An introductory course of study for the student in drama

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AH INTRODUCTORY COURSE OF STUDY FOR THE STUDENT IN DRAMA

A Project Presented, to the Faculty of the School of Education The University of Southern California

In Partial Fulfillment of the Requirements for the Degree Master of Science in Education

by Michael Kosturick June 1950

UMI Number: EP45917

All rights reserved INFO RM ATIO N TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion.

Dissertation Publishing

UMI EP45917 Published by ProQuest LLC (2014). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code

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T h is project report, w ritten under the direction of the candidate's adviser and ap p ro ved by him , has been presented to and accepted by the F a c u lty of the School of Ed u catio n in p a r t ia l fu lf illm e n t of the requirements f o r the degree of M a s t e r of Science in Education.

..........

A d v is e r

Dean

PREFACE TO THE STUDENT

Expression through drama is an important and necessary means of communication in a free and democratic society*

A breakdown in the demooraetic process between

government agencies and the public will result when this medium is either neglected or abused* Education through Drama does not succeed in a vacuum*

The student of Drama must know the difference

between the superficial and the reasonable, trivial and the important, the irrelevant and the significant ideas* He must experience the power of the spoken word, but not abuse that power*

He must use his energies to negate the

scheming of the wrong people who have learned how to use the tools efficiently* .The topics that follow offer a variety of con­ structive and flexable programs;

They should be recognized

and activated by the one who is expected to function and develop naturally in an industrial society where discipline is required before obtaining self-realization and economic efficiency* Michael Kosturick

ii

TABLE OF CONTENTS CHAPTER

PAGE A COURSE IN THEATRICAL ART AND CRAFT

I» PANTOMIME:

HOW TO PROJECT

THE BASICEMOTIONS

THROUGH PANTOMIME............. ................

2

I.

FEAR: How to express terror and fright . •

2

2*

ANGER: How to express rage, wrath and indignation

3,

•

SYMPATHY: How to express consolation, pity, and accord

4.

3

........ . .............

SURPRISE: How to express astonishment and the unexpected................ •

2. VOICE:

HOW TO PROJECTTHOUGHT

.. •

8

VOICE AND DICTION: How to obtain a pleasing voice and cultured speech • • • • •

2.

4

ANDEMOTION

ORALLY................ 1.

3

8

STRAIGHT DRAMA: How to project for straight drama

............ „ • • • • • • • • • • •

9

3*

TRAGEDY: How to project for tragedy • . . •

10

4.

COMEDY:

• •. »

11

5.

MELODRAMA: How to project for melodrama • .

12

6.

FARCE: How to project for f a r c e ......... 12

7*

CLOWN: How to project for c l o w n .........13

How to project for comedy

iii

CHAPTER 5.

PAGE

DIALECTS: 1.

HOW TO SPEAK IE NATIONAL DIALECTS • .

IRISH: How to speak with an Irish English dialect . . . . . . . . . . . . . .

£•

BRITISH:

•

. . . . . .

ITALIAN:

.........

.......................

.............

22

• • • • • ........... . . . 23

YIDDISH: How to speak with a Yiddish English d i a l e c t ...........

9.

21

GERMAN: How to speak with a German English dialect

8.

20

SPANISH: How to speak with a Spanish English dialect • • • • . . .

7.

. . . .

FRENCH: How to speak with a French English dialect

6.

20

How to speak with an Italian -

English dialect 5*

19

SCOTTISH: How to speak with a Scottish * English dialect •

4*

18

How to speak with a British -

English dialect 3.

18

23

SCANDINAVIAN: How to speafc with a Swedish English d i a l e c t ................. * . . . . 24

10*

CHINESE:

How to speak with a Chinese -

English dialect

24

iv

CHAPTER 4.

PAGE

ADAPTATION:

HOW TO FIT THE PARTICULAR NEW

PERSONALITY YOU ARE TO PORTRAY 1. STEEPING INTO CHARACTER: a new character 5.

MAKE - UP:

................33

How to develop

•

33

HOW TO CHANGE YOUR APPEARANCE

THROUGH MAKE - H P .............................. 37 1. STRAIGHT MAKE - UP:

How to apply straight

make - up

.......... . ........... 37

2. CHARACTER MAKE - UP:

How to apply

character make - up 3« OLDER CHARACTERS: to age youth

...................... 40

How to apply make - up

.......... . . . . . . . . .

43

4,

THE CLOWN:

How to make - up for the clown » 45

5*

THE TRAMP:

How to make - up for the tramp • 45

6,

THE BUTLER:

How to make - up for the

butler

» • • • • • • » • • * •

7*

THE WITCH:

8*

THE SKIPPER:

How to make - up for the . .

THE SOUTHERN GENTLEMAN:

. .

THE SPINSTER:

47

How to make - up

for the southern gentleman . . . . . . . . . 10*

46

How to make - up for the witch • 47

s k i p p e r ......... 9.

..........

48

How to make - up for the

spinster • • • • • • • « •

................

48

V

CHAPTER 6.

PAGE

AUTHORSHIP: 1.

HOW

TO WRITE FOR THE STAGE

ESSENTIALS:

♦ . . •

......

52

How to conform to certain and

well tried rules...... . . . . . . . . 3. 7.

8.

STRUCTURE:

SELECTION: 1.

ACTORS

How to construct a play

...

How to choose a worthy play

*

54

. •

* 60

HOW TO GUIDE THE PERFORMANCE OF THE ♦ . . . . ......................... . *

PURPOSE:

How to

purpose

9.

54

HOW TO CHOOSE A P L A Y .............60

ANALYSIS:

DIRECTOR:

1.

52

PRINCIPLES: How to set up principles for writing a play

2*

. . . .

63

examine the author's ..

63

2*

PROMPT ~ BOOK:

How to make a prompt - book.

3.

INTERPRETATION:

How to interpret the play

64

through a c t i o n ......................... ..

64

4.

BLOCKING:

How to block out the action . . .

66

5.

REHEARSE:

How to set rehearsal objectives

MANAGEMENT: HOW 1.

2.

• 67

TO BE A STAGE MANAGER .......... 70

GENERAL DUTIES:

How to execute general

responsibilities

.....

SPECIFIC DUTIES:

How to execute specific

. •

70

responsibilities............. ..............

71

vi

CHAPTER 10,

PAGE

PRESENTATION:

HOW TO CREATE THE PERIOD AND

ENVIRONMENT OF THE PLAY 1. COSTUMING:

.................

How to attire for the play

2. DELINEATION:

74 . •

How to design a scene . . . .

3. CONSTRUCTION: 4. DECORATION:

How to construct the set . .

74 74 75

How to paint and adorn the

s e t .......................................77

11.

5* ILLUMINATION:

How to light the set . . . .

78

6. PROCLAMATION:

How to use sound effeots • •

79

EXECUTION:

HOW TO CONDUCT YOURSELF DURING

THE FINAL STAGE OF PLAY P R O D U C T I O N ............ 83 1. ACTING:

How to conduct yourself when

appearing before an 2. MAKE

UP:

audience• .........

How to check the make - up

• •

84

. .

84

3.

WARDROBE:

How to handle the wardrobe

4.

LIGHTING:

How to get the best effect from

l i g h t i n g ............................. • • 5. SOUND EFFECTS:

How to apply sound effects.

6. BOX OFFICE CLERKS: 7. USHER: 8.

How to be a good clerk.

How to be a useful usher

PUBLIC RELATIONS EXPERT:

83

• . • • •

34 85 85 85

How to maintain

agreeable public relations

86

vii

CHAPTER 9*

PAGE STAGE MANAGEMENT:

How to supervise the

activities during a performance 10*

DIRECTIONS: performers

.........

86

How to guide and inspire the • # • • • •

......... • • • • •

FUNCTIONAL THEATRICAL ART AND CRAFT COLLECTION:

86

A

special reserve shelf for use in play production

89

1

A COURSE IN THEATRICAL ART AND CRAFT This course aims to create and develop in all participants the followings movement and rhythm;

A keen - edged feeling for

an ardent interest in and a better

understanding of the play of ideas and the conflict of emotions expressed through the medium of drama;

an in­

tensified appreciation of the ocular sensations stimu­ lated through light, color, form, and design as they appear in the living stage picture;

and practical know­

ledge with experience which, when perfectly synthesized* constitutes the art of the theatre*

Would you like to

have your imagination stimulated, curiosity aroused, taste formulated, appreciation increased, and personality improved? chapters*

If so, you are invited to study the following

2

CHAPTER I.

PANTOMIME

HOW TO PROJECT THE BASIC EMOTIONS THROUGH PANTOMIME

A. MOTIVATION;

Rewards for knowing how to project thought

and emotion through physical action* 1.

FAME:

Effective control and clarity of expression

insures success in creating a character the audience will better understand* 2*

VERSATILENESS:

Success in pantomime expression in­

dicates ability to portray several types of characters* 3*

GRACE:

Effective control of the external functions

of the body develops harmony in expression* B* DIRECTIONS:

Suggestions that will enable you to project

the basic emotions through pantomime* 1*

FEAR: a*

How to express terror and fright*

Coordinate your mind and body when concentrating on a definite emotional thought,

b*

Catch your breath and either open wide the eyes, or close to shut out the sight*

e*

Move lips after mouth is opened*

d.

Lift arms away from the body or draw them tightly against the body*

e*

Separate fingers or clench fists*

f.

Direct hand to the heart to stop its wild beating*

3

g.

Direct hands to throat or over mouth to stifle a scream.

h. Catch bold of something to steady the nerves. i. Become either frantic when yon have a selfish disregard for others, or faint. j. Protect those around you when you want to he heroic. 3.

3.

ANGER:

How to express rage, wrath and indignation.

a.

Develop an exhaulted expression on your face

b.

Inhale deeply.

0.

Clench your hands tightly.

d.

Close your hands and wring them.

e.

Wait to see what the other person may do.

f.

Make a gesture of command.

g.

Make a gesture of a blow.

h»

Turn and walk away.

i.

Furrow your brow.

h

Buret into tears.

SYMPATHY:

How to express consolation, pity, and

accord. a.

Develop a tender expression in your eyes,

h.

Move your body toward the person you feel with.

o.

Shape your mouth to the lines of the person*s mouth you are sympathising with.

4 ■-*

d«

Extend one or both arms forward*

e*

Plaoe the palms of your hands up.

f.

Enfold.the other palm*

g*

Change your body into a different expression when bringing a sad person into an opposite state of mind,

h*

Reproduce in a feeble form the action of the one who is the object of sympathy when pleasure or joy is expressed* *

i.

Eliminate movements of the body which have no meaning*

j*

Assimilate and relate other thoughts and emotions of the character you are playing.

4*

SURPRISE:

How to express astonishment and the

unexpected* a*

Blend emotional and mental energy with physical action*

b*

Hold the body quiescent*

c*

React instantaneously,

d*

React for a short duration*

e*

Carry the body backward or forward.

f.

lake either wide or quick steps*

g.

Break each thought with a surprise reaction.

h.

Turn the action and thought to other channels.

5

i.

Leap to your feet,

j.

Make tears of joy come to your eyes,

k.

Pass clearly

*

clean cut, from one movement

to another* 1. 5.

Plan your reaction to he an accepted one.

SOURCES:

Where to get further assistance.

a. Alberti, £•:

A Handbook of Acting Baaed on the

New Pantomime. b. Aubert, €.:

Samuel French, Los Angeles, 1946.

Art of Pantomime. Hendry Holt and

Company, New York, 1927. c. Attend and observe plays offering various emotions.

C.

ACTIVITY ASSIGNMENTS:

Performances that may help you to

express thought and emotion through pantomime. 1.

Develop and perform the following: a.

React to a flash of lightning that is followed by thunder and a rising storm.

b.

React to a huge shadow that is coming toward you.

c.

React to an insult by a person who made dispar­ aging remarks about your religion and race.

d.

React to an indictment for a crime that you were framed.

e.

React to the sight of a hungry child and a half­ starved mother*