London Central Secondary School - Golden Glimpses Yearbook (London, Ontario Canada)

Page 42 text:

1 Y I ' -Q 4 ' 4 , ,wmv P v V ,. .fin . 44 4 , uv 1 A ' 1 I 4 U! . 1 E YW, WW'.'1g 4, - 4l'sJy5M 3 . R Al,W ,4 if! N N L. V 4, 4 I 4 '4. 4 4 ,Wink vg, 'UT'-uv 4 .J 4 M N 44:4 -N ' 1 ' ' - 4- 44 ll u., ,wx ,.., - ,, ,. . 4 .. 4 ,'.'4i'4:.4., , ' J ' ' -I '44 I A f .r .5 ty , I I ' I.. ' WNW. .. .il 1 x 4 I I ,.. a .1 4491 43 'VI' 4 , . 4 My U S , '4 'Im , I in 4 U , 4. 4 I lv , mf . ,' ' - 4 !4Ix 4f '.4,'I 1 N, 4 ep, . 1. 'QIUTF 4 4. 'tsl ' ' l if+,',.f' an 415:54 4-5304 'ff '- 4 ' ' 1 Y 'I 'MXL' l.,.?4: 4 4 , iw? 4 'r -4 M.,--+10 ' 1' 144. flui 1 . el-...M 5 ,4f. r, ' ' A Q ' J! 5 ru, 1 455 4 .' H is . 14 X-mx: 1' . vw-4 J u - I l

Page 41 text:

THE REVIEW Q3 N X my it 0,6 L . X-XG: 4,1-'fig XXX.- Editor - - - Margaret Prior .L R CTING is a means by which man can express himself. In the classical plays the effect aimed at by writers of both tragedy and comedy was that of contrast with ordinary daily life. The ancient Grecian arts reflected the sanity and freedom of their lives, and all human exper- iences were a source of material to great artists. The Greeks, because of their hatred of moral and political chaos, developed their drama until it was a beautiful and orderly proportioned thing. Their best tragedies show wonderful skill in construction and the characters are few but Hnely developed by interaction one with another. All plays, whether tragic or comic, originated from simple and prim- itive material. Tragedy, it is thought, developed from a chorus lamenting some dead hero, and comedy from the festivals at changing seasons or marriage ceremonies. Since music expressed a sensation which had no outlet in words and recalled an emotion of the past, the Greeks made use of a chorus, thus in their drama introducing rhythm and tone. Usually the chorus developed a leader who was called the actor and he performed the part of characters outside the chorus. Aeschylus then introduced another actor, thus making two and they took the important parts in spoken dialogue, reducing the prominence of the chorus and introducing a dramatic element. The Greek theatre was an out of door or open air theatreg the only shelter provided being for the actors. Tiers of semicircular stone seats arranged around a flat central place or orchestra were often cut out from the side of a hill, so that beyond the actors' shelter, natural scenery was beheld. Trees and sky, sometimes a line of distant hills formed a real background for the play. The actors them- selves had to be tall, and much emphasis was given to their parts in the forms of masked fixed expres- sions, to convey to their audiences their character. The traditions of a Greek play were lost in the Middle Ages. The subjects for drama were al- most entirely dictated by the Christian Church, and Old Testament history furnished the main subjects. It was not forgotten, however, that classical drama had existed and an exception, a most remarkable writer of this time, was a nun, Roswitha, who wrote six comedies imitating a Latin writer. A new type of drama was introduced in the fifteenth century called interludes, which were short dramas of a farcical nature intended to be given in the pauses of great banquets and were often per- formed in the halls or courtyards of large houses throughout the country. Soon the schools took up the drama and students of Oxford and Cambridge gave short interludes for their own amusement. The coming of the renaissance found the actors using historical and legendary plots. Drama became so prominent that theatres were built in London. The first of these, built by Burbage, was an open air theatre in the form of a square with stalls for the nobles. Very little scenery was used, a good deal being left to the imagination of the audience. Queen Elizabeth surrounded herself with actors from Oxford and Cambridge and school children were also brought to perform before her. In her reign the great genius Shakespeare became evident as he produced play after play in London. Tragedy in the latter half of the seventeenth century always ended with a crisis and if it had other interests in it beside that of conflict it was called tragi-comic. Comedy tried to show exper- iences of life that the audience knew to be true. Musical interludes were also popular. The French at this time introduced a change of scene by draw- ing back a curtain, folding screens were painted to represent doors and walls. Even some had trees and sky, temples and columns painted on them, and the stages were lighted with lanterns instead of footlights, which came into use later on. In the 18th century a democratic change took place in drama. The play was for the people and reflected the joys and sorrows of the ordinary man. The theatre began to use more elaborate stage effects and scenery and it was a little more realistic and lifelike. The players entered from doors at the sides, came up well to the front of the stage near the footlights which were now used. Their exits and entrances were made more quickly and arranged to keep the play going smoothly.

Page 43 text:

S24 Tl-IE REVIEW In the latter part of the 19th Century the setting on the stage became very realistic, if the scene is a room, perhaps a garden or another room opens off it, making it more homelike. The Great War of the 20th century created a tendency in drama towards the melodramatic and symbolic in plays. The actors work with the intention of pleasing and amusing the audience. Rapid changes can be made in scenery by means of revolving stages on which three or four scenes can be substituted for one. W'onderful lighting effects are obtained by the skill of trained elec- tricians. Plays are also written to appeal to cul- tivated and literary audiences. Much is being done in amateur Little Theatre movements to develop a national drama. -Margaret Prior '93 Dramatic Executive This year the excellent work of the Dramatic Society will be carried on by pupils in whom the school puts its trust most readily. They are all students who rate highly with their fellows and we are confident that they will work to the advan- tage of the Dramatic Club and distinguish them- selves. Mr. Buck is their chairman and Marjorie Roulston is the President. Secretary, Paul Smith, Treasurer, Alice Der Stepanian 5 5th Rep., Gor- don Houghtong 4th Rep., Esther Ginsberg, 3rd Rep., Katheline Smithg 2nd Rep., D'Arcy Zur- brig, lst Rep., Walter Pope. Mllfargaret Prior '23 Richard B. Harrison On Tuesday morning, October 30, Mr. Richard B. Harrison, accompanied by Mayor XVenige, attended auditorium exercises at the Central Collegiate. He gave a very interesting talk on his former London days and school experiences here. About fifty-four years ago, Mr. Harrison was a boy, attending the old Waterloo street school here. He won prizes in elocution. His London home was on Wellington street. From London he went to Windsor, where he worked at Walker's distillery. From Wlindsor Richard Harrison went to Detroitand became a bell-hop. After bell-hopping he was a waiter. Mr. Harrison was persuaded to study drama and he began classes at the Detroit Training School. In between classes he was porter at a department store. His next step was to form his own dramatic club, with which he has had great success. Mr. Harrison's simple address was greatly applauded by everyone. Thi-re were also some negro Spirituals sung by the Whispering trio. The trio included the Misses Wriglit, Burwell and hlickens. Their songs were enjoyed immensely. The Student vice-president, Miss Anne Wal- den, gave a vote of thanks and the programme was brought to a conclusion by the singing of the school song. -Joan Cogdorz E23 Props Last year the operetta and plays were greatly enhanced by the props Mr. Buck and his com- mittee of helpers are to be commended for their splendid work. Many precious hours were spent by them in the drill hall making scenery. Great originality was displayed in the various sets and it must have required a great deal of patience, skill and hard work to get the desired results. The school appreciates the work done by this committee consisting of Gordon Houghton, Terry Ferris, Charles Seager, Ted Clugston, john Leach, john Henderson and D'Arcy Zurbriggl under the very capable and efficient direction of Mr. Buck. - -Jack Morgan C23 Spreading the News The play produced last spring by the Dramatic Society and presented in the auditorium of the Collegiate was unusually interesting and amusing. It was an Irish comedy entitled 'Spreading the News, and was sponsored by the Literary Society. The actors were under the direction of Miss Rod- dick, and must have felt gratified by the splendid applause which they received from the audience. The scene was laid in the market square of a small Irish town, an apple stand was in one corner of the square, and hay was sprinkled over the floor to add a touch of realism. Red jack Smith CPeter Shuttleworth, who endured for several hours the ordeal of having his hair dyed henna for the occasionl had left his pitchfork in the square, and Bartley Fallon, a lugubrious, complaining man CWilson Reasonj, offered to return it. The deaf apple woman, Mrs. Tarpey CGeraldine Hughesj noticed the overturned market basket of Bartley Fa1lon's wife CBetty Pattersonj and she concluded that the two must have been quarreling, because she saw spilt sugar on the ground. When she heard that Bartley was following jack Smith with the pitchfork she immediately thought he was taking drastic action to demolish Red. In real- ity, he was only returning the implement. She, of course, began to spread her news, one person telling the next, until finally they had poor Red dead, and fairly buried. The whole tangle, however, was straightened out when Red himself made an appearance and declared he would knock down the first one to find his dead body. This play, written by Lady Gregory, as a vehicle for the Abbey Theatre Players of Dublin, was a difficult piece for young amateurs. On the