fash- ions of the Court as much as possible. The degree to which this imitation was achieved decreases with the decline in the social and economic scale. The townspeOple of Stratford and Coventry will illustrate the other classes Of society. Their costumes will be of plainer cut and materials, less colorful and extreme than those Of the London nobility. However the basic costume of doublet and long hose for the men, and the dress Of pointed bodice and full skirt for the women is still the common style. A suggested Costume Chart is added for the principle characters in Master Skylar . However, the elaborate coatumes and the large cast may create a different prob- lem for the director who must costume the production. If the budget Of the group permits, the most simple solution would be to rent the costumes, either all or in part. If the construction of the costumes is done by the group, imagination and ingenuity in the use of 86 available materials may result in effective and beaut- iful costumes. In her informative and accurate book, Historic Costume £23 £13 Sta 9,3 Lucy Barton gives many helpful pointers on practical reproduction of Elizabethan costumes. If the classroom production is planned, simple cos- tumeslwhich suggest the main characteristics of the per- iod may be used. Simple long full skirts are adequate for the women. If padding at the hips can be obtained, the farthingale effect is suggested. For the men a cape and simple cap or beret with a bright feather provides a simple costume._ IneXpensive ruffs may be made by pleat- ing crinoline, starched muslin, or crepe paper.) Further suggestions for the simple costume ideas are given in Ward's book, Theatre for Children.h' ' 3Lucy Barton, Historic Costume for the Stage (Boston: Walter H. Baker Company, 1935), pp. 197. ll-Ward, pp. 51.3., pp. 179-199- 87 Costume Chart 3133 Atwood Green Tunic with White underblouse Green tights Black sandals White linen shirt with broad lace collar Grayish blue hose Trunks of blue-black velvet, puffed and slashed Blue-black sleeveless jerkin, with roses embroidered in silk Blue damask cloak, short, with a silver clasp Buff leather belt with purse Tan slippers Blue velvet cap with a white plume ' Margaret Atwood Worsted gray gown will falling white linen collar Soft white silk coif Black slippers White apron Simon Atwood Brown serge doublet Fustian hose, brown and loose Brown leather apron, large, as a tanner might wear Brown slippers Gaston19gygy Tawny silk jerkin Purple cloak White broad lace collar Gold knee pants Gold half hose Black high heeled shoes Italian poniard in sheath at waist, sheath is of russet leather Large gold chain and medalion around neck Cicely Carew Rose velvet overdress Rose brocade underskirt White silk coif Black slippers Royal blue cape Gregogy Goole Plain black tunic Black hose Black cap Black slippers Yellow ribbon in one ear 88 Queen Elizabeth 89 Dark red velvet overdress with large standing gold collar and inner cuff of white linen Gold.brocade underskirt Red velvet slippers White plume fan Gold crown, and heavy necklace Many heavy rings Thomas Heyyood Red and Black striped jerkin Red cloak White lace collar Black knee pants Red half hose Black slippers William Shakespeare Dark green velvet jerkin Dark green velvet slashed trunks Dark green tights Black slippers White linen falling collar of lace Green cloak 90 B. Make-up The make-up for the production will be planned in a similar manner to the costumes and.scenery. General planning for desired effect is done by the whole group. The make-up crew is responsible for achieving these de- sired effects as nearly as is possible with available materials. Practical eXperimentation and careful re- search are required by this crew if they are to achieve satisfactory results. There are many excellent books written on the art of stage make-up. Katharine Omma- nney has an excellent chapter on stage make-up in her book, Th9 Sgggg.ggg Egg School.5 This reference is espec- ially valuable since the book was written for the use of students of the Junior High and High School level. No difficult or special effects of make-up are re- quired by the production. The beards may be easily con- structed if Miss Ommanney's6 directions are used. For the classroom.prOduction the group will not need to use make-up. It would be an unnecessary expense, since‘ 5Katharine Anne Ommanney, The Sta e and the School, revised edition éNew YOrk: Harper and Hrothers PuinShers, 1939). pp- BAG-3 2- 6Ibid. the absence of stage lighting and other details of a formal production are not to be used. 91 92 Make-up Chart Character Nick Atwood Age 12 Type YOung, adventurous boy Base 2—3,— with a little 1%,,- Powder 2 Liner Brown Rouge 3 General Instructions Nick should be a typical healthy boy in the first scenes, with ruddy complexion. He becomes paler in the scenes in London. Character Margaret Atwood Age 30 ~ Type Ideal young mother, mediator between Nick and.his father. Life with Simon Atwood has made her ap- pear Older than her years. Base 1% and 2% Powder 2 Liner Blue and Brown Ropge 3 General Ipptructions She should.have some gray in her hair, mainly at the temples. The lines in her face should seem to result from.worry rather than cruelty. She is a sweet, peaceful person. Her complexion is light with some color in her cheeks, but not rosy 93 Character Simon Atwood Age to Type Father, large and gruff Base 2% and 3% Powder h Liner Brown Ropge h General Instructions Simon should have a very ruddy complexion, as one who has spent much time in outdoor work and hard physical labor. His hair should be heavily grayed. His eyebrows have gray also, and are heavy and thick. Character Gaston Carew Age 35 Type Sophisticate, actor and father Base 2% Powder 3 Liner Brown Rouge 3 General Instructions Carew should have a small pointed chin'beard with a Clipped.mustache. His features should be sharply out- lined, especially his eyebrows and eyes. While in prison his hair may be grayed and some heavy lines added to his face, as if he had suddenly aged in.a very short time. 91+ Character Cicely Carew Age 10 Type YOung happy little girl Base 1% and 2% Powder 2 Liner Blue Rouge 3 General Instructions Her make-up should be very light, in fact not at all obvious or painted. She should be fairly pale, but not unhealthy in her appearance. Character Gregory Goole Age 35 Type Sneaking, crafty, villian Base 2% Powder 18 Liner Brown. Ropge 3 General'lpptructions Goole should be dark and sinister in appearance. His face is fairly heavily lined, with perhaps some bad scars on his cheeks. His brows are dark and.heavy, and add to his scowling appearance. All frown lines are accented rather than smiling lines in.his face. 9S Character Queen Elizabeth Age 53 (about) Type Regal and Royal Base 1% and2§ Powder 2 Liner Brown Rouge 3 General Instructions Her complexion is very pale and mask like, she wears a red wig. She is not too heavily lined, but her she- brows are faded out to a fine line high on her forehead. Character William Shakespeare Age 37 Type Kind and fatherly Base 2% Powder 3 Liner Brown Rouge 3 General Instructions Shakespeare wore a small chin beard, which may be copied from.many drawings Of him found in various texts. He may be fairly light in complexion, as one who has lived in town. He would have a few light lines at this thme, but not too Old in appearance. 96 _III. Lighting the Production The lighting which is planned for the dramatization of Master sgylark must necessarily be based on the ex- tent and limitations of the lighting facilities of the auditorium or classroom in which the play is to be pre- sented. \ Regardless of the limitations of the physical plant, however, the first step in the approach of this section of the project is the evolution of a lighting plot or general outline Of the desired lighting effects in each scene. Such a plot may be derived by group planning in the same manner as the scenery and properties are plan- ned. The class may discuss and decide what general effect is desired from each scene to reinforce the scenery in creating the prOper atmOSphere. After such a general lighting plot has been achieved, the group should consider how they can most nearly achieve the various effects with available equipment and simpli- fication of adjustment during the production. 97 Since most school auditoriums are not elaborately or even adequately outfitted with lighting equipment, the actual adjustment and manipulation of the available facil- ities will be more a matter of ingenuity than planning of complicated and involved effects. Most schools have on their stages long strips Of over- head lights called strip lights. These are often wired on three separate circuits; so that the amount Of illume ination on the entire stage area may be controlled by turn- ing on all or various combinations of the circuits. In some auditoriums each circuit is equipped with a differ- ent color of bulb or lense. The colors most commonly used are red, blue, and white. This lends even more variety to the possible effects of general illumination. With the possible addition of footlights, this constitutes the available equipment in many schools. Any special light- ing effects which are absolutely necessary for a specific production are devised in the easiest possible manner to fit the special requirement. A Fortunately the scenario of Master Skylark requires neither complicated nor special effects which should be difficult to meet in the above situation. The term.gen- eral illumination should be the keynote Of most of the lighting. The main emphasis Of change of lighting from scene to scene would depend upon whether the setting is an 98 interior or an exterior one. If the setting is exterior, the time of day and general location determine the am- cunt and kind of illumination necessary. iPIn planning the lighting for interior settings the time Of day and location again play an important part in determining the nature of the lighting, but the problem of adequate motivation of light is also added to the problem. In.modern plays this is usually solved by placing floor and table lamps about the set as properties. In Master Sk lark, however, the only possible light motivations available are natural lighting effects from exterior Open- ings such as windows and doors, and minor lighting effects such as candles, lanterns, or Open fireplaces. With such realistic motivation of light on the set, the general il- lumination may be reinforced with overhead lighting to give the desired effect from the audience. In providing the observed light motivations, the group must avoid violation of any state or local fire regulations governing the use of real fire on stage. Such regulations are maintained as a safety measure and should be Observed even at the cost of sacrificing reality of effect. The possibility of satisfactory substitution of electrical equipment for burning candles, in such a scene as the Palace throne room for instance, is evident if electrically wired candelabra, such as may be found in many homes, stores or churches at the Christmas season, are used. 99 The fire in lanterns may be eliminated by using a small flashlight in place of a candle. This can be taped into an upright position inside the shade. Open fires in fireplaces or camp fires are always faked on stage, so the group may have several ideas as to how they wish to use electrical equipment to represent such a fire. A.red bulb, red cellophane paper, or other coloring may serve as an adequate substitution for real fire. If the fire is supposed to burn briskly, an electric fan behind strips of red or orange celIOphane gives the effect of leap- ing flames. Exterior lighting motivation such as sunlight or moonlight coming in through windows and doors may also be easily effected with simple electrical equipment. Sime ple though lights made by putting a series of lights in a simple tin trough, usually slightly longer than the win- dow or door Opening. They are placed either above or be- low the Openings. The location of the trough light de- pends on the angle Of illumination desired, the strength of light is determined by the size and number of bulbs used. Exterior light may also be provided by a stand‘ light about six feet high covered with amber or blue gela- tin set Off stage and directed so that the light seems to fall through an Opening in the set. 100 The effects just described would fulfill any of the special requirements of the production Of Master Skylark. They are simple enough to be constructed by students of the Junior High School level and require no expensive equipment. If further information concerning lighting is desired, Ommanney's discusses this problem in The Stagg and School.7 7Ibid., pp. 322-331. 101 Lighting Plot Act I, Scene I, Country lane in front of Atwood Cottage General Effect: Special Effects: Act I, Scene II, Bright spring morning in April. The effect should be Of sunshine and clear, clean, country air. Main areas--center stage and front of cottage. None Interior of Blue Bear Inn General Effect: Special Effects: This interior is Often medium bright- ness of afternoon. The effect should be of modified sunlight from.the windows. Main area--Table and benches. Sunlight through upstage windows. Act I, Scene III, Upstairs sitting room of Carew Home. General Effect: Special Effects: Half-light at the beginning of the scene. Interior of London Home, with no win- dow light motivation. Fireplace, candles 102 Act II, Scene I, Throne room.of Greenwich Palace General Effect: Refined but lavish interior. Light mot- ivation from large candelabra. (Lights should be set between three quarters and full is dimmers are available). Main areas-«Throne and playing area stage right. Special Effects: Large candelabra--wired for electricity. Act II, Scene II, Garden of ShakeSpeare's Londom home General Effect: Early evening twilight which fades if possible as the scene progresses. Main areas--Space surrounding table and Benches. Special Effects: Candle or lantern on table, lantern car- ried by Heywood. Act II, Scene III, Newgate Prison General Effect: Gloomy, depressing corridor of this dis- mal jailr Light should be very dim, with no light originating from.the cells. Only light motivation is the door Opening. Main area: Space just in front of Carew's Cell. Special Effects: None 103 Act III, Scene I, A Street in London General Effect: Exterior-Qearly afternoon, not too bright, to suggest narrow streets of the town. Up- stage area very dim. Main areas--Down center and down left. Special Effects: None. Act III, Scene II, A country lane in front of Atwood Cottage General Effect: Early evening, clear beautiful autumn night. Blue lighting is the general light from.exterior motivation. Main areas-~Down left and.front Of cottage. Special Effects: None. 1011 IV. The Coordination of the Whole Production The project thus far has been discussed in small sections devoted to the discussion and planning concern- ing individual parts of the production. The parts, how- ever, must all function as integrating factors Of the com- plete production if a satisfying result is to be achieved. The process of organizing and integrating the various sec- tions into a smoothly Operating performance requires care- ful planning on the part of the teacher and'the group. Care in.planning the individual parts has already been in- dicated in each section, and the same type of.mutual agree- ment and.understanding is necessary for an effective pro- duction. The creative part of the project is finished, the OXperience of group cooperation and individual as- sumption of responsibility has only begun. Each student taking part in the production, every member of the cast and crew, should be clearly.aware of the work for which~ he is responsible. Printed work and rehearsal schedules are a great help in clarifying the project in progress. The schedules should indicate exactly what is to occur on any given date, where it is to occur, and who is to take part. This avoids misunderstandings and loss of 105 valuable time through confused last minute directions. Each student should have a copy of the schedule and a COpy of the work schedule should be posted in the work- shop. EMring the production time, that is while the dramatization is in progress, confusion backstage may be avoided by assigning each crew job to a specific individ- ual, and rehearsing the crew in technical rehearsals prior to the performance, until all bottle necks are elim- inated. The actors should be kept Off the stage during set Changes to avoid further confusion. In a production such as Master Skylark, which requires many scene shifts, careful planning of scene shifts on paper before the tech- nical rehearsal will facilitate the placement and storage of individual set pieces for economy of effort during the shifts. Aside from the general work schedule each crew should have its own plan of work to be done, and work already accomplished. The prOp crew should have a list of props required for each scene, for ease in checking at curtain time. A small table somewhere in the back- stage area will aid in the organization of small hand props. The make-up crew should plan their schedule to coin- cide with the cast in order Of appearance. A definite time schedule or appointment list will help to avoid waiting 106 and confusion before the performance. A similar plan may be followed by the costume crew in the process of check- ing out costumes. Each actor should.be responsible for seeing that his costume is returned to the costume crew after the performance. A waiting room or large dressing room.off stage should be designated as a gathering place for the cast. A call girl may be appointed to alert the cast when an entrance is near or a scene is about to begin. During the production each crew is responsible for their specific phase Of the production, and the head or chairman of that crew is in turn responsible to the stage manager or gen- eral coordinator backstage. It is the responsibility of the stage manager to check with all crew chairmen to see if all phases of the productiOn are Operating smoothly. He in turn must make decisions and indicate when each scene is ready to begin. He gives all signals as to when the scene will start, giving cues to the curtain and light crews when the stage and property crews have finished and the actors are in their places. A well organized production eliminates the strain and excessive tension backstage, as well as providing for a more effective performance. This type Of careful plan- ning gives the students an Opportunity to experience 107 successful group cooperation functioning at its best. Each member feels a strong identification with the success of the performance through his own personal sat- isfaction of having done his own job to the best of his ability; 108 Stage Manager's Cue Sheet Act I, Scene I, Country lane in front of Atwood Cottage Scenery IProps AILights Gestumes Make-up Person's in Scene: Nick, Margaret, Simon, Council members, . School boys, Players, Carew Players start scene. Noise Off stage. School boys make first entrance. End of Scene: Simon disowns Nick. Act I, Scene II, Interior of Blue Boar Inn, Coventry Seenery *PrOps Lights . Costumes Make—up Person's in Scene: At Start: Players and Inn Keeper, Gregory Enter: Carew and Nick Enter: Heywood Enter: Blacksmith and townspeOple. End of Scene: Carew settles the dispute by convincing the crowd that he is in the right. ’ 109 Act I, Scene III, Upstairs sitting room of Carew Home Scenery Props Lights Costumes Make-up Person's in Shane: Nick, Cicely Carew, Gregory, Carew, Dancing Master, Gyles, Boys.from St. Panl's At Start: Nick, Carew Enter: Cicely Enter: Carew and Gregory Enter: Dancing Master Enter: Gyles Enter: Boys from.St. Paul's. End of Scene: Carew hides money in secret panel. Act II, Scene I, Throne room.of Greenwich palace. Scenery fProps ;iights Costumes "Make-up Person's in Scene: At Start: Nick and players Enter: Queen Elizabeth and.her court End of Scene: Nick refuses Elizabeth's offer to sing in Court Choir, she says he may return home. llO Act II, Scene II, Garden of Shakespeare's London home Scenery' fPrOps Lights .53stumes Make-up Person's in Scene: At Start: Shakespeare, Jonson, and other players. Enter: Nick Enter: Heywood Enter: Player End of Scene: Shakespeare says he will take Nick to visit Carew in prison. Act II, Scene III, NeWgate Prison Scenery IProps Lights *Costumes Make-up Person's in Scene: At Start: Carew and other prisoner. - Enter: Nick and Jailer. Enter: Enter Shakespeare. Enter: Jailer. End of Scene: Shakespeare promises to look after Nick and Cicely. lll Act III, Scene I, A street in London Scenery PrOps Lights Costumes ‘Make-up Person's in Scene: At Start: Jonson, Shakespeare and Nick - Ent er : Gregory Enter: Jonson and shakespeare Enter: Gregory, Cicely, Nick Enter: Apprentices Enter: Gregory Ehd.of Scene: Children run off just as Gregory enters and escapes from.him. He turns and stamps off in anger. Act III, Scene II, A country lane in front of Atwood home Scenery Props Lights COstumes Make-up Person's in Scene: At Start: Nick and Cicely Enter: Simon Enter: Shakespeare and Players, thn Combe , Enter: Simon and Margaret, John Combe End of Scene: Everyone leaves except Atwood and Cicely. They enter the cottage happily. 112 Rehearsal Schedule Date Proposed Assignment First Week Planning of the scenario, and the playing of special parts for the establishment of pos- sible changes in the original Story. Second Week Act I. Run through scenes, checking to see that all events are worked into the scenes. Class planning for enriching the dialogue and action.through suggestion and change of per- son playing each part. Choose cast. Third Week Act II. Same as above. Fourth Week Act III. Same as Act I. Fifth Week Run through whole dramati- zation. Emphasis on standard- izing the production in line with the scenario. Work on , weak points in dialogue and transition. Establish curtain lines. Sixth week Whole play for continuity and ensemble work. No interrupt- ions. On stage. Wednesday-Technical rehearsal. Costumes. Thursday-Dress Rehearsal. Friday-Dress Rehearsal. Saturday-Performance. Prop List 113 Hand Props Furniture Banners and Flags for Players. School book for Nick. Tray of simple foot for Margaret. Small bench in front of cottage. Mugs and plates of food on Inn Table. Box of prOps for play- ers. Rough Table of the Inn. Two benches. Scripts, Large sheets of paper to represent Sides. 3 Nick's new suit of clothes-~Costume Dept., Carew carries on. Tray of food-Gregory Music for Dancing Mas- ter. Bag of Money-Carew High back chair Small table Footstool Act II 1 Fans and Handkerchiefs Throne for the peOple of the Court. Table and one 133110110 2 Glasses and Scripts on Table at beginning of scene. PrOp List (Cont'd) Act II Keys-~Jailer None. Master Players Medal- Carew Act III Bag of money- Bench outside ShakeSpeare Inn Door. Scripts, Shakespeare Bench, outside Money-Shakespeare Cottage door CHAPTER V. SUMMARY AND REC O"a"Jx-'IFE'DAT IONS The integrated creative dramatics project Which has been planned in this thesis is ambitious and time consum- ing. Such a project is usually not done more than once a year. It involves extensive planning and readjustment of routine on the part of the teacher, in addition to the extra guidance work involved in the project. Obviously, before this or any similar project is introduced, the teacher should carefully evaluate the proposed tOpic in the light of curricular requirements and.the time Which both she and the group can give to the work. With re- gard to the teacher's job in guiding such a project, Winifred Ward1 states: Whoever guides an integrated project...does not sit at:her desk and watch the children.work£ She goes adventuring with them, reading countless books to enrich her own background and to find reading material and pictures for the children, taking them on trips to see exhibits or to talk with peOple, encouraging them to compose music, to make designs, to do creative writing. She knows that "children cannot create out of a vacuum" and so she thinks of all sorts of inter- esting things to fill that vacuum. And she makes the whole project so fascinating that children are eager to contribute whatever they can to its 1Winifred Ward, Playmaking With Children (New York: D. Appleton-Century Co., Inc., 19h75, pp. ZOh-ZOS. 116 development. They talk about it at home and bring back information and prOperties. They appear with an Indian drum.they have made or a little song which will fit into some scene of the play or a costume which has wonderful possibilities in color effect. Every such integrated project means extra effort for the teacher. But it also.makes her work far more interesting and exciting than if she merely repeat- ed what she did last year and the year before. One can be sure that the teacher who talks about her work with a light in her eyes and enthusiasm in her man- ner is doing something creative. And one can'be sure, too, that ghe is having fun as well as contrib- uting a very great deal to the develOpment of the boys and girls she teaches. The project which is compiled in this thesis has as its basis the field of literature. Other sections of the curriculum Which are equally adaptable to the project method are history, social studies, art, music, and physical education. A project with a basis in historical subject mat- ter might be built around any special period the class is studying. An interesting American history project could be planned~using Caddie Woodlawn2 as the story motivation. Social studies could be taught through the folk stories of various countries. "The Dragon Fish," by Pearl S. Buck, would provide an excellent story plan for a social studies project on China. 2Carol Brink, Caddie Woodlawn (New York: The Macmillan Co., 19 ). 117 The life of one of the great painters, could serve as the basis for a project in art history. Art, in the creative sense, is used in all the projects, in the de- signing of costumes and scenery. The field of music lends itself to the study project in both the historical and social studies field. The lives of great musicians could offer an excellent Opportunity for creative dramatics study. An interesting project could also be built around the folk songs of a country. The study of folk dances of many countries would provide valuable and interesting materials for all of the historical and social studies projects and at the same time offer background on the develOpment of dance in physical education. The following stories are suggested as good mat- erials for story dramatization at the Junior High School level. They have been selected on the basis of the qualifications of Winifred Ward which were discussed in Chapter II. 1. "Ali Cogia," Arabian Nights Entertainments (David . McKay Co.). 2. "The Barring of the Door," by Lillian Hallowell, A ‘ngk'gf Childrentg Literature (Farrar and Rinehart, Inc.). ' 3. The Boy Eng M 3132 5135, by Raymond MacDonald Alden, (The Bobbs-Merrill 00.). 10. ll. 12. 13. 1k. 15. 16. 118 Caddie Woodlawn, by Carol Brink (The Macmillan Company). "The Christmas Apple," by Ruth Sawyer, Thighflgy‘gg Christmas (Harper and Brothers). A Christmas Carol, by Charles Dickens (Houghton Mifflin Company, Dodd, Mead, and 00.). "Count Hugo's Sword," by Evaleen Stein, Troubadour ‘Tglgg (The Bobbs-Merrill Co.). "The First Christmas Tree," by Henry Van Dyke, Th2 ‘Blgg Flower (Charles Scribner's Sons). Hg M m M gala, by L. A. Kent (Houghton Mifflin 00.). Johnny Tremain, by Esther Forbes (Houghton Mifflin 00.). _T_l’_1__e_ L_o_s_t_ 9.29.21} 2; _Egmt, by Lucile Morrison (Frederick H. Stokes 00.). "The Page of Count Reynaurd," by Evaleen Stein, Troubadourygglgg (The Bobbs Merrill Co.). Th2 Prince.gngmtgg Pau er, by Samuel L. Clemens (Harper & Brothers). "Rip Van Winkle," by Washington Irving, Sketch ngk (E. P. Dutton & Co., The Macmillan Co., J. B. Lip- pencott Co.). ‘ng Singing‘gggg, by Kate Seredy (The Viking Press). Treasure Island, by Robert Louis Stevenson (Charles Scribner's Sons, Rand McNally & Co.). 17. 18. 19. 20. 119 The Trumpeter 93 Krakow, by Eric Kelly (The Mac- millan Co.). What Men Live By, by Leo Tolstoy (Thomas Y. Crowell Co.). "The Wraggle Taggle Gypsies," by John Hampden, Bial- 132.3. gag Ballad Ill-Eli (Thomas Nelson 8c Sons). 19.1.1115 _F3 22 the Upper Yangtze, by E. F. Lewis (The John Winston Co. ). v" .0" ' ,l." ‘.’ .\I' y I. I‘ll. n ((llv)‘Q/' III- ("I. [I .’I. (III) .'AII‘IIA CHAPTER VI BIBLIOGRAPHY Barton, Lucy, Historic Costume for the Stage. Boston: Walter H. Baker Company, 193?. Bennett, John, Master Skylark. New York: D. Appleton- Century Incorporated, 1900. Brown, Corinne, Creative 223mg.in the Lgfl§2.§gnggln New York: D. Appleton-Century Incorporated, 1929. Burger, Isabel, Creative Playacting. New York: A. S. Barnes and Company, 1949. BurrisyMeyer, Harold, and Cole, E. C., Scenery for.§hg Theatre. Boston: Little, Brown and Company, 1938. Byrne, Muriel St. Clare, Elizabethan Life in,Town.and Country. London: Methuen and Company, 1935. Carroll, Herbert A., Mental Hygiene. New York: Prentice- Hall, Incorporated, 19h7. Cole, Natalie, The Arts in the Classroom. New York: The John Day Company, I9EO. Davis, William Stearns, Life-ig_Elizabethan Day_. New York: Harper Brothers, 1930. Dewey, John, Experience and Education. New York: The Macmillan Company, 1938. Dixon, Madeleine, High, Wide and Deep. New York: The John Day Company, 1938. Dolman, John, Jr., Thg A2: Qfi Play Enodugtign, revised edition. New Ybrk: Harper and Brothers, l9h6. Freedley, George and Reeves, John A., A_History;g£_the Theatre. New York: Crown Publishers, l9il. Goadby, Edwin, The England gf'Shakespeare. London: Cassell and Company, N. D. 122 Kunitz, Stanley J., and Haycroft, Howard, The Junior £99}; a; w. New York: H. W. Wilson Compga any, 19390 Mearns, Hughes, Creative Youth. New York: Doubleday, Doran and Company, Incorporated, 1928. Creative Power. New York: Doubleday, Doran and Company, 1929. Neilson, W. A., and Thorndike, A. H., The Facts About Shakespeare. New York: The Macmillan Company, “l9lh. Ommanney, Katherine Anne, The Stage and the School, revised edition. New York: Harper and Brothers, 1939. Quennell, Marjorie, A History 9; EVeryday Things 1g Eng- land, Three Volumes. New Ybrk: Charles Scribner's Sons, 1918-35. S - Richard, J. A., {3.3 Outline 91 mg History 9_i_'_ En an . New York: Barnes and Noble, Incorporated, l9 7. Rich, Townsend, and Shirley, John W., §_Surve 93 Drama, Ann Arbor, Michigan: Edwards Brothers Ificorporated, 1940. Rolfe, William J., Shakespeare thg Boy. New York: Harper and Brothers, 1695. ‘ Rugg, Harold, and Shumaker, Ann, The Child-Centered School. Yonkers, New Ybrk: The World Book Company, 192. Selden, Samuel, and Sellman, Hunton D., Stage Scenery and Lighting. New York: F. S. Crofts and Company, 1936. Thorndike, Ashley H., Shakes eare's Theatre. New York: The Macmillan Company, 1923. Walkup, Fairfax Proudfit, Dressing the Part. New York: F. S. Crofts and Company, 1938. Ward, Winifred, Creative Dramatics. New York: D. Apple- tonfiCentury COmpany, Incorporated, 1930. Playmaking With Children. New York: D. Appleton- Century Company, “Incorporated, 1997. 123 Theatre for Children. New Ybrk: D. Appleton Cen- tury Company, Incorporated, 1939. Washburne, Carleton, A Living Philosophy of Education. New York: The John Day Company, 19h0. Sawyer, Ruth, The Wa a1 of the Story Teller. New York: The Viking Press, 19E2. Wilson, J. Dover, Through Elizabethan Eyes: An Abridg- ment of Life n Shakespeare' 3 England, for Junior J—, Readers. New“ Ybrk: The Macmillan Company, 1939. Shakespeare's En land, Two Volumes. Oxford: Claren- don Press,-l926 . ; x USE 0 "REM I \or. ... . x)! I \ l.' o. 1 \ t. . . .. . . a. .... .4 V. . \ a- .. ~ro.-Q. .’...erfiltr 115.5%; I - v . b .4\.. ..cr... 1!} . .z .. ., ‘ W)“. V. wNHuJa.o . ‘.'}. {Tim—“J... ... . .r.. u , . .I an... \r. f». kl .. 3333\a1... ..s...6 .l, 0. l \. {61.7% .nrw~¥.lf