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A course in senior high school play production

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A course in senior high school play production

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Content A COURSE IN SENIOR HIGH SCHOOL
PLAY PRODUCTION
A Project
Presented to
the Faculty of the School of Education.
University of Southern California
In Partial Fulfillment
of the Requirements for the Degree
Master of Science in Education
by
Joseph L* Magrum
August 1949
UMI Number: EP46460
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77m project report, written under the direction
of the candidate’s adviser and approved hy him,
has been presented to and accepted by the Faculty
of the School of Education in partial fulfillment of
the requirements for the degree of Master of
Science in Education.
Date ..............
Adviser
Dean
PREFACE
Non-professional play production today is an outlet
or release phase for any age level. The desire is to
enact the historical, the comic, the tragic, the fantastic
and almost any sphere of moods in relation to living man.
Fortunately we are past the stodgy method of Victorian
drama and are arriving at the natural state of character
depiction in voice, mood, body action and temperament.
By this we mean the overt action, the pronounced gesture,
the contortionistic facial expression, has "been replaced
by following a pattern of naturalness. To understand drama
the actor must think into the rhetoric of statement and
genuinely feel the role being enacted. By a combination
of these two underlined words he surely cannot fail to
create the consistency demanded in any characterization.
In the following chapters we are endeavoring to
set a few basic principles in the field of play directing
and play acting, inclusive with a series of methods to
make these relatively easy*
in
TABLE OP CONTENTS
CHAPTER PAGE
1. "WHAT’S THE PURPOSE OP DRAMA?" How to
capitalize on drama in high, school ..... 2
2. "THE PLAY’S THE THING.’" How to select
your play ........... 7
3. "YOUR ACTORS SHOULD PIT THE PART" How
to conduct lively tryouts ......... 12
4. "DO NOT DRAG OUT YOUR PLAY" How to
minimize rehearsal time .......... 17
5. "IS YOUR PLAY PROGRESSING?" How to
activate your players to reality ........ 23
6. "CAN I DO THIS PLAY ALONE?" How to
organize a staff of committees ....... 28
7. "WE CAN’T PLAY TO AN EMPTY HOUSE" How
to publicize your play......... 34
8. "WHAT ABOUT THE SETS, THE LIGHTS, THE
STAGE DESIGN?" How to use stage materials • 38
9. "THIS PRODUCTION NEEDS DRESS, MAKE-UP"
Hovr to apply wearing apparel, stage
make-up............... 45
10. "THIS IS OPENING NIGHT, LET’S HAVE A
FINISHED PRODUCTION" How to achieve a
professional atmosphere ..... ........ 52
BIBLIOGRAPHY......................... 58
Figure 1,
DRAMATIC ARRANGEMENT OF YOUR HOME AND PERSONALITY
2
CHAPTER 1. ”WHAT*S THE PURPOSE OP DRAMA?”
HOW TO CAPITALIZE ON DRAMA IN HIGH SCHOOL,
A. MOTIVATION; Rewards that result from drama participa
tion in high, school plays,
1. Self-reliance: You will have more confidence in
yourself by public appearance#
2. Self-release : You will overcome inhibitions by
an assured, liberated personality#
3# Social prestige: You will be in the social pattern
as a good mixer*
B. PRESENTATION: The problems in the purpose of drama
and some hints toward solution.
1# How to make drama production a success.
a# Find out what you enjoy doing most and best.
Do itl (The needs are many to make the play
an entity.)
b. Enter into this with spirit and not for glory.
(Only your accomplishments are known to a few.)
c. Be aware of the over-all production needs.
Back stage, on stage, the house are pivotal
balances toward a successful evening.)
d. Assist the director in doing the menial tasks*
(Maintaining discipline at rehearsals, keeping
the stage clean and orderly, stacking temporary
3
props in one place, having a notebook handy
for file and reference are a few suggested
points.)
e. Be active in suggesting helpful aids. (Your
ideas may create an entire different phase
toward play coordination.)
f. Consult textbooks on drama in the past and
present. (You will be in the advantageous
position of knowing theatre. as the person,
not as the runner up.)
g. Station a responsible person back sta&e.
(Smoking, petting, petty vandalism, may cost
you a responsible position in dollars, in
repair bills. These denote the success of
your endeavors.)
2. How to use your knowledge of drama beyond high
school.
a. Meet everyday situations by a good, pleasing
speaking voice. (You learned how to develop
it, now use it I)
b. Combine your stage experience with day to day
problems.
c. Be direct and positive as you had to be in
drama presentation.
d. Aim to exert an exhibitive, pleasing person
ality from your play participation.
e. Plan a pre-arranged dramatic study in making
employment application and what is needed to
secure that position. (It will be yoursi)
f. Enjoy playgoing as a less expensive, more
regular and more intelligent diversion.
g. Study the psychology of personality in char
acter and mood. (The manners and motives of
those about you need to be known.)
h. Help others in their quandaries and perplex
ities. (You cannot live alone in this tumul
tuous universe. They, in return, will help
you.)
C« PERFORMANCE: Suggested activities.
1. Attend a professional stage performance, visit
back stage, write down the multiple tasks that go
into it. Use these for knowledge toward your next
performance as a success.
2. Make a check-rlist of all the defects in your
theatre auditorium, on stage, back stage. Submit
these as needed improvements toward successful
drama presentation. ‘
3. Plan a presentation with a good morale. Give the
5
proceeds to some worthy charitable cause.
D. EVALUATION: Some types of check-ups which may be
applied to your handling of the presentation step in
teaching.
1. TRUE-FALSE: Put X in the correct space for true
or false.
T P
a* ( )( ) Without entity drama has no unity.
b. ( )( ) Public appearance should'result in
individual confidence.
c. ( )( ) Exhibitionism should create a liberated
personality.
2. RATING SCALE; Give yourself an X on each item on
which you meet the standard.
a. ( ) Have you found the task you are best able
to do?
b. ( ) Are you only a single task individual?
c. ( ) Does your personality rate in everyday
life from play participation?
d. ( ) Are you living in a shell or out doing
good for others?
( ) Do you use every means possible by con
sulting sources of information?
f. ( ) Do you "talk up" to others from your
stage experience?
6
E. RELATED READING: Some helpful aids in selected books
on this chapter*
1. Baker, George Pierce; Dramatic Technique. Houghton
Mifflin Co., Hew York, 1919.
2. Burton, Richard,; How to See a Play. The Macmillan
Co., New York, 1921.
3. Kaiser, J.W.: Introduction to the Study and
(Interpretation of Drffima. N.V. Surets and
Zeltlinger, Amsterdam, 1929.
4. Strong, L.A.G.; Common Sense About Drama. Alfred
A. Knopf, New York, 1937.
7
CHAPTER 2, "THE PLAY'S THE THING!"
HOW TO SELECT YOUR PLAY
A. MOTIVATION: Benefits that come from choosing good
plays for the High, school curriculum.
1. Play reading knowledge: You gain on insight in
many play plots and will recognize the merits of
wise selection*
2. Better business sense: Your contacts will lead
you to know better publishing houses and their
choice of selection*
3* Surety of success: Your wise selection will give
you confidence that your play will rate as an A-l
production.
B* PRESENTATION: The problems in play selection and some
helpful aids toward solution*
1. How to choose a good play within your budget.
a. Set up a definite sum to spend and keep within
it, (Watch that expense account.)
b. Send for all the known publishing house
drama catalogues,
c. Choose from these the best and most inexpensive
play.
d. If possible, select a play by a well-known
playwright. (His drama technique is audience
8
insurance.)
e. Determine the selection on a time limit "basis,
(Audiences tire of a lengthy performance.
Wise choice creates the desire to come again,)
f. Designate a finance committee, (Itemize a
general list of needed expenditures,)
g. Consult the school board on financing your
drama season, (Intelligent approach may lead
to their underwriting expense.)
2. How to select a play that has a good message,
a. Choose a play with a good, wholesome plot*
b. Teach your audience as well as entertain them.
c. Eliminate blasphemy. (Profanity, cusswords,
shady meanings are offensive.)
d. Curtail plays depicting divorce, infidelity,
murder, suicide, vice. (These certainly are
not for secondary education.)
e. Read your play several times as a check-up for
any of the above-mentioned statements.
f. Use past knowledge Imparted to you, if you are
the sole individual who chooses the worthwhile
play.
g. Organize your play with the higher motives
toward morale and discipline during rehearsals.
9
h. Know what your audience likes "best, (A play
with a good morale or lesson is well chosen
adult introduction,)
C. PERFORMANCE: Suggested activities.
1. Outline your drama season with a variety of plays
you propose to produce, -
2. Send for catalogues and analyze what publishing
house can give you the best budgeted financial
arrangement in selection. Divide this work among
the class members,
5, Survey your community on their choice of plays for
the season. Tabulate results thus enhancing your
box-office,
4, Arrange various methods of financing your selected
play by group arrangement on a competitive basis,
D. EVALUATION t Some types of check-ups which may be
applied to your handling of the presentation step in
teaching,
1, True-False: Put X in the correct spaces for true
or false,
T F
a* ( )( ) Basically you should entertain if you
want to perpetuate the lesson or morale
in the plot.
10
b. ( ) ( ) To get strong appeal and performance
success you should increase the length
of the play,
2. Best answers Put in parentheses the numbers for
the best answers.
a. ( ) Your financial budget should have; (1)
Sufficient funds, at least, to cover two
plays, (2) A limited expenditure within
your means, (3) An underwritten expense
account by the school board. (4) Enough
money to purchase necessary items,
b. { ) The drama season should consist of: (1) A
series of full evening plays* (2) Two
full evening plays. (3) A variety of
plays. (4) A well-rounded selection of
melodramas.
E. RELATED HEADING: Some helpful aids in selected books
on this chapter.
1. Smith, Milton Byers: Guide to Play Selection.
D. Appleton-Century Co., New York, 1943,
2. Strong, L.A.G.: Common Sense About Drama.
Alfred A. Knopf, New York, 1937,
XI
Figure 2,
"YOU DO IT THIS WAY1 1
12
CHAPTER 3, “YOUR ACTORS SHOULD PIT THE PART"
HOW.TO CONDUCT LIVELY TRYOUTS
A. MOTIVATION: The rewards that oome from knowing the
ability of people to portray drama,
1. Sena© of evaluation: You will be able to judge
standards of Human emotions better*
2. Study of Humanity: Personality tests of individ
uals will be analyzed by your tryout rehearsals*
3. Qualified leadership: Yours is one of sole
responsibility toward the success of your venture*
B. PRESENTATION: The problems in drama tryouts and some
helpful aids toward solution*
1, How to select people for your cast.
a. Search the field for available talent before
tryouts* (This will eliminate many handicaps.)
b. Arrange a schedule of tryout rehearsals*
c. Announce the time and place. (The school
paper, the daily circular, the bulletin board
are all helpful in getting interest.)
d. Have your people stand in trying for parts*
(This gives more freedom both f0r body and
voice.)
e. Make every friendly approach to get your
group into an uninhibited unit* (There will
13
be a better release In all present.)
f• Be certain that everyone has read a part.
(This motivates discovery of hidden talent.)
g. Distribute sufficient copies of the play.
(Reading will be easier and self-expression
better by each person handling his own script.)
h. Take plenty of time for tryouts. (Remember —
.a well-chosen cast is half your work done!)
How to place people in the proper role#
a. Type ca3t to suit the part. (Size, weight,
height, voice, personality are important
coordinators.)
b. Select individuals who can portray the mood
of the play. (Comedy, tragedy, melodrama,
fantasy are singular in drama and need defi
nition. )
c* Avoid the temperamental person, the "stage-hog"
the "show-off." (Play directing is difficult
in itself without this matter.)
d. Have many people read the same role. (This
process eliminates "the wheat from the chaff.")
e. Select the most important scenes for the major
• role tryouts. (Your leads require skill and
adaptability toward play unity.)
14
f« Stress the importance of minor roles, (To
many these are insignificant, hut oftentimes
are scene stealers,)
g* Feel that your play is the motivating force
in the curriculum, (Students will persevere
by your Intensity and become more interested
in play tryouts,)
C, PERFORMANCE; Suggested activities,
1, Conduct tryouts giving the students the opportunity
to select the play cast. Evaluate, analyze their
decisions,
2, Plan a program of straight and character study
acting. Choose the individuals who can do the
best portrayals and keep a check list of their
talent and characterizations,
3, Create imaginary scenes portraying local characters.
(In pantomime with the use of hands, feet, eyes
and facial expression accentuated.
D. EVALUATION: Types of check-ups which may be applied
to your handling of the presentation step in teaching.
1. True-False; Put X in the correct space for true
or false,
T F
a. ( )( ) You should evaluate personality before
15
caating rather than daring tryouts.
b. ( )( ) Part selections should require an
intense study of psychological and
human emotions.
c. ( )( ) Group reaction should be based on
the director’s disposition.
2. Rating scale: Put X in the items for which you
can qualify*
a. ( ) Have you searched the field for all avail
able talent?
b. ( ) Are you prejudiced against certain indi
viduals and refuse to have them tryout?
c. ( ) Is your attitude one of friendliness,
good cheer?
d. ( ) Do you type cast to suit your own needs
or the play as a whole?
e. ( ) Are you psychologically conscious of
proper selection?
f* ( ) Are your trends on emphasizing major
roles rather than the minor parts?
E. RELATED READING: Some helpful aids in selected books
on this chapter.
1* Craig, Edward Gordon: Toward a Hew Theatre.
J.M. Dent and Sons, Ltd., London and Toronto, 1915
Drew, Elizabeth A. : Pis cover ing Drama. W.W.
Worton and Co., inc., New York, 1937#
Stauffer, Ruth Matilda: The Progress of Drama,
The Macmillan Co., New York, 1927.
17
CHAPTER 4. "DO NOT DRAG OUT YOUR PLAY"
HOW TO MINIMIZE REHEARSAL TIME
A* MOTIVATION: Rewards that will toe yours by scheduling
limited rehearsals.
1. Effort saving: You will conserve energy "by select
ing your play date in a minimum of rehearsals*
2. Sense of timing: You will find thi3 invaluable
in future obligations, your job, your social life,
your adherence to a pattern of correct living*
3. Habit forming: You will set any task as primary
to meet conclusive results.
B. PRESENTATION: The problems of accurate rehearsal
schedules and some helpful aids toward solution.
1. How to limit play time.
a. Calendar your play year from the beginning of
the first school month. (Your play dates
should be written in on the school calendar
months. Hold to them!)
b. Check as to your time In using the stage and
auditorium. (You’ll avoid conflict, have
better personnel relations.)
c. Do not extend rehearsals beyond four weeks.
(You lose the desire for play continuity.)
18
d. Rehears© every night If you are using a mini
mum of time, plus Sunday afternoons,
e. Have a student director hold script for you,
(This enables you to watch action, while he
writes your suggestions in the directorfs
manuscript,)
f. Keep a series of scene rehearsals active back
stage, (A responsible prompter can aid you
in promoting and bettering lines,)
2, How to study lines,
a. Visualize first where scene and business
takes place.
b. Do not suppress your natural impulses, (Being
natural is very necessary. It is "you” per
sonally in the character,)
c. Do not be inhibited. (An uninhibited body is
necessary for a vital, colorful depiction
of portrayal.)
Think into your lines. (By thought provoca
tion you can build many ideas enriching the
goal toward empathy. Study the basic content
of your speeches, for punctuation, mood, voice
placement, physical action, definition of
character.
19
e. Peel your lines* (Sublimate your whole being,
your will, your spirit to the part being enacted*
This means removing yourself from the ’ 'you*1
present to the reality of the portrayal. Place
yourself actually present in the situation and
concentrate on the surroundings• This is not
easy; it is complete transition. Once you
have it, hold it. Rehearse it many times for
perfection.)
f. Pick the key words of a sentence, of a speech
and then memorize them in the image of the
scene. (Drill, drill, drill A.M. and P.M.
Don't count sheep before retiring; rehearse
your lines.)
C. PERFORMANCE: Suggested activities.
1. Rehearse the difficult scenes of your play, by
drilling lines, by body movement, by facial ex
pression to convey details for a unified show.
2. To enact your characterization place your whole
being in a transitory state (this requires prac
tice and time) then proceed with an analysis of
depiction.
3. Plan and schedule each act basing the absolute
needs for finesse and polish needed by the
players In a limited set time*
D, EVALUATION: Some types of check-ups which, may be
applied to your methods of relating presentation to
your teaching*
1. True-False: Put X in the correct space for true
or false.
T F
a. ( )( ) Your play season should begin with your
first rehearsal.
b. ( )( ) Full evening plays should be rehearsed
at least six weeks.
c. ( )( ) The stage and auditorium should be
solely used for drama rehearsals and
production.
2. Best answer: Put in parentheses the numbers of
the correct answers.
a. ( ) The best manner in which to limit play
time is : (1) Rehearse at your leisure .
(2) Set rehearsal dates on a limited
schedule. (5) Continue rehearsals as
long as needed. (4) Only rehearse when
your characterization is a finished reality.
b. ( ) You acquire the best memorization of.
lines by: (1) Reading your script with
the players. (2) Attending all rehearsals.
21
(3) Motivating yourself to study lines*
(4) Consistent, drill and practice in
feeling and thinking into the character
ization*
IS. RELATED READING-; Some helpful aids in selected hooks
on the chapter.
1* Colvon, E*B.: Face the Footlights* McGraw-Hill
Publishing Co*, Hew York, 1940.
2. Franklin, Miriam A. s Rehearsal. Prentice-Hall,
Hew York, 1942.
'3. Lees, Lowell C.A.: A Primer of Acting. Prentice-
Hall, Hew York, 1940.
2Z
Figure 3*
BRIGHTEN UP YOUR ACTORS, YOUR STAGE
23
CHAPTER 5* 1 1 IS YOUR PLAY PROGRESSING?"
HOW TO ACTIVATE YOUR PLAYERS TO 'REALITY
A. MOTIVATION: Rewards that result in bringing realism
to your drama participants,
1. Realistic approach: The spontaneity of your play
is enlivened to visualize characters and scenes.
2. Ardent progression: Nothing is accomplished with
out effort through a series of learning techniques.
In these we progress.
3. Concentrated thinking: Our learning is directed
by alert thought in line and scene continuity.
B. PRESENTATION: The problems in drama sequence and some
hints toward solution.
1. How to sustain a continuity of rehearsals.
a. Begin your first rehearsal and all others on
a scheduled time. (There always will be
laggards. Discipline late comers.)
b. Give to all cast members, staff members a list
of rehearsal dates. (Nothing should inter
fere in this plan.)
c. Have a reading rehearsal for familiarity of
knowing p^ot, and place the character image
before them. (This will overcome any visible
shyness.)
24
d. Conduct a walking rehearsal next. (Plan each
scene by plotting movement, stationary
position and proper entrances and exits.)
e. Build each scene for climactic results, i.e.,
never over play or under play characters.
This requires sense of knowing theatre values
from a prolonged study*
f. Forge your players into unit naturalness.
(As any one converses, so should they set
imagination, picturing mentally and physically
realism and genuineness.)
g. Do not permit the use of scripts after the
first week.
h. Purchase your script copies so that they will
be available at least two weeks before your
first rehearsal. (This should be a sufficient
memorization period.)
2. How to keep the play from becoming dull^ ? common
place •
a. Strike a note of intense enjoyment in your
assignment. (Go at it wholeheartedly, making
each player realize his real worth.)
b. Permit the cast to give worthwhile suggestions
and constructive criticism. (You gain insight
25
through, the eyes of others*)
c. Design the stage setting with their assistance,
(They will he more at home in surroundings
of their own choosing and liking*)
d. Plan a get-together after rehearsals* (A
period of refreshments at least once weekly to
disuuss good and bad points and play progress
will instigate continued interest.)
C* PERFORMANCE; Suggested activities.
1* Enact a real life experience that has factual
situation in it. Stimulate the class by a zealous
dramatization.
2. Select the more difficult scenes of your next play
working out the pattern of progression to vivid
reality.
3* Contrast the study of two hard-to-do character
studies. Work, drill and practice to emulate
concrete detail. Continue with others. Evaluate,
analyze, criticize for theatrical use.
D. EVALUATION: Samples of check-ups which maybe applied
to your handling of the presentation step in teaching.
1. True-False: Put X in the correct spaces for true
or false.
T P
a, ( )( ) The best manner to conduct rehearsals
Is to begin on schedule,
b, ( )( ) You should have a rehearsal calendar only
for committee and players * use,
c, ( )( ) Character portrayals should be so
designated as to be acted straight.
Hating scale: Put X in the parentheses for the
items which you can qualify,
a, ( ) Do I begin rehearsal dates on time?
b, ( ) Did I make a rehearsal calendar and have
it available before tryouts were held?
c, ( ) Were my rehearsals so well planned that
time of cast members was not wasted?
d, ( ) Did I follow a pattern of conducting
reading, scene acting, walking rehearsals?
e• ( ) Have I permitted worthwhile and construc
tive criticism?
f, ( ) Have I asked for all the cooperation pos
sible?
g, ( ) Have there been scripts available for all
characters?
h, ( ) Am I the ‘ 'slave-driver type" or do I
allow for social recreation and fun?
27
E. RELATED READING-: Some helpful aids in selected books
on this chapter's materials
1. Dillon, Josephine,: Modern Acting, Prentice-Hall,
New York, 1940,
2* Merrill, John: Play-making and Plays, The Mac
millan Co*, New York, 1930*
3* Strong, LiA«G.: Common Sense About Drama*
Alfred A* Knopf, New York, 1937*
28
CHAPTER 6. 1 1 CAN I DO THIS PLAY ALONE?”
HOW TO ORGANIZE A STAFF OF COMMITTEES.
A. MOTIVATION: Rewards that result from good selection
of committee groups.
•1# Greater satisfaction; You will Have more time
(peace of mind) to direct the action of the play.
- 2. Smoother performance: The play will have better
coordination in all group activities.
B. PRESENTATION; The problems in committee organization
and hints toward their solution.
1. How to choose faculty and administrative assistance.
a. Arrange for a meeting of faculty and admini
strators especially from the departments where
you will find help necessary.
b. Consult with the instructor in stage mechanics
for supplies needed and construction of sets
and materials.
c. Have the music instructor witness several
- finished rehearsals to create selections fit
ting end proper for your presentation.
d. Contact the art director for making posters,
banners, program design;; euts^
e. Arrange with the audio visual department for
photographs needed for publicity and for
29
photography during and after the performance.
f. Plan to use the services of the home economics
department for make-up and dress committees.
(It will give them knowledge of the use of the
needle, shears, sewing machine and : how to
correctly apply stage make-up.)
g. Have the principal aid with faculty cooperation.
(He will be able to ’ ’ iron out" many difficul
ties connected with your job.)
h. Maintain a faculty member backstage the night
of the performance. (You will have better
conduct, certain discipline.)
2, How to secure student aid committee workers.
a. Organize a drama club the beginning of the
school year. (All will not want to act. Many
will enjoy doing the multiple tasks required
in production.)
b. Place at least two prompters on each side of
the stage, visible to the players. (These can
be stationed by the proscenium arch.)
c. Check your club for a live wire business
manager.. (He is the head of the front of the
house. ■ Temperature regulation, seating com
fort, usher check-up are a few of his tasks.)
30
d, Be certain of other wise selections, (Your
stage manager, ticket manager, chief electri
cian, sound effects manager, call hoys are
your special job.)
e, Do not forget to choose an efficient student
director* (His script carries all your directed
notations as the rehearsals progress,)
C. PERFORMANCE: Suggested activities,
1* Direct the students as heads of the various fa
culty departments and assign working tasks as a
responsibility for your play success,
2, Plan the town little theatre featuring the needs of
good committee organization to make it an , f out-and-
out, going1 1 civic enterprise*
3, Make a complete chart of the whole committee
arrangement and the duties of each working section,
D, EVALUATION: Oheck-ups which may be applied to your
handling of the presentation step in teaching,
1, True-False.; Put X In the correct spaces for true
or false,
T F
a. ( )( ) Departmental advisement should be under
the director’s jurisdiction,
b, ( ) ( ) You should use the departments of the
31
curriculum necessary for play presenta
tion,
c. ( )( ) The business agent should handle stage
materials and properties,
2, Best answer: Put in parentheses the numbers of the
correct answers.
a. ( ) The best policy of directing faculty
committee work is to: (1) Read the play
script thoroughly, (2) Maintain play pro
duction as a part of the curriculum,
(3) Attend as many play rehearsals as pos
sible, (4) Combine as a group in meetings
for play unity,
b, ( ) Student committee organization in drama
should be: (1) Regulated by the faculty
solely. (2) Unified by the director's
assistance, (3) Promoted for school
spirit, (4) Evaluated for extra-curricular
purposes,
E, RELATED READING: Some helpful hints in selected books
on this chapter,
1, Brooks, Cleanth: Understanding Drama, H, Holt
and Co,, New York, 1946,
Ellis-Fermor, Una Mary: The Frontiers of Drama.
Oxford University Press, Mew York, 1946,
Stauffer, Ruth Matilda: The Progress of Drama.
The Macmillan Co., New York, 1927.
Figure 4.
STREET CORNER SELLING TICKETS
34=
CHAPTER 7. "WE CAN’T PLAY TO AN EMPTY HOUSE"
HOW TO PUBLICIZE YOUR PLAY
A. MOTIVATION: Benefits that will be yours in good publi
city for play success,
1, Greater satisfaction: A full Louse qualifies your
hard earned efforts in advertising the play,
2, Stimulated performance: The players will do their
best work to a capacity house,
3, Audience reception: A packed auditorium tends for
future capacity houses again and again.
B. PRESENTATION: The problems of publicizing drama and
some helpful aids toward solution,
1, How to promote publicity for a successful play night,
a. Chart the several methods of advertising your
play through your publicity manager,
b* Secure newspaper write-ups, {This medium
catches the multitude, A story on the plot,
another about the hero and heroine and still
another on the cast motivates attendance.)
c. Sell your play to a sponsor for radio time
over your local station, (A few minutes broad
cast every hour is an excellent sales point.)
d. Circulate letters and post cards via mail with
sketches and clever phraseology, brief and to
35
the point,
e. Photograph your players and place their pic
tures on display in a prominent downtown store.
2* How to sell your play.
a. Select the best talent from the art class to
design posters and banners. (Place them in
store windows and other eye-catching spots.)
b. Edit hand bills for house-to-house distribution.
(Give sufficient information on these with
showmanship flair to induce interest.)
e, Sell advertising space on programs and on
tickets*
d. Organize a large staff of ticket sellers.
(These can be divided into groups, each select
ing an area of the town to canvass thoroughly*
Your best hours for this are in the early
evening.)
e. Secure a sound truck with members of your cast
aboard touring your town. (Costumes, make-up,
music are good audio-visual aids and will bring
out the crowd.
C. PERFORMANCE: Suggested activities.
1. Have classmates submit ideas and illustrate these
on the blackboard, on posters, banners and hand-
36
bills for better publicity*
2. Divide the class and promote ideas for selling
tickets. Favor the winning side with an award.
3. Each individual submit new ideas to advertise or
publicize your forthcoming dramatic production*
Combine these, evaluate, reject, discard, accept
the best.
P. EVALUATION: Types of testing which may be applied to
your handling of the presentation step in teaching*
1. . True-False: Put X in the correct spaces for true or
false.
T F
a, ( )( ) You should advertise your play by the
charting method.
*>•()() You should secure the best publicity
by television,
c. ( )( ) Advertising should be a good means to
promote public relations in school
departments.
2, Rating scales Put X in the parentheses for the
items on which you can qualify*
a* ( ) Are you using only one method to advertise
your play?
b. ( ) Do you contact the local news office for
additional publicity?
37
c* { ) Are you motivating your players to the
utmost hy better publicity?
d. ( ) Are you backing an ardent ticket campaign?
e* ( ) Are your efforts at work with the art
department?
f. ( ) Have you tried every available means to
sell your play?
g» ( ) Are you checking on advanced ticket sales
and urging more sales?
E« RELATED READING: Some helpful aids in selected books
on this chapter.
1* Davis, Eugene C.: Amateur Theatre Handbook.
Greenberg Publishing Co., New York, 1945.
2. Perry, Clarence A. : The Work of the Little Theatre..
Russell Sage Foundation, New York, 1933.
38
CHAPTER 8. “WHAT ABOUT THE SETS, THE LIGHTS,
- THE STAGE DESIGN?1 *
HOW TO USE STAGE MATERIALS
A. MOTIVATION; Benefits that will be yours in correct
stage setting and proper lighting,
1* Sense of color: Harmony in hues and blends gives
proportionate shade and tone to your setting,
2, Proper stage arrangement: Knowing what to use and
how much variety sustains a pleasing balance from
any angle is satisfied drama conformation.
3. Equality of lumination: Lighting heightens scene
impressiveness bringing reality to the actor's
portrayal and to the entire stage setting.
B. PRESENTATION: The problems in staging drama and
helpful aids toward solution.
1. How to set the stage,
a. Portray the setting a play calls for. (These
three general types: (1) Drapes with set
pieces, (2) Cyclorama or. curtain sets. (3)
The box set.
b. Alternate your drapes and sets. (The latter
lashed together and known individually, as
flat pieces are usually used for doors, windows,
archways. This gives balance and correct for
mation.
39
c. Let the cyelorama drapery touch but not drag
on the floor* (The cyelorama extending around
the stage should be of neutral gray or a
medium shade of tan.)
d* Fashion your box sets from white pine lumber
and unbleached muslin cloth covering, the
frames built to the director’s set specifi-
cat ions•
e. Use only straight, well-seasoned lumber*
f* Place door and window flats in the hands of
the stage mechanics class, (This requiring
accuracy, should be supervised by the stage
mechanics instructor. This class can also
build benches, garden sets, fireplaces, trees,
platforms of various levels, in fact every
thing needed on stage.)
g. Paint the flats with Kemtone, calcimine, or
casein paint, (Prior to painting, after the
muslin has been securely stretched and tacked
onto the flats, brush the material with a cold
sizing. Let dry, then apply paint,
h. Buy the colors you need in paint. (Do not try
to mix them yourself if you are an amateur
and have not previously experimented.)
40
How to light the stage.
a. Keep in mind these four objectives when arrang
ing the lights for a play.
(1) Illumination. (Light your stage without
causing eye fatigue to actors and audience.)
(2) Locale. (Lighting helps to reveal time
of year or day, or whether the setting
is a coronation ball or a barn dance.)
(3) Composition. (Light and form are brought
to scenery through lighting. gives
dimensions, depths, reveals contours of
faces and figures.)
(4) Mood. (Shadows and deep colors show
tragedy while comedy is revealed by much
light.)
b. Remember that there are two mediums through
which we achieve these objectives*
(1) General lighting. (The footlights and
overhead borders are sources which provide
the over-all.Illumination.} They are used
at low intensity for blending pools of
light.)
(2) Specific lighting. (The spotlights are
trained on areas to create mood and
psychological effects.)
41
c. Know the capacity load of all lines# (Check
wattage on each line.)
d. Make all connections tight.
e. Splice wires so as to permit no shorts.
f. Secure a dimmer or rheostat for proper control
of all lights.
g. Collect buckets, gallon cans, for shaping into
reflectors.
h. Buy plugs, sockets, fuses, bulbs, gelatin,
wire, and other sundry articles needed for
replacement s•
C. PERFORMANCE: Suggested activities.
1. Design the next set of the play to be presented
according to the director’s specifications and
measurements•
2. Build a miniature stage and furnishings. Create
various period settings to study theatre of the
past for first-hand experience to use.
3. Buy, mix and blend paints as a trial experience.
Use your knowledge on set production pieces.
4. Experiment with wiring the stage under proper
supervision, for color combinations, day and
night effects. Use these in a demonstration for
a coming production with borders, footlights,
42
spotlights and reflectors,
D. EVALUATION: Samples of testing which may he applied
to your handling of the presentation step in teaching,
1, True-False: Put X in the correct spaces for true
or false,
T F
a, ( ) ( ) Only a cyelorama should he used for
stage productions,
b, ( )( ) The box sets are only feasible for
outdoor settings,
c, ( ) ( ) Any kind of lumber should be useful
for building a cyelorama*
d, ( )( | Use green lumber only because it sets
well*
2, Best answer: Put in the parentheses the numbers
of the best answers,
a, ( ) . The best policy regarding stage settings
is to: (1) Portray the setting a play
calls for. (2) Set the stage in powder
blue cyelorama patterns, (3) Use only
trimmed lumber for cyelorama settings,
(4) Construct sets with only a satisfactory
material covering*
b, { ) When lighting your stage you should:
(1) Eliminate footlights because of glare*
43
(2) Highlight scenes with a battery of flood
lights* (3) Secure a dimmer to control
lights* (4) Train your spotlights away
from players to avoid glare.
B* RELATED READING: Some helpful aids in selected books
on this chapter.
1* Burris-Meyer H, and Cole, E.C.: Scenery for the
Theatre. S.S. Crofts, Hew York, 1938*
2* Davis, Eugene C*: Amateur Theatre Handbook.
Greenberg Publishing Co., Hew York, 1945.
3. Fuchs, Theodore: Stage Lighting. Little, Brown
Publishing Co., 1929.
4* Nelms, Henning: Lighting the Amateur Stage.
Theatre Arts Magazine, 1938.
5. Richter, H.P. : Practical Electrical Wiring. New
York Business House, New York, 1939.
6• Ridge, C.H. : Practical Stage Lighting. Pitman
Publishing Corp., New York, 1935.
44
Figure 5.
"MY FACE IS MY FORTUNE"
45
CHAPTER 9. "THIS PRODUCTION NEEDS DRESS, MAKE-UP"
HOW TO APPLY WEARING APPAREL, STAGE MAKE-UP
A. MOTIVATION; Benefits that will be yours in knowing;
proper attire and facial application,
1* Better acting: Costumes contribute greatly to the
actor’s ability to do his best role,
2, Sense of values: Color and harmony blend to make
a finished performance. You will also learn the
use of accessories with dress.plus correct make-up
aids,
3, Uniformity: An over-all, smooth combination of
materials on stage adds to audience appeal, are
restful on the eyes,
B. PRESENTATION: The problems in the costuming and
make-up and some hints toward their solution,
1, How to dress for stage appearance,
a* Remember the period of the play, (In plays
requiring special period costuming, the acces
sories, shoes and jewelry should receive
special attention. Don’t be guilty of actors
appearing in a medieval play wearing modern
bracelets, rings or wrist watches,)
b. Be aware of the season in which the play takes
place, (A very appropriate winter costume
46
may not be at all useful in a summer garden
scene*)
c* Take heed of the age and type of your charac
ter. (Certain colors are associated with
youth, others with age* Vivid personalities
choose striking colors, retiring persons
select more subdued tones.
d. Learn what colors you111 need for the best
effects under actual performance lights.
(Lights can play unexpected tricks with beau
tiful costumes.)
e. Harmonize your colors in the various costumes.
(This creates good stage pictures.)
f. See that colors of scenery, properties, and in
costuming do not clash. (It is important to
study this, otherwise the effect is lost.)
g. Do not mix or throw costumes together hap
hazardly. (Costumes may be realistic, conven
tionalized, stylized, symbolical or decorative.
Keep them in order.)
h. Hang them carefully after removal, and all
accessories should be kept together for each
costume. Store them carefully where they will
not be damaged.)
47
How to organize a make-up unit.
a. Ask the make-up chairman to conduct many re
hearsals to get correct application*
b. Have the make-up staff attend at least one full
length rehearsal.
c. Be sure you have arranged for a make-up re
hearsal under actual light conditions.
d. Outline the purpose of make-up on the stage*
(1) To aid the audience to distinguish between
actors.
(2) To counteract the "washed out" paleness
caused by stage lights.
(3) To help in heightening outstanding char
acteristics of each character.
e. Check the last statement. (Outdoor workers,
athletes, etc., should have ruddier complex
ions than indoor people. Very old people
will usually have sallow complexions, gray
or even white hair. Each character’s chief
traits must be noted. Ask yourself is the
character mean, surly, dissipated, sad, crafty,
kind, timid, lively, bold, exotic, very
glamorous, etc.)
f* Purchase the basic equipment necessary. (Cold
48
cream, mineral oil, facial tissues, paper
stamps, package of round toothpicks, scissors,
cotton, clean powder puffs or rubber sponges,
a baby’s hairbrush to remove excessive powder,
without disturbing lines, a rabbit’s foot,
the only thing for applying dry rouge, face
powder of various colors.)
g. Experiment with these to get the proper tone,
color and effect.
C. PERFORMANCE: Suggested activities.
1. Compile scrapbooks of costumes of all periods, a
valuable guide to any stage production.
2. Prepare a dress ensemble from a study of color and
harmony in accessories and right attire for your
classmates' perusal and criticism* Evaluate use.
3. Practice make-up on one another of many character
izations using straight and character make-up
studies. Next begin the make-up work for the
coming show.
P. EVALUATION: Methods of testing which may be applied
to your handling of the presentation step in teaching.
1# True-False.
T F
a. ( )( ) Dry make-up is the best application
49
for acting purposes*
b. ( )( ) Rouge should he applied with a soft
powder puff*
c« ( )( ) Character make-up should have a base
foundation and lines*
2. Best answer: Put in parentheses the numbers for
the best answers.
a, ( ) Costumes should be: (1) Kept in order by
a wardrobe mistress. (2) Patterned after
the latest styles. (3) Worn to suit actor,
(4) Be of expensive style and material,
b. ( ) Correct make-up should be applied: (1) By
a faculty committee. (2) By the director
of the play. (3) By a make-up artist*
(4) By the student in costuming classes,
E. RELATED READING: Some helpful aids in selected books
on this chapter*
1. Barton, Lucy: Historic Costumes for Stage.
Walter H. Baker Co., Boston, 1935.
2* Chalmers, Helena: The Art of Make-Up.
D. Appleton-Century Co., Hew York, 1940.
3. Corson, Richard: Stage Make-up* S.S. Crofts,
Hew York, 1942*
Sage, Elizabeth: A Study of Costume. Scribner
Magazine, New York, 1926*
Walkup, Fairfax Proudfit: Dressing the Part.
S.S. Crofta, New York, 1945.
Figure 6,
OPENING NIGHT
52
CHAPTER 10* "THIS IS OPENING NIGHT, LET’S HAVE
A. FINISHED PRODUCTION" . .
HOW TO ACHIEVE A PROFESSIONAL ATMOSPHERE
A. MOTIVATION; Rewards that will be yours in making
theatrical professionalism the main purpose.
1. Public response: People will continue to patron
ize your presentations based on your successful
merits*
2. Eager players: More students will venture, want
to be in future productions.
3. Feeling of accomplishment: All your efforts will
be stepping stones toward any goal you strive for*
B. PRESENTATION: The problems of attaining successful
performances and some suggestions toward solution.
1. How to be professional,
a. Post a "Call Board”. (It will inspire the actors
to be less amateurish,)
b* List on the "Call Board" the following nota
tions :
(1) The dressing rooms for each cast member
and the time they are expected to arrive.
(2) The prop room and the make-up room.
(3) The time to be on stage, and also curtain
time.
53
(4) The amount of time "between each act
and scene.
c. Insist that all cast and staff members refrain
from peeking through curtain and from appear
ing in the audience or halls at any time in
costumes or make-up or in stage work clothes.
(This definitely destroys Illusion.)
d. Let there be no talking, giggling, or noise
or any sort backstage during the performance.
i
(Rather ’ ’deep in character” every minute
before and between acts.)
2, How to iron out last minute details.
a. Check these points with your department heads:
(1) The costume chairman should check on all
costumes before each act. The committee
should aid in any rapid costume changes,
(2) The prop chariman should carefully check
every property on and off stage before
each act. He and his committee should
protect valuable props including furni
ture until they have been returned to
their owners.
(3) The make-up chairman has made a personal
' time appointment with each member of the
54
oast. The committee should have all the
materials laid out and ready at the time
of first appointment. All make-up equip
ment should be cleaned up after the per
formance. Let’s keep on good terms with
the custodian.
(4) The scenic department should check the
scenery between acts and performance for
defective doors or stage braces, pushed
out of place backings, etc.
(5) The chief electrician should check for
defective wiring, damaged gelatin, light
ing improvement.
(6) The sound man’s job is to carefully check
all sound equipment and records*
(7) The stage manager as boss of the physical
stage checks to see that all members of
cast and production staff have arrived.
Give the calls at each dressing room and
backstage ’ ’ Forty-five minutes!" ’ ’ Thirty
minutes till curtain I” ’ ’ Fifteen minutes 1”
’ ’ Five minutes till curtain!” Give the
final call two minutes before curtain
"On stage, everybody!" He should check
55
with all committee heads and actors before
curtain time and give any assistance
needed.
b. Maintain your own check-up on every phase of
the committees* (The wise director will assign
V
v
every backstage task to someone else, leaving
no specific duty for himself except to check
up on others.
C. PERFORMANCES Suggested activities.
1. List the many details not cited of a director’s
task, and compare your findings with the class.
> Use the accepted suggestions as a director’s guide,
for future productions.
2. Have a question box and answer period to stimu-
' late the needs of a successful performance for
a smooth, all-around showing.
3. Write a set of rules on backstage conduct. Select
the best and post backstage.
4. Choose the most difficult committee assignments
and work out their multiple problems. Chart these
and use for production or in an emergency*
D. EVALUATION: Types of testing which may be applied to
your handling of the presentation step in teaching.
56
1* True-False: Put X in the correct spaces for true
or false.
T F
a, ( )( ) Professionalism should he a set rule
in amateur productions,
b, ( )( ) A time saver is the use of a “Call
Board” •
c, ( )( ) If possible you should maintain student
supervision backstage,
2, Hating scale; Put X in the parentheses for the
items on which you can qualify,
a, ( ) Do I have a we11-organ!zed, functional
staff?
b, ( ) Did I place all necessary notations on
the “Call Board”?
c* ( ) Have I insisted on stage deportment
during performances?
d* ( ) Were the actors in character both on and
off stage?
e, { ) Was there a last minute check on all com
mittee heads for a precision “no hitch”
performance?
f* ( ) Was a task assigned to every interested
person to lift my load?
g, ( ) Were calls given to have everyone in place
57
at the appointed time?
h, { ) Did the curtain rise on time?
E. RELATED READING: Some helpful aids in selected hooka
on this chapter.
1. Drew, Elizabeth A. : Pis covering Drama. W.W.
Horton and Co., inc., Hew York, 1937.
2* Marx, Milton: The Enjoyment of Drama. S.S. Crofts,
Hew York, 1940.
3. Hagelberg, Munjon Moses: Drama in Our Time.
Harcourt, Brace and Co., Hew York, 1948.
58
BIBLIOGRAPHY
Baker, George Pierce; Dramatic Technique. Houghton,
Mifflin Co,, Boston, 1919.
Barton, Lucy; Historic Costumes for Stage. Walter S.
Baker Co., Boston, 1935.
Brooks, Cleanth; Under standing Drama. H. Holt and Co.,
New York, 1945.
Burris-Meyer H. and Cole E.C. ; Scenery for the Theatre.
S.S. Crofts, New York, 1938.
Chalmers, Helenas The Art of Make-up. D. Appleton-Century
Co., New York, 1940.
Corson, Richard; Stage Make-up. S.S.Crofts, New York,
1942.
Craig, Edward Gordon; Toward a New Theatre. J.M. Dent
and Sons, London and Toronto, Ltd., 1913.
Davis, Eugene C.; Amateur Theatre Handbook. Greenberg
and Co., New York, 1945.
Dillon, Josephine; Modern Acting. Prentice-Hall Inc.,
New York, 1940.
Drew, Elizabeth A. ; Discovering Drama. W.W. Norton and
Co., Inc., New York, 1937.
Ellis-Fermor, Una Mary; The Frontiers of Drama. Oxford
University Press, London and New York, 1946.
Franklin. Marian A.; Rehearsal. Prentice-Hall, Inc.,
New York, 1929.
Fuchs, Theodore; Stage and Lighting. Little Brown and
Co., New York, 1929.
Kaiser, J.W*: Introduction to the Study and Interpretation
of Drama. N.V. Swets and Zeitllnger, Amsterdam, 1929.
Lees, Lowell C.A. ; A Primer of Acting. Prentice-Hall, Inc.,
New York, 1940.
59
Marx, Milton: The Enjoyment of Drama. S.S. Crofts,
New York, 1940*
Merrill, John: Play-making and Plays# The Macmillan'
Co*, New York, 1930*
Nagelberg, Munjon Moses: Drama in Our Time* Harcourt,
Brace Co., New York, 1948.
Nelms, Henning: Lighting the Amateur Stage. Theatre Arts
Magazine, New York, 1938*
Perry, Clarence Arthur: The Work of the Little Theatre*
Russell Sage Foundation, New York, 1933,
Richter, H.P. : Practical Electric Wiring. New York, 1939.
Ridge, C.H. and Aldred F.S.: Stage Lighting* Pitman
Publishing Corp., New York, 1935.
Sage, Elizabeth A.: A Study of Costume. Charles Scribner’s
Sons, New York, 1926.
Smith, Milton Byers: Guide to Play Selection* D.
Appleton-Century Co., Inc., New York and London, 1934.
Stauffer, Ruth Matilda: The Progress of Drama. The
Macmillan Co., New York, 1927.
Strong, L.A.G.: Common Sense About Drama. Alfred A.
Knopf, New York, 1937.
Walkup, Fairfax Proudi*it: Dressing the Part* S.S. Crofts,
New York, 1945.
U N IV E R S IT Y O F S O U T H E R N C A L IF O R N IA L IB R A R Y

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Asset Metadata

Creator Magrum, Joseph Lawrence (author)

Core Title A course in senior high school play production

School School of Education

Degree Master of Science

Degree Program Education

Degree Conferral Date 1949-08

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag education, performing arts,OAI-PMH Harvest,theater

Format masters theses (aat)

Language English

Contributor Digitized by ProQuest (provenance)

Advisor Crawford, C.C. (committee chair)

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c24-81939

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Document Type Thesis

Format masters theses (aat)

Rights Magrum, Joseph L.

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the au...

Repository Name University of Southern California Digital Library

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