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University Micrcxilms International 300 N /EL B ROAD. ANN ARBOH. Ml 4B100 19 REDEORD ROW. LONDON WC t R 4f-J, E NGLAND SCHILLER# MARY GILLEY A STUDY OF VOCAL DEMANDS IN SELECTED EARLY GERMAN ROMANTIC . THE OHIO STATE UNIVERSITY, D.M.A., 1979

University Microfilms InteTTVttiOnAt 300N /SIBHOAD .ANN ARBt>H VI4B106 A STUDY OF VOCAL DEMANDS IN SELECTED EARLY

GERMAN ROMANTIC OPERAS

DOCUMENT

Presented In Partial Fulfillment of the Requirement for

the Degree Doctor of Musical Arts in the Graduate

School of the Ohio State University

by

Mary Gilley Schiller, B. Mus., M. Mus.

* * * * *

The Ohio State University

1979

Reading Committee: Approved by:

Professor Mario Alch Professor Paul Hickfang Professor Keith Mixter Adviser School of Music To J o h n , our loving Parents, and my very special "Tante"

ii VITA

July 6 , 1943...... Born, Eden, North Carolina

1965...... Bachelor of Music Degree University of North Carolina Greensboro

1965-68...... Stuttgart, , Hochschule ftlr Musik Fulbright Grant Deutsche Akademische Austauschdienst Stipendium Rockefeller Grant

1968-69 ...... Ulm , Germany

1970-71 ...... Concerts and Lieder Recitals, DUsseldorf, Germany

1972-75 ...... Graduate Teaching Associate The Ohio State University Master of Music Degree

1975-76 ...... Lyon, France, Study of the French Mdlodie and Concert Performances

1977 ...... Visiting Instructor of Voice, Ohio Wesleyan University, Delaware, Ohio

197 8 ...... Visiting Lecturer of Opera Workshop Capital University, Columbus, Ohio

FIELDS OF STUDY

Major Field: Voice Performance

Studies in Applied Voice: Professor Paul Hickfang

Studies in Opera and Oratorio. Professor Mario Alch

iii Studies in Music History. Professor Keith Mixter and Professor Alexander Main

Studies in Vocal Pedagogy. Professor John Muschick

Studies in Vocal literature. Professor Irma Cooper

PERFORMANCES

Recital I

MARY SCHILLER, Graduating Recital Series, 1976-77 Friday, January 28, 1977. 8:00 p.m. Hughes Auditorium

MYRA BAKER,

Supervised by: Professor Paul Hickfang

Presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts.

PROGRAM

I

Bel piacere ...... HANDEL from Agrippina

Oh dolce mia speranza ...... HANDEL from Floridante

Ch * io mai vi p o s s a ...... HANDEL from Siroe

II

Italienisches Liederbuch ...... WOLF

Nein, junger Herr

iv Auch kleine Dinge kiJnnen uns entzlicken

Mein Liebster ist so klein

Mein Liebster singt am Haus

Ich esse nun mein Brot nicht trocken mehr

III

Ariettes oublides ...... DEBUSSY

II pleure dans mon coeur

Chevaux de bois

Green

Noel des enfants qui n'ont plus de maison ...... DEBUSSY

INTERMISSION

IV

Emily Dickinson Songs ...... COPLAND

I felt a funeral in my brain

I've heard an organ talk sometimes

Nature, the gentlest mother

Why do they shut me out of heaven?

V

Frauenliebe und Leben ...... SCHUMANN

Seit ich ihn gesehen

Er, der Herrlichste von Allen

Ich kann's nicht fassen, nicht glauben Du Ring an meinem Finger

Helft mir, ihr Schwestern

Susser Freund, du blickest

An meinem Herzen, an meiner Brust

Num hast du mir den ersten Schmerz getan

Recital 2

MARY SCHILLER, soprano Graduating Recital Series, 1976-77 Sunday, May 29, 1977. 8:00 p.m. Hughes Auditorium

CAMILLE MORGAN, piano

Assisted by: Walt Morgan,

Supervised by: Professor Paul Hickfang

This recital is presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts.

PROGRAM

I

Sechs Deutsche ^ieder. Op. 1 0 3 ...... LUDWIG SPOHR

Sei still mein Herz

Zwiegesang

Sehnsucht

Wiegenlied

Das heimliche

Wach auf

vi II

Three Songs

Daphne

Through Gilded Trellises

Old Sir Faulk

INTERMISSION

III

-----Fiancaillest— --— -- -— pourt----- rire--- . FRANCIS POULENC

La Dame d'Andre

Dans l'herbe

II vole

Mon cadavre est doux comme un gant

Violon

Fleurs

IV

Cuatro Madrigales Amatorios JOAQUIN RODRIGO

i Con que la lavare?

Vos me matasteis

I De donde venis, amore?

De los alamos vengo, madre

vii Recital 3

MARY SCHILLER, soprano Graduating Recital Series, 1976-77 Friday, August 5, 1977, 4:00 p.m. Hughes Auditorium

CARLTON , piano

Supervised by: Professor Paul Hickfang and Professor Mario Alch

Presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts.

A Program of Selections from the Italienisches Liederbuch -

I

Nein, junger Herr Gesegnet sei das Griin Du denkst mit einem FSdchen roich zu fangen Wer rief dich denn?

II

Wir haben beide lange Zeit geschwiegen Ihr jungen Leute Haut' Nacht erhob ich mich Nun lass uns Frieden schliessen Wenn Du, mein Liebster, steigst zum Himmel auf

INTERMISSION

III

Mein Liebster hat zu Tische mich geladen Auch kleine Dinge konnen uns entziicken Ich esse nun mein Brot nicht trocken mehr Wie lange schon war immer mein Verlangen

viii IV

Mein Liebster singt am Haus im Mondenscheine 0 war dein Haus durchsichtig wie ein Glas Mein liebster ist so klein Man sagt mir, deine Mutter wollt 1 es nicht

V

Schweig1 einmal still Wohl kenn ’ ich Euren Stand Verschling* der Abgrund meines Liebsten Hutte Ich hab' in Penna einen Liebsten wohnen

Recital 4

MARY SCHILLER, soprano Graduating Recital Series, 1977-78, Friday, April 14, 1978, 8:00 p.m. Hughes Auditorium VISCOUNT THURSTON, harpsichord & piano

Assisted by: Loral Alberta Cook, flute

Supervised by: Professor Paul Hickfang

This recital is presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts.

PROGRAM

I

Eighteenth-Century Shakespearean Songs

Under the greenwood tree (As You Like It)...... THOMAS ARNE

ix Flower of this purple dye (Midsummer Night's Dream) ...... JOHN C. SMITH

Hark, hark the lark (Cymbellne) ...... THOMAS CHILCOT

II

Liebesbotschaft......

An die Nachtigall ...... FRANZ SCHUBERT

Liebhaber in alien Gestalten...... FRANZ SCHUBERT

Nur wer die Sehnsucht k e n n t ...... FRANZ SCHUBERT

Seligkeit FRANZ SCHUBERT

III

"Regnava nel silenzio," Lucia di Lammermoor

INTERMISSION

IV

La Courte Paille ...... FRANCIS POULENC

Le sommeil

Quelle aventure!

La reine de coeur

Ba, Be, Bi, Bo, Bu

Les anges musiciens

Le carafon

Lune d'Avril

x V

Hans and Grethe ......

Erinnerung GUSTAV MAHLER

Ich bin der Welt abhanden gekommen GUSTAV MAHLER

Scheiden und Meiden ...... GUSTAV MAHLER

xi TABLE OF CONTENTS

Page

DEDICATION ...... * ...... ii

VITA ...... lii

LIST OF ABBREVIATIONS...... xiv

LIST OF TABLES ...... xv

PREFACE ...... xvi

Chapter

I. MOZART AND THE CLASSICAL ...... 1

Vocal Demands in Mozart's Operas...... 1 The Size of the Classical O r c h e s t r a ...... 10

II. HISTORICAL BACKGROUND ...... 13

III. BY E. T. A. H O F F M A N N ...... 18

Biography...... 18 Plot...... 20 Musical Style ...... 24 Comparison of Hoffmann's and Lortzing's Undine. . 28 Comparison of Vocal Demands in the Two Operas . . 31

IV. BY ...... 38

B i o g r a p h y ...... 38 Plot...... 41 Musical Style ...... 44 Vocal Demands ...... 47

V. BY ...... 60

B i o g r a p h y ...... 60 Plot...... 63 Musical Style ...... 66 Vocal Demands ...... 69

xii Page

VI. C O N C L U S I O N ...... 74

APPENDICES

A. A LIST OF GERMAN ROMANTIC OPERAS(1800-1850) 80

B. CONTEMPORARY REVIEWS...... 82 Undine by E, T. A. Hoffmann ...... 82 Euryanthe by Carl Maria von W e b e r ...... 87

C. EXCERPTS FROM A PERSONAL LETTER ...... 89

BIBLIOGRAPHY ...... 91

xiii LIST OF ABBREVIATIONS

Arabic numeral ...... indicates the specific number (aria, ensemble, scene, etc.) in an opera m ...... measure n. d ...... no date

Nr...... number

Pitch designation ...... the system of pitch designation used in this document is that in which middle C is represented by c1

Roman numeral ...... indicates act of an opera

xiv LIST OF TABLES

Table Page

1. Four Mozart Opera ...... 10

2. Strength of Three German Around 1780 . . 12

3. Strength of Three German Orchestras Around 1840 . . 54

xv PREFACE

This document will investigate vocal demands found in early Ger­

man Romantic operas.^- By examining representative operas of this period,

as well as those of Mozart, it will be determined whether or not the vo­

cal demands are indeed greater in early German Romantic opera than they

were in operas of the Classical period, and whether these demands sug­

gest an evolution to the vocal demands found in the operas of Richard

Wagner.

The choice of the three representative operas, Undine by E. T. A.

Hoffmann, Euryanthe by Carl Maria von Weber and Hans Heiling by Heinrich

Marschner was made because of their importance in the history of German

Romantic opera. calls Undine "the first German Romantic 2 opera," and Alfred Einstein notes that Undine is the "connecting link

3 between Die Zauberflote and Per Freischiitz." Euryanthe is, if not the

See Appendix A for a list of the most important German Romantic operas composed between 1800 and 1850, Please note that Beethoven's is not included in this list. According to Donald Jay Grout, A Short History of Opera (New York: Columbia University Press, 1964), 307- 10 and 357, Fidelio is classified as a . It shows no traits of the nationalism, which we set forth as one of the fundamental charac­ teristics of Romantic opera (Infra., p. 16).

2 Hans Pfitzner, Vom musikalischen Drama; Gesammelte Aufsdtze (MUnchen: Stiddeutsche Monatshefte, 1915), 73.

3 Alfred Einstein, Music in the Romantic Era (New York: W. W. Norton, 1947), 111.

xvi first, certainly one of the earliest operas to be conceived as a Gesamt-

4 kunstwerk. Weber's conception embodied the union of words and music through the use of accompanied instead of spoken dialogue.

The unity of the work was strengthened by the use of Leitmotive, key alignment by character(s), and continuous music. Weber did not wish to make the music dominant as it was in the , but he wanted all the arts connected by a fundamental dramatic purpose. Unfortunately,

Weber's result did not fully correspond to this ideal, but, nevertheless, the way was paved for Wagner’s realization of this concept. Louis Coerne states that even though the effectiveness of

Euryanthe is marred by its , it is still the most important of

Weber's operas, musically speaking. Its continuous music and the inter­ weaving of recitative and melody point directly to Wagner.^ Donald

Grout says Euryanthe is a landmark in the history of German opera between

Fidelio and , and one of those works which deserves to be per­ formed more frequently.^ If Weber can be said to have a successor, it was Heinrich Marschner, whose masterpiece Is Hans Helling. The music looks ahead to Wagner and the latter quotes directly in Die Walkure from

Hans Heiling.7

4 Weber defined his intent as a "Purely dramatic attempt, aiming to create its effect by means of the combined effects of all the sister arts." Cf. Grout, o p . c i t ., 368.

^Louis Adolphe Coerne, The Evolution of Modern (New York: Macmillan, 1908), 72. £ Grout, op. c i t ., 369.

7 Ibid., 370

xv ii Compositional techniques of each will be discussed,

and, wherever applicable, comparisons will be made to other operas.

(Since Lortzing composed an opera based on the same libretto as Hoffmann'

Undine, these two operas will be compared in more depth.) Musical

examples are directly quoted to illustrate specific vocal demands. Ref­

erences for compositional characteristics are cited by measure numbers

in the footnotes.

From numerous vocal demands, thirteen within the three operas were chosen for discussion. This choice of the specific demands within

each opera was based on the severity of the demand and not on the fact

that some of the demands may occur repeatedly. The thirteen demands are

those which follow: (1) tessitura, (2) wide leaps, (3) musical sensi­

tivity and dramatic ability, (4) the singing of difficult intervals in

tune, (5) the singing of dotted figures, (6 ) the singing of conver­

sational and dramatic recitative, (7) the combining of different voice

categories into one role, (8 ) vocal stamina and pacing, (9) vocal tech­

nique problems, (10) the changing of vocal color for specific situ­

ations, (11) the speaking of dialogue, (1 2 ) the singing of long legato

lines and (13) projection over an orchestra. The first chapter of this document examines the question of which of these vocal demands were already found in Mozart's operas.

I would like to express my deepest appreciation to my adviser,

Professor Mario Alch, for his most generous and invaluable assistance in

xviii the preparation of this document. My sincere thanks also go to Dr.

Keith Mixter for his continued guidance in the selection and research of this topic and to Professor Paul Hickfang, to whom I shall always be grateful for first introducing me to opera.

xix CHAPTER I

MOZART AND THE CLASSICAL ORCHESTRA

Vocal Demands in Mozart's Operas

In order to better understand the increased importance of the vocal demands in early German Romantic opera and how they eventually led

to Wagner's demands and the need for voice categorization, it will be

useful to examine the most taxing vocal demands in the operas of Mozart,

the master composer of German classical opera. It will be seen that the demands in early German Romantic opera were not new, but that their difficulty was compounded by the increased numbers of specific demands and the increased size of the orchestra.

Of the thirteen vocal demands listed in the preface, eight are

found in the operas of Mozart. (The remaining five are not found in

Mozart operas in the same way in which they occur in the early German

Romantic operas discussed in this document.) Six representative Mozart operas have been chosen for examination: Idomeneo (1780), Die Entfilhrung aus dem Serail (1782), Per Schauspieldirektor (1786), Don Giovanni

(1786), Cosi Fan Tutte (1790) and Die Zauberflote (1791).

The vocal demand of high tessitura is found often in Mozart's operas. In fact, it is quite often the deciding factor when a singer con­ siders the possibility of singing a Mozart role. A particular voice might be the right size and color, but if the high tessitura presents a

problem, the role should not be attempted. The role of Donna Anna in

Don Giovanni illustrates this problem well.* Donna Anna should be sung

by a , but quite often such voices have difficulty sus­

taining the tessitura and coloratura of this role (Ex. 1).

Example 1. Mozart, Don Giovanni, II, 23, m. 89-93.

D onntt /-Vr\nu_, - I J - J. 4

The same problem is found in the role of Constanze in Die Entftlhrung aus dem Serail. The singer of the role of Constanze must have a voice which

is heavier than the voice of Blondchen's interpreter, in order to have a

contrast between mistress and maid, but Constanze must be able to

Wolfgang Amadeus Mozart, Don Juan, Piano-Vocal score ed. by Franz WUllner (: Breitkopf & HMrtel, 1961), II, 23, measures 72-93. negotiate the tessitura and coloratura demands. Similarly, Ferrando's

aria, "Ahjlo veggio quell' anima bella," in Act II of Cosl Fan Tutte is 3 often cut because the is unable to sustain the tessitura.

Mozart was also fond of wide leaps in the melodic line for the

singer. Fiordiligi's aria exemplifies this demand (Ex. 2).

Example 2. Mozart, Cosl Fan Tutte, I, 14, m. 31-36.

f n o c d i I

b b f f j £ 1“ ! ^ ^ ~~ ^ "4^ TIT

j'Y'i o — r e * s t a- Cor>- + ccli. /en-'K c. tu-

Wide leaps are also found in the roles of Don Ottavio, Don Giovanni;

Constanze, Die Entftlhrung aus dem Serail~* and Osmin, Die Entftlhrung aus dem Serail.^

2 , Die Entftlhrung aus dem Serail (Mew York: Boosey and Hawkes, 1962), I, 6 , measures 27-49.

Wolfgang Amadeus Mozart, Cosl Fan Tutte (New York: G. Schirmer [n.d.]), II, 24, measures 10-13.

4 Mozart, Don Giovanni, XI, 21, measure 84. 5 Mozart, Die Entftlhrung aus dem Serail, II, 11, measures 115-116.

6Ibid., III, 19, 115-124. The possession of a keen musical sensitivity is required in per­

forming the roles of Mozart's operas. This sensitivity may be found in

7 8 a quiet introspective passage (Ex. 3) or in explosive, dramatic music

(Ex. 4).

Example 3. Mozart, Die Zauberfldte, II, Finale, m. 278-282.

a-

a i> f \f j * C $ \-f-t T o . m e * r\ .

Example 4. Mozart, Die ZauberflSte, II, 14, m. 2-10.

t ( f f 1 ' f Zue.-UiLny T o A «.hi£ V'ec-2 ii^fliu.j-pk>"met «m rrvcfi h e '

7 Wolfgang Amadeus Mozart, Die ZauberflOte, Klavierauszug, ed. Meinhard von Zallinger (Leipzig: Peters [n.d.]), II, Finale, measures 278-282. See also Mozart, Cosi Fan Tutte, II, 25, measures 28-32 and Mozart, Die Entftlhrung aus dem Serail II, 10, measures 21-28. g See also Mozart, Cosl Fan Tutte, I, 14, measure 28-39 and Mozart, Die Entftthrung aus dem Serail, II, 11, measures 60-73. 9 The appears in Mozart's operas, but

not as extensively as in the later operas which this document will discuss.

The difficulty for the singer is not as great in Mozart’s operas, because

usually the singer only sings one or two pitches from the diminished

seventh chord, (Ex. 5) and not successive intervals occurring in leaps, as

in the role of Kiihleborn in Hoffmann's Undine (Infra, p. 35).

Example 5. Mozart, Cosi Fan Tutte, II, 25, m. 24.

The correct style for the singing of Mozart causes problems for many singers. One must pronounce the words well, yet main­

tain a sustained vocal line which simulates conversation at the same time.^ Despina's role in Cosl Fan Tutte illustrates this demand (Ex. 6 ).

9 See Mozart, Die ZauberflBte, II, 14, measure 19 and Mozart, Don Giovanni, I, 10, measure 14. 10 See also Mozart, Don Giovanni, I, 6 , measures 81-87 and I, 11, measures 168-176. 6

Example 6. Mozart, Cosi Fan Tutte, I, 10, m. 68-83.

CL-

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i'^-dc-r^^r Bar<*vcassy*f\°: C£m’e bw>-ric'(\ienjait-lt! Oh C*j!&>n Itp&dre-he.

Often, when anger is being expressed, the recitative becomes dramatic,^

and the vocal problems are expanded (Ex. 7).

See also Mozart, Don Giovanni. I, 7, measures 84-89 and Mozart, Cos! Fan Tutte. I, 14, measures 1-25. 7

Example 7. Mozart, Cos! Fan Tutte, I, 11, m. 1-8.

-ttar s'" . * > f.\f. K J h N K h w -f— 9 / y V y \r Y v- I Y S 1 Y S' ^ |— I OJL dimJSSy>^ ra~hocJ^ - ■\ h~ IS ^ Y \ » P ------C^*a -Ji t c -P-i '»es+ r e - \

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Mozart roles are known for their vocal difficulties. These difficulties arise because one must be able to sing coloratura and main­

tain a high tessitura while singing impeccable legato. Two very good ex­ amples of arias requiring an excellent vocal technique are Idomeneo's 12 aria, "Fuor del mar,” Act II, Nr. 12 from Idomeneo and Don Ottavio’s aria, "II mio tesoro," Act II, Nr. 21 from Don Giovanni. The aria of

Idomeneo is made even more difficult because he must express pain and hate. The roles of Madame Herz and Mademoiselle Silberklang in Mozart's one-act opera Per Schauspieldirektor also exhibit the vocal difficulties just described (Ex. 8 ).

Wolfgang Amadeus Mozart, Idomeneo, Piano-vocal score ed. by Heinz Moehn (Kassel: BSrenreiter, 1973), II, 12, complete aria. 8

Example 8. Mozart, Per Schauspieldirektor, Trio, m. 132-136.

- j . h t? ------: T V TfrgtTfr ^ — — \— w W a.------t) f IT jclccvvtf .. 1 A I _ — = F - t ) v 1------— ------I W V f r = ± rnciv"* U tizrl

■ -ddh, (tUSrfeKfi—

In the six Mozart operas being examined, three have spoken dia­

logue: Die Entftlhrung aus dem Serail, Per Schauspieldirektor and Die

Zauberflbte. Although each of the characters in all three operas has

some dialogue, the roles of Papageno in Die Zauberflote and Pedrillo in

Die EntfUhrung aus dem Serail present the most difficulty. These singers provide the comedy in each opera, and therefore the roles require careful

interpretations. The dialogue must be spoken with the skill of an actor, but at all times the singers must voice placement and projection in mind so that their voices will not be tired for singing.

The last vocal demand to be discussed is that of the singing of long, sustained legato lines, Mozart operas are replete with this kind 9

of vocal writing, and a good Mozart singer must be able to "spin out"

long phrases endlessly. Such writing is found in the role of Elettra in

Idomeneo (Ex. 9).

Example 9. Mozart, Idomeneo. II, 15, m. 28-35.

7-s FI eifra. —i — ---T------✓ M ^---N ^ -jfr \ f— 3 “ \ -f h /— } j =A— — £ - —f— \ — ^r i / m------!— v— X V • d d -frec(-do b e — r e -4-----— 1 ‘ - r

Two arias which also require this skill are Ilia's aria, "Zeffiretti

lusinghieri," in Idomeneo, Act III, Nr. 19, and Pamina's aria, "Ach, ich

flihl's," Act II, Nr. 17 in Die Zauberflote.

The five vocal demands which are common in early German Romantic

opera, but which do not appear to any great extent in Mozart's operas,

are dotted figures with thirty-second notes, the combination of different

voice categories into one role, a need for great vocal stamina and pacing,

large changes in vocal color to project the character of a role, and the

ability to project over the orchestra. 10

The Size of the Classical Orchestra

The size of the orchestra during Mozart’s time merits exam­

ination. In later chapters of this document, the orchestra size will

again be discussed in conjunction with the operas of the early German

Romantic period, and a comparison will be obvious.

The following table shows the orchestration for four Mozart

operas discussed in this chapter. The instrumentation is almost the

Table 1

Four Mozart Opera Orchestrations

Per Don Die Instruments Idomeneo Schauspieldirektor Giovanni Zauberflote

Flutes 2 2 2 2

Piccolos 1 0 0 0

Clarinets 2 2 2 2

Basse thorns 0 0 0 2

Oboes 0 2 2 2

Bassoons 2 2 2 2

Horns k 2 2 2

Trumpets 2 2 2 2

Trombones 3 0 3 3

Tympani 1 1 1 1

Strings Violins Violins Violins Violins Violas Violas Violas Cellos Cellos Cellos Cellos Basses Basses Basses Basses

Chimes 0 11

same in all the operas, with the exception of the addition of two horns

in Idomeneo. (However, Mozart's demand for more than two horns was rare.)'

Adam Carse, in his book, The Orchestra in the Eighteenth Century,

asserts that Mozart was the first to exploit the rich lower register of

the clarinet.^ Carse goes on to say that Mozart was responsible for

realizing the possibilities existing within the woodwind section for

strong contrast in tone color. Mozart opened a new era in the history of orchestration by treating the flutes, oboes, and as

four distinct tone colors. Each instrument was given its own function to perform and thereby acquired a distinct individuality of treatment.

A table showing the number of different instruments in three im­ portant German orchestras around 1780 follows. This information will serve as a valuable source of comparison when the size of the early German

Romantic opera orchestra in the same cities around 1840 is discussed

(Infra, p. 5 4 ).

13 Louis Adolphe Coerne, The Evolution of Modern Orchestration (New York: Macmillan, 1908), 52.

14 Adam Carse, The Orchestra in the Eighteenth Century (Cambridge: W. Heffer and Sons, 1940), 133. 12

Table 2

Strength of Three German Orchestras

Around 1780^^

Berlin (1782) (1783) (1781-83) Instruments (King of Prussia) (King of ) (Ope

1st Violins 6 8 6

2nd Violins 7 7 6

Violas A A A

Cellos A A 3

Basses 3 3 3

Flutes A 3 2

Oboes 3 A 2

Clarinets 0 0 2

Bassoons A A 2

Horns 2 3 A

Trumpets 0 0 2

Drums 0 0 1

^^Ibld., 18-27 and Georg Schilnemann, Geschichte des Dlriglerens (Leipzig: Breitkopf & HSrtel, 1913), 179-82. CHAPTER II

HISTORICAL BACKGROUND

The term Romantic originated in a German literary school of the late eighteenth century. Writers included in this school were Wilhelm

Heinrich Wackenroder (1773-98), (1773-1853) , E. T. A.

Hoffmann (1776-1822) and (Friedrich von Hardenberg, 1772-1801).

These writers, searching for relief from the Industrial Revolution and political revolutions, went back to the literature and culture of the

Middle Ages with its knights, ladies and pious monks. They adopted the term romantisch as an expression of ' the spirit of their movement.^

(The adjective romantic comes from the word romance which had the orig­ inal literary meaning of a medieval poem. These poems dealt with heroic personages or events and were written in one of the Romance languages, 2 i.e., a vernacular language which came from Latin.) The word romantic carried then the connotation of something far off, legendary, fictitous and marvelous. The actual world of the present was contrasted with an imaginary or ideal world.

H/illi Apel, "," Harvard Dictionary of Music, 2nd ed. (Cambridge, Mass.: Harvard University Press, 1972), 737. 2 Donald Jay Grout, A History of Western Music, 2nd ed. (New York W. W. Norton, 1973), 538. 14

From this literary movement, musicians adopted the general

feeling of "longing for the past or the nonexistent." Music, dealing

with "sounds" and therefore an intangible art, soon proved to be a more

fertile ground for the development of these tendencies than literature.

3 In fact, E. T. A. Hoffmann called music "the Romantic art."

Johann Gottfried Herder (1744-1803), who was a poet and philos­

opher and part of pre-Romantic (Storm and Stress period),

thought poets and musicians should work together to create a German

music drama — thus the beginning of the important tendency toward 4 nationalism in the development of German Romantic opera.

German were dissatisfied with the universal reign of

Italian opera and set out to develop a German national opera. Contrib­ uting to this nationalism were the Napoleonic occupations, which drew many intellectuals in the German states together since they were now conscious of their common German heritage.The national sentiment which had been suppressed politically for a long time began to emerge in music, and since Germany had no long-established operatic tradition such as Italy, it was a fertile ground for experimentation.

The real initiators of Romantic Opera were the French, i.e., those composers of the late eighteenth and early nineteenth century

3 Apel, op. cit., 649-50. 4 Marion Bauer and Ethel Peyser, How Opera Grew (New York: G. D. Putnam, 1956), 180.

^Reinhard G. Pauly, Music and the Theater (Englewood Cliffs, New Jersey: Frentice-Hall, 1970), 149. 15

French op£ra and opera comique. The French and Italian operas met on

common ground in Vienna, and from that union there arose the general

Romantic characteristics which are common to most German composers

between 1800 and 1820.^ To be sure, the , exemplified at its

best by Mozart's Die Zauberflote, also had a strong influence on the

development of early German Romantic opera.

The use of the supernatural played a large role in the popular

Singspiele of the late eighteenth and early nineteenth centuries. The

supernatural in eighteenth-century opera is either a dramatic convention

(as in Willibald Gluck's ), a source of farce (as in

Karl Ditters von Dittersdorf’s Betrug durch Aberglauben), or a source of

pageantry (as in Die 2auberflote). The titles of some of the most

popular Singspiele of the late eighteenth and early nineteenth centuries

which show the composers' interest in the supernatural are: Paul Wranitzky's

Oberon (Vienna, 1790); Ferdinand Kauer’s Donauweibchen (Vienna, 1795;

dealing with the marriage of a nixie to a mortal); Ignaz Walter's Doktor

Faust (1797; the first "" opera on Goethe's poem); Georg Christoph

Grosheim's Titania; Liebe durch Zauberei (Cassel, 1801); and Friedrich

Himmel's Sylphen (, 1806) and Per Kobold (Vienna, 1811).^ These

are typical examples which show that the Romantic spirit was anticipated

in the libretto. The music, however, remained in the idiom of the

eighteenth-century Singspiel.

^Edward J. Dent, The Rise of Romantic Opera (Cambridge: Cambridge University Press, 1976), 160-61.

^Adopted from list given in Donald J. Grout, A Short History of Opera (New York: Columbia University Press, 1964), 362. 16

E. T. A. Hoffmann's opera Undine (1816), which will be discussed

at length in Chapter III, foreshadows Weber's Freischutz. It is Weber's

Freischiitz (1821) and Euryanthe (1823) which establish the fundamental

characteristics of romantic opera. These are as follows: the Romantic

treatment of subjects derived from national legend and folklore, a deep

feeling for nature and the use of natural phenomena as an essential

element in the drama, the acceptance of supernatural agencies as a means

of dramatic development, and the direct or implied glorification of the g German land, culture and people.

In carrying out the musical expression of these literary charac­

teristics, the role of the orchestra was greatly expanded in German

Romantic opera. No longer was the orchestra an "accompaniment" of the

vocal part, as it had been earlier, rather it was a "commentary" on the 9 action and not a servant to the vocal line. With the resources of a

larger orchestra, particularly in the woodwind and brass sections, com­

posers were given additional colors to express moods of nature and the

supernatural. The orchestra entered continuously into the pattern of

the drama, and in Wagner's work it became even more important than the

vocal line.

Other characteristics of early German Romantic opera were the

increased complexity and chromaticism in the harmony and the close

g Donald J, Grout, "Opera," Harvard Dictionary of Music, 2nd ed. (Cambridge, Mass.: Harvard University Press, 1972), 598. 9 Alfred Einstein, Music in the Romantic Era (New York: W. W. Norton, 1947), 35. thematic connection of the to the opera. In the body of this document, it will become evident that complexities of musical form grew until they led to the coalescence of components in Wagner’s Gesamtkunstwerk, the culmination of the Romantic movement.

The ensuing increased and unique vocal demands led to a more specific categorization of voices, i.e., dramatic soprano {dramatische

Sopran), spinto soprano (jugendlich-dramatische Sopran), dramatic tenor

(Heldentenor) and dramatic (Heldenbariton). CHAPTER III

UNDINE

BY

E. T. A. HOFFMANN

Biography

Ernest Theodor Amadeus Hoffmann was one of the leading literary figures of the Romantic era. Moreover, he was a musician, a music critic, a painter, a graphic artist and a lawyer. His genius was many-faceted.^

Born at Kdnigsberg on January 24, 1776, Hoffmann studied law and was an assistant judge from 1800 to 1806. His first operas date from that period. In 1808 Hoffmann became musical director of the Bamberg

Theater, and in 1813 and 1814 he conducted the opera performances of the

Sekonda Company at Leipzig and Dresden. In 1815 Hoffmann substituted

Amadeus for his third Christian name of Wilhelm in honor of Mozart. From

1814 until his death he lived mostly in Berlin where he was more acclaimed as a writer. On May 1, 1816, he was appointed judge at the Supreme Court

^" Goslich, "Foreword" of Undine by E. T. A. Hoffmann (Munchen: Doblinger, 1975), 3.

18 19

in Berlin. Whether as a result of working too hard or living too hard,

Hoffmann's health began to fail while he was still in his early forties. 2 His life ended tragically, in paralysis, on January 24, 1822,

Hoffmann's first work for the stage was Die Maske, a Singspiel.

In a number of subsequent operas and Singspiele, he established and im­

proved his musical style: Scherz, List und Rache; Die lustigen Musikanten;

Die ungebetenen GSste oder Per Canonicus von Mailand; Liebe und Eifersucht;

Per Trank der Unsterblichkeit; and Aurora. He also composed incidental

music, vocal pieces, a harp , a , and several other works

and sketches. Later, during the War of Liberation in 1813, Hoffmann worked

on his opera Undine.

Hoffmann's literary contributions are notable. His story "Ritter

Gluck" and his review of Beethoven's Fifth are masterpieces of

musical criticism. In the literary self-portrait of

Johannes Kreisler, he depicted the typical Romantic musician. From 1810,

he wrote for the Leipzig Allgemeine Musikalische Zeitung and for various

Berlin journals.

If we could draw a curve of the number of Hoffmann's creative

activities in the different arts through his lifetime, those in literature would be shown to ascend slowly but steadily, while those in the graphic

arts vacillate irregularly and those in music decline. But if we were to draw the curve of Hoffmann's interest in the different arts, the evidence

2 Alfred Loewenberg, "Hoffmann," Grove's Dictionary of Music and Musicians, 5th ed., 10 vols., ed. Eric Blom (London: Macmillan, 1954-61), 313-14. 20 of and its influence on much of his late fiction would show us that his interest in music remained ascendant, with literature growing to meet it.

The relationship between music and literature in Hoffmann's works is of prime interest to us, and in this relationship, it is the music which penetrates the literature and not conversely. Primarily it is the subject matter of the literature that is affected by the introduction of musical characters and discussions, Hoffmann was not principally a lyric writer, but his prose did at times have musical elements, i.e., the ono­ matopoeic song of the three serpents in Per goldene Topf: "Zwischendurch - zwischenein - zwischen Zweigen, zwischen schwellenden..

Plot

Undine is considered to be Hoffmann's best composition, and he was the first to have the idea of bringing Friedrich de La Motte-FouquS'a

4 story to the stage. Fouque’s story appeared in 1811 and was immediately known and loved. Because of the Romantic elements of the story, Hoffmann thought Undine would provide excellent material for an opera.

The plot centers around Undine, the water nymph who wants to come to the world of human beings so that she can have a soul. The king of the elemental water spirits is Kuhleborn, who is against her decision to marry the Knight Huldbrand. However, Huldbrand and Undine are married.

3 R. Murray Schafer, E. T. A. Hoffmann and Music (Toronto: University of Toronto Press, 1975), 28-29. 4 Hans Pfitzner, Vom musikalischen Drama; Gesanunelte Aufsatze (Mtinchen: Siiddeutsche Monatshefte, 1915), 60, 21

Undine explains to Huldbrand that Ktihleborn sent her to live with a fish­

ing couple as a replacement for their little child, Berthalda, whom

Ktihleborn stole from her mo t h e r ’s arms. Undine tells Huldbrand that she

is a water spirit and that if he is unfaithful to her, it will mean death for him. Meanwhile, Berthalda has grown up in the home of a prince. She

is completely distraught when Undine relates at Berthalda’s name-day celebration, that Berthalda is the daughter of common people, the fishing couple. Undine, however, is quite sympathetic towards Berthalda, who accompanies Huldbrand and Undine on their way to Huldbrand's .

Along the way, Huldbrand becomes angry with Undine, scolding and cursing her and calling her a sorceress. Undine then leaves Huldbrand and joins the water spirits. Huldbrand cannot resist Berthalda. At their wedding,

Undine appears out of the fountain and kisses Huldbrand. A beam of light shines on his head and he dies. This Liebestod, i.e., redemption through pure love, is quite important because this idea will become the central theme of the Romantic movement and of Wagner's music dramas.

Hoffmann had this plot in mind when he was visiting in Altenburg in July of 1812, He wrote to his friend, Julius Eduard Hitzig: "I am living in an old gothic town with my wife...only, the weather is miser­ able. The rain which is pounding down in sheets makes me think contin­ ually of the Oheim [uncle] Kuhleborn. I have called to him from my window, but since he won't listen to me, I have decided to capture him in musical notation.""* Kuhleborn, then, the demoniacal, gave ’’offmann the first impulse to compose the opera.

5Ibid.. 61 22

Fouqud accepted Hoffmann's invitation to write the libretto.

Hoffmann himself did the plan of the scenes, helped with set designs and composed the music.

The premiere of Undine took place August 3, 1816 at the Royal

Theater in Berlin. It had been chosen for an auspicious occasion, the birthday of King Friedrich Wilhelm III. The public and critics received g it well. In fact, Carl Maria Von Weber wrote an extremely favorable review which appeared in the Allgemeine Musikalische Zeitung on March

19, 1817. Weber wrote, "The whole work is one of the most ingenious that our time has given us. It is a magnificent product of an intimate familiarity with the subject brought about by a profound reflection and calculation of the efforts of all the materials of art."^

Hoffmann's opera was given in Berlin fourteen times until July

27, 1817, when the destruction of the theater by fire interrupted the course of the performances. Apart from a production at Prague in 1821, which was a complete failure, Hoffmann's opera was not revived until a g hundred years later at , June 30, 1922.

The reason for this lack of public acceptance can be discovered by examining more closely various critics' opinions. Weber, in his review of 1817 said that he had two minor complaints: "the predilection

^Schafer, op. cit., 26.

^See Appendix B for the complete review. g Alfred Loewenberg, Annals of Opera, 1597-1940, 3rd ed. (Totowa, New Jersey: Rowman and Littlefield, 1978), 647. 23

for little short figures which tend to lack variety and obscure the melody"

9 and "the partiality fordiminished seventh chords." Hans Joachim

Moser found strengths and weaknesses in the work just as Weber had done.

Moser points out the lack of true melodic composition (in the Schubertian

sense), and the overabundance of diminished seventh chords. He also

feels there are too many full cadences after only a short statement of

the new key. Strengths of the score, according to Moser, are the colorful musical depiction of the water elements and the polyphonic composition

in the sextet of Act 1 . ^ Edward J. Dent's opinion is that Hoffmann's musical technique was simply not adequate to the expression of his

fantasy. However, Dent points out, Hoffmann initiated the doctrine,

later pursued by Weber and Marschner and brought to the highest develop­ ment by Wagner, that the orchestra represented the supernatural and mysterious forces of nature against which humanity vainly struggles.^

It is the initiation of this doctrine and one other (that of the use of recurring themes to identify characters or situations) which gives

Undine its important place in the history of opera. Weber later employed

the same technique himself of using recurring themes, and

fully developed these techniques into the Leitmotiv principle. As Hans

Pfitzner, the editor in 1908 of the first vocal score of Hoffmann's

Undine, points out: "Even if Undine could not be brought completely

9 See Appendix B for the complete review.

^Hans Joachim Moser, Geschichte der deutschen Musik, 3 vols. (Stutt­ gart and Berlin: J. G. Cotta, 1924), III, 83.

^Edward J. Dent, The Rise of Romantic Opera (Cambridge: Cambridge University Press, 1976), 15. 24 back to life, it continues to play a role backstage in music history, perhaps a greater role than generally suspected, and presents itself in such an ingenious and professional garb that it could be displayed in 12 the best of circles."

Musical Style

A closer look at the music of Undine reveals compositional characteristics of E. T. A. Hoffmann. The orchestration of Hoffmann's

Undine is as follows; two flutes, two oboes, two clarinets, two bassoons,

13 four horns, two trumpets, three trombones, tympani and strings.

The instrumentation of Undine is effective and shows imagination.

For example, one observes in Ktihleborn's aria, "Ihr Freund' aus Seen und 14 Quellen" in Act II an uncommon use of the deep woodwinds and strings in the accompaniment, a feature Weber also used later. Another unusual feature of Hoffmann's orchestration is the use of pianissimo brass and divided strings, found particularly among the cellos; these features produce an effectively rich and "ominous color.In fact, the score is outstanding for its orchestral color. Two examples of Hoffmann's

12 Pfitzner, op. cit., 57.

13 Gerhard Allroggen, E. T. A. Hoffmann's Kompositionen; Ein Kron- ologisch-Thematisches Verzelchnis seiner musikalischen Werke (Regensburg: Gustav-Bosse Verlag, 1970), 104-114,

^E. T. A. Hoffmann, Undine, ed. Karl Peter Pietsch, Piano-vocal score ed. by Eugene Hartzell (Wien and Mtlnchen: Doblinger, 1975), II, 12, measures 1-51.

^Schafer, op. cit. , 180. 25

special finesse with the orchestration are Undine's plea to the Water

Spirits in Act II, "Traute, sonnenblaue Welle",^ accompanied by three

17 solo cellos, and Heilmann's blessing in Act I, "Euch segne der", ac­

companied only by contrabasses.

Hoffmann’s musical "language" in Undine was influenced by

Beethoven’s instrumental music, by Gluck, and by Mozart’s Don Giovanni.

Just as in Don Giovanni, where there is a strong demonic element in

18 the music, so one finds this same force in the music of Undine. From

the very beginning of the opera, the overture paints Kuhleborn’s demon­

iacal character through the use of diminished seventh chords, wide leaps

19 and dotted rhythms. An interesting foil to this demoniacal element

in the overture is the contrast of the other world of Undine, that of

fluttering water spirits and lyrical charm, represented by arpeggiated 20 figures in the strings.

A very progressive element of the overture is that it does not

have a coda-like ending. The overture then is a precursor of the kind of 21 prelude which Wagner used in Parsifal and Die Meistersinger.

"^Hoffmann, Undine, II, 14, measures 141-169.

~^Ibid., I, 5, measures 1-14.

18 Edgar Istel, Die Bliitezeit der musikalischen Romantik in Deutschland (Leipzig: B. G. Teubner, 1921), 112.

19 Hoffmann, Undine, Overture, measures 15-16 and measures 159-162. 20 Ibid., Overture, measures 240-62. Compare I, 2, 28-31, where we find textual reference to Undine, made by the Fischer, accompanied by the same arpeggiated figure in the strings; II, 14, 169-181 and III, 17, 248- 255. 21 Paul Greeff, E. T. A. Hoffmann als Musiker und Musikschriftsteller (Koln and Krefeld: Staufen, 1948), 248. 26

Upon examination of the distribution of solos, ensemble and chorus singing, one finds only three solo arias among the ensembles;

Hoffmann's work, therefore, approaches the later continuous music dramas of Wagner. The spoken dialogue always fits the situation well and does not disturb the flow of action. In addition, the effect of the drama is heightened because the dialogue helps characterize each role more fully.

Of the nine singing roles, there is no leading tenor in Undine.

This is extremely unusual, and the fact that Hoffmann chose four low voices for the main male roles points to his desire to emphasize the sinister, demonic and supernatural elements in this work.

Hoffmann's use of Leitmotive and musical character painting to produce a deeper psychological insight into each character is extremely well carried out. Kuhleborn, who is really the central figure of the opera, is depicted in the Overture, by the diminished seventh chord

(Supra, p. 25), wide-interval leaps, and by long held-out chords in the orchestra. All these musical characteristics emphasize his supernatural character. Undine, on the other hand, is depicted in a lyrical, fairy­ like manner. Her Leitmotiv (Example 10)appears often in different

22 23 variations and points to her "wistful nature".

22 See Hoffmann, Undine, II, 14, measure 139 and III, 20, measures 8-9. 23 Pfitzner, op. cit., 72. 27

Example 10. Leitmotiv of Undine.

Huldbrand's impulsiveness is emphasized by a dotted motivic pattern.

In sharp contrast is the chorale-like melody which accompanies the ap-

25 pearance of the priest, Heilmann. In fact, Hoffmann's sense of the musical sound being appropriate for a given situation or character is well illustrated throughout the opera by the use of this motivic charac­ ter painting procedure.

Hoffmann said about his music for Undine, "If some nuances of the drama are lost, I believe music with its wonderful tones and chords is able to take the place of the nuances and open up the magic kingdom 2 6 of the Romantic." By virtue of a choice of texture and chords Hoffmann drew the mighty elemental spirit of Kuhleborn and made him the first real

24 Hoffmann, Undine, III, 18, measures 9-12.

25 Ib i d ., I, 5, measures 1-14.

2 6 Helmut Schmidt-Garre, Oper; eine Kultur-geschichte (Koln: Arno Volk, 1963), 170. 28

27 romantic personification of the demonic principle, a personification which appears later as Kaspar in Der Freischtitz, Lysiart in Euryanthe,

Lord Ruthven in , Helling in Hans Heiling and the Dutchman in

Der fliegende Hollander.

Comparison of Hoffmann’s and Lortzing*s Undine

The musical characteristics of Hoffmann’s Undine, we see then,

are calculated to emphasize the supernatural, demoniacal elements of the

story. This is not the case, however, with 's setting of

28 the Undine story.

27 Of course, there is a demonic element in Don Giovanni which cannot be denied, (Supra, p. 25), but "it is misleading to regard Don Giovanni as a romantic opera in the nineteenth-century sense." (Donald Jay Grout, A Short History of Opera (New York: Columbia University Press, 1964), 289.) The overall terrifying effect of the opening measures of the Overture and the music for trombones, signifying the Commendatore's apparition in the last act finale, is lessened by Don Giovanni's good- natured duet with Leporello, "Eh via, buffone," Act II, Nr. 14 and Don Giovanni's Canzonetta, "Deh vieni alia finestra," Act II, Nr. 1^. In short, Don Giovanni is not the serious foreboding type which appears in nineteenth-century opera personifications, although he must also be classi­ fied as "evil".

28 Albert Lortzing was born in Berlin on October 23, 1801 and died there January 21, 1851. Host of the operas Lortzing composed were in the comic vein and abound in humorous situations like those of the older Viennese Singspiel. The humor Is often childish and the plot naively sentimental. Examples of such works are , Der Wildschutz, und . With Undine, Lortzing ventured into a new area, that of the romantic opera with its supernatural beings and the theme of "redemption through love." 29

The first performance of Lortzing's opera took place in on April 21, 1845. It was received very well there, and three days later, in , it was also well received. The opera has enjoyed continued

29 success, primarily in Germany.

Lortzing, like Hoffmann, based his opera on the story by La Motte-

Fouqud, but Lortzing wrote his own libretto and made substantial changes from the libretto of the Hoffmann-Fouqu£ collaboration. The most important of these alterations are the addition of two comic characters, Veit and

Hans, and certain plot changes. In the plot we now have Ktihleborn an­ nouncing Berthalda's real parents instead of Undine revealing this infor­ mation; Berthalda tempts Hugo much more in Lortzing*s opera; and the "re­ demption through love" theme is fully carried out, ending this opera with

Ktihleborn's forgiving Hugo and uniting him and Undine so that they can live together in the water kingdom.

It is actually quite ingenious how Lortzing rearranged Fouqu^'s story so that the action is packed together and the unnecessary details are left out. Lortzing did not make the mistake Hoffmann and Fouqufi made, namely that of assuming prior knowledge of the story. Lortzing's plot is clear and easily understandable. Instead of three acts, Lortzing has four acts which follow the four main parts of the Fouqu£ story.

In Lortzing's work, one is immediately struck by the combination of the comic and tragic elements. In fact, the first character on stage is the comic figure Veit, the knight's servant, who sings a gay aria about

29 Loewenberg, o p . c i t ., 846. 30

his joy in returning home again. Lortzing's sphere did not encompass

romantic subterranean beings, but the genial folk world, and it is this

folk world which is the predominant element in this late example of a

stylistically early German romantic opera. Lortzing tried to create a

romantic work which illustrates the world of the supernatural, but he

is most successful in the work in his depiction of the humorous or

lyrical, such as his musical painting throughout the opera of a water

kingdom which has a delicate transparent shimmer.

In comparing the central figures of the two operas, one again sees

that demonic powers are far from Lortzing’s world. Lortzing's Kiihleborn

is much more a father figure than is Hoffmann's, and we find a gentleness and sentimentality in his character. The music he is given to sing is much more lyrical in nature than the dramatic baritone outbursts of

Hoffmann's Kiihleborn. Undine in Lortzing's opera also is a more loving figure than we find in Hoffmann's work. In the former there is less of a change in her nature when she receives a soul than in the latter.

Lortzing's Undine would not be as heartless as we find in Hoffmann's score, as for example when she sings to her father in Act I, "I do not like

30 it in your house!" Huldbrand's name has been changed to Hugo in

Lortzing's opera, and he is now a tenor instead of a dramatic baritone as in the Hoffmann work. Although Hugo does have some dramatic singing, as

31 in his aria "Hinweg! dein drauend Angesicht" in Act IV, the role is

30 Hoffmann, Undine, I, 3 (Verwandlung), measures 331-335.

31 Albert Lortzing, Undine, ed. Georg Richard Kruse (Leipzig: F. M. Geidel, 1926), IV, 16, measures 202-233. 31 more lyric in nature than that of Huldbrand. Only in the role of Berthalda

do we find a character treated more dramatically in Lortzing's opera than

in Hoffmann's. Berthalda pursues Hugo very strongly, and her search for

power, along with her pride, is painted quite vividly in Lortzing’s music.

The use of the Leitmotiv technique in Lortzing's Undine gives the work unity. The Leitmotive of Kiihleborn and Undine give them a convincing musical profile. It is interesting to note that Lortzing used this tech-

32 nique while unaware that Wagner was also using it.

Comparison of Vocal Demands in the Two Operas

In a comparison of vocal demands, it is apparent that Hoffmann's opera emphasizes the supernatural demonic much more than Lortzing's, and

it follows that Hoffmann's opera demands a more "super-human" effort on the part of the singers. This is especailly true in the roles of Kiihleborn and Huldbrand. The extremely high tessituras of both parts and Kiihleborn's wide leaps substantiate this claim. In Example 11, Kiihleborn's wide leaps are illustrated, and in Example 12, Huldbrand's extremely demanding tessitura

33 for a baritone.

32 Herman Killer, Albert Lortzing (Potsdam: Athenaion, 1938), 82.

33 See also Hoffmann, Undine, I, 5, measures 63-73; I, 5, 83-84 and II, 14, measures 403-416. 32

Example 11. Hoffmann, Undine, II, 12, m. 23-25.

uMe born W . f r t r ^ lr ^ ^ u e H ^ ver- fcru-^tr.-fes &e-sc-hle-ch-^

Example 12. Hoffmann, Undine, II, 14, m. 236-240.

t Q ttuldbr-JLVf ± ‘f < r v i l l ' t' r f , 1* iJt 1 £ * .. J----1—!----- J t 7 b — x ------7"* h ^*|-f£ iJl Iit-tibtj 2ctui>VIn^ j£ajuh'r'>r\f <<-h

Hoffmann indicated that a should sing Kiihleborn and a baritone the role of Huldbrand. In each case, the singer must have a wide range and extremely good high notes and the ability to pace himself intelligently to still be singing well at the end of the opera.

Lortzing's opera is less vocally demanding for the singers of the roles of Kuhleborn and Hugo. These roles could be sung by a lyric baritone and lyric tenor, however, the roles become more dramatically T./ effective when sung by a dramatic baritone and dramatic tenor. The essential vocal demand required is that of musical sensitivity, and not vocal stamina.

34 Lortzing, Undine, I, 5, measures 155-157 and IV, 16 measures 70-86. 33

The other male role which demands an especially good interpreter

in the Lortzing opera is the comic role of Veit. Not only does he have

to be a good actor to carry out the difficult stage movement, but he

must have clear articulation for his great amount of spoken dialogue

and his parlando-type arias. The challenge of this role calls for the

voice to be well focused, especially in dialogue, so that the voice will

not tire in the singing parts; the speaking voice must also project easily

with proper breath support, just as in singing.

In comparing the female parts in the two operas, one finds the most appropriate singers for the roles of Undine and Bertnalda in both

operas to be lyric and spinto respectively. Even though it was

the practice in 1845 in Germany to cast a coloratura for the role of

35 Berthalda in Lortzing's Undine, a spinto who has the capability to negotiate the difficult coloratura is definitely a better choice for the

36 role. In Example 13, Berthalda's coloratura is demanding, but the musical example shows a coloratura soprano would not be strong enough in

37 her lower and middle voice to convey the pathos of the drama.

35 Georg Richard Kruse, "Undine, zur Geschichte der Oper," in Lortzing, op. cit., 12.

See Appendix C for excerpts of a personal letter from Mr. Charles Jahant, a leading opera critic and authority of operatic casting, concern­ ing various castings for the operas Undine, Euryanthe and Hans Heiling. This information indicates that Berthalda was sung first by a coloratura, then a mezzo, a , and finally, in 1884, by a dramatic soprano.

37 See also Lortzing, Undine, II, 12, measures 194-219 and II, 9, measures 170-204 u

Example 13. Lortzing, Undine, II, 12, m. 271-279.

------k \ i\ . KIS..K.. KI NU-- * / * \ * 1 b * 7 , h | > 7 7 ^ V V - A j^prAfict'!Kincii? in .S'taui'*j*-Su

/ n ' i " f. " t (■ B ' * ~ y - 7 f rl ^ « - ^ - / 7 v ^

fi~ L . a 1 i c t n 1 u icfj

- 7 J . jj ------^ - Y ^ - f fm > m £ i r

j I L. SprtAtL. HA. - 1 ^ -Sr>v* i-U. W [ icL^ c t L $Lg--attg if$y j _ - _ 4 ^ , \ rv ic £ (S~ *

Undine's voice chara- ter must be lyric in nature, a sweet bright

sound. Both Lortzing's and Hoffmann's operas require a

who is capable of coloratura, but the main quality should be that of

innocent sweetness. It is the same type of innocent sweetness which the

role of Sophie in demands. 35

Musically challenging to the singers in the Hoffmann Undine are

the constantly recurring diminished seventh chords. All the intervals making up this chord (minor third, diminished fifth, and diminished

38 seventh) are difficult to sing perfectly in tune.

In Example 14, Kiihleborn must not only sing intervals of the diminished seventh chord, but he must sing them in wide leaps as well.

Example 14. Hoffmann, Undine, I, 5, m. 69-73.

f f4

The dotted rhythms sung by Huldbrand in Hoffmann's Undine are the only real performance problems of his role, rhythmically speaking. The rhythm must be accurate, but the voice must continue to sound, and the legato line must be maintained throughout the execution of the phrase.

Example 15 illustrates this potential problem.

See Hoffmann, Undine, I, 3, Verwandlung, measure 72 and measures 125-126. 39 See also Hoffmann, Undine, I, 1, 58-72 of Huldbrand's part. 36

Example 15. Hoffmann, Undine, I, Verwandlung, m. 284-286,

cLbras* cL

^Rtoxd- c su_5-se /Otf-ne la e> s-Se/^ler*h t-, ice > ) J ; > J

Lortzing's opera has a larger public appeal than that of Hoffmann, because audiences in Germany like Lortzing's world of folk-like humor and tender-hearted emotion. Although Loewenberg’s Annals of Opera describe

Lortzing's Undine as "successful in Germany,this success refers pri­ marily to the nineteenth century. Two of the recent reviews of Lortzing's

41 Undine appearing in Opernwelt discuss performances at Munster and

42 Dortmund in 1963 and 1977, respectively. Both refer to the fact that

Undine is not performed as often as Lortzing's other operas; however, it is performed more often than Hoffmann's Undine.

There is evidence of only two recent performances of Hoffmann's

43 Undine: a stage production in Wuppertal in 1970 and a

Loewenberg, op. c i t ., 846.

41 "Munster, Lortzing's liebenswerte Undine," Opernwelt, IV/5 (Mai 1963), 55.

^Kathe Flamm, "Undine in Dortmund," Opernwelt, XVIII/6 (Juni 1977), 23. ^ 3 Horst Koegler, "E, T. A. Hoffmann's Undine - Wuppertal," Musica, XXVI/4 (Juli-August 1970), 370. 37 44 in Berlin in 1976. (The last stage production before the Wuppertal

45 performance was in Leipzig in 1934). Despite this lack of performance,

Hoffmann's opera still has a very important place in the history of

German romantic opera because many of the features of the later operas which will be discussed in this document developed directly from

Hoffmann's influence.

44 Walter Kaempfer, "E. T. A. Hoffmann's Undine Konzertant in Berlin," Opernwelt, XIV/5 (Mai 1976), 38.

45 Koegler, loc. cit. CHAPTER IV

EURYANTHE

BY

CARL MARIA VON WEBER

Biography

Carl Maria von Weber was born in Oldenburg November 18, 1786.

He came from a large family of musicians, whose ancestors were musicians as early as the seventeenth century. (Weber was also related to Mozart by marriage: his first cousin, Constanze Weber, was Mozart’s wife.)

Because his father was a travelling performer who played violin and double bass and directed a dramatic company, Weber's whole life was in­ volved with the theater. This company consisted mainly of his own family; the mother was a professional singer and the children sang and played instruments as well. Therefore, before he was seventeen, young

Carl had seen many of the theaters of Europe. In 1804, at the age of eighteen, he was appointed chief conductor at Breslau on the recom­ mendation of his teacher, Georg (Abb£) Vogler. After two years,

Weber left Breslau and subsequently went to Stuttgart, Darmstadt and

Mannheim in various positions, some musical and others secretarial.

These three cities, like many others in Germany then, had their local

38 39

ruling duke or prince. These rulers furthered artistic interests in

music, painting, poetry and literature as a form of rivalry with the

neighboring prince. Since they were proud to have men of culture around

them, Weber was able to meet artistic young men of his own age and was

saturated with current literature and philosophy. The intellectual

atmosphere of his surroundings, along with the past influence of his

teacher, Vogler, directed Weber strongly toward romanticism. Because

he was an able and conductor, he was able to lead the life of

a virtuoso and make ccncert tours.

In 1813, Weber's roving life came to an end when he was appointed

conductor in the theater at Prague. After four years at Prague, he went

to Dresden, where he was eventually appointed conductor (Kapellroeister-

Post Restante) of the German opera for life.^ In Dresden, Weber set

new standards in German opera by initiating reforms in production,

scenery, lighting and training of the chorus as well as dramatic in­

struction of the solo singers. All this work foreshadowed the later 2 development of the music dramas of Wagner.

Weber's entire creative efforts were directed toward dramatic

works even though he also composed piano sonatas and , , , masses, , songs and choruses. His three

^J. Merrill Knapp, The Magic of Opera (New York: Harper and Row, 1972), 271-72. 2 , record jacket notes for Carl Maria von Weber's Euryanthe, performed by the Dresden State Orchestra, conducted by (Angel SDL 3764, 1975), 4. 40

great operas are Per FreischUtz (1821), Euryanthe (1823) and

3 (1826)* Except for Euryanthe, all of his operas are Singspiele.

After the rehearsals and performances of his last

opera, Oberon, Weber died in London on June 5, 1826. In 1844, his

remains were moved from Moorfields, London, back to Dresden. For this

occasion, Wagner composed funeral strains for winds and muffled drums

based on themes from Euryanthe. At the grave, Wagner also delivered an

oration and conducted the singing of a poem which he had written and

composed for male voices.^

In Weber's works, he consciously sought to bring together all of

the elements which would produce a feeling of nationalism. Nowhere

among his works is this amalgamation better achieved than in his opera,

Per Freischiitz. The libretto has all the features which aroused a

national pride within the German folk: the humble village and country

life, the music of the folk exemplified through their songs and dances,

and the triumph of good over evil, which was felt to be the triumph of

the German romantic opera successful; i.e., a background of nature, a

pure heroine and a well-meaning, but easily misled hero— a villain

caught in the trap he tried to set, and finally the supernatural.

"There never was an opera, and there is no likelihood that there ever

3 Alfred Einstein, "Carl Maria von Weber," International Cyclopedia of Music and Musicians, 10th ed., ed. Oscar Thompson, Nicolas Slonimsky, Bruce Bohle et. al. (New York: Dodd, Mead, 1975), 2429 4 Robert W. Gutman, Richard Wagner, the Man, His Mind and His Music (New York: Time Incorporated, 1972), 116. 41

will be one, so intimately bound up with the loves, feelings, sentiments,

emotions, superstitions, social customs, and racial characteristics of a

people.

Plot

Because of the success of Per Freischtltz, Weber was commissioned by Domenico Barbaja, the Italian impresario of the Karnthnertor Theater in

Vienna, to write another opera. Even though Barbaja suggested that an opera similar to Per Freischtltz should be composed, Weber decided it

should be different. He wanted to construct a German Romantic ,

i.e., no longer a Singspiel with spoken dialogue, but a "great heroic- romantic opera in three acts," as the title reads.^ The work should be on a much grander scale than Per Freischiitz, he thought, and he wanted

the music to be continuous with no spoken dialogue disturbing the flow of

the drama.

For his librettist, Weber chose Helmine von Chezy, even though she had no previous experience with drama or opera. Chezy and Weber decided the subject matter for the opera should be the chivalric Middle

Ages; therefore, the source of the libretto was a thirteenth century romance entitled L'Histoire de Gerard de Nevers. (Boccaccio used this

7 source for his Decameron as did Shakespeare for Cymbeline.) The theme

5 Donald Jay Grout, A Short History of Opera (New York: Columbia University Press, 1964), 366, quoting Henry Edward Krehbiel, A Book of Operas (New York: McMillan, 1928), 207.

^Alfred Einstein, Music in the Romantic Era (New York: W. W. Norton, 1947), 114. 7 Warrack, record notes for Euryanthe, 4. 42

was common to medieval romance: a husband boasts of his wife's fidelity,

is challenged to a wager on it, comes to believe he has lost and plans

revenge on his unfaithful wife, which she manages to escape. After

various adventures, the betrayer is unmasked and punished; the couple is

happily reunited.

Such is the libretto which von Chezy wrote for Weber's opera. g The setting is the reign of Louis VI (1108-37), known as Louis the Fat.

Euryanthe, the heroine, and Adolar, the hero and a knight of Louis, are

betrothed and very much in love. Adolar pledges Euryanthe to secrecy

about the family disgrace involving his sister, Emma, who at the loss of

her lover committed suicide with poison from a ring. Her tomb is in

Adolar's castle. Lysiart, another knight in the service of King Louis

also loves Euryanthe and challenges Adolar concerning her faithfulness.

In anger, Adolar accepts the challenge in spite of the King's warning

that tragedy may ensue. Euryanthe unwittingly discloses the story of

Emma to Eglantine, her handmaiden, who is secretly in love with Adolar

and wants him for herself. Eglantine takes the ring from Emma's body

and gives it to Lysiart. He promises Eglantine marriage if she will help him plot against Adolar and Euryanthe. Lysiart, by producing the

ring tries to prove that Euryanthe has been unfaithful. Adolar, who believes Lysiart's accusation, intends to murder Euryanthe and takes her with him to the desert. Just before he plans to murder her, a huge

snake appears. Euryanthe begs Adolar to flee while she sacrifices herself

to the snake, but Adolar attacks the snake and kills it. In return

8Ibid. 43

Adolar decides not to kill Euryanthe, but to abandon her there in the desert. The King and his hunting party discover her there and find out the truth of Eglantine's plot. The King promises full restitution.

Eglantine, about to marry Lysiart, confesses her crime and is stabbed by Lysiart. His guilt is also exposed and he is captured and led away.

Adolar and Euryanthe are then happily reunited.

After reading the libretto, one asks the following question: Why did Euryanthe not clear up the whole misunderstanding when first charged, or later when she was led by Adolar into the desert? In addition to this weakness in the plot there is the somewhat artificial device of the mon­ strous snake and the stilted, uneven language of the libretto. Chezy sometimes uses words that are too archaic; at other times, she uses words that are too colloquial. The weak plot has been blamed by many for

Euryanthe's lack of success; however, the discussion of the vocal demands of this opera will show other reasons for the infrequency of performances.

Weber's biographers, Lucy and Richard Stebbins, give the follow­ ing account of the evening of the first performance on October 25, 1823, at the Karnthnertor Theater:

The opera began at seven and ended at ten, but the critics complained that it was too long and word went around that the reason was because Weber wrote for eternity. Rosenbaum, Secretary to Prince Esterhazy, called the opera magnifleant except for the incomprehen­ sible recitatives. Griesinger, of the Saxon Embassy rated it with Fidelio and the operas of Spohr "which everyone praises for deep erudition but leaves unattended." Grillparzer noted in his diary, "This opera can please only fools (idiots or scholars) and assassins." Never­ theless Weber was called out to acknowledge the applause after each act and twice at the end.

9 Lucy Poate Stebbins and Richard Poate Stebbins, Enchanted Wanderer; the Life of Carl Maria von Weber (New York: G. P. Putnam, 1940), 235. 44

One cannot say, then, that the opera was a complete failure, but the partial nature of its success was very depressing to Weber. There was a decline in the attendance. Cuts were made which completely dissolved the already incoherent story. After twenty performances, Euryanthe was not heard again in Vienna for a long time. Beethoven, however, when told of the initial success of the premiere wrote to Weber, "I am glad! I am glad! For this is the way the Germans must get the upper hand of the

Italian sing-song. The reviewer for the Allgemeine Musikalische

Zeitung was not as enthusiastic as Beethoven when the performance was first reviewed in the November, 1823 issue. ^

Yet, when one considers the great number of attempts that have been made through the years to revise Euryanthe either by a new text or by shortening the music, one realizes the ever-present respect for the 12 work as a musical masterpiece.

Musical Style

In considering the musical details of Euryanthe, the skillful handling of the orchestra immediately becomes apparent. The opera is scored for two flutes, two clarinets, two oboes, two bassoons, four horns, two trumpets, three trombones, the tympani and strings. Alfred Einstein states the following concerning Weber’s talent for orchestration: "In

^Arthur Elson, A History of Opera (Boston: L. C. Page, 1901', 140.

^See Appendix B for a translation of this review. 12 Alfred Loewenberg, Annals of Opera, 1597-1940, 3rd ed. (Totowa, New Jersey: Rowman and Littlefield, 1978), 689-90. 45

his use and blending of the strings and winds, especially the registers

of the woodwinds, Weber revolutionized classical instrumentation; Berlioz

13 and Wagner are inconceivable without him."

This subtle "blending of the strings" is evidenced by the strong

feeling for concerted string ensemble, which is heard in the ghost music i t of the Overture and in Lysiart's aria "Wo berg ich tnich?", Act II,

Nr. 10.^"* In the former example, the ensemble is made up of eight violins over tremolo violas, while in the latter, unison strings play a furious thirty-second-note passage depicting Lysiart's dedication to revenge. The writing for woodwinds also has strong ensemble characteristics, as demon­ strated by the opening of Adolar's aria, "Wehen mir Lufte", Act II,

Nr. 1 2,^ in which the low register of the woodwinds mirror Adolar*s mood of apprehensiveness by scoring clarinets and bassoons over a sixteenth- note passage in the part. Another example of Weber's subtle use of

17 orchestration is the wedding march, Act II, Nr. 23. The orchestra is used here for character-building purposes, because even though the wedding march begins with the brightness of high woodwinds and brass, the sinister characters of both Lysiart and Eglantine are illustrated by the harsh, thick doublings in the low reeds and low brass.

13 Alfred Einstein, "Carl Maria von Weber," International Cyclo­ pedia of Music and Musicians, loc. cit.

14 Carl Maria von Weber, Euryanthe; Grosse in drel Aufzugen, ed. (Berlin: Schlesingerchen Buch und Musikhandlung, 1866), Overture, measures 125-139.

1 5 Ibid., II, 10, measures 133-150.

^ Ibid., II, 12, measures 18-26.

1 7 Ibid., III, 23, measures 23-47. 46

The use of harmony in Euryanthe is, like the orchestration,

functional. In the example of the wedding march just cited, there are

constant chromatic disturbances of the harmonic scheme which seem to

mirror the deceitful character of both Lysiart and Eglantine. In fact,

throughout the opera, Weber uses chromaticism to depict evil or super­

natural aspects of events. However, when a world of goodness or chivalry

is described, simple diatonic harmony is used, The harmonic tension in

the opera then is derived from the constant struggle between diatonic

18 and chromatic — the struggle between "good and evil."

Another aid to characterization in Euryanthe is the choice of

key. For instance, the main key of the opera is E flat major; it is the

key in which the overture opens and last finale closes. Adolar's arias,

Nr. 2 and Nr. 12, are in this key. However, upon examination of the

arias of the villains of the opera, one finds sharp keys, i.e., Eglantine's

aria in Act I (Nr. 8 ) is in E major and her duet with Adolar in Act 2

(Nr. 11) is in B major. These bright keys mirror their overbearing,

evil personalities. In fact, it was this contrast of "light" and "dark"

or good and evil couples that influenced Wagner in Lohengrin. The

character of Elsa in Lohengrin corresponds to Euryanthe, Telramund and

Ortrud to Lysiart and Eglantine. Comparing the examples John Warrack

has provided in his book, Carl Maria von Weber, one sees that Wagner

derived his opening duet of Act II, Lohengrin from the Lysiart-Eglantine

18 John Warrack, Carl Maria von Weber (New York: Macmillan, 1968), 278-84. 47

19 duet, Act II, Nr. 11. Both couples Invoke the powers of darkness and

take an oath to this effect.

Weber's use of Leitmotive in Euryanthe helps to delineate charac­

ter traits more fully. A good example of this musical character painting

is a Leitmotiv which first introduces Eglantine in the opera in Act I, 20 Nr. 5, Recitative. The chromatic sixteenth-note figure expresses her

falseness when she is trying to persuade Euryanthe to reveal the secret

to her; Weber slightly alters the Motiv to represent her cajoling,

pouting, assumed innocence, and, finally, assumed anger. The text is vividly painted in the music of the solo line, while the orchestra

provides the harmony, and, in this case, a recurring Motiv which acts as

a commentator of the action. (Wagner used this type of recitative or 21 Sprechgesang, "speech song", in Tannhauser and his later operas.)

With this type of recitative, a new expression of dramatic ism was reached; a freedom of movement between the numbers was provided, and thus the way was opened for Wagner's continuous dramas.

Vocal Demands

With this increased expression of dramaticism came increased vocal demands for the singers. In the context of Euryanthe, four main aspects of vocal demands have been chosen for discussion:

19Ibid., 285-86. 20 Weber, Euryanthe, I, 5, measures 83-85. 21 Grout, op. c i t ., 380. 48

the singing of conversational and dramatic recitative; a combining of vocal categories for one singer, e. g., coloratura, lyric and dramatic categories for Euryanthe; the vocal stamina that is required to sustain

the long dramatic arias and project over the orchestra; and, finally, demands involving adequate vocal technique required for the high tessi­ tura and proper articulation of words and rhythm.

The primary problem involved in singing any type of recitative is that of keeping the voice well placed and "in line" despite all the words that must be clearly articulated. There are many examples in

Euryanthe of conversational recitatives which require special attention from the singer. Lysiart's confrontation with Adolar in Act I (Ex. 16) illustrates such a recitative. Other examples may be found in Euryanthe's

22 2 3 recitative, Act 1, Nr. 5 and in Lysiart's recitative, Act II, Nr. 10.

Example 16. Euryanthe, I, 3, m. 57-65.

22 Weber, Euryanthe, I, 5, measures 95-105. 23 Weber, Euryanthe, II, 10, measures 39-50. 49

Many recitatives in Euryanthe demand a dramatic declamation which

can be very tiring to the singer because he must resist the temptation to

24 push the voice in an attempt to be dramatically effective. (Example 17).

Example 17. Euryanthe, I, 6 , m. 122-131.

i V~- W x S k & i & Cjt* - f a * \

t y f f m | * r ~ j -

T j — - U-ctf” ) (2. fvt4ie*. rY^ihtn.

Perhaps the most difficult vocal demand found in Euryanthe is that of the need for one person to be able to sing coloratura, lyric and dramatic passages. This vocal category-combination has brought about different kinds of casting for the roles of Euryanthe and Eglantine since the premiere of the opera. Ears that had never heard the kind of dramatic soprano developed to meet the requirements of Wagner and Verdi found nothing strange about Weber’s choice of a seventeen-year old coloratura to create the role of Euryanthe in 1823. This girl was ,

25 one of the most famous coloraturas of the nineteenth century. The

24 See also Weber, Euryanthe, II, 10, measures 298-303 and III, 23, measures 69-77.

25 Henry Pleasants, The Great Singers (New York: Simon and Schuster, 1966), 191. 50 26 review from the Allgemeine Musikalische Zeitung in September 1833 states that a sang the role of Eglantine in a performance in Stuttgart:

Frau Pistrich sang the role of Eglantine not only well, but she sang much better than one would have expected because this singer usually sings in the soubrette . We must also praise Frau Pistrich because she always sings with good intonation in all registers and pro­ nounces the words very clearly.

In another article published in the Allgemeine Musikalische Zeitung after Weber's death stating his tempi recommendations for the performance of Euryanthe, Weber himself says, "the individuality of the singer invol­ untarily gives each role its color. One who has a very light, flexible voice and one who possesses a very large voice will each perform the role differently, the former certainly somewhat faster than the latter; but both can satisfy the composer if they give passion to the role in their own adegree. ~ "27

Today's audiences, however, being steeped in Wagner and , no longer accept light coloratura voices similar to those of Henriette

Sontag and Frau Pistrich. Rather, current singers of these roles such as and Teresa Kubiak (Euryanthe), and Rita Hunter and

Frances Bible (Eglantine), show that through the years the interpreters of the roles of Euryanthe and Eglantine have become increasingly dramatic.

This is where the problem lies: large dramatic voices have difficulty with the fluid passages and high tessitura which both roles demand.

26 "Nachrichten-Stuttgart," Allgemeine Musikalische Zeitung, XXXV/36 (September 1833), col. 604.

27 Carl Maria von Weber, "Tempo-Bezeichnungen nach Mhlzl's Metronom zur Oper, Euryanthe," L/8 (February 1848), col. 126. 51

In addition to the dramatic and coloratura demands, the role of Euryanthe requires lyric, pianissimo singing in the arias, "Glocklein im Thale",

0 R Act I, and "Hier dicht am Quell", Act III. Examples of Eglantine's coloratura and dramatic demands are shown below (Example 18 and

Example 19).

Example 18. Euryanthe, I, 8 , m. 122-129.

& Scirv (~l&fczu GrvMjsL

_____ ft

28 See also Weber, Euryanthe, I, 7, measures 60-80 and III, 16, 3-24. 52

Example 19. Euryanthe, I, 8 , m. 107-117.

^rUK^^tun. WjJv a l f ^ Twn(^)

The vocal stamina required in Euryanthe for the four lead roles is immense. Eglantine's aria "Er konnte mich urn Sie verschmahn", Act I, Nr.

8 ; Euryanthe’s aria, "Zu ihm.' 0 weilet nicht", Act III, Nr. 20; Adolar’s aria, "Wehen mir Lufte Ruh!f Act II, Nr. 12; and Lysiart’s aria, "Wo berg ich mich?", Act II, Nr. 10 all prove this statement. In each aria, Weber has chosen to have the singers repeat the most difficult parts of the aria two, and sometimes three times. This is the reason the singers must sing with intelligence and pace themselves very carefully in order to maintain fresh high notes for the end of the aria.

There are many dramatic outbursts in the opera which also require

29 careful pacing on the part of the singer (Example 20).

29 See also Weber, Euryanthe, I, 8 , measures 32-37 and I, 4, measures 36-49. 53

Example 20. Euryanthe, II, 14, m. 105-132.

f.y • ^ / b o f l p • 0 o ■:>- - "h "P7>' ------y.- .... Vn- f u T -j) fr r f f . . . - . / I --- \ \ »<\ U t — i>-e w — «- U .h ' £thwA© ^ L ^ h----- ~'-j m ~ a ^ --v-F- J— 1— -g ------J------L---- .----- 1------1 i 4 vend wpH'hs. eta t v * 4Vfc‘l-ic « n«+»- wm - vve. - beo -

------O |'ffc jbe.

A ju r <-+ k i eta wirs+'oui i^-Kwki' mi dta hd—

Weber tried to take care of the problem of voice projection over the orchestra with his careful dynamic markings. The first review of the opera, appearing in the Allgemeine Musikalische Zeitung, indicates, how­ ever, that he was not successful. This review states that several sing-

30 ers "screamed themselves to death."

It is appropriate at this point to examine the size of the or­ chestras at Dresden, Berlin and Vienna around the time of 1840 in order to draw a comparison with the size of the orchestras of these cities around 1780 (Supra, p. 12). The following table shows that the or­ chestra was increasing in size in nearly each instrumental division, making it increasingly hard for singers to be heard above this larger force of sound.

See Appendix B for the complete review. 54

Table 3

31 Strength of Three German Orchestras Around 1840

Berlin (1843) Dresden (1842) Vienna (1842) Instruments (Court Opera) (Court Opera) (Court Opera)

1st Violins 14 8 9

2nd Violins 14 8 9

Violas 8 4 4

Cellos 10 4 5

Basses 8 4 5

Flutes 4 4 3

Oboes 4 4 3

Clarinets 4 4 3

Bassoons 4 3 3

Horns 4 5 6

Trumpets 4 4 4

Trombones 4 3 4

Various Drums, Drums, Dr u m s , Instruments Percussion, Harps Percussion 2 harps

31 Adam Carse, The Orchestra from Beethoven to Berlioz (New York: Broude Brothers, 1949), 46-59 55

Examples of potential problems in voice projection may be found in

Eglantine's Act I aria and in Lysiart's Act II aria, where the vocal line

is written in the low-middle range of the voice and is accompanied by the

32 full orchestra.

Technical demands in Euryanthe are many: The example of Sontag's

problem with intonation is stated in the review in Appendix B. Fatigue

and loss of concentration of the singers in such long demanding roles could

be a contributing factor. Other intonation problems are almost certain to

occur in the extremely fluid duets, "Unter ist mein Stern gegangen," Act I,

Nr. 7, sung by Euryanthe and Eglantine, and "Komm denn! unser Leid zu

rachenl", Act II, Nr. 11, sung by Eglantine and Lysiart. There are ex­

tremely long coloratura passages where the singers are singing in thirds,

and such passages are difficult to keep exactly in tune, as evidenced by

33 recordings of this opera.

As far as tessitura is concerned, the role of Lysiart does not

present great problems, for it lies in middle range, for the most part, with only occasional high notes for a baritone. The roles of Adolar,

Euryanthe and Eglantine, however, are another matter. These singers must be capable of singing well in all registers — low, middle, and high.

32 See Weber Euryanthe, I, 8 , measures 75-84 and II, 10, measures 38-43.

33 Carl Maria von Weber, Euryanthe, performed by the Dresden State Orchestra, conducted by Marek Janowski (ANGEL SDL 3764, 1975), sides 3 and 4 and Carl Maria von Weber, Euryanthe, performed by New York Little Or­ chestra Society Chorus and Orchestra, conducted by Thomas Scherman (Private Record MRF-67-S, 1970), sides 2 and 3. Euryanthe's aria, Act III, Nr. 20 well illustrates this demand. Also illustrated in this aria is the problem of singing dotted rhythm while keeping the vocal line constant (Example 21 and Example 22).

Example 21. Euryanthe, H I , 20, m. 1-8.

J L c . a C. f y O f ^ z. ~Z"7~T

? y r

jZ_U£cf\7Vv^ fcis^du., VVC WO ' -■ 2-U. ikrv\^i^i hmizj*-

Example 22. Euryanthe, III, 20, m. 20-26.

w*. w o i n s ' c i L L r 1 3 a. utkow 1'**"

4 K=

hiTKmAi nun- r\vrK V * -n _ rnfrvw i^k^-^ * £ t d ^ 57

The melody which Adolar sings in Act I, Nr. 4, "Ich bau' auf Gott"

is another good illustration of tessitura and rhythmic demands compounded

(Example 23).

Example 23. Euryanthe, I, 4, m. 113-132.

AfU'lftv' _ ± > J>

1 i m I c L . tr , 1 cX-^ h u l a tif V P ^ fi n * \ t + * f 1 * ^ tT ^ r j ^ } f \

( i c * ~ ' ' U j , i b c u A - ~ £ o m

toAfV K\-€ . -Me. L u. £

In Euryanthe, there are many places where clear articulation of the words is made difficult because of long coloratura passages with many words and no rests in which the singer can breathe. This situation is encountered throughout the duet "Unter ist mein Stern gegangen", Act I,

Nr. 7, and in the duet, "Wie liebt ich dich!” , Act III, Nr. 15, from which the following example of Euryanthe’s part is taken (Ex. 24). 58

Example 24. Euryanthe, III, 15, m, 149-155. ft W U ) \ '1v u r l j | i ^Irrve.n u-fcen *ar m jw* *e.n, mc.« Lt-ben *ar cn r| (7 fl Cn ^ ^ ^ u >. ^ O rl,r tr l- ^,r-- fll- I e ‘.n.*n dir ft] - le m . tvie.n i^ e n

After contemplating these vocal demands, it seems quite accurate

to say that "Weber simply expected too much of the voices," as Kurt Oppens writes in his review of a concert performance of Euryanthe in New York on

October 27, 1970. "Weber's ardor for spirited rhythms drives the singers

3 A into the almost unsingable...all the singers had moments of screaming."

Another review of a concert performance in Vienna for the Wiener Fest- wochen on June 22, 1972 by Clemens Hosling states "The singers simply

35 could not meet the high requirements which the roles demand."

In the last analysis, perhaps Harold Rosenberg's suggestion that

36 Euryanthe "requires voices that just do not exist to do it justice"

34 Kurt Oppens, "Raritaten im Lincoln Center," Opernwelt, XII/1 (January 1971), 36.

35 Clemens Hosling, "Wien, Schlaftrunk fur Euryanthe," Opernwelt, XIII/8 (August 1972), 41.

36 Harold Rosenberg, "Euryanthe", Opera (January, 1978), 84. 59

is accurate. It is then the extreme vocal demands, and not only the poor libretto, which cause lack of popularity of this opera. Nevertheless, influence on Wagner was great and makes the development of Wagnerian music drama inevitable. CHAPTER V

HANS HEILING

BY

HEINRICH MARSCHNER

Biography

Heinrich Marschner was born on August 16, 1795, in Saxony. His father was an amateur musician who played flute and harp, taught music, and conducted an amateur band. Marschner's mother sang in the home, and from this background, Marschner's love for developed. From the age of six, young Heinrich studied piano and sang as a boy soprano in the Bautzen church choir.

Without any formal composition instruction, Marschner began to compose sonatas, songs, dances, and even orchestral music while still a young boy. A somewhat unusual subject for a thirteen-year-old composer was his piece, "Die Kindsmorderin" (The Child's Murderess"), composed in

1808. This subject choice foreshadowed his later interest in horror stories.^

In 1813 Marschner went to Leipzig to study law. He was advised by Friedrich Rochlitz, general music director of Breitkopf and Hartel

"Tlaria Nunberg, record jacket notes for Heinrich Marschner's Hans Heiling, performed by the Cologne Radio Orchestra and Chorus, con­ ducted by (Private Record MRF-70-S, 1967), 2. 61

and editor of the Allgemeine Musikalische Zeitung, to make music his career

and he then began studying music systematically. In 1816, on a trip to

Vienna, Marschner met Beethoven, who advised him to compose sonatas and

symphonies for practice. Marschner then secured a position as music

teacher at Pressburg and composed three operas there. The last opera,

"Heinrich IV und Aubigne," was produced in 1820 by Weber at Dresden and

led to Marschner's appointment at Dresden in 1823. He conducted Jointly with Weber the German and Italian opera repertoire. In 1824 he was ap­ pointed to the music staff in Dresden but resigned at Weber's death in

1826 because he was not given Weber's post. In 1827 he became a con­ ductor of the Leipzig theater where he produced Per Vampyr in 1828 and

Per Templer und die Judin in 1829. Both works were successful and in­ creased Marschner’s fame throughout Germany. In 1831, he was appointed court conductor at , a position which he held for twenty-eight years. His most famous work, Hans Heiling, was written in Hanover and 2 produced first at Berlin on May 24, 1833.

Marschner's life was made quite unhappy because of an unusually large number of deaths in his family, including those of his first three wives; his later years, however, were made happier by his marriage in

1854 to Therese Janda, a beautiful Viennese singer. In 1859, after many disagreements with the Intendant at Hanover, Marschner "was retired"

2 A. Maczewsky, "Heinrich Marschner," Grove's Dictionary of Music and Musicians, 5th ed., 10 vols., ed. Eric Blom (London; Macmillan, 1954- 61), II, 585. 62 with a pension and the title of Generalmusikdirector. In 1861, ill and disillusioned, Marschner died after a stroke.

Apart from his operas, Marschner composed for plays, songs for solo and ensemble voices, and choruses for men's voices.^

Marschner's favorite subject was the supernatural, and he de­ picted this realm with extraordinary vividness. However, Marschner himself was a jovial, witty man, and he endowed his comic characters with a true folk-like quality. In fact, it is the combination of the horror element with the folkloristic which gives Marschner*s works their individuality; Per Vampyr is an example of such a work.

The libretto of Per Vampyr was written by Marschner's brother- in-law, Wilhelm Wohlbruck. He took the story from a novel by Dr. Polidori,

Lord Byron’s physician and travel companion. (While at a party in Swit­ zerland, where everybody present told a ghost story, Byron told this story of a vampire.) The libretto is important to the history of

German Romantic opera because it is one of the first operas with an evil hero, namely, , a Scottish noblemar who is a vampire in the guise of a "Don Juan." Up until this time, the representation of the evil element had been given to a secondary character. Per Vampyr is considered a model for Wagner's Per fliegende Hollander, since both works have the same mysterious, who desires salvation through a woman's love.^

3 Nunberg, op. cit., 6 .

^Nunberg, Ibid., 3. 63

Wagner was again influenced by one of Marschner's works, Templer

und Judin. This setting of a libretto based on Sir ’s

depicts the adventures of Ivanhoe and Rebecca, whose trials suggested to

Wagner the scene of Elsa's dream and Lohengrin's arrival for his opera

Lohengrin.^ It is extremely interesting to note that Spontini, Court

Conductor (Hofkapellmeister) in Berlin at the time, tried to prevent a

performance of Templer unc Judin by warning singers that such music would

ruin their voices. The performance took place nevertheless, with Eduard

Devrient as the Templer. He sang this strenuous role in spite of his

suffering from laryngitis and consequently lost his voice. He then

became actor, stage director, music critic and author of the libretto g for Hans Heiling.

Plot

Devrient had originally written the libretto for Mendelssohn,

but Mendelssohn refused to compose it because of the resemblance to the

Freischtitz story. Consequently, Devrient sent the libretto to Marschner, but without signing his name, because he did not want another refusal.

Marschner was immediately enthusiastic, although he did suggest certain

7 changes in the arrangement of the scenes.

5 Arthur Elson, A History of Opera (Boston: L. C. Page, 1901), 144, and Donald Jay Grout, A Short History of Opera (New York: Columbia University Press, 1964), 384.

^Nunberg, op. cit., 4.

^Martin Ehrenhaus, Die Operndichtung der deutschen Romantlk, Vol. XXIX of Breslauer Beitrgge zur Literaturgeschichte (Breslau: F. Hirt, 1911), 76. 64

The plot of the libretto concerns Hans Helling, whose mother is the Queen of the dwarf-like earth spirits. His father, a normal human male, has deserted the Queen. In the prologue Hans explains that he wants to leave the dwarf spirits and go to the land of human beings because Anna, an earth-child, has enchanted him. The Queen tries to hold Helling back, and the spirits join in her pleas and warnings. But Helling renounces his power as King of the underworld and decides to go up into the realm of men where he expects to find great happiness with Anna. When his mother asks him if he will return, he says, "When my wreath will wither, when my heart will break, then I will return, but do not wish it, Mother."

Anna is flattered to become the bride of a wealthy, learned man like Heiling, but she does not return his love and would really prefer to marry the hunter Konrad. She does, however, become engaged to Heiling who submits to her childish whims and consents to burn his conjuring book which frightens her. At a gay party, she dances with Konrad, taunting

Heiling, who then realizes Anna, for whom he has sacrificed his throne in the realm of the earth spirits, does not love him.

The Queen has been thinking of a way to free Heiling from Anna’s hold on him and therefore appears to Anna, who is wandering in the woods.

She threatens Anna and reveals Heiling's identity. Anna faints from fear; Konrad finds her and takes her home. Heiling appears there, but

Anna flees into Konrad’s arms. Heiling stabs Konrad and then leaves, laughing scornfully.

Heiling sadly realizes that his yearning for human love and hap­ piness was an illusion. He returns to his mother. Heiling and the 65

spirits, appearing at the wedding of Anna and Konrad, swear vengeance on

all human beings for refusing their king. Konrad draws his dagger to

kill Heiling, but it splinters at Heiling's chest. All human beings seem

lost as darkness appears, but the earth opens and the Queen appears and

tries to soothe Heiling's fury. He returns to his mother and his words have come true: "his heart is broken," and he returns to the realm of

the spirits where there is neither joy nor suffering.

The premiere of Hans Helling was reported in the Berliner Musik- g alische Zeitung on June 1, 1833:

...every number [of the opera] was received in the loud applause, and, at the end of the opera, the composer, who conducted, and the librettist, who sang the title role, were honored with a warm reception. [The librettist apparently found his voice again.] The singers carried out their roles well and contributed to the brilliant reception which the opera received.

Gradually Hans Heiling was performed by almost all German theaters.

But Wagner's successful operas overshadowed Marschner's, and there began to be only occasional performances of his operas in Vienna, Dresden, and other German cities. The opera has been translated into Danish, Swedish, 9 Czech, Russian, and Croatian. Today the opera is given only rarely in

Germany; the last evidence of a performance was that of a concertper­ formance on March 29, 1976, at .^

^"Hans Heiling," Berliner Musikalische Zeitung (June 1, 1833), 177. 9 Alfred Loewenberg, Annals of Opera, 1597-1940, 3rd ed. (Totowa, New Jersey: Rowman and Littlefield, 1978), 752.

^Heinz, Ludwig, "Wiederausgrabungen," Opernwelt, XVIl/5 (May 1976), 37. 66

Musical Style

The structural techniques, orchestration and musical character painting in Hans Heiling merit analysis. The placement of a Prologue before an Overture, in the way Marschner arranged his work, was unique for this time. This placement was sharply criticized but Marschner replied that the Overture belonged to the opera, and not to the Prologue, and cnat "It is better to hear a good piece of music than nothing during necessary set changes.The Prologue is a continuous dramatic scene, in the Wagnerian sense, and depicts musically quite well the underground realm of the dwarfs scurrying back and forth mining jewels for the Queen.

Their busy work is depicted by the continual recurrence of eighth notes 12 in the strings. The score indicates that the pause between the Pro­ logue and the Overture should be no longer than two minutes. The music contained in the Overture is especially beautiful and provides melodies one is tempted to sing after hearing. Marschner wrote to Devrient, "The

Overture can stand alone; it is more a character painting, as I have imagined the personalities of Heiling, Anna and Konrad to be, and is not

13 made up of different motives from music pieces in the opera."

Dramatic unity is achieved by musical means when the slow intro­ duction which begins the Overture with a solo is heard again at the beginning of Act III. This music represents Heiling*s pain and

"^Nunberg, loc. cit. 12 Heinrich Marschner, Hans Heiling, ed. Gustav F. Kogel (Frankfurt, London and New York: C. F. Peters, [n.d.]), measures 12-77.

13 Edgar Istel, Die Blutezeit der muslkalischen Romantik In Deutschland (Leipzig: B. G. Teubner, 1909), 124. 67

disappointment over his loss of Anna. Furthermore, Act I is united with

the Prologue, in spite of the intervention of the Overture, by the soft

pleas of the underground spirits heard in the first eighteen measures of

Act I. Another musical remembrance motive is found when Heiling sings

the same music in Act III as he sang in the Prologue illustrating his return, "Wenn mein Kranz verbliiht."^

The orchestration in Hans Heiling is quite effective. The or­

chestral score Indicates that the work is scored for two flutes, two

clarinets, two oboes, two bassoons, two horns, two trumpets, two trom­ bones, two tympani and strings. In the example just discussed, Heiling*s words "Wenn mein Kranz verbluht" are accompanied by only a few woodwinds, tremolo strings and kettledrums and the perfect mood Is established. The use of the trumpets in Act III to announce the arrival of the Queen also

15 provides added drama. Marschner is able to depict the folk-like elements just as well, however, and the Bauern-Hochzeitsmarsch, Act III, Nr. 15, illustrates perfectly the country wedding scene with the use of two clar­ inets, two bassoons and two horns.

Marschner is able to achieve a truly dramatic effect when he completely stops the orchestra at very important places in the work. This strengthens what is being said. Such is the case in the Prologue, when

14 Marschner, op. cit., Prologue, measures 361-64 and III, Finale, measures 250-53.

^Ibid. , III, Finale, measures 187-97. 68

Heiling says to the dwarfs that he is leaving: "Gebt Raum, euer Konig befiehlt.Very poignant are also Heiling's unaccompanied words,

"Alles dahin," in the Finale of Act 11.^ Another interruption which is

truly ingenious occurs during the Finale of Act I. Here Marschner re­ tains the waltz rhythm of thie dance throughout the argument that goes on between Heiling and Anna, stopping it only when Heiling cries out

18 in grief, "Sie hat mich nie geliebt." Then the waltz music continues.

The melodramas, in which an instrumental accompaniment is designed for a spoken text, are extremely effective in Hans Heiling. Gertrude’s

Melodrama, "Des Nachts wohl auf der Haide," Act II, Nr. 12, and Heiling’s

Melodrama, "Ich bin am Ziel," Act III, Nr. 14, are two excellent examples of the way in which a melodrama can heighten the suspense of a situation.

In Gertrude's Melodrama, the instrumentation consists of one clarinet, two bassoons, three horns, six basses, five celli and four violas; the orchestra maintains a chilling depiction of howling winds on a stormy night. The howling of dogs is colorfully drawn by the horns and celli in measures forty through forty-two.

The character painting in Hans Heiling is excellent. It ranges from the picture of Heiling's propensity for warm human love, yet jealous outrage at the thought of Anna’s possible faithlessness (Act I,

Nr. 3, "An jenem Tag"), to the folk-humor in Stephan's hilarious song

16 Ibid., Prologue, measure 332.

^ Ibid., II, Finale, measures 401-403.

18 Ibid., I, Finale, measures 314-25, 69 concerning the advice various animals had given to a hunter for his wedding day (Act III, Nr. 16, "Es wollte vor Zeiten”).

Vocal Demands

The depth of the musical character painting brings with it defi­ nite vocal demands for the singers. Each character in Hans Heiling must be able to express through subtle changes in vocal color the varying emotions which are written in the music, Heiling has many dramatic outbursts in the score; however, he also has many moments where his tenderness or sadness must be expressed. The examples just cited in footnotes sixteen, seventeen, and eighteen are such moments. Heiling's bitter sadness is shown when he sings the following passage in Act III,

Finale (Ex. 25), and the singer of Heiling must be capable ofusing just the right tone color for the intended meaning.

Example 25. Hans Heiling, III, Finale, m. 84-96.

dy-g. I rc u.1 yitr n-- f/ ■ \Qfrgp \(J T" ■ .,1 - li /«„ C - L -_ ^ . In JtH 1 T.1 i >> .

Wa -rum , Wfi - rvc ^ hai-h du de(-ne, i je. hrxtW 70

In addition to the subtlety required in the singing, the charac­

ters in Hans Heiling must be able to speak dialogue well. Just as with

an actor, their speaking voices must be well-modulated. Much is required

of Heiling and Gertrude in this respect. They both must be able to go directly from speaking into singing and back again into speaking. Espec­

ially difficult is Gertrude’s Melodrama because she constantly goes back and forth between speaking, humming and singing (Ex. 26).

Example 26. Hans Heiling, II, 12, m. 23-32,

fi-er

"Jell ei |Kr ~ r + £ s h a f t 1 'J' hoc 3 Z I h u w m & N

trl V1 y - V -v ^ ____k__ ;— £ ) c b iWt/ CujtPchc fjaJ. - d < 5 ^ A t P?&jkK

H eiling’s monologue during the church choir, III, Nr. 17 and his monologue in his Melodrama, Act III, Nr. 14, measures twenty— four through seventy, also illustrate this vocal speech demand.

The vocal stamina required In Hans Heiling is especially great for Heiling in his Melodrama, Act III, Nr. 14. The duet between Anna and Konrad, Act II, Nr. 11, also presents a stamina problem because 71

of the high tessitura. The following example shows one of Heiling's

many dramatic outbursts which demand vocal strength (Ex. 27).

Example 27. Hans Heiling, III, Finale, m. 102-109.

i f r , c c c -\- Va~ n" t i - g- ge -Aroihex Vfryt&'nc/L,

I V V 1^4-

J j -faeJttfyffcdh' CjCtttZn. tick! -itn rvohf**- goSd\s*

The long legato lines in the opera present a different vocal demand. The singers must be capable of singing long phrases with a

19 steady flow of breath and an impeccable legato. The Queen’s plea to Heiling in the Finale of Act III illustrates this well (Ex. 28).

Example 28. Hans Helling, III, Finale, M. 226-233. i -M: 1 p p f* ( fT? S> o hn* P'ft-ct ' jMxi.

19See Hans Heiling, I, 1, 71-79 and II, 8 , 65-73. 72

Most of the time the instrumentation and dynamic markings in Hans

Heiling are well thought-out by Marschner so that the singer is not

overpowered. However there are some passages in the opera which require 20 strong projection on the part of the singers. This is especailly true

in Act III, Finale, when Heiling must sing over full orchestra and chorus

(Ex. 29).

Example 29. Hans Heiling, III, 14, 286-308.

■ , f - ' t 0 ■ ------I I Lutrtri i p a l r .tf' t 1 & Si pJi — CC^X.

p ^ r | P j = * r f P ,i|f /• f|^ f|tf /2i

In Hans Heiling, Marschner influenced Wagner a great deal.

Heiling*s tragedy is identical to that of Lohengrin: both are superior

20 See Hans Heiling, II, 9, 119-145 beings v>ho long for a human love, yet experience the bitterness of

denial. Hans Heiling comes very close to the ideal of music drama which was reached for the first time in Wagner's Lohengrin. CHAPTER VI

CONCLUSION

It may be said that the general characteristics of the nine­

teenth century Romantic point of view, as it was expressed in philosophy,

literature, the arts and music, emphasize the following: nationalism,

individualism, emotionalism, subjectivity (largely replacing classical

objectivity), an atmosphere of the medieval and the supernatural (magic,

fairies and ghosts). Early German Romantic opera followed along these

same lines and was created with the thought of eliciting a subjective,

emotional response from its listener.

The important role which the use of the supernatural played in

the development of the German Singspiel of the late eighteenth and early nineteenth centuries has been demonstrated. It is the expression of the

supernatural, and the ensuing dramatic effect, which brought about many vocal demands discussed in this document; the singers were called upon

to exemplify the supernatural with "superhuman" singing.

As the orchestra increased in size, the singer's voice had to be louder to be heard over the additional brass and deep woodwinds.

Greater sonority was created by the more extensive use of brasses, woodwinds and percussion. The mechanical improvements had a great deal 75 to do with this growth of the orchestra; the new valves for brass in­ struments and improved keys for the woodwinds greatly increased the use­ fulness of these instruments. The orchestra was used to depict nature and natural phenomena. It was also used to paint the world of the super­ natural .

Other characteristics of early German Romantic opera, in addition to the love of nature and the supernatural, are a use of subjects derived from German folklore and legend and the glorification of the German land, culture and people.

It has been demonstrated in this document how three of the most important composers of early German Romantic opera, E. T. A. Hoffmann,

Carl Maria von Weber and Heinrich Marschner contributed to the style of the period and how their stylistic compositional characteristics led to increased vocal demands for the singers.

E. T. A. Hoffmann, who is important in the history of German opera, both for his writing and his music, composed the first German

Romantic opera, Undine. The romantic mood of Weber's Freischiitz is directly foreshadowed in Undine by the scenes depicting supernatural beings and in the many folk-like melodies and choruses. The character of Kiihleborn firmly establishes the demonic element which becomes very prevalent in German Romantic opera. This demoniacal character-painting brings with it increased vocal demands of tessitura, wide leaps, and the singing of the intervals of the diminished seventh chord.

Carl Maria von Weber brought together all the nationalistic elements of German Romantic opera in his Per Freischiitz, and he may be 76 regarded as the "hero” of German Romantic opera. His Euryanthe was con­ ceived as a Gesamtkunstwerk and, as such, it points the way directly to

Wagner's conception of the music drama, a super-art-form in which all sister arts are combined, thus achieving a heightened effect. This effect also brought about a heightened dramaticism which increased the vocal demands for the singers. Especially prevalent in Euryanthe is the increased vocal stamina which is required and the combination of differ­ ent vocal categories into one role.

Heinrich Marschner is considered to be the successor of Weber.

He continued to employ the supernatural, but he also mingled with this a gift for comedy. In Hans Heiling, the king of the underground earth- spirits, Heiling, is given music to sing which requires much vocal stamina and projection over the orchestra. Another vocal demand brought about by the use of Melodrama in this opera is that of alternating between spoken dialogue and singing.

In summary, it has been determined that the vocal demands in early German Romantic opera are indeed greater than those found in the operas of the classical period. Theoperas of Mozart contain eight of the vocal demands which were present in early German Romantic opera, but their number was increased in the latter, and their importance was heightened.

The problem of (1) tessitura occurs in operas of both periods; however, in early German Romantic opera, larger, more dramatic voices were asked to sustain a high tessitura than is the case with Mozart operas.

(2) Wide leaps were found in operas of both periods, but the increased chromaticism in early German Romantic opera complicated this vocal demand. Singing with (3) musical sensitivity and dramatic expressiveness was a demand prevalent in the operas of both periods, however, the element of the supernatural increased the need for dramaticism in the operas of the early German Romantic period. The vocal demand of (4) singing difficult intervals in tune was heightened in early German Romantic operas by the increased use of the diminished seventh chord. (5) The problem of singing conversational and dramatic recitative was found in both periods however, the increased dramatic effects in operas of the early German

Romantic period made this recitative more difficult. (6) Vocal tech­ nique problems were found to exist in operas of both periods. (7) The problem of speaking dialogue is evident in both Mozart and early German

Romantic opera; however, the element of the supernatural again compli­ cates this demand by calling for increased dramaticism. The monologues in early German Romantic operas also compound this vocal demand. (8 )

The singing of long, sustained legato lines was found in both periods; however, this demand is made more difficult in early German Romantic opera because the singers must often maintain a very smooth line after a dramatic outburst when the flow of breath is not as calm as usual.

The five vocal demands which were found not to appear to any great extent in Mozart operas are: (1) the singing of dotted figures with thirty - second notes, (2 ) the combining of different voice cate­ gories into one role, (3) the need for great vocal stamina and pacing,

(4) the large changes in vocal color to project the character of a role, and (5) the ability to project over an orchestra. It has been shown that these demands are common in early German Romantic opera, but 78 because of the less dramatic subject matter and the smaller size of the orchestra in the Classical period, these demands are not a problem in Mozart operas.

After examining the various roles in the chosen operas, it be­ comes apparent that much was expected of the singers in the time of

Hoffmann, Weber, and Marschner. The singers were asked to sing in vary­ ing styles. This practice continued even up until the time of Lilli

Lehmann, who sang in one year (1884-85) such diversified roles as Isolde,

Leonore, Donna Anna, Konstanze, and Norma. Regarding her Isolde, the celebrated critic of this period, Eduard Hanslick, said, "Her far from heroic voice is no match for the merciless surf of the Wagnerian orches­ tra, Such parts demand not only passionate expression and dramatic talent, but also uncommon vocal strength." Hanslick goes on to say,

"The now conventional division of female parts into coloratura and dramatic categories Is of comparatively recent origin. Mozart, Beethoven and even Weber were not aware of this arbitrary division."'*'

It is clear then that the vocal demands created by the "merciless

Wagnerian orchestra" brought the need for a new designation of voices into types; hence, the types dramatic soprano (dramatlsche Sopran), spinto

(jugendlich-dramatische Sopran), dramatic tenor (Heldentenor) and dramatic baritone (Heldenbariton) evolved. "[This] is an inexact but unfortunately necessary categorization symptomatic of a departure from the older criteria of , and attributable in large measure to Verdi and

"^Eduard Hanslick, Music Criticisms, 1846-99. trans. and ed. Henry Pleasants (Baltimore, Maryland: Penguine, 1963) 238. 79

Wagner, who imposed requirements of volume, vehemence, endurance and

range capable of fulfillment only at the price of one or another of the 2 constituent elements of the singer's art." ...These demands, as they

are found in the operas of the early German Romantic period, definitely

suggest then, an evolution toward the vocal demands in the operas of

Wagner.

The operas discussed in this document, along with others of the

German Romantic period, certainly deserve more performance than they are

given; one can hope for a revival of these works that will provide this

opportunity. Perhaps the severity of the vocal demands can be mastered by singers, so that the operas will have the place which they deserve in

the repertoire, just as operas of the Eel Canto period have been revived,

leading to the assumption of their rightful place on the operatic stage.

2 Henry Pleasants, The Great Singers (New York: Simon and Schuster, 1966), 189, APPENDIX A

A LIST OF GERMAN ROMANTIC OPERAS1 (1800-1850)

1800: Weber, Das stumme Waldmgdchen.

1801: Hoffmann, Scherz, List and Ra c h e .

1810: Weber, .

1814: Schubert, Des Teufels Lustschloss.

1816: Hoffmann, Undine. Spohr, Faust■

1819: Spohr, Zemire und Azor.

1820: Marschner, Heinrich IV. und d'Aubigne.

1821: Weber, Per Freischiitz.

1822: Schubert, .

1823: Spohr, Jessonda. Weber, Euryanthe. Schubert, .

1825: Spohr, Per Berggeist.

1826: Weber, Oberon.

1827: Spohr, Pietro von Abano.

1828: Marschner, Vampyr. Weber, Oberon in Berlin.

1 Martin Ehrenhaus, Operndichtung der Deutschen Romantik, Vol. XXIX of Breslauer BeitrMge zur Literaturgeschichte (Breslau: F. Hirt, 1911), 95-96.

80 1629: Marschner, Templer und Judin.

1830: Spohr, Per Alchymist.

1833: Marschner, Hans Helling.

1834: Kreutzer, Das Nachtlager in Granada.

1840: Lortzing, ,

1843: Marschner, Adolf von Nassau. Wagner, Per fliegende Hollander.

1845: Spohr, Die Kreuzfahrer. Lortzing, Undine. Wagner, Tannh^user.

1849: Nicolai, Die lustigen Weiber von Windsor.

1850: Schumann, Genoveva. Wagner, Lohengrin■ APPENDEX B

CONTEMPORARY REVIEWS

Undine by E. T. A. Hoffmann*

Review by Carl Maria von Weber

Allgemeine Musikalische Zeitung, Vol.XIX (1817), Cols. 205-208

As to the opera Undine, I had had to listen to conflicting opin­

ions... I sought as best I could to have complete impartiality, although

I could not at once prevent myself from looking forward to something

significant, an expectation fully justified by Herr Hoffmann's literary writings. He who can penetrate Mozart's intention as he did, with his

ardent flow of imagination and deep temperament, in the essay on Don

Giovanni (Phantasiestiicke in Callot's Manier, Part I), can produce nothing really mediocre; at the worst, he will beat against and even reshape the boundaries— he will not talk about within them idly.

The adaptation impressed the writer as a dramatized fairy tale

in which many an inner connection might well have been more definitely and distinctly clarified. Herr von Fouqu£ knew the story only too well, and in such a case there often occurs a sort of self deception in which

Translation based on that of Oliver Strunk in Source Readings in Music History from Classical Antiquity through the Romantic Era (New York: W. W. Norton, 1950), 804-07.

82 83

one believes others know the story just as well. Still, it is by no

means, as some allege, unintelligible.

The composer has brought the opera to life distinctly and

clearly, with definite colors and outlines. It is actually well-formed, and after repeated hearings this writer recalls no passage which di­ spelled for him, even for a moment, the magic of the cycle of pictures which the composer had depicted for him. Indeed, from beginning to end, he arouses so powerfully the interest in musical developments that with the first hearings one has actually grasped the whole, while the detail disappears in genuinely artistic innocence and modesty.

With unusual self-denial, the greatness of which can be fully appreciated only by him who knows what it means to sacrifice the glory of momentary applause, Herr Hoffmann has refrained from enriching single numbers at the expense of the whole, so easy to do if one calls atten­ tion to them by broadening and enlarging their execution beyond that proper to them as members of the artistic body. He proceeds relent­ lessly, obviously led on by a desire to be always true and to itensify the life of the drama instead of retarding or arresting it in its rapid progress. Varied and strikingly portrayed as the many-sided characters of the persons of the action seem to be, they are well encircled by— or better, creatures of— that ghostly, fabulous world whose awesome stimulations are the peculiar property of the fairylike. Kiihleborn stands out most prominently (this writer, like Fouque, assumes a famil­ iarity with the story) as a result of melodic selection and instrumen­ tation which, remaining faithful to him throughout, serves to announce 84

his sinister presence. Since he appears, if not as Fate herself, then

as the immediate agent of her will, this is after all quite correct.

After him comes the lovely water sprite Undine, whose tonal waves first

swirl and ripple, then, mightily threatening, assert their sovereign power. A highly successful piece, her aria in Act II, seems to this writer to sum up her whole character; uncommonly pleasing and ingen­ iously handled, it will serve as a small foretaste of the whole and is accordingly published here as a supplement. The ardently fluctuating and unsteady Huldbrand, giving in to every lover's impulse, and the simple, pious Man of God, with his grave chorale melody, are then the most important. Berthalda, the Fisherman and Fishermaid, and the Duke and Duchess remain more in the background. The chorus of Attendants breathes joyous, pulsating life and in single numbers takes on an uncom­ monly satisfying freshness and gaiety, contrasting with the awesome choruses of the Spirits of Earth and Water, with their cramped and un­ usual progressions.

Most successful and quite grandly conceived seems to this writer the end of the opera, where the composer, as crown and capstone, has at length spread out the whole fullness of harmony in a pure eight- part double chorus and has pronounced the words "Now farewell to earthly care and pomp" with a real sense for their deeper meaning in a devoutly heartfelt melody that has a certain grandeur and melancholy sweetness, whereby the actually tragic ending leaves behind it a magnificent fee­ ling of tranquility. Enclosing the whole, overture and final chorus here join hands. The former builds up and discloses the wonder world, 85

beginning quietly, then passionately storming along with growing inten­

sity, immediately thereafter plunging directly into the action without

coming to a full stop; the latter soothes and is perfectly satisfying.

The whole work is one of the most ingenious that our day has given us.

It is the magnificent result of the most perfect familiarity with, and grasp of, the subject, brought about by profoundly considered reflec­ tion and calculation of the effects of all the means of art, marked as a work of fine art by its beautiful and intimate melodic conception.

From these remarks it follows that there are herein contained large instrumental effects, a knowledge of harmony, combinations often new, as well as a correct delamation, with other necessary devices that are at the disposal of every real master, without a ready command of which there can be no freedom of thought.

And now, an observation as to what follows (for there must of course be blame as well as praise): This writer will not conceal cer­ tain wishes, although in Undine he would have nothing different, since everything, as it stands there, is necessary exactly as it is and not otherwise; one must wait to see whether the same things will reveal themselves in another work; one can, however, learn in a general way, by listening even to one work, what those favorite devices are against which real friends ought to warn the composer, lest in the end they become mannerisms.

This writer, then, is struck by the wishes avoided: the par­ tiality for little short figures which not only tend to become monot­ onous but easily oppress and obscure the melody, which, if it is to 86

stand out, demands great experience and care on the part of the conduc­

tor; then, the partiality for the violoncellos and violas, for dimin­

ished-seventh chords, and for endings that are often too quickly broken

off, which, at least on first hearing, are somewhat disturbing and, while

by no means incorrect, for all that, inadequate; finally, certain inner

voices which, because of their repeated employment by Cherubini, invite

the vulgar to hunt for reminiscences.

As regards scenery and costume, the performance may be pro­

nounced splendid; and as regards singing and acting, it can be called

a success. Regular capacity houses demonstrate the undiminishing, in­

deed constantly increasing interest that the opera has for the public.

The prejudiced ascribe much to the scenery. But when the writer ob­

serves that in other pieces where this is the case people wait only for

these moments and then leave, while here they remain, continuously and

uniformly attentive, from beginning to end, the interest that the thing

itself arouses in them is sufficiently proved. Another composer could

procure tumultuous applause for nearly all the musical numbers by expan­

ding measures; here the contrary obtains, and everything occurs swiftly

and is constantly impelled forward.

May Herr Hoffmann soon give to the world again something as

solid as this opera is, and may his many-sided talent, which within a short space of time have brought him fame as an author and assured him

the respect of his colleagues as a man of affairs (Councilor of the

Royal Prussian Court of Appeals), become actively influential and pro­ ductive in this branch of art also.

Written in Berlin, January, 1817. 87

Nachrichten aus Wien

Nachrichten aus Wien, Vol. XXV (1823), Cols. 764-65 [Unsigned]

On the 25th of October; at the Karnthnertor Theatre, under the

direction of the composer himself, Euryanthe, a great romantic opera in

three acts, with libretto by Helmine von Chezy and music by C. M. von

Weber, conductor of the King of Sachsen, [was given.] - The libretto did

not fulfill the high expectations that such a famous name brings with it.

It cannot be denied that many parts are too drawn out, and because of the

recitative form, much was unintelligible; [this is] an unfortunate situ­

ation which even had a negative effect of the music. I have to say that

I’m not able to talk about it satisfactorily after listening to it only

once; a work like this one, which can be boldly compared to Cherubini's

Medea and Beethoven’s Fidelio needs to be listened to several times for

the entire impression because it is not as easily grasped as the folk­

like Freischiitz. However, enthusiasm was shown for all the musical

parts, especially for those by the chorus, and the composer had to come

up several times to the stage for the applause. The distribution of the

different roles was perhaps as good as possible, but it was not good,

in fact. Most satisfactory was Miss Sonntag as Euryanthe, even though

her intonation was not the best. Miss Grunbaum, as Eglantine screamed

herself to death; Mr. Forti as Lysiart did the same. His behavior was

too mean and not at all like the knight he is supposed to be. Mr.

Haizinger, as Adolar, had only a few opportunities to show his high notes because his music is written in a declamatory style in the mid­ dle range for the most part. (The wise composer refused to require 88

tight-rope dancer tricks from the singing voice.) Mr. Seipelt, King

Louis VI, had to play a rather dry part, which he, in fact, played dry

enough; (our German artists generally don't know how to deal with

Recitative.) The performance of the chorus deserves great praise; the orchestra also had to solve many difficult problems, which it did rather well. APPENDIX C

EXCERPTS FROM A PERSONAL LETTER1

Undine, by Lortzing

The first Bertalda traceable at Leipzig was Luise Nachtigall, a

coloratura. Soon after her came Margot Karg, a mezzo (who also sang

Azucena, Nancy, Hedwig, in Tel 1, Zerlina, Venus, etc.). Then Antonetta

Mahlknecht (D. Anna, the Countess, Valentine, Fidelio, Rezia), then Frl.

Steinhauser, contralto. In Leipzig, August 1884; Undine was Emma

Baumann, Bertalda one of the great dramatic sopranos of the time,

Pelagie Greef-Andriessen, known at the time as Sthamer-Andriessen. On

November 2, 1918, the two roles were done by Else Schultz-Dornburg and

Annie Gura-Hummel, another dramatic soprano.

At the Stadtische Oper of Berlin (now the West Berlin Oper),

Oct. 1941, Lore Hoffmann, Schwarzkopf's hated rival there, was Undine and

Margarethe Slezak, daughter of the great Leo, and a "voiceless" singing

actress (, Merry Widow, Konstanze— something like Miss Sills) was

Bertalda. The latter role was shared with a Connecticut girl, Polyna

Stoska, who had a rarely beautiful voice (she was at the Met for two or

three years after the War. I heard her do a priceless Ellen Orford; she

^Letter from Charles Jahant (March 29, 1979) (Prince Georges, Maryland) to the author.

89 90

has left some Columbia 78s, including the air of the Komponist and a

superb version of Marietta’s Lied).

Euryanthe

On Weber's home turf Schroder-Devrient was, naturally, Euryanthe, while Frederike Funk, dramatic soprano, created Eglantine.

Some more Eglantines at Leipzig: Fanny Moran-Olden, a high mezzo, at Leipzig in Nov. 1882 and through Nov. 1888. She was at the

Met in 1888-89 and again in 1901. Her New York repertoire included:

Fidelio, Selika, Brunnhilde, Fricka, Azucena and Amneris. Continuing

Leipzig Eglantines: Cornelia Meysenheim (mezzo), Hedwig Reicher-

Kindermann (mezzo turned soprano), Ida Doxat (dramatic soprano), Paula

Engert (mezzo), Cacilie Rusche-Endorf (dramatic soprano).

Hans Helling

Moving to Hanover, where Marschner was first conductor, the first Anna was Emilie Groux (Rosina, Susanna, Elena in Donna del Lago,

Zerlina in Fra Diavolo), his first Queen, Caroline Bothe, a contralto

(Malcome in Donna del Lago, Tancredi, Romeo, the High Priestess in La

Vestale). In the next edition Frl. Nottes, dramatic-soprano, was

Queen. Therese Janda, who later became one of the wives of Marschner, was the Mutter. Nottes usually sang Elisabeth, Ortrud, Lucrezia Borgia, the Countess, Rachel. Next anothere coloratura, Elsa Petermann took the part, then Adelheid Gunther, a mezzo, then Janda-Marschner, then Hedwig

Scheuerlein (Selika, Fidelio, Valentine, Rezia, D. Anna, Elizabeth, etc.) . BIBLIOGRAPHY

Books and Articles

Allroggen, Gerhard. E.T.A. Hoffmann’s Kompositionen; Ein Kronologisch-Thematisches Verzeichnis seiner musikalischen Werke (Regensburg: Gustav-Bosse Verlag, 1970), 104-14.

Apel, Willi. ''Romanticism," Harvard Dictionary of Music, 2nd ed. Cambridge, Mass.: Harvard University Press, 1972, 737-38.

Bauer, Marion and Ethel Peyser. Hov Opera Grew. New York: G. P. Putnam, 1956,

Carse, Adam. The Orchestra from Beethoven to Berlioz. New York: Broude Brothers, 1948.

______. The Orchestra in the Eighteenth Century. Cambridge, England: W. Heffer and Sons, 1950,

Coerne, Louis Adolphe. The Evolution of Modern Orchestration. New York: Macmillan, 1908.

Dent, Edward J. The Rise of Romantic Opera. Cambridge: Cambridge University Press, 1976.

Ehinger, Hans. E.T.A. Hoffmann als Musiker und Musikschriftsteller. Olten, Switzerland: Otto Walter, 1954,

Einstein, Alfred. "Carl Maria von Weber," International Cyclopedia of Music and Musicians, 10th ed., ed. Oscar Thompson, Nicolas Slonimsky, Bruce Bohle, et al. New York: Dodd, Mead, 1975, 2426-30.

. Music in the Romantic Era. New York: W. W. Norton, 1947.

Elson, Arthur. A History of Opera. Boston: L. C. Page, 1901.

Flamm, Kathe. "Undine in Dortmund," Opernwelt, XVIII/6 (June 1977), 23.

Gaartz, HSns. Die Opern Heinrich Marschners. Leipzig: Breitkopf and Hartel, 1912.

91 92

Goslich, Siegfried. "Foreword," Undine By E.T.A. Hoffmann. Munchen: Doblinger, 1975.

Greeff, Paul. E.T.A. Hoffmann als Musiker und Musikschriftsteller. Koln and Krefeld: Staufen, 1948.

Grout, Donald Jay. A History of Western Music, 2nd ed. NewYork: W. W. Norton, 1973.

_ . A Short History of Opera. New York: Columbia University Press, 1964.

_ . "Opera," Harvard Dictionary of Music, 2nd ed. Cambridge, Mass.: Harvard University Press, 1972, 592-601.

Groves, Sir Charles. "Euryanthe— Too Little Known and Recognized," Opera, XXVIII/11 (November 1977), 1027-29.

Gutman, Robert W. Richard Wagner, the Man, His Mind and His Music. New York: Time Incorporated, 1972.

Haimberger, Nora E, Vom Musiker zum Dichter; E.T.A. Hoffmann's Akkordvorstellung. : Bouvier Verlag Herbert Grundmann, 1976.

"Hans Heiling," Berliner Musikalische Zeitung (June 1, 1833), 177.

Hanslick, Eduard. Music Criticisms, 1846-99, trans. and ed. Henry Pleasants. Baltimore, Maryland: Penguin, 1963.

Heinz, Ludwig, "Wiederausgrabungen," Opernwelt, XVII/5 (May 1976), 37.

Hosling, Clemens. "Wien; Schlaftrunk fur EuryantheOpernwelt, XIII/8 (August 1972), 41.

Istel, Edgar. Die Blutezeit der musikaTischen Romantik in Deutschland. Leipzig: B.G. Teubner, 1921

Kaempfer, Waiter. "E.T.A. Hoffmann's Undine Konzertant in Berlin," Opernwelt, XIV/5 (Mai 1976), 38.

Killer, Hermann. Albert Lortzing. Potsdam: Athenaion, 1938.

Koegler, Horst. "E.T.A. Hoffmann's Undine-Wuppertal," Musica, XXVI/4 (Juli-August 1970), 370.

Knapp, J. Merrill. The Magic of Opera. New York: Harper and Row, 1972. Kruse, Georg Richard. "Undine, zur Geschichte der Opera" in his ed. of Undine by Albert Lortzing. Leipzig: F. M. Geidel, 1926.

Laue, Hellmuth. Die Operndichtung Lortzings. Bonn: L. Rohrscheid, 1932.

Loewenberg, Alfred. Annals of Opera, 1597-1940, 3rd ed. Totowa, New Jersey: R o m a n and Littlefield, 1978.

______. "Hoffmann," Grove's Dictionary of Music and Musicians, 5th ed., 10 vols., ed. Eric Blom. London: Macmillan, 1954-61, 313-14.

Maczewsky, A. "Heinrich Marschner," Grove's Dictionary of Music and Musicians, 5th ed., 10 vols., ed. Eric Blom. London: Macmillan, 1954-61, II, 585.

Moser, Hans Joachim. Geschichte der Deutschen Musik, 3 vols., Stuttgart and Berlin: J. G. Cotta, 1924.

"Nachrichten-Stuttgart," Allgemeine Musikalische Zeitung, XXXV (Sep­ tember 1833), cols, 603-04.

Nunberg, Maria. Record jacket notes for Heinrich Marschner*s Hans Heiling, performed by the Cologne Radio Orchestra and Chorus, conducted by Joseph Keilberth. Private Record, MRF-70-S, 1967.

Oppens, Kurt. "Raritaten im Lincoln Center," Opernwelt, XII/1 (Jan­ uary 1971), 34-36.

Pauly, Reinhard G. Music and the Theater. Englewood Cliffs, New Jersey: Prentice-Hall, 1970.

Pfitzner, Hans. Vom musikalischen Drama: Gesammelte Aufsatze. Munchen: Suddeutsche Monatshefte, 1915.

Pleasants, Henry. The Great Singers. New York: Simon and Schuster, 1966.

Rosenberg, Harold. "Euryanthe," Opera, XXIX/l (January, 1978), 83-84.

Schafer, R. Murray. E.T.A. Hoffman and Music. Toronto: University of Toronto Press, 1975

Schmidt-Garre, Helmut. Oper; Eine Kultur-geschichte. Koln: Arno Volk, 1963.

Schiinemann, Georg. Geschichte des Dirlgierens. Leipzig: Breitkopf and Hdrtel, 1913. 94

Stebbins, Lucy Poate and Richard Poate Stebbins. Enchanted Wanderer; The Life of Carl Marla von Weber. New York: G. P. Putnam, 1940.

Warrack, John. Carl Maria von Weber. New York: Macmillan, 1968,

______. Record jacket notes for Carl Maria von Weber's Euryanthe, per­ formed by the Dresden State Orchestra, conducted by Marek Janowski. Angel SDL 3764, 1975, 4-6.

Weber, Carl Maria von. "Tempo-Bezeichnungen nach Malzl's Metronom zur Oper Euryanthe," ed. Freiherr Wilhelm Jahns, Allgemeine Musikalische Zeitung, L (February 1848), cols. 123-27.

Music

Hoffmann, E.T.A. Undine, ed. Karl Peter Pietsch. Wien and Munchen: Doblinger, 1975.

Lortzing, Albert. Undine, ed. Georg Richard Kruse. Leipzig: F. M. Geidel, 1926. ^

Marschner, Heinrich. Hans Helling, ed. Gustav F. Koegel. Frankfurt, London and New York: C. F. Peters [n.d.]

Mozart, Wolfgang Amadeus. Cosi Fan Tutte. New York: Boosey and Hawkes [n.d,]

. Don-Juan, Piano-vocal score, ed. by Franz WUllner. Leipzig: Breitkopf und HSrtel, 1961

Die Entfiihrung aus dem Serail. New York: Boosey and Hawkes, 1962.

. Idomeneo, 2 vols., Piano-vocal score ed. by Heinz Moehn. Kassel: Barenreiter, 1973.

. Der Schauspieldirektor. New York: G. Schirmer, 1954.

. Die Zauberflote, Piano-vocal score ed. by Meinhard von Zallinger. Leipzig: Peters [n.d.]

Weber, Carl Maria von. Euryanthe; Grosse romantische Oper in drei Aufzugen, ed. Ernst Rudorff. Berlin: Schlesingerche Buch - und Musikhandlung, 1866.

Weber, Carl Maria von. Der Freischiitz; Romantische Oper in drei Aufztigen, ed. Kurt Soldan. Leipzig: C. F. Peters, 1926. 95

Discography

Lortzing, Albert. Undine, Grosse Querschnitt, performed by Radio- Symphonie-Orchester Berlin, conducted by Robert Heger. 81005.

Marschner, Heinrich. Hans Heiling and Der Vampyr, performed by Cologne Radio Orchestra and Chorus, conducted by Joseph Keilberth. Private Record, MRF-70-S.

Weber, Carl Maria von. Euryanthe, performed by Dresden State Orchestra and Leipzig Radio Chorus, conducted by Marek Janowski. Angel 3764.

. Euryanthe, performed by New York Little Orchestra Society Chorus and Orchestra, Conducted by Thomas Scherman. Private Record, MRF-67-S. 106

1. Identifying the curriculum with the trainee's occupational

objectives.

2. Planning the curriculum so that the proportion of time de­

voted to the various areas of instruction is related to the

competencies required for the particular job level— "basic

Jobs" or "career development" Jobs.

3. Making the curriculum consistent with the type of school

in which it is located— comprehensive, area, or technical

high school.

Adapting the curriculum to the particular instructional

method that assures vocationally directed learning experi­

ences for those enrolled— cooperative method or project

method.

5* Planning the curriculum in relation to the sequences of

Job preparation available to students in the school, com­

munity, area, or state so that students may participate

59 in advanced training.

Further, Crawford suggests five steps for developing a course

of study or unit of Instruction In the distributive education cur­

riculum: I 1. Determine instructional objectives.

2. Specify performance standards and criterion measures.

3* Select instructional content.

59 Kay B* Brown, Distributive Education in the High School, Washington, D. C.: Government Printing Office, 19^9, p. 13. 107

I4. Develop learning experiences.

5. Identify instructional materials and equipment.^

From Fort Hayes came instructions to develop a course description, course content, course objectives, and student outcomes; time alloca­ tions, references and audiovisuals materials, tools, equipment, supplies, and facilities. It might be added here that this last list is based upon information in Module A-8 "Develop A Course of Study" from the Professional Vocational Teacher Education Modules put out by the Center for Vocational Education, I960 Kenny Hoad, The Ohio

State University, Columbus Ohio 13210.

With this information and instructions, the following curriculum was developed:

Course Description

The overall objective of the Fort Hayes Theatre Program will be to present to the student an extremely comprehensive curriculum in the field of drama. The motivating factor behind this decision is the fact that theatre is a highly diverse field, and students must be prepared for entry level into a relatively large number of sub­ fields if;he is to successfully enter the job market in the theatre at all.

A knowledge of the area of theatre at the local area levels re­ veals that the greatest number of jobs exist in the areas of techni­ cal theatre and its associated areas.

60 Lucy C. Crawford and Warren G* Meyer* Organization and Administration of Distributive Education, Columbus, Ohio: Charles E. Merrill Publishing Company, 1972, p. 51* 108

In technical theatre, students will be trained in the following areas:

Set Design- will concentrate on drafting techniques as they are utilized in the preparation of floor plans, elevations, working drawings, and relatively sealed perspectives, as would be used by the technical director. Elements of color, proportion, and other aesthetic con­ siderations will be taught as they apply to the design of the set.

Technical Direction will cover the interpretation and execution of the set design and the supervision of the construction of the set. Inas­ much, construction techniques will be taught, including elementary woodworking, scene painting, flying, and shifting techniques.

Lighting Design shall include the planning of instrument placement elementary electricity, instrument repair and maintenance, color theory, and the preparation of light plots. Additionally, students will be trained in the operation of dimmer control units, ranging from auto transformers, through silicone controlled rectifiers and the more recent memory systems.

Sound Design shall cover the selection of sound from incidental music through sound effects, recording techniques, tape recorders, turn­ tables, arid sound console operation; methods of microphone selection and placement, editing and splicing, and unit operation, ranging from reel-to-reel, through cartridge and cassette.

Costuming, although covering the aesthetic aspects of costume design, will concentrate on the construction of the costume; and, inasmuch, ! will cover pattern making and sewing, costume maintenance, cleaning, storage, and materials. 109

Make-Up vill concentrate on the application of creams, grease paint,

and pancake; crepe hair, and prostetics as they are utilised in

straight, corrective, and specialized make-up application.

Shop Techniques vill survey the operation of those tools used in the

scene shop, ranging from hand tools, through small and mid-range power tools.

Theatre Management shall include the study of ticket handling, accounting, custodial aspects, theatre architecture, publicity, budgeting, fire regulations, and first-aid.

Acting will be covered in the theatre program, because some students wish training in the area; because the theatre technician should have some knowledge of the presentational aspects of the theatre as well as the technical, supportive areas. Acting, however, will be treated as conglomerate skills, including body movement and control, stunt and combat methods, fencing, mime, pantomime, theory in method and technique, character research, and application.

Following each play, there is approximately two weeks when the laboratory period vill not be used for rehearsal/production work.

There are eight such two-week breaks during the four semesters. The breaks will be utilized as follows:

FIRST BREAK...... VOCAL MUSIC SECOND BREAK...... FIRE PREVENTION/FIRST AID THIRD BREAK...... FABRIC SERVICES FOURTH BREAK...... DANCE FIFTH BREAK...... RADIO-TV SIXTH BREAK ...... INSTRUMENTAL MUSIC - SEVENTH BREAK...... PRINTING EIGHTH BREAD...... COSMETOLOGY 110

TABLE 3

Time Allocations

CO m £4 P (h CO E B O O O o. O O +J *-■ Sh W CO CO CQ V r-H rH +J CO CJ O

CONSTRUCTION TECHNIQUES 3 1. 5*4 cru I4O .5 crh BASIC MOVEMENT 2 1 36 cru 27.0 crh COSTUMING 2 1 36 cru 27.0 crh VOICE ARTICULATION 2 1 36 cru 2 7 .O crh THEATRE HISTORY 1 1| 72 cru 5U .0 crh LIGHTING 3 1 5*4 cru Uo.5 crh STAGE COMBAT 2 72 cru 5*4.0 crh MAKE-UP 2 1 36 cru 27.0 crh SOUND 2 1 36 cru 27.0 crh THEATRE MANAGEMENT 3 1 5U cru U0.5 crh ACTING THEORY 2 72 cru 5U.0 crh BASIC DESIGN 2 1 36 cru 27.0 crh MIME 3 1 5*t cru 1+0.5 crh FENCING 3 1 5*4 cru 1+0.5 crh PLAY WRITING 2 1 36 cru 27.0 crh

TOTALS 720 cru 5*40.0 crh

010.0 laboratory/ production hours

TOTAL 1350.0 hours for two years MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY :0 91 91 - 00 1:0 12:15 10:00 10:00 - 9:15 9:15 - 8:30

CONSTRUCTION BASIC MOVEMENT CONSTRUCTION BASIC MOVEMENT CONSTRUCTION TECHNIQUES TECHNIQUES TECHNIQUES

COSTUMING VOICE ARTICULATION COSTUMING VOICE ARTICULATION THEATRE HISTORY

REHEARSAL AND PRODUC H O N WORK FOR FIRST SHOW OF THE SEASON.. ..SIX WEEKS REHEARSA , AND PRODUCTION___

FOLLOWED BY SHORT BF EAK FOLLOWING FIRST SHOW___ THEN REHEAR F AL AND PRODUCTION WO IK FOR SECOND SHOW

OF THE SEASON___ FOI LOWED BY SHORT BREAK

Figure First Semester Lesson Plan MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY :0 91 91 - 00 1:0 12:15 10:00 10:00 - 9:15 9:15 -8:30

LIGHTING STAGE COMBAT LIGHTING STAGE COMBAT LIGHTING

* MAKE-UP SOUND MAKE-UP SOUND THEATRE HISTORY

REHEARSAL AND PRODUC TION WORK FOR THIRD SHOW OF THE SEASON.. ..SIX WEEKS REHEAFSA , AND PRODUCTION___

FOLLOWED BY SHORT Bf EAK FOLLOWING THIRD SHOW___ THEN REHEARS AL AND PRODUCTION WO IK FOR FOURTH

SHOW OF THE SEASON....FOLLOWED BY SHORT 3REAK___ THEN BEGIN WORK ON SUMMER PRODU STION......

Figure 6. Second Semester Lesson Plan H H ro MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY :0 91 91 - 00 10:00 10:00 - 9:15 9:15 -8:30

THEATRE MANAGEMENT STAGE COMBAT THEATRE MANAGEMENT STAGE COMBAT THEATRE MANAGEMENT

ACTING THEORY BASIC DESIGN ACTING THEORY BASIC DESIGN THEATRE HISTORY

REHEARSAL AND PRODUC TION WORK FOR FIRST SHOW (SECOND YEAR).. ..SIX WEEKS REHEARSA . AND PRODUCTION___ _ 12:15 - - - - - FOLLOWED BY SHORT BF EAK FOLLOWING FIRST SHOW___ THEN REHEARE AL AND PRODUCTION VO FOR SECOND

* SHOW OF THE SEASON.. ..FOLLOWED BY SHORT BREAK......

. »

Figure 7. Third Semester Lesson Plan MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY :0 91 91 - 00 1:0 12:15 10:00 10:00 - 9:15 9:15 - 8:30

MIME FENCING MIME FENCING MIME

ACTING THEORY PLAY WRITING ACTING THEORY PLAY WRITING THEATRE HISTORY

REHEARSAL AND PRODUC riON WORK FOR THIRD SHOW OF THE SEASON.. ..SIX WEEKS r e h e a r s a :/ AND PRODUCTION___

FOLLOWED BY SHORT BR 2AK FOLLOWING THIRD 3H0W___ THEN REHEARS \L AND PRODUCTION WO] :K FOR FOURTH SHOW

OF THE SEASON___ FOL .OWED BY SHORT BREAK ___ THEN BEGIN WORK HN SUMMER SHOW......

Figure Fourth Semester Lesson Plan r:

These will be exchange programs with other departments. Theatre

students will learn needed skills in sewing, first-aid, singing,

dancing, Radio-TV, and music. The order will not always follow a

sequence, in view of the fact that it will, somewhat depend upon

other instructors' schedules.

THE COURSES ARK CLUSTERED INTO SEQUENCES AS FOLLOWS:

BASIC MOVEMENT is followed by STAGE COMBAT, which is followed by

FENCING and MIME. All are movement oriented units.

CONSTRUCTION TECHNIQUES is followed by LIGHTING, followed by BASIC

DESIGN. BASIC DESIGN is also grouped with (following) COSTUME and

MAKE-UP. BASIC DESIGN is concerned with design problems in SET

DESIGN, LIGHT DESIGN, COSTUMES, and MAKE-UP.

COSTUME is followed by MAKE-UP, which is followed by DESIGN.

VOICE ARTICULATION is followed by SOUND.

SOUND is also grouped with LIGHTING, since they both share basic electricity theory.

Actually, all theatre units are interdependent. It is difficult to arrange one sequence without perhaps placing some other unit slightly out of sequence. At the same time, any units placed side by side or in sequence will bear some relationship. 116

Course Content and Objectives

Construction Techniques

3 tpw; 1 smstr. 5^ cru; ^0.5 crh. This course will cover shop

procedures, basic tools, elementary construction methods for basic

set units, methods for elementary special effects, and union regula­

tions.

General Objectives: The student will be able to:

1. Identify by name, vithout error, those basic tools listed

in Gillette*

2. Construct, vithout error, a standard flat, door flats, window

flat, three basic types of platforms, and two types of step

units.

3. Be able to describe, without error, how the following operate:

3.1 flash pot 3.2 smoke pot 3*3 fog machine 3.U trap with counter weight

It. Score 7555 or better on a test (objective) of union regulations.

Basic Movement

2 tpw; 1 smstr,, 36 cru; 27.0 crh. This course will cover pos­ tures standing, postures sitting, walking, use of arms and legs, use of the body unit, use of the face, and use of masks.

General Objectives: The student will be able to:

1. Utilize the entire body both as a unit and as individual

parts, including the following:

1.1 age (70-80) 1.2 extreme youth (k-5) 1.3 sophistication 117

l.h feminity 1.5 masculinity 1.6 crippled in one body part 1.7 pain in one body part

Costuming

2 tpw; 1 smstr., 36 cru; 27.0 crh. This course will cover the history of costuming, basic sewing, and pattern making.

General Objectives: The student will be able to:

1. Identify silhouette and salient characteristics of costume

from all of the major periods, with no more than a 25# error

factor.

2. Baste a hem, insert a zipper.

3. Make a basic shirt and pant pattern.

Voice Articulation

2 tpw; 1 smstr., 36 cru; 27.0 crh. This course will cover the physiology of the speaking process, series of articulation exercises for the improvement of articulation, series of exercises for the improve­ ment of projection; and the basis for the dialects of British standard and substandard, Irish, Scottish, German, United States standard and substandard southern, and United States standard and substandard eastern. !

General Objectives: The student will be able to:

1. Identify those physiological elements utilized in the speech

process by name and by function with no more than a 25# error

f a ctor. 118

2. Show at least a h0% improvement factor on pre-test anti

post-test articulation exercises.

3. Exhibit a .10db improvement on post-test and pre-test pro­

jection exercise.

It. Exhibit a knowledge through exhibition of the basic elements

of those dialects listed above.

Lighting

3 tpw; 1 smstr., 5^ cru; hO.5 crh. This course will cover the

basic lighting instruments, rudiments of electricity, light control,

and distribution.

General Objectives: The student will be able to:

1. Identify by name and function, and without error, all the

basic lighting instruments.

2. Score better than 1U% on an objective test covering the basic

rudiments of electricity.

3. Identify by type and function *4 out of 5 basic dimmer con­

trol units.

Stage Combat

2 tpw; 2 smstr., 72 cru; 5^.0 crh. This course will cover the basic moves of stunt work/stage combat; falls, slaps, face punch,

stomach punch, trips, flips, weapons; and will culminate in a choreo­

graphed unit.

General Objectives: The student will be able to:

1. 'Successfully exhibit the execution and the reaction moves

from the above listed combat moves. 119

M ake-Up

2 tpw; 2 smstr., 72 cru; . 0 crh. This course will cover the basics of straight and special make-up, and the tools and their use

in applying such make-up.

General Objectives: The students will be able to:

1. Duplicate from a make-up morgue an example of age make-up.

2. Perform corrective make-up upon themselves.

3. Perform at least two elements of specialized prosthetic make-up.

Sound

2 tpw; 2 smstr., 72 cru; 5 k .0 crh. This course will cover sound effects records, the operation of Ampex UUO tape recorder, standard splicing and editing techniques, and the operation of the Sony XC-200 control panel.

General Objectives: The students will be able to:

1. Operate the Ampex HhO tape recorder.

2. Operate the Sony XC-200 control panel.

3. Splice and edit a music excerp with no audible splice spot.

Theatre Management

3 tpw; 1 smstr., 5** cru; lt0.5 crh. This course will cover box office operation, budgeting, publicity, theatre architecture, per­ sonnel, custodial services, and crowd control.

General Objectives: The students will be able to:

1. Complete with no errors, those forms used in box office

operation and budgeting.

2, Use proper form in making out a press release for radio, TV,

and newspapers. 120

3- Design a theatre flow chart.

I*. Given a specific crowd control situation, solve the problem.

Acting Theory

2 tpw; 2 smstr,, 72 cru; 5^.0 crh. This course will cover the

basis of the method, technique, improvisation, period and style, and

acting for film and TV.

General Objectives: The students will be able to:

1. List without error the seventeen elements of the method and

describe them.

2. List three basic differences between technique acting and

the method.

3. Perform a given two-person improvisation.

it. Perform in two period styles other than contemporary {students'

c h o i c e ).

5. Take a given scene and perform it for legitimate stage; then

for film/TV.

Basic Design

2 tpw; 1 smstr., 36 cru; 27.0 crh. This course will cover the basics of drawing as it is utilized in set design, light design, make-up design, and costume design. The course will further cover the basic elements of design in each area, and the theatrical interrela­ tionship of all four.

General Objectives: The students will be able to:

1. Draw without error a simple floor plan based upon a given

photograph to a given scale. 121

2. Without error make a basic light design for that set.

3. Do a set for front elevations and a relative scaled per­

spective for that set.

k. Do a line drawing rendering for costumes for two costumes in

a play of the students' choice.

5. Do two make-up renderings for two characters in plays of the

students* choice.

Mime

3 tpw; 1 smstr., 51* cru; Uo.5 crh. This course will cover the body, coordination, and the illusion as they apply to the art of mime.

General Objectives: The students will be able to:

1. Structure and perform a mime unit of apparent believability.

Fencing

2 tpw; 1 smstr., 36 cru; 27.0 crh. This course will cover parries, attacks, thrusts, lunge, retreats, and advances.

General Objectives: The students will be able to:

1. Exhibit without error the following:

1.1 attack in U and 6 1.2 parry in I4 and 6 1.3 lunge l.U basic thrust 1.5 advance and retreat

Flay Writing

2 tpw; 1 smstr., 36 cru; 27.0 crh. This course will cover the basics of dramatic structure, exposition, initial incident, episode, rising action, climax, crisis, and denoument; also uses of conflict protagonist, antagonist, orchestration, dialogue, plot, premise and character development. General Objectives: The students vill "be able to:

1. Write a short, one-act play.

References, Equipment, and Facilities

CONSTRUCTION TECHNIQUES

References

Cornberg, Sol. A Stage CrewHandbook, New York: Harper and Brothers, 19^1.

Gassner, John. Producing the Play: New Scene Technician^ Handbook, Revised Edition, New York: The Dryden Press, 19^1.

Gillette, A. S. Stage Scenery: Its Construction and Rigging, Second Edition, New York: Harper and Row, 1972.

Parker, W. Oren and Smith, Harvey K. Scene Design and Stage Lighting, Third Edition, New York: Holt, Rinehart and Winston, Inc. 1971*.

Selden, Samuel and Sellman, Hunton D. Stage Scenery and Lighting, Third Edition, New York: Appleton-Century-Crofts, Inc., 1959-

Welker, David. Stagecraft, Boston: Allyn and Bacon, 1977-

Equipment

10 13 oz. claw hammers Craftsman 10 U' screwdrivers ” 5 Crosscut saws " 5 Matte knives ” 3 Hand drills *' 3 Sets drill bits " 5 Ratchet awls " 2 Yankee screwdrivers " 1 2 speed power drill " 5 Gallons white glue 10 Lbs. wheat paste 50 Yards 78* med. wt. muslin 50 12* lengths l" x 3*', #1 grade white pine 2U 1* * x 8* sheets 3/V plywood (finished one side) 123

6 1*' x 8' sheets V plywood (finished one side) 6 Boxes (100) 3A " #9 flathead woodscrews 50 Lbs. ^d common nails 20 Lbs. 1" wire nails 20 Lbs. l" roofing nails 6 Sheets (^' x 8') upsom board

Facility

The shop shall have a loading door with a height of l1*' and a width of 10*. The loading door will open onto a driveway which leads to a main thoroughfare. The loading dock will be at the height of a truck bed. The shop will measure 25* x 65'. It will have an adequate supply of lumber, hardware, and tools as listed above. Additionally, it shall have one circular saw, one radial arm saw, one drill press, one lathe (See module "Budgets and Reports" for lists and specs on these items). The shop shall also have adequate storage for all of these items.

LIGHTING

References

Parker, W. Oren and Smith, Harvey K. Scene Design and Stage i9vr.Lighting. Third Edition, New York: Holt, Rinehart and Winston, Inc.,

Pilbrow, Richard. Stage Lighting, New York: D. Van Nostrand Company, 1971.

Selden, Samuel and Sellman, Hunton D. Stage Scenery and Lighting, Third Edition, New York: Appleton-Century-Crofts, Inc., 1959. 12U

Equipment

2k 6" quartz fresnels 2k 6" quartz ellipsoidals 12 lU" quartz scoops 3 9' border strips in three circuits 75 Male 3 conductor pin connectors 50 Female 3 conductor pin connectors 250 ’ 3 conductor #1^ cable 1 SCR control dimmer system

2k dimmers @ 7kw 2 scene pre-set 2 scene sub-master

1 Set assorted roscolux gels 75 Quartz lamps

F a c i l i t y

The theatre shall be a physical plant consisting of a horseshoe house with a seating capacity of 30U on a staired rise of seven levels.

The stage will have a full loft with a height of & k ', 6". There will be wings both stage left and stage right measuring 12'. The depth of the-stage shall be 19'• There will be no apron on the stage, but a

2 k ' thrust stage will extend out from the curtain line. The hydraulic stage shall not be connected to the main stage, but will rest on four pistons which will raise the stage to the height of the proscenium stage, lower to house level, orchestra level, or loading level.

There will be a double horseshoe catwalk in the house conforming to the dimensions of the thrust stage and the fourth level of house with a traverse crossing of the two horseshoe units at a distance of

11' 6" from the curtain line. This catwalk will be for the purpose of lighting-and having power distribution by way of channel mounting with outlets every 2V. The catwalk shall hang at a height of lU' above the lowest point of the house floor. Control shall be housed in a booth 125

located at the right rear corner of the house. The "booth shall measure

6' x 9'. Dimmer racks shall be located in the basement of the theatre.

STAGE COMBAT

References

Gordon, Charles. Stage Fights, New York: Theatre Arts Books, 1973.

Katz, Albert M. Stage Violence: Techniques of Offense, Defense, and Safety, New York: Richard Rosen Press, 1977*

Equipment

6 Rubber knives 6 Rubber clubs 1 .22 caliber pistol h Boxes .22 plugged blanks 10 5' x 10' wrestling mats

Facility

See laboratory above.

MAKE-UP

References

Buchman, Herman. Stage Make-Up, New York: Watson-Guptill Publications.

Corson, Richard. Stage Make-Up, New York: Appleton-Century- Crofts, 19U9.

Equipment

16 Bob Kelly make-up kits (8 male; 8 female)

Facility

The make-up room shall measure 12' x 15* with three walls having 126

mirrors, make-up bench and make-up lights. The make-up room (s)

shall be located behind the main stage area.

BASIC MOVEMENT

References

King, Nancy. Stage Movement, New York: Macmillan, 1969-

Kline, Peter and Meadors, Nancy. Physical Movement for the Theatre, New York: Richard Rosen Press, 1976.

Spolin, Viola. Improvisation for the Theatre, Second Edition, Boston: Allyn and Bacon, 1969.

Equipment

None

Facility

The laboratory area shall consist of a single room measuring

50' x 50' with a ceiling height of 18'. At one end of the room shall be a small room measuring 8* x 20* to be used for costume storage.

COSTUMING

References1

Cunnington, Phillis. Costume in Pictures, London: Studio Vista Limited, 196U.

Kohler, Carl. A History of Costume, New York: Dover Publications, Inc., 1963.

Prish, Berniece and Byers, Jack A. Costuming, New York: Richard Rosen Press, 1965-

Russell, Douglas A., Stage Costume Design: Theory, Technique and Style, New York: Appleton-Century-Crofts, Inc., 1973. Equipment

5 J Pkg. assorted needles School Warehouse 11 5 Pkg. assorted threads 11 25 Yds. 36" med. vt. muslin 2 Century zig zag sewing machines Sears, Roebuck 11 2 Steam irons 2 Ironing boards School Warehouse

Facility

See laboratory above.

VOICE ARTICULATION

References

Carrell, James and Tiffany, William R. Phonetics: Theory and Application to Speech Improvement, New York: McGraw-Hill, I960.

Gray, Giles M. and Wise, Claude M. The Bases of Speech, Third Edition, New York: Harper and Row, 1959.

Kline, Peter. The Actor's Voice, New York: Richard Rosen Press 1962.

Vein Riper, Charles. Speech Correction: Principles and Methods, Third Edition, Englewood Cliffs," New Jersey: Frentice-Hall, 195^■

Equipment

2 Portable Sony reel-to-reel tape recorders 8 1200 reels 1.5 mil Mylar recording tape

Facility

The classroom shall be 30' x 30' with thirty movable, one-armed desk chairs, one instructor’s desk with chair, a x 10' chalkboard mounted on one wall, and a 3' x U* bulletin board mounted on one wall THEATRE HISTORY

References

•Brockett, Oscar G. History of the Theatre, Boston: Allyn and Bacon, 1969.

Hartnoll, Phyllis. A Concise History of Theatre, New York: Charles Scribner's Sons.

Whiting, Frank M. An Introduction to the Theatre, New York: Harper and Brothers, 1951* ■

Equipment

None

Facility

See CLASSROOM above.

SOUND

References

Waaser, Carol M. Sound and Music for the Theatre, New York: Richard Rosen Press.

Equipment

8 Portable reel-to-reel Sony tape recorders 2h 7" 1200' reels of 1.5 mil Mylar recording tape 8 Tape splicers with splicing tape 5 Spools white leader tape

Facility

See laboratory above. 129

THEATRE MANAGEMENT

References

Cavanaugh, Jim. Organization and Management of Non-Professional Theatre, New York: Richard Rosen Press.

Stern, Lawrence. Stage Management: A Guidebook of Practical Techniques, Boston: Allyn and Bacon, 197**.

Equipment

None

Facility

See laboratory above.

ACTING THEORY

References

Glenn, Stanley L. The Complete Actor, Boston: Allyn and Bacon, 1977.

McGaw, Charles. Acting Is Believing, New York: Rinehart and Company, 1956.

Moore, Sonia. The Stanislavski Method, Viking Press.

Stanislavski, Constantin. An Actor Prepares, New York: Theatre Arts Books, 1936.

Stanislavski, Constantin. Building a Character, New York: Theatre Arts Books, 19**9.

Equipment

None

Facility

See laboratory and theatre above. 130

BASIC DESIGN

References

French, Thomas E. and Svenson, Carl L. Mechanical Drawing, Hew York: McGraw-Hill, 1966.

Parker, Oren. Sceno-Graphic Techniques, Second Edition, Pittsburgh: Carnegie-Mellon, .1969.

Welker, David. Theatrical Set Design: The Basic Techniques, Boston: Allyn and Bacon, 1969-

Parker, W. Oren and Smith, Harvey K. Scene Design and Stage Lighting, Third Edition, New York: Holt, Rinehart and Winston, Inc., 197U.

Equipment

16 Drawing boards 16 T-squares 16 30° - 60° right triangle 16 Architects rule 2 Dozen each: 2H, i+H, 6H drawing pencils

Facility

See classroom above.

MIME

References

King, Nancy. Stage Movement, New York: MacMillan, 1969-

Kipnis, Claude. The Mime Book, New York: Harper and Row, 197^.

Spolin, Viola. Improvisation for the Theatre, Second Edition, Boston: Allyn and Bacon, 1969*

Equipment

None 131

Facility

See laboratory above.

FENCING

References

Gordon, Charles: Stage Fights, New York: Theatre Arts Books, 1973.

Simonian, Charles. Fencing, Columbus, Ohio: Charles E. Merrill Company, 1968.

Equipment

16 French foils Castello 16 Half Jackets " 16 Fencing masks "

Facility

See laboratory above.

FLAY WRITING

References

Kline, Peter. Flayvriting, New York: Richard Rosen Press.

Equipment

None

Facility

See classroom above. 132

As the second year began for the vocational theatre department

at Fort Hayes, the first class of juniors became seniors. With that,

a new class of Juniors enrolled in the program. If the first year had been plagued with a lack of equipment, unfinished building and faci­

lities, constant interruptions, and school being closed for over a month, the second year class was to have its problems also. First was recruiting. State regulations state that there must be a minimum of

fifteen students before funds will be allocated for the class. The class of '79 could not meet that number. The reasons offered were many. Most drama teachers in the regular, high schools did not want their best students coming to Fort Hayes. Why whould they lose their best actors and technicians to someone else? Of course, one wonders if the primary interest was the welfare and education of their students, or having a "good drama department and good plays" to make themselves look better. The fact that no Fort Hayes production had been pre­ sented that first year probably had something to do with the problem.

Because of a great deal of jealousy on the part of teachers and admin­ istrators in the regular schools, most publicity about the Fort Hayes program was discarded before it ever reached the students.

To ad,d to these problems, as the new class entered, there was no i instructor for them. State regulations state that the Junior class shall have its own instructor, and the senior class its own. Since there was no instructor, and since if a production was to be presented it would be difficult to rehearse half the cast in the morning and

j half in the afternoon, it was requested that both classes meet in the afternoon (Normally, Juniors meet in the morning and seniors in the 133

afternoon). At first, this was met with disapproval. This had never

been done before in vocational education. The return argument was

that there had never been vocational education in theatre; we had

different needs, and therefore had to handle things in new and different

ways. Finally, it worked. Both classes were scheduled to meet in the

afternoon, but there was no instructor. In the year before, it had

taken nine months to cover approximately three to four months of

material. From September to December of the second year, it appeared

that, once again, with both classes together and only one instructor,

not much would be accomplished.

A production was launched. On November 11, 1977, The Diary of

Anne Frank, the first production of the Fort Hayes Theatre, opened.

The play ran November 11, 12, l8, and 19. The opening night audience,

though small, had In its number Congressman Chalmers Wylie, Dr. John

Walker, head of the Ohio State University Theatre Department;

Dr. Lou Cambell, Ohio State University professor nationally known for his work in mime; Robert Fouty, managing director of Veterans

Memorial Auditorium, Columbus, Ohio; and several other representatives

from local universities and city officials. Letters of regret were

even received from President Jimmy Carter, Vice-President Mondale,

Ohio Governor James Rhodes, and Columbus Mayor Tom Moody.

The production lived up to what was now a growing, but unviewed reputation for the Fort Hayes Theatre. We seemed to be off to a good s t a r t .

However, with only one instructor, little was being accomplished

in the classroom. When Juniors were being taught those things that 131*

the seniors had already learned* the seniors had to simply sit through

it all a second time. When seniors were taught new points based upon

the previous year's learning, the Juniors sat in bewilderment.

Repeated pleading to the administration brought no results. It was

not until January 3, 1978, that a second instructor was finally brought

into the department. But that was not the end of the problems.

Almost from the moment when the theatre was finished enough to be

presentable, it seemed to be more of a convention center than an

educational center. It is naturally important for any theatre, educa­

tional ones included, to have community involvement. Consequently,

that theatre must always be available for certain community and school

events. It is even good training for students, especially vocationally

oriented students, to have the experience of setting up the theatre

for outside events and running and managing the theatre for those

events. But it got a bit out of hand at Fort Hayes. During rehearsals

for Diary of Anne Frank, the cast and drew found themselves repeatedly

ousted from the theatre, so that other groups could have the use of it.

Students would enter the theatre In the morning to find that lights had been reairaed, props moved, and any number of other alterations in the set and stage; all committed by whatever group had used the theatre the night before. The schedule for the theatre, which had been prepared by the Theatre Department describing each day that the theatre students would need the theatre, was totally ignored.

Then, in November, Warner Cable Television asked if they could

i broadcast a daily television program from the theatre for the month of 135

December only; Just "until their nev studios were finished." There was

a production of 198k scheduled for the end of January, hut it was

felt that this show could he rehearsed in the lah in December, and then moved into the theatre as soon as the Warner people left.

Further, Warner agreed to use theatre and television students in their broadcast. It seemed that this would he good experience for the students, hut this was not to he the case.

Toward the end of December, Warner stated that their new studio was not going to he ready as expected. They requested to stay in the theatre until the second week of January. This was agreed. By the first week of January, they requested to stay until the end of January.

This was agreed. By the middle of January, they requested to stay until the middle of February. The answer this time was no. However, within the week of the negative answer, they requested to remain in the theatre until the end of February. Again, the answer was no. We found that the state of the theatre was deteriorating. The Warner crews had a had habit of leaving uneaten food all over the theatre.

Until this time, the standard rule had always been no food in the theatre. The theatre students had been taught to protect the theatre.

They had been very good about this; always not placing their feet on the seats, not throwing trash in the theatre, and never eating in the theatre. How, as they watched the Warner people, supposedly profes­ sionals, breaking these rules, they lost their pride in keeping their theatre in good condition. 136

The theatre students had been taught that- professionalism meant always arriving promptly, never offering excuses, doing their job vithout compaining, and that crew people and those out in the spot­ light were of equal rank and each needed the other. Now, they wit­ nessed "professionals" who arrived late, did a great deal of lounging, showed a great deal of disorganization and lack of planning, and

"stars" who had egos so large that they arrived long before the person....and as a result, some of the students began to act the same way.

Originally, Warner had agreed to pay for any damaged items, to pay salaries to any students who worked for them, and to be out of the theatre well before the end of January. As of this writing; very near the end of January, Warner is still in the theatre, has paid no one anything, and it looks as though they may be with us for a while to come. The benefits of their presence has long ago disappeared.

The January production of 198U has been cancelled, and the February production of Everybody Loves Opal may be cancelled. The theatre students who had practical light design assignments due the first of

January are forgetting everything. It seems that somewhere, someone is sacrificing student learning for, I'm not sure what.

With outside groups using the theatre, the facility was, none­ theless, still unfinished. Tools which had been ordered since

September of 1976, finally began arriving in November of 1977. The shop, however, had no lights, making it a dangerous place to try to operate power tools. There were virtually no electrical outlets in the shop, which meant that long extension cords had to run over the floor onstage to get power (a violation of OSHA rules). There was

no door covering the lading door in the shop. Two large pieces of

plywood were erected to keep the weather out, but this was totally

unsatisfactory. On many occasions the tetnperature in the shop was

in the fifties, and snow literally blew in around the edges of the

ill-fitting, make-shift door. The make-up rooms were simply four

cement block walls with no ceiling, as were the dressing rooms and

green room. The control booth at the rear of the theatre had no glass in the window, which meant that the audience could plainly hear the calling of cues. To make things worse, the communications

system was still not installed. There was no way to talk to the backstage area, and the light and sound operators. Two months after the microphone amplification system was installed, the amplifier blew out. It made little difference, however, as only two of the fourteen microphone outlets had been in working order.

It should be clearly stated that the contracts for the shop door, the shop, and the dressing rooms, the make-up rooms, the green room, the booth, and the sound system, all had called for com­ pletion no later than September 8, 19761 The Columbus Board of

Education does not enforce the penalty clauses in its contracts.

Consequently, bidders do not complete work— always to the detriment of the education of the students.

Tiffin Scene studios installed the rigging system; and although nearly a year late on their total installation, they did take pains to do the Job correctly. Kleigel Lighting (Galbraith-Kleigel out of Cleveland), although only a few months late on their installation, 138

installed poor, inadequate, and incorrect equipment; did no follow-

up, and provided no service. When several C-clamps arrived broken,

they were returned to the Kleigel company in Cleveland. Kleigel

refused the package. The patch panel was not compatible to the

dimmer control board. As a result, the Columbus Board electrician

had to rewire the patch panel, and five of the dimmers on the control

board are not operational.

These problems are listed here, because they all had effects on the partial failure of the first year curriculum. The fact that the theatre was not finished and was so often benignly used by outside

groups, caused many curriculum sections covering lighting, theatre management, sound and acting to go incomplete. The fact that so much

equipment was broken caused sections on construction, design,

lighting, sound, costuming, and make-up to also go incomplete or unstarted.

In spite of the problems, the second year of the Fort Hayes theatre moved forward. With the arrival of the second instructor in

January of 1977, many ideas that heretofore had not been put into motion, now seemed possible. Additions and changes to the curriculum began to take place.

Schedule Changes

As was previously stated, it had been requested and granted that both the Junior and the seniors be permitted to attend at the same time, rather than having the juniors in the morning and the seniors in the afternoon. For the most part, this proved to be' advantageous. First, 139

for any production, crews and cast were not split with half being there

in the morning and half in the afternoon. It also permitted a good

deal of team teaching. Each instructor had his own fortes and could

teach them as the subject came up. The students did not become the

personal group of either instructor, but worked well with both. The

students did not have any problems with spending one year with one

instructor; then in their second year, having to learn the ways of a new instructor. The students did not see themselves so much as a junior class or a senior class, but as students of Fort Hayes. This was a stride in the right direction. One of the problems encountered at the Fort was that of developing any espirit de corps, as the

students still spend a great deal of time at their home schools (the entire morning). There was no desire to diminish their feelings of loyalty toward the home school, but it was difficult to build new loyalties to the Fort.

It must be stated that the efforts to get both Juniors and seniors at the Fort at the same time, and efforts to utilize team teaching and to diminish Junior and senior ethnocentrisms was faced with constant disapproval from administrative areas. It seems that voca­ tional education had never permitted juniors and seniors to meet at the same time of day. There were constant instructions to "be certain that one teacher is the junior teacher and the other is the s eni o r t e a c h d * ' ; and "make certain that Juniors identify with the

Junior teacher." Team teaching was frowned upon. In the face of ! such negative direction, the program went forward. As things got better, as instruction did successfully take place, the negativeness g r e w less, lUo

It was necessary, however, to change the schedule. The State

stated that if juniors and seniors were going to meet at the same time of day, there must he two related periods instead of one. Con­

sequently, the day was "begun with a related period and ended with a related period. Laboratory periods were sandwiched in between.

The double related course carried with it the added problems of space. The Performing Arts building had been designed with three classrooms for five departments. There were not enough classrooms to go around. As a result, the theatre students often had class in their laboratory or in the theatre lobby.

It was quickly realized that in order to get all of the sub-courses in, rehearsals for productions could not take place during the academic day. This was a difficult decision, to move rehearsals to afternoons and evenings, since the home schools usually rehearsed their plays at the same time. Efforts had always been made to keep

Port Hayes rehearsals away from home school rehearsals, so the students could participate in both. The sacrifice, nonetheless, had to be made.

It was further decided that instead of teaching subjects on a straight schedule (i.e. five days of history), subjects would be taught on a broken schedule. Some sub-units were taught on Monday,

Wednesday, Friday; some on Tuesday, Thursday; some on Monday and

Tuesday, and others on Thursday and Friday. This proved to be valua­ ble. When the student is in the same general area for nearly four hours every day, it is good to introduce as much change as possible. lfcl

As the second year progressed, the original ideas and plans seemed

to have problems— at least some of them. For one, the idea of a

totally comprehensive curriculum proved impractical from at least

two standpoints. First, even with the students being at Fort Hayes

for nearly four hours per day, there was not enough time to teach all

of the areas of theatre in two years. Second, if in the first year,

lighting, set design, construction techniques, and vocal techniques were taught, what happened in the first production when skill in make-up, costuming, acting, box office, publicity, and management were

needed?

With these problems in mind, a new plan was introduced. All

students would be exposed quickly to all areas of theatre through a mini-course plan. These courses would be very practical in nature.

They would be handled during the normal related period; meeting two or three times per week, and lasting two to four weeks. The instructor would act almost as a crew chief (costumes, make-up, etc.) and would take the class through the various steps needed to prepare for a production. These mini-courses would meet, as was stated previously during the regular related period. Since the State of Ohio had decreed that when juniors and seniors meet during the same time of day, two related classes must be present, two mini-courses could be handled daily. In less than one school year, all students could be at least exposed to each area.

At this point, a major/minor plan was initiated. Once each student had been exposed to each area of theatre, he could choose ll+2

at least two majors and two minors. A major consists of working on

at least three productions in the chosen major field (costuming,

lights, and make-up), and completing an approved course of individual

studies in that field. As the students began to choose majors and

minors, the instructors would divide them either evenly by students,

or by area of specialization. It was decided to wait to divide

the students, so as to prevent either instructor from being over­

loaded with students.

A minor consisted of working in two productions in the chosen area and completing an approved course of individual studies in that

field.

With seven productions planned for the coming year, there will be more than enough productions in a two year span to fulfill the two major, two minor requirement. It is further planned that the major and minor of each student will be listed on his certificate of completion for Fort Hayes. In this way, the student has concrete proof of his area of "expertise."

As of this writing, the major-minor program has just begun. It will take at least another full year to see if it is going to prove valuable. At this time, however, some positive results have been reaped. In the last production more students working in their areas of major and having had mini-courses in the field, did far superior to students working in the first Fort Hayes production. The students seem happier, the results are better, and the productions are better. .-.iji :n.'r area ■' rawc ha.- -v-rv.a i 1 i - *.■

Ci fT r’i n n I i'l:n, ;. ■. :: V.im- W.' - ;.[■;•• r. u

p eri o d M ‘ e&eh day. ‘:1 ■ ■ i p i . ] r- ■ vr. :';J r'uriry the fi rst

due ti on „ w.i t,h ;' ■ v/1 jl t : vu rc ’Jit-:'. h- h o w s ; i ii,1; -iur Tip t L ; r i <"r

day, the east and w-. v . r..ed In lack <. x.e i t oment .'ib.iUt the ,’f .

1. vas almost an ’ f' i .. v w class v< rk . bast. raid crew al ike i t

t h a t Triir.ai ij(- .rchearsa" war. like mim'iii;1; a day o f ei a:;r;— not f,-:

m u c h t o worry about. •"h. s o , tnore vus ne. time i\ .r anythin:’ e 1 r e .

The vho.i f day ended jp reins taken up by rehearnai s. for n w i ’

six w e e k ? , not hint1: was taurM. o u L s I h j To. rehearsal. Sir-...: ml pi.

that that is a prime tic::' *’or teach :i n r . a n d to a ccrtnij cxl.ek. ,

t h a t Is trot.'. h o w e v e r , 1 he no in ;• ;-.i a j w a ys Pec mo to 1 ’ a s ueeos:-, ,'i,

n o d n e t i o n . Try as one m a y to k e e p t h a t f j" >:ii ,.«» :nif, tl-' u']1iriu;v-

poa.l , it always will be, for hoi h r.tudontr and :nr.tri uter. : ?.

sequently, everything e l m it. re i ogfitci Lo sen r i jiiare, fe-ueni

i n e d u d e d .

For the r.eccnd production, rehearsals took place c'rrv ml,, n i .

The results wore much bo- ••*. The re near aa I now became more rpec in I.

Student: treated it as sc- . There were only two absence:; auri i i r

the entire rehearsal time. The attlts of the aetoi r war, much better,

at-n spirits were hiph. One da j ■ w e k w a r - dfvto-d o .;o»-r tovtcfion

(durinp: the refulfir e l a s s r w . tirne'j, ui -.j one twr ■- - lab was .ev'tod

to crew work. Three timer p^v wok, '‘‘.Teen t at flic !■ nr in.-1:

of h ■ os iry was devote b to cc v meeti r-.s . . b i s v n r k <

b e t . t e r , CHAPTER VI

A GRADING SYSTEM FOR THEATRE AT

THE FORT HAYES CAREER CENTER

The following is a grading system used at the Fort Hayes Career

Center, Division of Performing Arts, Department of Theatre. For the purpose of this particular study, one six weeks period is being utilized. The student is a fictitious one. The units are, however, actual ones that have been taught. There are two primary behavioral objectives for the six weeks being used:

1, The student will be able to construct a standard 6* x 12' stage flat, according to specifications given in John Gassner's

New Scene Technician’s Handbook. The student will have two weeks of laboratory time to complete the flat, and using Gassner's specifica­ tions, the completed flat will have no errors.

2. The student will be able to, without error, execute ten basic movements utilized in stage combat, and to correctly and without error exhibit proper reaction moves to those same ten movements.

Although these are the primary objectives for the six weeks period being used here, Theatre History is taught on a continuing basis throughout the entire year. One period a week during the re­ lated period is utilized for this section of the curriculum. It is for this reason that two theatre history quizzes appear in the related list of quizzes. i It will be noticed that instead of an A-B-Q-D-F or a 0-100 point system, dollars and cents are used. The purpose of this is to

1 ; -lliU- ll+5 emphasize the vocational aspect. For each project, test, and home­ work, the student receives credit in dollars and cents. This pay­ ment, of course, is only on paper. No actual money is used. In most instances, there is a direct correlation of the money system to a regular 0-100 point system.

For example, all quizzes carry $10 for a perfect paper. There­ fore, If a student receives $9-50, it is the same as 95#. The money system has the added advantage of a further point "breakdown. A student can receive $9.65. On a normal system, he would have to receive either a 96# or a 97#* The money system correlates with the school grade system as follows:

RELATED

SCHOOL THEATRE

91+-100 = A = $ 9!+.00 - 100.00 $9*^0 -10.00 81+- 93 = B = $81+.00 - 93.00 $8.1+0 - 9.30 70- 8 3 - C = $ 70.00 - 83.00 or $7.00 - 8.30 60 - 69 = D = $60.00 - 69.00 $6.00 - 6.90 - 59 = F = 59.00 - 5*90

Or, as in the case of the laboratory grades used in the example:

LABORATORY

SCHOOL THEATRE

9U-100 = A = $161+. 50 _ 175.OO 8U- 93 = B = $11+7.00 - 161+.1+9 70- 83 = C = $122.50 - 11+6.99 60- 69 - D ~ $105.00 - 122.1+9 _ 59 = f - - 101+.99 1U6

When possible, it is best to construct the money system into a

ten system as in the related schedule listed above. This is easier

for the student to understand. It is, hovever, not necessary. You

simply apply the school percentage system to whatever the maximum

amount can be earned. If the maximum amount receivable for labora­

tory had been $200, we would have taken 9^% of $200; $l88-$200 then

equals an A.

Because the money system is always ultimately determined by the percentages applied from the school system, it is always compatible with the school and any other system used in the school which is com­ patible with the school system.

Two conferences are held with each student during each six weeks period— one at the end of the second week, and one at the end of the

fourth week. Space is provided on the back of the "Pay Sheet" for comments about the student and notes from those conferences. At the beginning of the school year, a session is set aside to explain this grading system.

The pay sheets are placed in the students' folders. The students have access to these folders and can, at any time, see where their standing is for the six weeks or the year. Copies of the students' pay sheets are given to the students at the end of the six weeks period to take home to show parents. There is a meeting at the beginning of the school year with the parents as a group, and later individually.

The grading system, among other things, is explained at this first meeting. The pay sheets, along with other components of the student's folder, are available to prospective employers upon request. The students are aware of this. li»7

Following is an information sheet which is given to students at the beginning of an assignment in laboratory for flat building.

Following the assignment sheet is the grading sheet to be used in conjunction with the assignment. Note the monetary content of the grading sheet.

Information for Students* Standard Flat Construction

1. All dimensions must be within the standard stage construction error

tolerance of 1/32". Any error over 1/32" will result in the loss

of the total amount for that particular item dimension.

2. All items must be placed within the 1/32" error tolerance. Any

item out of recommended placement by more than 1/32" will result

in loss of the total amount for that particular item placement.

3. ITEMS WITHIN THE ERROR TOLERANCE FOR DIMENSION AND PLACEMENT WILL

RECEIVE THE MAXIMUM AMOUNT FOR THOSE PARTICULAR ITEMS.

U. All butt Joints must have total contact for maximum amount. Lack

of total contact will result in the loss of the total amount.

5. Square corners must be perfectly square, according to a carpenter's

square for maximum amount. Failure will result in the loss of the

total amount for that particular corner.

6. All hardware must be secure with all screws in place, tight, and

even. Failure will result in loss of total amount for that item.

Placement of hardware will adhere to the 1/32" error tolerance.

Failure will result in the total loss of the amount for that

particular piece. 11*8 NAME (S) DUE DATE AMT. EARNED

MAXIMUM POSSIBLE___

OVERALL FRAME DIMENSIONS SUB TOTAL: [LENGTH OF FIRST STILE 2.00 LENGTH OF SECOND STILE 2.00 LENGTH OF TOP RAIL 2.00 LENGTH OF BOTTOM PAIL 2.00 LENGTH OF TOGGLE RAIL 2.00 LENGTH OF TOP CORNER BRACE 1.50 LENGTH OF BOTTOM CORNER BRACE 1.50 a \tt\ II. THTH 'ITVI'fll DIMENSION OF CORNER BLOCK (l) .50 p T .50 (3) .50 ( M .50

CORNER BLOCK PLACEMENT (1 )2.00 (2 )2.00 (3 )2.00 ( l i ) 2 . 0 0

MAIL/SCREW PLACEMENT (1) .50 (2) .50 (3) .50 (M .50

GLUE AT CONTACT JOINT (1) _. ~50 (2) .50 (3) .50 (1*) -50

EVEN BUTT JOINT (1) .50 (2 ) .50 (3) .50 ( M .50

SQUARED CORNER (1) .50 (2 ) .50 (3) .50 t1*) .50

III. KEYSTONES SUB TOTAL: DIMENSION (l) .50 (2) .50

PLACEMENT (1 )2.00 (2 )2.00

JAIL/SCREW PLACEMENT (1) .50 (2 ) .50

CLUE AT CONTACT POINT (1) -50 (2 ) .50

IUTT JOINT EVEN ( i Y .50 (2) .50

IV. HARDWARE PLACEMENT SUB TOTAL: 3RACE CLEAT .50 JISH LINE EYE .50 !*ASH C L E A T 5 6 .10 .50 TIE OFF CLEAT ■ 50 V. M U S L I N / C A N V A S COVERING SUB TOTAL: A D H E S I V E | ~3.00 II S U R F A C E 2.00 SIZING 2.00 lASE COAT 2.00

TOTAL: NOTE: MINUS $5 AFTER EACH DAY LATE

Figure 9* Standard Flat Construction Evaluation Sheet 1U9

7- FOR TOTAL AMOUNT, muslin or other covering must show no loose points

AFTER SHRINKING DUE TO SIZING. Loose joints will result in the

total loss of amount.

0. Surface must be totally free of any wrinkles. Presence of any

wrinkles will result in the total loss of points for surface.

9- Sizing will be subjected to a light see-through test. Any areas

showing lack of sizing will result in the loss of total amount

for sizing. Evidence of no areas lacking sizing will result in

the maximum for this item.

10. BASE COAT will be subjected to a light see-through test and must

show no evidence of areas lacking in an even and complete coat.

Evidence of such areas will result in the loss of the total amount

for this item. No such evidence will result in the maximum amount

for this item.

11. If frame should buckle after sizing, the entire flat must be dis­

mantled. All usable material must be salvaged. The price of

ruined material (those which cannot be used over) will be deducted

from the amount awarded for the final completion of the flat.

The construction must be started over again. The original due

date must still be adhered to.

Performance assignments are a bit more difficult to grade, but the

task can be accomplished. Figure 10 shows a chart used in assessing

student performance in stage combat. Note in the description that

the assessment should take place at least once a week during the six NAME DATE

This report must be made at least once a week during the six week period, with the exception of the sixth six weeks. Five reports per student should be done during the six weeks.

ABOVE BELOW ABOVE BELOW AVERAGE AVERAGE AVERAGE AVERAGE AVERAGE AVERAGE 1.00______,J>0______0.00______1.00 .50 0.00 1. NON-CONTACT FACE SLAP

2. CONTACT FACE SLAP

3. ROUNDHOUSE FACE PUNCH

h . PERPENDICULAR FACE PUNCH

5. STOMACH PUNCH

6. KNEE PUNCH

7. IRISH ROLL

8. HEAD TOSS

9. LEG TOSS

0. STANDARD DROP •

EXECUTION REACTION

COMMENTS:

FIGURE 10. Laboratory achievement report stage combat #1 151 weeks period. Improvement is stressed, rather than a single final

performance. Also, the indications of one dollar for above average,

fifty cents for average, and nothing for below average are not

absolutes. In other words, an amount of forty-five cents could be

awarded to a student that seemed slightly below average, or seventy-

five cents for one who seemed slightly below an above average rating.

Once the six weeks is completed, the grades (in this case the money amounts) have all been entered onto the pay sheet (see Figure 11).

The instructor then has the not-so-simple task of adding monies and subtracting fines and docks to figure the final amount earned by each student in related and laboratory.

There are variations which are used with the system. The system

shown in Figure 11 is one in which primarily quizzes, homework, and performance tests were used in grading. In a second method, all of these are also used; but additionally, the student is awarded the sum of eight dollars a day (two dollars per hour for four hours). He is also given three sick days per six weeks. Once he has used up his sick day allotment, he begins to loose money at the rate of eight dollars per day. If he takes a test worth ten dollars and scores a perfect ten dollars on the test for that day, he earns ten dollars per hour, or forty dollars. This increases the importance of tests and quizzes greatly. At the end of the six weeks, the instructor figures what the total amount would be if all tests were perfect; if the student missed no days, had no tardies, and no fines or docks.

He then takes this amount, and using the school percentage, takes ninety- two percent of that amount for an A, eighty-two percent for a B, and so o n . Figure 11. Pay sheet 152

4* *1 s * * 3 « V •< ft 2 h j o i— i 4* JftJR J. A _J o A _ l 8 --- „l. — 51 ft k JOk 1 4. ft ft »> ** ft ft 4 X ft 5 _u. «l £ M o0 8 8 8 8 8 0o > 8 8 .O 8 8 8 XX m(0 5 $ 5 S R § § R $ * 8 N. £ * * 0 i** j >• it £ £ £ fti 4 t j K n V ■ * W t ? ft* k t V a i ? £ X I .1 1 i I \ ^ki V. K w «k W «! fi ts 8 4 X1* i 1 < is**'* % e g*?S? j 1 J 5 J i I j j * h § ! J **!*■ s «*( «> <* ft ft € % 5 0 R le * .* a i o 8 8 V «« Debit ft) $ 8 * 8 x 8 $ 8 $ fe 8 8 0* ** fr. ft «• t» ft ft ft ft ft *• Credit * ? *• 1 « Q « o o o •H•O 8 O o o 8 8 8 ft 8 « 8 8 o to ft X 1 5 ? s R R 5 $ ft S R 0 % Qs. £ * X j k * >* R X ft J 1 & \ I • • 1 J AI sS J 1 X • i 5 QIm % *• k> I 8 s 5 * 4 \ % 1 s e w R 5 J 1 3 1 J <§ i 1 1 I 1 5 *rf s 1 •x ft* m >• w> <4 k *• »* s 56 a R Vfte 153 CONFERENCE #1 DATE /6 S x A . T ??

/J ^/ffct/syep G4ADG3 TO *>#TS

2 J - ?*0M»9 OAJ^' ***** * * ' * *** m , «t„ „ s v-» r*oc* ~ w r * T»rs,c*L r ^ s r - S m

ee/tSTf ere. y. f~jfy£ #££ tiSr 0 * ££.e#CiP£S TO COO#< 04J 40£ T t f t S WAdJTS TO tMPfiOV£ .

COMMENTS

K T*itS POtOT 0 tT aPPGtM S TpA-7 LAOAA # X C £ £ t S

m6Jt£ /AJ PJtPSP hJOXX TM**S T ^ T S / c m9c 4 R £ 4 ? ,

* " £#o#a /s # //a/?p (a j o K x p * / c o A a j r s t o / m PX o o s.

/A /)££/}$ OJ#£4£ S#£ f$ CO£#/C,

• CONFERENCE 02 DATE S O S € ? T 7 9

m o X£Pi 'PfloBtfm 9 — cai/44 av*£z> **=■ *«** cove p p o €*T*A COO** POP *-*8 -- S U G € £ P T * z > *** CuO*K <**J CXfoo #0£ commuA>/Ty t # £ * t* £ ?£oPOt -r/o/O 0/t "&<¥ouS — S#£ # & £ & £ V

s.) t o tv A/££ *P£ M S VO/JOG, W r r r t tU PtifS/cMt too** — $&£ s*/p £££* 4 0 A m O * £ — G a r * S O /V £ CO # £ * ,

COMMENTS . ______*- IA OX# C.OO #c*if£i>* #*£**&* °* %£rr£A * 9 6 £ £o £m * a/ cjl 40 Wrs/cPt #*£*? ~ ***# U > £ * < * * > ' TfOU ' S*)& tffiy P£#S/JT#MC£ —JCJJOWJ OCA U/£*M Pow fG — # 4 / 0 tOfCt 9 £ £* fi£t* TO '**££*t4£. .

( This is the reverse side of the pay sheet. ) 15^

During a six weeks period in which a major production is being

done, a major portion of the laboratory grade will come from work

on that production. In this case each student is given a contract

(See Appendix I). The contract will be explained later in this chapter.

An auxiliary system which has been used with this plan is the

"Incentive System." Under this system, everything remains much as

it was before. In related class, there are four to six tests per

six weeks, each worth approximately ten dollars. In lab there are

four to six major projects, each worth approximately twenty dollars.

If a production is underway, most of the lab projects are centered

around work needing to be done for the production and/or majors and minors. The difference in the system is this: once the basic

requirements are taken care of, the students can do as much extra work as they wish. Under the regular system, it can be anticipated

how much an "A" will be worth. In related class if there are six

tests at ten dollars per test, an "A" for the tests would be 9 2 % of

sixty dollars, or $55.20. Under the incentive system, when the six weeks is over the highest income obtained becomes the "A". If one

student did enough extra work to amass six hundred dollars, that

becomes the basis. Ninety-two percent of six hundred dollars is an

"A," eighty-two percent a "B," and so on.

Also in use is a form of contract grading (See Appendix I).

During productions each student signs a contract. The contract is

similar to one that an actor or technician might sign when signing 155 on with a professional company. The contract states that the student

(or actor) will he payed so much for each rehearsal, performance, etc. The students then have the right to negotiate their contract.

If the contract states that they must he present at all rehearsals, hut they know that they have a doctor's appointment on Thursday night, the sixteenth, they can negotiate that problem. If both parties

(director and actor) agree that the actor can he permitted to be off for that rehearsal, it is written into the contract. Once the contract is signed by both parties, it is binding. The actor cannot later find that he has another doctor's appointment. By the same token, the director cannot force the actor to come to extra rehearsals, without placing a rider on the contract and offering: extra pay. And even with that, it must be agreed upon by both parties concerned.

The contract has proved to be both good and bad. For both parties, everything that is expected is stated at the outset. If an actor misses too many rehearsals and the director drops him from the cast, the director cannot be accused of unfair actions. However, there may be times when an actor misses more than the allotted number of rehearsals, but the director does not wish to drop him from the cast. Of jcourse, anything can be written into a contract, including

"the director's option to drop." The students also begin to see the contract as a weapon. It seems that everytime the actors or technicians

4 were asked to do anything extra, their answer was always, "It is not in my contract."

For these and other reasons, none of the systems are used con­ sistently, but rather alternately. They are to be more teaching 156

devices than consistently used items. On the second show, the contract

was purposely not used. The incentive system is to be used only once

or twice per year. The monetary system of grading has sometimes

proved to be too complex for both teacher and student. For the

student, it often becomes too much emphasis on everything done.

Every time a student does anything, he expects pay. If he gets no pay, he refuses to do any extra work. On the other side, everytime he makes an error, he receives a dock. This becomes discouraging to some; they feel that their every move is accounted for.

For the teacher, the task of record keeping becomes, at times, overwhelming. With nearly thirty students— nearly thirty days per six weeks, extra credit, lab time, related, productions pay, docks— by the end of some six weeks periods, it takes two to three hours per student Just to figure grades. Without a calculator, it would have been four or five hours; often it is felt that a good accountant is needed.

Also, there are times when figures do not tell the whole story.

In many instances, students who put in the roost work and time not only received more money, but they received more docks. Many students have that knack of being present when there is something to be done for which money will be gained, but then fade into the woodwork when trouble comes and,docks are handed out.

Consequently, during some six weeks after the money was figured, a certain amount of teacher intuition was used to augment certain g r ades. CHAPTER VII

ADMINISTRATION: THE PROBLEMS OF

FUNDING, REQUIREMENTS, AND BUDGETS

In any school system, there exists a great deal of administrative detail. Fort Hayes Career Center is no different. A vocational school, however, tends to have more administrative detail than the average secondary high school. This is due primarily to the fact that federal money is used to a greater extent in the vocational school. With these funds comes a demand for a certain amount of accountability, and with accountability comes reporting, and hence more administrative detail.

To talk of all of the reports, forms, and procedures would take a work longer than this entire dissertation, and much of that presented would be unnecessary. Instead, this chapter will attempt to isolate that information concerned with administrating the program which is the more important or unique.

Funding

Sources of Revenue

For Fort Hayes, thirty-five percent of the funds come from the

Columbus Board of Education. The remaining sixty-five percent comes from the State of Ohio, via the State Board of Vocational Education.

Some of these State monies originate with the federal government.

This does not tell the entire story for Fort Hayes, however. First, the property has been listed with the National Registry of Historical

Places. This enables the Department of the Interior to .assist in 158

building and restoration projects with matching grants-in-aid. The

restoration of the Shot Tower mentioned in Chapter III of this work

is an example of this aid.

In the ease of the Performing Arts building, there were problems with state and federal funds. The State of Ohio would not grant any

funds for the building of a theatre. They would, however, grant money for the building of an empty room. For this reason, the theatre was constructed as an empty room. For it to become a func­ tioning theatre, i.e. have curtains, seats, rigging, lighting, and

sound equipment, funding had to be found elsewhere. Credit for the accomplishment of this task must, again, go to the Executive Director of Fort Hayes, Mr. Jack Gibbs. It was he that located funds, primarily from the Batelle Institute, to fill the empty room with those items needed to make it an operating theatre.

Requirements

With government money comes requirements. In most areas, Fort

Hayes was no exception. Space regulations was one of the few require­ ments from which we were exempt. Table U will show that the theatre laboratory, estimated suggestion for square footage is thirty-six hundred square feet. The suggestion for the related room is twenty- four hundred square feet. These are, however, recommendations made by local businessmen. There are no specific space requirements for performing arts. Had we been designated as Trade and Industrial, there would have been. We were assigned to Distributive Education TABLE h

Estimated Space Requirements and Equipment Costs

for Various Distributive Education Facilities

Suggested Estimated Square Related Equipment Program F e e t : Lab Room Cost

Distributive Education 1050 $ 8500

General Merchandising 1850 8500

Occupational Work Adjustment 800 1200

Performing Arts 3600 2/3 82500

Petroleum Service 1850 2/3 8500

Radio, TV Broadcasting Arts 3000 82500

Specialized . Department Store 1850 8500

Supermarket Management 1850 2/3 1U50Q

Warehousing 1850 2/3 12000 160

instead. Figure 12 shows the laboratory at UO' x ^0', or

sixteen hundred square feet. Actually, the room is 39* x 38',

or fourteen hundred and eighty-tvo feet.

A look at the floor plan shown in Figure 12 makes it appear

that the theatre has more than enough space and rooms. This

is somewhat misleading. The related room would be more than

adequate if it were used only by the theatre class. This is not the case. There was no related room constructed for the Radio/

Television class. Therefore, they must use the theatre related room. Second, under normal conditions, the junior class in any given program attends classes in the morning, and the seniors attend in the afternoon. Consequently, any portion of the facility would be used by one class in the morning, and the other class in the afternoon. In theatre, however, both juniors and seniors attend classes in the afternoon. Obviously, both classes cannot be in the related room at the same time. When the Radio/Television class, the theatre juniors and the theatre seniors, all attempt to use the related room on any given day, conflicts arise. In

Tnost instances, one of the two theatre classes usually holds its related class in the laboratory, the theatre, or the lobby of the theatre. This is in direct violation of a state vocational re­ quirement, which shall be discussed later concerning the necessity for the class to be iri the related room for the related class.

The laboratory room is, for the most part, adequate. It is large enough for teaching stage movement, combat; and is adequate for holding rehearsals, as the proscenium on the stage has a

* CLASS w ROOM INSTRUMENTAL VOCAL MUSIC DANCE CLASS] MUSIC LB LAB ROOM L

T H R U S T | 1 3 a i STA G E E r r

□ , d f „ CLASS> ROOM

THEATER TELEVtSHJH CLASS LAB LAB

Figure 12. Floor plan of performing arts building fifty-one foot opening, and the laboratory is thirty-nine feet

by thirty-nine feet. The problems arise in the uniqueness of

the theatre situation. The laboratory cannot serve all pur-'

poses. It cannot be a shop for major pieces, as the doors and

hallways are too small to permit the movement of large pieces

from the laboratory to the theatre once they have been con­

structed. It cannot serve as a make-up room, wardrobe room,

or greenroom during performance, as the cast would have to pass

through areas in which the audience would be waiting in order

to get backstage. Figure 12 shows that there is a shop back­

stage. Funding, however, ran out before the shop was finished.

There Is no lighting or electrical distribution in the shop. It

is useless as a construction area. The floorplan further shows

dressing rooms, make-up rooms, restrooms, showers, toilets,

and a greenroom. None of these were ever completed. They have

no ceiling, no lighting, and no power distribution. They are

useless for anything but storage. This researcher has been

unable to find out why funds ran out, or if funds were ever

available to complete these areas.

With the use of the theatre itself, there is quite a bit more room in the entire theatre facility than is required by the

State of Ohio. Dr. Neal Vivian, head of the Department of Dis­

tributive Education at the Ohio State University, has stated

that the theatre, itself, is the laboratory for the theatre

class at Fort Hayes. However, this, too, is misleading. 163

If the theatre is the laboratory for the theatre class, or if it is the laboratory for the entire performing arts building; in either case, it is not always available to the students.

The theatre is considered by the administration to be the 'audi­ torium for the entire school. This, in itself, is understandable, as there is nowhere else on campus where school-wide meetings could be held. However, combine this with the fact that enum­ erable outside groups are permitted to use the theatre, and the result is that the theatre is not available enough to really serve as even a part-time laboratory for theatre.'

Number Requirements

For State funding to be available, each entering class of

Juniors In theatre must consist of no less than fifteen students, nor more than thirty. If the entering class consists of the minimum number of fifteen, but three students should drop the program during the year, funding will still be maintained. If, however, the number drops below twelve by the beginning of the senior year, funding will be withdrawn for that particular class.

Additionally, one teacher must be assigned to each of the two (junior and senior) classes. If either of the classes should grow in number to be more than thirty, a second instructor must be assigned. Here is one of the very positive aspects of voca­ tional education; the student/teacher ratio may never grow beyond

3 0 :1 . 161*

The large teacher/student ratio in theatre has not been

the problem, however. The first class to enter began at eighteen.

By the beginning of the second year, it had dropped to twelve.

The junior class entering in the second year began at fifteen,

and very quickly dropped to twelve.

The reasons for the number problem seem to come from three

sources. First, professional theatre demands a great deal of

dedication. A student at age fifteen is not quite ready to make

that decision to devote his life to theatre, and his parents are

not ready to permit him to choose for his life's work a pro­

fession so unpredictable as the theatre. Second, most entering

students do not realize how much dedication and how much work

he is actually getting into. Most of the students have had

experience in high school plays. There, the play has been an

extracurricular activity. It was a great deal of fun, and not

a great deal of responsibility. If it was a difficult job, it

only lasted six to eight weeks. At Fort Hayes, he suddenly finds

himself involved in a work situation. The play is a job, and he

has many jobs to perform in it. If he fails at his Job, he

fails 'in his course. The job does not end at the end of the run,

but goes on and on for two years. It is good training in the

seriousness of the theatrical profession, but it does, as it

should, discourage many.

Last, is the problem of recruitment. As mentioned elsewhere

in this work, most of the secondary schools.in the Columbus area, many of the principals of those schools, and nearly all of the 1 6 $, drama teachers, have rather negative attitudes towards Fort Hayes.

They simply do no want someone taking their best students and best actors away. Consequently, the Fort Hayes program is literally talked down in most schools. Literature promoting the Fort Hayes program, which is sent to the schools, rarely finds its way into the hands of the students. Counselors have been somewhat negligent in communicating information to the students. When recruiting teams have gone out into the schools, they have met with resistance in the form of schools failing to announce their arrival, being stuck in small, out-of-the-way rooms, and being ignored by teachers and administrators.

Advisory Council

The Vocational Education Amendment of 1976 states:

"Each eligible recipient (that is, each local educational agency or post-secondary educa­ tional institution which receives Federal assistance under the Act) shall establish a local advisory council on vocational education.

(b) The local advisory council may be estab­ lished for:

(l) Program areas;"6l

Fort Hayes Career Center has an advisory council, the School for the Performing Arts has an Advisory Council, and the Theatre Program at Fort Hayes has an Advisory Council. The theatre council meets one to three times per year. They review the curriculum, the program in general, any new projects, and listen to any problems. Their primary

6l United States Congress, Vocational Education Amendment of 1976, Federal Register Volume ^2, No. 191 - Monday, October 3, 1977. 166

job is to keep the program relevant to the real world situation in

the area. They should represent the several aspects of the job

market in the area-.

The theatre Advisory Council consists of the following:

Doctor Roy Bowen, Theatre Department, The Ohio State University;

Doctor Charles Dodrill, Theatre DepartmentOtterbein College;

Robert Fouty, Managing Director, Veteran's Memorial Auditorium;

Doctor George Lewis, Department of Speech Education, The Ohio State

University; Donald Streibig, Director, Columbus Association for the

Performing Arts; and Jean Ann Weaver, Director, Columbus Junior

Theatre of the Arts.

The plan for the theatre advisory council is to be on a semi-

rotating basis. At the end of two years, a new member will be placed

on the council, and one old member will become inactive; but still

remain as a member of the council. The inactive member will be

encouraged to continue his or her participation, if he/she so desires.

It was felt that the advice of all of these highly experienced indi­

viduals was too valuable to lose at the end of two years, but that

the addition of new members was also a necessity.

Attendance Requirements

Because of government assistance, and because of the Job prepara­ tion aspect, attendance becomes an important part of vocational

training. If a student misses more than thirty-six days in two years,

they do not receive their certificate of completion from the program.

They simply receive a certificate of attendance. In essence, this

states that they did attend the program, but that they did not complete 167 it. In theatre, this is not quite as crucial as in other departments.

In cosmetology, this means that the student cannot he licensed as * a cosmetologist.

Because the certificate of completion is not as important in theatre, certain steps were taken to increase the importance of attendance. To begin with, in Chapter VI of this work, there is mention made of "sick days." Since the student grade is based on a monetary system not unlike a salary, sick days are also allotted.

The student has three sick days per six weeks, and they accumulate.

This equals out to the thirty-six days in two years, as is allotted by the state. When the student misses over his allotted sick days, he begins to loose money on paper, which means that his grade can be affected.

To further emphasize good progress on the part of the student, the theatre department issues its own certificates of completion. This certificate states the number of days the student has been absent, the areas of his majors and minors, and his areas of mastery. This rewards the student who works hard and becomes proficient in many areas, and rewards the student who has good attendance. It also gives the student something to show to prospective employers, so that they will know those areas in which the student is proficient.

Time Requirements

Theatre and performing arts have been categorized as a Type 01

Program by the State Department of Vocational Education. Table 5 will show that a Type 01 Program must allot 11.25 hours per week to 168

TABLE 5

Distributive Education Service

Secondary Education Program

Criteria - July 1* 1969

I c d o c 44 CO *|H a) -p CJ 0J w H x •p d o CJ CJ C CJ C j CJ fU > ns IX -P 0 CO 1-4 o C E C X W (X Eh EH School Year Time

LABORATORY PROGRAM 11 or 15- 00 1.00 1 year 12 BO 15 7.5 none 15 none 11 or [15- 01 .83 1 year 12 30 11.25 7.5 11.25 11 or 15- 02 .67 1 year 12 30 7.5 7.5 7.5 11 & ,15- See OU .33 2 year 12 30 3.75 3.75 SC 1 Pre-Job 10 & 25- See 07 .17 placement 11-12 30 00.00 b 3.75 SC 2

DISADVANTAGED LABORATORY PROGRAM 11 or 15- 10 1.00 1 year 12 30 15 0 7.5 0 11 or 15- 11 .83 1 year 12 30 11.25 0 7.5 11 or 15- 12 .67 1 year 12 BO 7.5 7-5 11 & 15- 13 .33 2 year 12 30 3.75 0 3.75 0 Pre-Job 10 & 25- See XU .17 placement 11-12 BO 00.00 3.75 type 21

HANDICAPPED LABORATORY PROGRAM 11 or 15- 1A 1.00 1 year 12 30 15 0 7.5 0 11 or 15- IB .83 1 year 12 30 11.25 0 7.5 11 or 15- 1C .67 1 year 12 30 7.5 7.5 11 & 15- IE .33 2 year 12 30 3.75 0 3-75 0 Pre-job 10 & 25- See 1H .17 I lacement 11-12 BO 00.00 0 3.75 type 21 169 laboratory, and 7-5 hours per week to related class. At the insis­ tence of Mr. Les Susi, Supervisor for Performing Arts at Fort Hayes, the performing arts subjects were deemed a "special case." Although they are considered as Type 01, they are required to spend only ten hours per week in laboratory study and 7-5 in related class. This change was instituted primarily for the benefit of the music and dance programs. It is nearly impossible for dancers to dance con­ tinuously for three hours per day, or for singers to sing, or musicians to play for that length of time.

For theatre, this change from standard Type 01 hours was not necessarily an advantage. The theatre class had no problems with filling two or three hours with rehearsal, construction, and practice in the multitude of skills demanded of the theatre technician. On the other hand, there was no major hardship in theatre, either. By the beginning of the second year, it was obvious that the theatre class could not rehearse during the laboratory period, and would have to rehearse after school. This, in essence, added an extra two and one half hours to the theatre students’ day. Any time that was lost to the ninety minute related period was gained back in the after-school rehearsal period.

Racial Quotas

Although vocational requirements say nothing of racial balance, during the first eighteen months of Fort Hayes Career Center, the

Columbus public School System was in the midst of desegregation actions. Consequently, there was pressure for Fort Hayes to maintain 170 a balance at approximately seventy percent white, thirty percent black. For unknown reasons, no pressure was ever placed on the theatre department to maintain any sort of balance. There were two black students in the first theatre class. Both individuals, however, dropped the program midway through the first year. The second class to enter had two black students and thirteen white; a balance of eighty-seven percent white, and thirteen percent black.

But here again, no pressure was brought to bear on the theatre department to increase the black percentage.

The lack of pressure to maintain racial quotas was possible as a result of two factors. First, before Fort Hayes ever opened, it was verbally agreed to by the Director of theatre and the Execu­ tive Director, Mr. Jack Gibbs, that the only basis for entry into the program would be ability, and that no attempt would be made to adhere to any sort of quotas. Possibly because of this gentleman’s agreement, the theatre department was permitted to be free of the racial quota.

A second factor operating during the second year was that many of the programs at Fort Hayes had imbalance in reverse; they had almost totally black students. This caused the total all campus balance to exceed the thirty percent black requirement. As a result, there was a cut-off on the acceptance of black students. The theatre department was pleased that quotas of any kind never entered its acceptance procedures. The PRIDE Report

The Vocational Education Act of 1976 makes provisions for the

State to evaluate local educational agencies receiving funds from the State. Section 10^J+01 of that Act states:

"The State Board shall, during the five-year period of the State plan, evaluate in quan­ titative terms the effectiveness of each formally organized program or project sup- , ported by Federal, State, and local funds."

In the State of Ohio, this evaluation is handled by a PRIDE Committee.

The committee evaluates each program's planning and operational pro­ cesses; looking at such aspects as:

"(l) Quality and availability of instructional o f ferings: (2) Guidance, counseling, placement, and follow-up services; (3) Capacity and conditions of facilities and e quipment. ( M Employer participation in cooperative programs of vocational education: (5) Pupil/Teacher ratios; and (6) Teacher qualifications. (b) Results of student achievement measured, for example, by: (1) Standard occupational proficiency me a s u r e s ; (2) Criterion referenced tests; and (3) Other examinations of students' skills, knowledge, attitudes, and readiness for entering employment successfully. (c) Results of student employment success as measured, for example, by:

62Ibid. 6 ^ PRIDE: Program Review for Improvement and Development in Vocational Education. 172

(1) Rates of employment and unemployment; (2) Wage rates; (3) Duration of employment; and (*0 Employer satisfaction with performance of vocational education students as compared with performance of persons who have not had voca­ tional education. (d) The results of additional service as measured by the suggested criteria.

The PRIDE report, according to the Fort Hayes administration, is very similar to the North Central Evaluation, which all of the traditional schools in the Columbus Public Schools System undergo.

The primary difference, they stated, was that the PRIDE report is much more involved; and if the PRIDE Committee found deficiencies and made recommendations that changes be made, those suggestions must be followed.

Many meetings were held in preparation for the PRIDE evaluation.

The first task each instructor had was to form a PRIDE committee for his particular area. That committee was to be composed of: (l) a professional working in the field; (2) a parent of a student in the program; (3) a member of the current advisory council for the program;

(1») another teacher in the school; (5) a student who graduated from the program; and (6) the program's immediate supervisor.

For the theatre department, Mr. Robert Shield, a professional actor, was chosen; Mary Ann Partlow, mother of a student; JeanAnn Weaver, member of the advisory council for theatre; Robert Bower and John

Crawford, instructors in the Radio/Television department at Fort Hayes;

Martee Newman, a student; and Mr. Les Susi, Supervisor for Performing

^United States Congress, Vocational Education Amendment of 1976, Federal Register Volume U2, No. 191* Section 10^4.^02, Monday, October 3, 1977* 173

Arts at Fort Hayes. In the case of the student who has graduated,

Fort Hayes underwent PRIDE in its second year. Consequently, no

students had graduated. Therefore, a senior student, Martee Newman,

was chosen.

Preparation continued. Three members of the committee had to

come to Fort Hayes and observe the program. These three were

Mr. Shield, Mrs. Partlow, and Miss Weaver. They were to be supplied

with a folder containing the course of study, curriculum, schedules,

and any other information the instructor felt would be beneficial to

the committee members’ understanding of the program. The committee members were instructed to observe the instructor In the classroom

situation, the physical plant, equipment and the use of the equipment, the curriculum, and the students. They were then to write a letter

commenting on these items. The instructor, upon receiving these

letters, was to write a composite letter incorporating all of the positive and negative points brought out in each letter.

These letters, along with information on curriculum, schedules,

and other pertinent information, were then incorporated into a booklet.

A State supervisor was then assigned to the program. The instructor was notified that on a particular day, the State supervisor would be

in the department. He would observe the program, instructor, physi­

cal plant, equipment, and its use. He would also have in his possession

(and have studied), the booklet. After his observations and study, he would have a conference with the instructor, and then make written

recommendations regarding the program. The point was made, with great emphasis, that if problems were

found in the program and appeared in the State supervisor's

recommendations, the instructor would have to see that those problems were corrected immediately, or face losing funding from the State.

Appendix A shows the letters from the committee members,

Appendix B shows the composite report, and Appendix C shows the comments of the State supervisor. The letters speak for themselves.

The report is accurate with one exception. The section under

Students, in which it is stated that the students need to have more

involvement in the finances of the department, was the result of a misunderst^pding. All money made by any program on campus must be turned in to the Fort Hayes treasurer. Two percent of that money is then taken by Fort Hayes. The students in the theatre department, because of the emphasis made that they turn their money from play tickets in to the school treasurer, felt that they had no say in the use of the money their play had brought in. In his conference and visitation to the program, the State supervisor picked this feeling up, and inserted it into his report. Although there does exist resentment on the part of the student that two percent of their money is taken, they nonetheless do'have a say in how that money may be spent. The money is spent to produce the next play and to purchase needed equipment for the department. There is a student appointed as business manager for each production, and the students are involved in the spending of the money. This point was made to the State supervisor following the issuance of his report.- He did make a correction in the report before it went on to the State of Ohio. H75

In Section II, Facilities & Equipment, Part 2, the comment is made "Proper lighting in the backstage area should be installed along with additional electrical outlets for the operation of tools.

This should be done immediately for the safety of the students.'1

This particular recommendation is isolated here because, of all the pertinent comments made, and after all of the emphasis on the importance of the PRIDE report, this was the only comment upon which any action was taken. The State supervisor’s comments were submitted to the Fort Hayes administration for review, and within two hours, a member of the custodial staff installed four temporary lights in the form of PAR 1+0*s hung on extension cable. This is the lighting system that remains to date. None of the other recommendations made by the State supervisor have been acted upon.

Certification

According to the State Board of Vocational Education, each instructor in a vocational school must be certified in one of the various areas of vocational education. Since theatre has been arbitrarily placed in the area of Distributive Education, each instructor in theatre (and in performing arts) must be certified in

Distributive Education. All of the instructors at Fort Hayes in performing arts came to their jobs without such certification. In order to gain this certificate, each teacher had to take a minimum m of fifteen hours of class work in Distributive Education at the Ohio

State University. It was through the efforts of Doctor Neal Vivian, head of the Department of Distributive Education at Ohio State that 176

these programs were organized. The teachers had to complete twelve hours in the first year, and an additional three hours in the second year. If the instructor stated that they would complete these hours, they were granted a temporary one-year distributive education, voca­ tional education in performing arts certificate. If they completed the twelve hours and agreed to complete the‘next three In the second year, they were granted a second one-year temporary certificate for their second year of teaching at Fort Hayes. After completing the fifteen hours, and upon application, the instructor would be granted a standard vocational certificate.

In addition to completing the academic hours, each instructor had to verify that he had spent six years working full-time in his area. This proved to be a major problem for many of the teachers in performing arts. Full-time was defined by vocational education as being a forty-hour work week. According to Les Susi, Performing Arts

Supervisor and a member of the Columbus Musician's Union, the most employed musician in the city of Columbus works only twenty-eight hours per week. Of course, he may spend several more hours per week in practicing or writing arrangements, but he spends only twenty-eight hours per week actually on the job. Anyone familiar with actors, dancers, singers, or musicians, knows that these individuals work on rather eratic schedules. Actors may work more than eight hours a day while working on a show, but then they may not work for several weeks, 177

or even months. It is the nature of the business. The Actor's

Equity Association unemployment rate runs approximately ninety-two

p e r c e n t .^

At this point, this ruling is in somewhat a state of ambiguity.

The State Department of Vocational Education has attempted to force

some of the instructors to "go back to work" to pick up the six years of work. Teaching the subject, incidentally, is not considered as work in the field. Les Susi has made several attempts to explain to the State that working on the job in performing arts is not the same as working on the job in other areas. It is hoped that the State of Ohio will, at some point, see this fact as being true.

Graduate Placement

The vocational instructor must maintain a follow-up study on each student who graduates from his program. This study must con­ tinue for five years after graduation. This requirement is based upon the Vocational Education Amendment of 1976 which states:

"(f) Policies and procedures will be adopted for accounting, for continuous evaluation of cooperative vocational education programs, and for follow-up of students who have com­ pleted or left these programs. 1

The reasoning behind such regulation is basically that of accountability.

If the program is doing the job it should be, most of the graduates will

^ Robert Cohen, Acting Professionally: Raw Facts About Careers in Acting, Palo Alto: Mayfield Publishing Company, 1975, p 1+- 66 United States Congress, Vocational Education Amendment of 1976, Federal Register Volume h 2 y No. 191, Section 10U.532, Part (f), Monday, October 3, 1977. 173

be gainfully employed in the area. The Ohio State Department of

Vocational Education has carried this requirement one step further.

They have required that at least fifty-one percent of all graduates

be employed in the area. From the standpoint of accountability,

this remains an excellent rule, but when applied to the area of

performing arts, problems are created.

As was previously stated, the Actor's Equity Association unem­

ployment rate runs approximately ninety-two percent. In other words,

there are very few jobs available in the acting profession. Technical

workers in the field fare little better. Hollywood stagehands'

unemployment rate vacillates between thirty and ninety percent;

make-up artists from thirty-two to sixty-seven percent; and cowboy 6T extras hold at eighty percent. The picture is similar in the

other areas of performing arts, dance, music, and radio/television.

Anyone associated with theatre knows that actors will work steadily

(if they are lucky enough to find work at all) for six or eight weeks,

and then they may be out of an acting Job for several months. During

those several months, they find work wherever they can. This may

mean that a follow-up study will find many graduates either unemployed

or working as waitresses, stockboys, or any number of totally unrelated

Jobs. Many individuals that train as actors (or technical persons)

find Jobs in associated areas, such as television, advertising, teaching, modeling, or public relations, to name just a few. But in Ohio, the

State Board of Vocational Education refuses to recognize either the fact

6? Robert Cohen, Acting Professionally: Raw Facts About Careers in Acting, Palo Alto: Mayfield Publishing Company, 1975, p* 3. 179

that people trained in performing arts have few Jobs available, or

that many of them go into related fields. In order for funding to

continue, the program must verify that at least fifty-one percent of

its graduates have entered directly into, and are gainfully employed

full-time in the field. This single factor could be the ultimate

demise of performing arts in vocational education.

Budgeting

If all of the requirements are met, then funding is given to the

program. The next problem is that of budgeting those funds adequately.

In the case of theatre, some money was given for specified items.

This was the case with those grants from outside sources. As was

previously stated, Fort Hayes had to go to such sources for most of

the major equipment in the theatre. Batelle Memorial Institute in

Columbus contributed nearly one hundred thousand dollars for the

completion of the theatre. Some of that money was used as follows:

Forty-eight thousand four hundred one dollars and no cents for lighting equipment to be broken down as: from the Kliegel Company:

two dimmer banks (capacity 12 dimmers and six non dimmers $15*557.00

two control consoles 7,778.00

one cross connect system, auto-cold patch ...... 8,6U3.00

one series wiring device 7,9^9.00

one series of fixtures and accessories forty-two 6 x 9 ellipsoidals ten l V r scoops ten 6M fresnels one followspot ...... 8,^7^.00 100

* The lighting contract went out for "bid. The Berkey-Colortran Corpora­ tion actually made the best offer. For approximately fifty thousand dollars they would supply thirty-six dimmers at 3.6 Kw per dimmer, one hundred and thirty-six various lighting instruments, a cross- connect system custom-made to the dimmer console, proper power dis­ tribution, and accessories, including the new Colortran non-lens followspot. The Director of Theatre was against using the Kliegel

Company. His opinion was based on the following factors: (l) the

Berkey-Colortran Company was offering more for the same amount of money; (2) the representative of the Kliegel Company would not give direct answers to questions, causing the Director of Theatre to become suspicious of the possible quality of the equipment; and

(3) the Director of Theatre, upon contacting several individuals who had dealt with Kliegel, found a high rate of dissatisfaction.

A few days before the bids were to be opened, a new ruling emerged: all bidders must manufacture their own equipment. At that time, Colortran lighting equipment was being manufactured by the

Altman Company. Consequently, the only bid to be considered was that of the Kliegel Corporation.

The first year has proven the inadvisability of using Kliegel.

The ellipsoidals are of the wrong type for the shallow Fort Hayes theatre. They should have been short-throw, wide-pattern instruments.

The rate of dim on the control system is very ununiform. The cross- connect is not totally compatible with the dimmers. One of the most

i objectionable features is that the Kliegel equipment is totally incom­ patible with equipment from any other company. Gel frames from any other manufacturer will not fit Kliegel instruments, nor will C-clamps, 181 or hanging yokes. Six C-clamps arrived from the company broken.

They were immediately packed and returned to the company, but the company refused to accept the package! Since the installation,

Kliegel has only once (and then only because of repeated requests) sent a representative to check on the proper operation of the equip­ ment .

The seats in the theatre were also purchased out of the Batelle grant. Twenty-one thousand and forty-seven dollars and seventy-three cents went to the American Seating Company when they won the bid for seats. The money was borken down in the following manner:

three hundred and four seats $20,784,48

fifteen extra back covers 122.25

fifteen extra seat covers 141.00

The American Seating seats have worked well in the theatre. They demand occasional adjustment, but nothing out of the ordinary. An

American Seating representative has made three follow-up visits to make certain that the seats are satisfactory.

The third item to be purchased with Batelle funds was the rigging and curtains for the stage. Although several companies submitted bids for rigging, Tiffin Scenic Studios made an early entry into the situa­ tion when it was discovered that the architect had constructed the loft ceiling to be non-weight bearing. The Tiffin people aided in doing a design for reinforcement of that ceiling, so that it could support the weight of rigging equipment. The Tiffin equipment which was to eventually be installed was obviously better built than that of 182 any of its competitors. Actually, in the case of certain items, it was almost too well built. For example, the side plates on Tiffin loft block is a full sixteenth of an inch thicker than comparable sideplates of competitor's blocks. As a result of the type of manufacture, Tiffin costs more. Consequently, not as much equipment could be purchased from Tiffin as could be purchased from competitors for an equal amount of money. It was felt, however, that in the case of rigging, an item in which student safety is directly in­ volved, it would be wiser to go with the best possible equipment.

Tiffin won the bid for fifty-seven thousand and six hundred and twenty-eight dollars, broken down as follows:

one asbestos curtain $18,1491.00

one main counterweight battery 27,2140.00

one set stage tracks 3,7214.00

one set stage draperies 8,157-00

Actually, the above list is as it appears in the original contract, but that is a bit misleading. The order for stage draperies in­ cluded three sets of tormentors with wing returns, one act curtain, one adjustable grand valance, three sets of teasers, one speakers curtain, one rear traveler, and one sky drop with tracks for all of these. There were some dissappointing aspects that went with the above order. The loft, as designed by the architect, was high enough to require an asbestos, but so low that nothing can be flown out.

When any batten is at its highest point, a normal fifteen by sixty drop has approximately two feet still visible to the audience. When the asbestos is out, it is only out by approximately four inches. There 183

has been a problem in the first year, in that the lines holding the

asbestos are new and tend to stretch. The asbestos can be taken

out, but within two to three days the rope will have stretched so

that a few inches is visible at the top of the proscenium.

A brief look at Figure 12 will reveal that there are serious

sight line problems in the wings. To defeat this problem, Tiffin

added returns to the offstage side of the tormentors. This more

or less solved the sight line problem, but the small batten supporting

the returns interferes with the electrical coaxial line supplying

power to the first, second, and third pipes electric. To attempt

to solve this problem, a saddle was attached to the coaxial line, which was in turn connected to a line which would lower the coaxial

in with the electric pipe, but keep it above the return batten. This

solution has proven only marginally satisfactory. The line on the

saddle tends to bind in its own loft block. When this happens, the

electric pipe can be neither lowered nor raised until someone climbs

into the loft and frees the saddle line. There is no catwalk nor

access ladder to the grid, so the individual must either climb the

fire curtain carriage guard or ride up on a batten and then work his way over to the block. Both are extremely dangerous.

While on the subject of danger, no loading bridge was provided with the counterweight system. This means that when loading, either the batten must be loaded first (which means that the system is then batten heavy, in which case the lineman must muscle the carriage down to load it), or the carriage must be loaded (gue'ssing at the weight); 2 814

then the lineman must muscle the carriage up to load the batten.

Both are very dangerous. If the line should get away from the line­

man when he is muscling either the batten or the carriage, either

could come crashing down. Also, the carriages, at their low position,

set approximately four feet off the ground. When loading them,

thirty pound weights must be lifted by the student onto the carriage.

If ten or fifteen weights must be loaded, by the time the tenth weight

is being loaded, the height has increased to near six feet. Invariably,

students will drop a weight when trying to lift it over their heads.

This system has the possibility of, at best, resulting in broken

toes, sprained backs, smashed fingers, and hernias.

It should be noted that the PRIDE State supervisor's report

appearing earlier in this chapter notes this dangerous situation.

Nothing to date has been done to correct the situation. * This researcher has been unable to find why there was no loading bridge included on

the original order, or why nothing has been done to correct the

situation.

Otherwise, the Tiffin equipment has been quite satisfactory.

Representatives from the company have come frequently to check on the

system. The president of the company actually came on three different occasions, put on work clothing, and climbed up into the rigging to

inspect and correct minor problems.

The fourth item involving Batelle was the theatre sound system.

The events here were similar to those occurring in the lighting system

situation. Klopf Audio-Visual out of Dayton was heavily involved in 185

^signing sound for the theatre. But like Tiffin, their equipment

was more expensive than others. Klopf, however, appeared to be the

main contender for the bid, until just a few days before the bids were

to be opened. At that point, Jimmie Rea Electronics entered the

picture. Jimmie Rea Electronics is a small company whose primary

business is selling televisions, stereo systems, and other such

electronic equipment to the general public. Their primary experience

is not installing sound systems, let alone theatre sound systems. It

was never known whether Jimmie Rea won the bid because his bid was

the lowest (in which case one would wonder why Tiffin and Kliegel had won their bids), or because it had something to do with the late

ruling that the bidder had to manufacture his own equipment (Jimmie

Rea manufactured none of his own).

For whatever the reason, Klopf Audio-Visual, whose equipment

and experience were superior, lost out to Jimmie Rea, whose bid was lower. Thirteen thousand nine hundred ninety-three dollars was payed for the following equipment:

one Marantz 510 stereo amplifier $ 802.00

two Electro-voice Century 3 speakers 1,085.00

two 1/3 Octave equalizer - Soundcraftsman 20-12 1(00.00

one TV production audio console - Opamp l60fcTV10 audio mixing board 6,1*80.00

three equipment racks w/shelves -EMC0R FR10A 600.00

one intercom control unit - MCT 1 Bogen 15-1 1*20.00 one switch bank - Bogen SBL ...... $ 237.00 seven call-in switches - Bogen CA-10 87.50 seven Utah 8” speakers w/ceiling grill ' ■ and mount V8VCWRC U8.00 one patch panel ** Gvitchcraft 2600 290.00 fifty-two plugs and ten cords - Switch- (included) craft MT33^P & 18QD18 one two-track audio recorder w/rack mount Revox A77 785.00 one turntable w/magnetic cartridges - Marantz 6300 w/Shure M91ED 210.00 one audio distribution amplifier - Bethany AD 200.00 six microphones - Electrovoice RE 15 ^95.00 two noiseless lavalier microphones - Electrovoice RE 85 137.50 one shotgun microphone - Electrovoice DL k2 261.00 six desk stands - Atlas DS5 27,00 six floor stands - MC10C 60.00 six boom microphone headsets - Panasonic HP600 288.00 six microphone shock mounts - Shure A55M 90.00 miscellaneous auditorium PA equipment - sixteen microphone outlet boxes with cannon plugs, all necessary conduit, cable, mounting, hardware, complete installation, fabrication, and instruc­ tion 900.00

As with nearly all of the equipment, the sound equipment was nearly a year late being installed. The penalty clauses in all of the 187

equipment contracts was virtually ignored by the manufacturers and

the Columbus Public Schools System. Consequently, the students in

the first theatre class at Fort Hayes lost its first year in terms

of being able to work with any equipment.

The best that can be said of Jimmie Ray was that a representative

from the company did come to Fort Hayes to check and repair the equipment.

As a matter of fact, he was there nearly every week. The sound equip­

ment has been out of order more than it has been working. Within

the first three weeks after installation, the Marantz amplifier caught

on fire. It was taken out by Jimmie Ray and kept for over two months being repaired. When it was finally returned, a fan had been installed, which made so much noise, individuals working in the control booth

could not hear cues being called. Of the six boom microphone headsets,

at least one has not been working at any given time, often as many

as three. The speaker placement is such that any microphones placed

on the thrust experience almost automatic feedback. The TV control console (and it was exactly that, a television control panel) proved to be too large and unworkable in a theatre situation, and was

finally traded for the smaller, more workable console, which had been

installed in the instrumental music recording studio. I As of this writing, Klopf Audio-Visual has been contacted

regarding the possibility of supplying a new maintenance contract on all equipment. The two instructors in the theatre department have paid over two hundred and thirty dollars of their own money to pur­ chase two headsets from Klopf Audio-Visual to assure that there will always be at least two good headsets in operating order. 108

It has become obvious that when looking for contractors for

something as esoteric as theatre sound equipment, one should deal with

someone who has proven experience in the field. To do otherwise

results in a multitude of problems and, in the long run, is more

expensive.

Batelle money was also used to purchase and construct the hydrau­

lic thrust for the main stage. Union conflicts resulted in the flooring being installed by welders, which has resulted in a major warp in the center of the thrust floor; but otherwise, this piece of equipment has worked well.

The last item for which Batelle money was to be used was the backstage area; the shop, the greenroom, the make-up rooms, and the dressing rooms. As of this writing, these areas remain unfinished and unusable by the students (see the comments in the PRIDE report).

Upon investigation as to why these areas had not been finished, the only answer tendered was that there was no longer money available.

This researcher was unable to discover what had happened to the money reportedly supplied by the Batelle Memorial Institute for the project.

The remainder of the funding for equipment came from the State and federal sources, and from the Columbus Public School System.

Rather than listing by funding source, these items will be listed by source of equipment.

From the McManus Enterprise Corporation, at a total cost of one thousand seventy-eight dollars and eighty-three cents, came the following theatrical equipment: I

one R-wo 9' section borderlight $170.10

one nin-spot adapter ...... 20.00

six 6' stage brace #235 11(8.1+8

six metropolitan drop holder #^87 52.50

twelve New York stage screw #650 20.00 1 * twelve stage screw (plug) #730 2l+,50 twelve plug #739 ...... 20.50 three steel saddle iron #1050 ...... 1+0. 51 two rolls luminous tape ...... 21.60

sixty yards med. vt. muslin 80.1(0 one bottle stage blood 7*50

six breakway bottles 28.80 eighteen R-1+0 lamps '1+3.20 ten light side arms ...... 90.00 twelve 6 * stage brace #235N 21+9.95 twelve eye batten ring #387 2.08 twelve flat cleat #38 3.83 twelve improved lash cleat #139 1.39 twelve round lash cleat #339 3.1+2 twenty-four tie-off cleat #1+1+7 6.50 twenty-four stop cleat #338 6.00 twenty-four scheel brace cleat #1(38 12.50 six non skid floor plate #635 79.98 It should he noted th^t many of these items were not actually

needed in the operation of the theatre, but were ordered more as

educational items. If the order had been for just operational items, there would have been no need to order several different types of

,lash and brace cleats. It would have been better to order only one type for the sake of uniformity. However, as Fort Hayes is an educa­ tional institution, it was felt that the students should be given the opportunity to see and work with several different types of equipment,

As was previously stated, there were no tools for the students to work with during their first year, as it took over a year for the tool requisition to work its way through administrative channels.

When the requisition was finally approved, it took Sears and Roebuck nearly eight months to deliver the items. Those tools and equipment ordered from Sears and Roebuck appear in the following list:

three drill bit sets ...... $ 2U„75

twel v e C-clamps 65.1*0

eight corner clamps...... 22. Uo

one mitre box and saw ...... 66.05

two doweling nigs ...... 26.60 I six handrills 59-10

one radial arm saw ...... 29**.00

one router 28.00

one router bit set 23-75

three heavy duty staplers 3^.20

one 9" table saw 15^.00 191

two storage cabinets $111*. 00 three workbenches 108.30 two drawered storage bins IU7.90 two 21 section bin 220.00 two sets standard duty angles 131.80 ten 16 oz. claw hammers 86.50 four 16 oz. mallets ...... 17.00 five keyhole saws 8.50 ten crosscut saws 81.50 four coping saws 9.60 sixteen standard screwdrivers 27.20 eight Phillips screwdrivers l^t.UO ten scratch awls 12.00 two automatic return screwdrivers 2l*.60 five small auto-return screwdrivers 30.75 three 7" block planes 22.50 twenty h eavy duty casters 1*20.00 ten 8" try square 51*50 four 50* measuring tape 19*00 four carpenters square 1*3,60 four standard cutting hacksaw 16.00 ten slipjoint pliers 16.00 ten adjustable end wrenches 59*50 two cordless soldering irons ...... 38.00 1 two clamp vises 13.20 192

one 2/3 HP circular 7" power saw...... $ 1*2.75

one variable speed sabre saw 28.50

one 300 watt h HP power drill 33.25

This order came to a total of two thousand six hundred thirty-six dollars and ten cents.

Wood for the second year was ordered from the Creith Lumber

Company, at a total cost of eight hundred sixty-four dollars and seventy-two cents. Included were:

ten 3A" plywood F.I.S. L x 8 sheets $192.00

three V plywood F.I.S. 1* x 8 sheets 25*92

ten Upsom Board h x 8 sheets 1*8.00

seventy 1 x 3 #2 grade wht pn 12' length ...... 310.80

twenty 2 x U #2 grd wht pn 12* length ...... 11*1*. 00

thirty 1 x 8 #2 grd wht pn 12' length ...... 11*1*. 00

This was not enough wood to get the theatre department through its second year, but a great deal of the used 1 limber donated by the

Nationwide Insurance Company was left from the first year. The plans for the third year lumber needs have changed somewhat. With the arrival of the table saw, it is possible to split wood. The plans are, therefore, to order mostly 1 x 12, then split it into 1x3,

1x6, and 1x8. This should save some money, which can then be used to purchase a greater quantity of lumber. This is all based upon the assumption that money will be supplied to purchase any lumber at all. There is, at this point, no assurance of this. The last major supplier vas the warehouse of the Columbus Public

School System. From the warehouse catalogue, items could be requisi­ tioned. Although the prices on these items were much lower than retail prices, the cost was, nonetheless, charged to the individual school placing the requisition.

twenty-four 9" paint roller pad $25*68

twelve paint roller 9" 8.88

twelve paint trays 9*60

twelve paint brushes 2" ' 9-00

one pkg. med. sandpaper 1.70

poster board, red 1.31

poster board, yellow 1.31

poster board, magenta 1.55

poster board, blue 1.32

poster board, chartruese l.UU

two step ladders, aluminum 8M 53.66

four counter brushes...... 3 * 80

twelve cellulose sponges 2.76

twelve boxes 1" #8 flathead voodscrews ...... It.68

six boxes 3A'* #6 flathead voodscrews...... U . 08

*5* x 5" eyebolt 2.06

S-hooks, U dozen l.Ul

3/8" washers, 2 boxes .56

coloring, latex, brown, 6 tbe. 2.10

coloring, latex, red, 6 tbe. 2.10 19^ coloring, latex, "blue, 6 tbe. $ 2.08 coloring, latex, yellow, 6 tbe. 2.08 coloring, latex, green, 6 tbe. 2.09 coloring, latex, white, 20 gallons 53.86 construction paper, green, 12 1.25 construction paper, golf, 12 1.31 construction paper, black, 2b 3*09 construction paper, brown, 12 1.31 construction paper, white, 2b 2.6-1* brush, acrylic, 6 3.12

10 pairs 5" scissors 28.50 three dozen rolls masking tape 1.5^ twenty yards burlap 5-10 two desk staplers ...... 7.30 paper - 8 lb., 18" x 2Un, 1 rra. 1*.80 twenty-four drawing boards 7^-00

* grid cross section paper, 1 rm. 1.98

V isometric grid paper, 1 rm. 1.98 one compass bow reifler 7*20 twenty-four T-squares 55*^ one ironing board 16.U8 one ironing board cover 1.60 four dritz tape measures 1.20 two dozen safety goggles 25-92 195

These items were requisitioned, but these were not necessarily

the items that arrived. Somewhere up the administrative ladder,

someone took it upon themselves to decide what was actually needed

and not needed. The list was cut drastically. Approximately, one-

fifth of the items never arrived. For example, only five drawing

boards arrived and five T-squares. In the first year, there were

sixteen students and only five drawing boards and T-squares.

Cutting requisitions lists had by this time, however, become

somewhat standard. Over a year before Fort Hayes had opened, the

individual who was to eventually become the Director of Theatre was

called upon to make up a list of equipment needed to run an above-

average theatre department. The instruction was given to order

absolutely whatever was needed with no regard whatsoever to funds.

The original list was a theatre director's dream. Nearly any­ thing that could ever be wanted was on it. The original instruction to disregard budget proved to be somewhat inaccurate, however. When the list was turned in, it was handed back with instructions to

remove unnecessary items as, in its original state, it was over budget.

A second list was made which had approximately thirty-five per­

cent of the original items cut. This was also turned back with

instructions to make further cuts. This process continued through

four lists. Finally, those lists which appeared previously in this

chapter were those that were authorized. As was stated, many of the

items on those lists never found their way to Fort Hayes. 196

The primary problem with equipment requisitions in the theatre

department is that no one at the administrative level at the Fort

Hayes Career Center has any experience in working with theatre or other areas of performing arts. Ernest Landis, the principal at

Fort Hayes, and the individual responsible for authorizing requisi­ tions, has an impressive background in working with vocational schools.

When equipment requisitions come to him from the more traditional vocational areas such as cosmetology, dental assisting, office printing, and executive secretary, he has seen them all before. He has worked with all of these areas and knows from experience what is needed and what is not. Before Fort Hayes opened, many of the equipment lists r- for these programs were taken from existing programs in other voca­ tional schools.

With theatre and performing arts, this was not the case. There were no other existing programs to copy from. Mr. Landis and other administrators had never worked with these new, non-traditional areas.

Consequently, they looked at the requisition lists with skepticism.

It is extremely difficult for anyone not associated with theatre to understand why any program would have needs ranging from needles and thread to coping saws to cold cream. The view seems to be, "You have a stage. What else could you possibly need?" And when there comes a shortage of funds, the first things to be cut are those which are not understood.

Whether due to such skepticism or to some other form of adminis­ trative inefficiency, none of the equipment was present when Fort 197

Hayes opened in September of 1976. The theatre was not ready for use until the very end of the first year, and then, without being

fully equipped. As of this writing, there is still equipment which has not arrived.

The theatre department, as of this time, having presented two major plays in its second year, has budgeted itself to a certain level of financial success. The theatre department placed itself on a rather strict budget. The budget was incorporated into the classroom activities, so that the students became aware of the pro­ cess of budgeting and its importance to a properly operated theatre.

The budget was based on the possibility of filling the house by fifteen percent for each performance. Of that money brought in, twenty-five percent was to be considered profit. The remaining amount was divided between the various budgetary needs for the pro­ duction. The student business manager was involved directly in this entire process. The various crew chiefs were told how much money they had to spend. The students, as a result, became very conscious of how much money was involved in the show. They became very budget conscious, and very thrifty. After just two productions, the theatre has earned in profit over nine hundred dollars. It is hoped that at some point in the future, the theatre at Fort Hayes will not h&ve to depend upon any outside source for funds. It Is the firm belief of this researcher that this is as it should be. One of the major problems in so many theatres, professional and non-professional alike, is an inability to budget funds. We should very definitely be teaching our students how to manage the theatre finances, so as to make a profit and not be so dependent upon grants and gifts. 198

Finances is an always present problem for schools. The economic

situation for the Fort Hayes Career Center varies little from that of other secondary schools. At the time of this writing, the

Columbus Public School System is facing the possibility of closing

its doors due to lack of funds. Add to this the added burden of desegregation, and the outlook is somewhat dismal. At one point, it was suggested that if certain portions of the Columbus System were to be closed to conserve money, Fort Hayes might be one of the first to shut down. The reasoning behind this was the usual one: Fort

Hayes is considered by many to be one of the "frills" in the educa­ tional system. It, therefore, should be among the first to be elimi­ nated from the system.

There is, however, an opposing opinion. A great deal of money has been invested in the Fort Hayes Career Center. Many say that the system will not close such an expensive investment. It is also con­ sidered to be one of the showplaces of the Columbus System. At other places in this work, mention has been made of the large number of tours and dignitaries that visit Fort Hayes daily. Some say that, for these reasons, Fort Hayes would be one of the last places to be closed. Only time will answer these questions. However, as to the issue of funding and finances, they seem to pose no greater or no less a problem to Fort Hayes than to any other secondary or vocational s c h o o l .

Requirements are another issue. This chapter has spoken of the many state requirements which must be adhered to, to be Fort Hayes. 199

For most programs on the campus, these present no great problem. For

performing arts, they could spell eventual collapse. Most state

requirements vere written when there were no performing arts in t vocational education. They were written for courses in auto mechanics,

retail selling, secretarial training, and other similar programs.

When regulations were made stating that students must spend a certain

amount of time in related class, they were made to keep students from

spending all of their time working on automobiles. Administrators

knew that it was far too easy to spend the entire time in the garage,

and no time in the classroom. No one could foresee the time when

there would be a type of vocational student who would want to spend time in the classroom, and no one could know that the day would come when there would be a musician in vocational education who could not

spend three hours a day playing his instrument.

No one in the administration at the State or local levels has any understanding of the unique problems faced by programs in theatre, dance, and music. As a result, old regulations are enforced blindly.

For example, when the problem of placing fifty-one percent of gradu­ ates in the field was broached recently to a State supervisor, it was explained clearly to him that musicians and actors do not work regular

forty-hour work weeks, and that they may be considered full-time in their field and still work other jobs outside the field. His only comment was a resolute statement to the effect that the program has

forty-nine percent to work those out-of-the-field jobs. The other

fifty percent must be in the field, and full-time. Regulations must change if performing arts, and theatre, are going to survive in vocational education. Along with a change in the regulations, there must also be a change in the outlook of those administrators responsible for seeing to the enforcement of regula­ tions. An administrator cannot successfully administrate while being blind to the unique needs of those he administrates. The

State of Ohio required that the instructors in performing arts go back to school to learn how vocational education works. But what of the administrators? What steps were taken to ensure that they gained an understanding of the new and special problems which they were going to have to handle when overseeing programs in performing arts? The answer is, of course, that no steps were taken. Archaic and irrelevant requirements continue to govern theatre and performing arts, and administrators continue to place pressure on instructors in those programs to follow the rules and become more vocationally oriented, while they themselves make no efforts to become more arts oriented. Herein lies one of the greatest dangers for the future of performing arts, and hence theatre, in vocational education. CHAPTER VIII

INTERRELATIONSHIP OF THEATRE TO OTHER

VOCATIONAL COURSES AT THE FORT HAYES CAREER CENTER

One of the outstanding advantages of the Fort Hayes situation is the many other departments on campus and the interrelationships, educationally speaking, that can be utilized. The most obvious co­ operative venture exists in the Performing Arts Building. It is clear that students involved in theatre must have some knowledge of music, dance and television. Students in television must know something of theatre, dance, and music. Dance students must know of theatre, music, television, end so on. As a result, an exchange program was set up in Performing Arts.

In the first year, one forty-minute section of each of four days a week was set aside for exchange time. On Mondays, theatre would exchange with dance; one Tuesday with instrumental music,

Wednesday with vocal music, and Thursday with radio-television.

In theory and on paper, this idea looked good. In practice, it was unsuccessful. By the second week of the year, teachers were starting to ask if they could "postpone today’s exchange." Their reasons were usually the same: "We have something important that needs to be covered today." The reason was a valid one. The forty minutes taken out of each day was simply too much time. It was also found that, when attempting to write lesson plans for a three hour and forty-minute time span, there was little time left to prepare a

-201- 202

special lesson for a nev group of uninitiated "beginners. Lastly,

students would forget from one week to the next. A good portion of the forty minutes was spent in review from the previous week.

Little education actually took place.

Unofficially, there were other problems. The theatre students were rather well disciplined. Other instructors were always glad to have them come for an exchange. Other classes, however, were not so well disciplined. When the time came for some instructors to have certain ill-mannered classes, they usually found some reason why they could not make the exchange for that day. Within a month and a half, with special programs being prepared, special programs for visiting dignitaries, and holiday programs, there were no more exchanges.

In the second year, the exchange program was again attempted, but was structured differently. Exchanges were made on Fridays only.

Theatre would exchange with dance for two or three Fridays, consecu­ tively. Following that exchange, they would exchange with television for two or three Fridays, then with vocal music, and so on. The success of this system was only marginal. Two or three forty-minute meetings is not enough to gain any adequate knowledge in any of the areas. Further, the fact that each class was separated by seven days from the previous class resulted in, again, most of the class time being spent on review. And, as in the previous year, there still existed the problem of instructors not wanting the ill-disciplined classes.

It is the opinion of this researcher that the exchange program is a valuable one. There is no doubt that theatre students need instruction in dance, vocal music, and television. The systems used thus far have not "been the answer, however. The students need more instruction than two or three sessions can provide. The sessions need to be closer together in time. Further, it would be advantageou for the instructor to accompany his students as they go to dance or music, so that he might reinforce and integrate the material learned into the regular theatre work.

One possible workable system might be to have the classes meet together, rather than exchange. For example, dance students and theatre students would meet together in the dance laboratory for a dance seminar (other classes, television, or vocal music might also be present). This session may last for an hour or more; whatever time is needed. These sessions would not need to be on a weekly basi but could be set up, say, at the beginning of each month at begin­ ning of the month staff meetings.

In this type of system, students could aid in the teaching of one smother if they so wished. Instructors would be present with their class to aid in discipline and to learn with their students.

The department hosting the session might also in this way be able to utilize guest speakers which would be of interest to other department

By setting up the meetings at the beginning of the month, they would be organized as needed, and no one would be forced into a "having a meeting whether you need it or not" situation.

Another solution was submitted at one time: bring in outside instructors to each area as needed. In other words, if it were felt that theatre students needed training in dance, an outside dance 20U

instructor would be brought into the theatre class to teach as much

dance as was felt to be necessary. While this sounds ideal, the

administration quickly rejected it. They did not wish to pay money

they did not have for a dance instructor, when they already had a

dance instructor on the payroll.

The idea of the outside expert is, nonetheless, a very good one.

Fort Hayes allotted the sum of five hundred dollars for the entire

campus for the purpose of paying outside experts. Five hundred

dollars does not even approach being enough funding for such a project.

In some areas, by utilizing friends, guest lecturers were brought into the theatre department. The words of an outsider, someone actually making his living in the field, affects the class greatly. Ideas which the instructor has been attempting to illustrate for months suddenly take hold when reinforced by the outside professional. It would be wise for any such school to allot as much money as possible

for such a project.

A last point needs to be made before moving on: part of the lack of success of the exchange programs was not due to their intrinsic problems. Part of the problem was due to lack of discipline within the Performing Arts Building. The discipline of a class goes with it.

When instructors stated that they did not want a certain class because it was too difficult to handle, this is certainly a reflection of the discipline of that class when it is with its home instructor. This in turn is a reflection of the discipline demanded by the immediate administration. When the Fort Hayes Career Center opened in September of 1976, the demand for discipline was high all over the campus. By the second half of that year, the demand for discipline, especially in the Performing Arts building, waned noticeably. By the beginning of the second year, the lack of discipline had grown into a problem.

Contrary to the belief of many, lack of discipline is not,'and cannot be a part of creativity or a study of the arts. Art and creativity demand strong discipline. This researcher doubts if the exchange programs would have been successful in any case, but the failure to demand discipline of the students, the failure to demand that the instructors discipline their students, and the failure to demand that the instructors do what they have agreed to, automatically spells disaster for any program.

##***«*«**

Some successful exchange programs did take place on a limited basis between the theatre department and other programs totally unrelated to theatre or performing arts. They are listed as follows:

Theatre and Medical Assisting

It would seem that these two areas would have nothing in common, but they do. In the first year, it was felt that the theatre students should have some training in first aid, the theatre being the dangerous place that it is. Upon consulting with the medical assisting instructor, it was found that her students did not arrive until noon. Therefore, she was free in the mornings, when the theatre students were in class.

She immediately volunteered to administer the full Red Cross Multi-Media

First Aid Course to the theatre class. For the next two weeks, for two hours every morning, the theatre students bandaged, splinted, and respirated 206 one another. The course was very beneficial, and all students achieved their First Aid cards. What was more heartening, the students began to take a genuine interest in safety. Over the next six months, in response to student interest, the Columbus Fire Department put together especially for the Fort Hayes theatre class a special program of instruction for "Fire Prevention in the Theatre." Additionally, they gave the students training in cardio-pulmonary resuscitation.

In somewhat of a return gesture of appreciation, the fire department at that time was putting together a slide presentation on smoke detectors. The theatre students volunteered to do voice-overs for the presentation. This aided the fire department, and was also good work experience for the students.

In another return gesture, the theatre students aided the medical assistant program. As a part of their emergency medical training, the students in medical assisting are presented with a "tragedy." As the students arrive on the chosen day, they find the halls strewn with bodies as might be present following some type of disaster. Their task is to administer whatever aid they can to the "victims." It was decided that as soon as the theatre students finished their unit on make-up, they would make themselves up to be the victims. They would have injuries ranging from broken bones, bullet wounds, and lost limbs, to slit wrists, shock, heat exhaustion, and bruises. It was decided that with their recently acquired knowledge of first aid, they would be able to aid the instructors in determining how well the medical students treated their injuries. 207

The theatre students went at their assigments with unbelievable energy. For one week the theatre laboratory looked like World War II.

They simply delighted in producing all manners of open, bleeding wounds, broken bones, and ghastly bullet holes all over their bodies.

But the Fort Hayes nemesis, scheduling problems with other programs, reared its head, and the great tragedy never took place. The idea was a good one, however, and plans are being made for a disaster for the coming school year.

Theatre and Cosmetology

The interrelationship here is a bit more obvious. During the first production, Diary of Anne Frank, it was necessary to do the hair of Mrs. Van Daan in a 19^+0 hairstyle. A picture was found of the style needed, shown to the cosmetology instructor, and the actress portraying Mrs. VanDaan was sent to the cosmetology laboratory;

Mrs. VanDaan emerged after about two hours in a very 19^0 hairstyle.

A second problem was encountered when one week out from opening night, the actress playing Margot was dropped from the cast for missing too many rehearsals. Her understudy, it was found, would have to wear a wig to successfully fill the part. Again, the cos­ metology class va3 consulted. In a very short time, they had located a very acceptable wig, fitted it onto the actress, and dressed it.

After these two encounteres, several of the cosmetology girls found theatrical make-up very interesting, and asked if they could attend rehearsals and help with make-up. This was, of course, agreed to. During the week prior to opening, the girls watched closely while 208

the actors applied their stage make-up. They learned a great deal

about stage make-up and the differences between that and regular

street make-up. In return, they aided the actors and make-up crew

in applying, maintaining, and cleaning up. The results were so positive, that when the second production came, once again the

cosmetology class (and instructors) asked to be a part of the pro­ duction.

Theatre and Office Printing

At times, the benefit of exchange seemed to go one direction only.

That seemed to be the case with office printing. With each produc­ tion, the office printing class took on the task of printing tickets and programs for the theatre department. They instructed the theatre students as to how to make paste-ups and printer's dummies; differences

in the types and styles of print, differences in types and weights of paper, and other related information. The only apparent benefit for the office printing class was that of seeing how to set up programs and tickets for plays. However, the theatre department was able to build a few needed items for the printing class, and was also able to set up the; stage and lighting in the theatre for a program the office printing class was having.

Executive Secretary and Theatre

Once again, the benefit seemed to go only one way here. When time came for letters of invitation to the first Fort Hayes Theatre production, it was the girls in executive secretary training that did 209 the typing. Some sixty letters had to be typed, each individually.

With the Mag Card units available in tne executive secretary labora­ tory, it was not nearly the chore it would have been had the theatre students had to have typed them one at a time.

Theatre and Optical Services

The optical services program at Fort Hayes is one in which the students learn to read prescriptions, then manufacture the glasses prescribed. Their aid to the theatre department has been invaluable.

On three occasions, the need has arisen for special glasses. In

Diary of Anne Frank, old wire-rimmed spectacles were needed. In

Everybody Loves Opal, the need was even more specialized. Two pair of glasses were needed. One pair had to be extremely thick and mounted in perfectly round frames. They had to look very thick to the audience, yet the actress had to be able to at least partially see through them. Optical services provided what was needed. In the same play, a pair of extremely dark glasses mounted in perfectly round frames was also needed. Again, optical services provided them.

Fabric Services and Theatre

The fabric services student learns to make draperies and to upholster furniture. The service they can provide theatre is obvious.

In each of the productions by the theatre department, there was a need for draperies and curtains. The fabric services people provided what was needed each time. In one production, a sofa had to be reupholstered. Once again, the girls from fabric services came through.

The instructor in fabric services was actually very grateful. It is 210

often difficult for her to find work for her girls to practice on.

When they have an actual Job* i.e. someone actually sending their

furniture down to be reupholstered* the beginning girls have no

room for error. When working on something for a play* the situation was not quite so critical. They could be allowed that educational need for error. The same was true for the manufacture of curtains and draperies.

The fabric services instructor also teaches a special unit to the theatre class in how to measure for draperies and how to measure

furniture for recovering and reupholstering. She additionally instructs them in the terminology used in sewing.

As a last benefit which cannot be overlooked, the fabric services program has a great deal of material left over after making draperies or recovering a piece of furniture. They save all of it, and give it to the theatre department. It is always put to good use.

It would seem that the benefits of the interrelationships of departments at Fort Hayes have always been to the advantage of the theatre department. To a certain extent, this is true. However, in the first eighteen months, the theatre students have been called upon to build several units of various types for many other departments.

When department store managment students planned their fashion show, it was held in the theatre, sets were designed and built by the theatre students, lighting was handled by theatre, and the show was handled by the theatre students. When office printing students needed 211

shelves for their darkroom, theatre provided the wood. When office

education students had their all day skills competion at Fort Hayes,

the forensic events were held in the theatre and handled by theatre

students. Theatre students further did sets, lighting, and ran the theatre for dance shows, music recitals, and the television depart­ ment's OMNI awards. Of course, when the theatre student is doing

all of this, he is learning, and thereby receiving benefit; but that

is why it is called interrelationship.

In September of 1979, two new buildings will open at Fort Hayes

Career Center, Food Services and Fine Arts. In Fine Arts will be studies in painting, drawing, sculpturing, and photography. The possible interrelationships here are obvious. In Food Services, there will exist several different types of restaurants. Already, plans are being made for the first "secondary school dinner theatre."

The Restaurant Management building will be located directly north of the theatre. Plans are for audiences to buy a ticket to dinner and a play. A secondary plan is for the lobby and the large sidewalk area in front of the theatre and between the theatre and the Restaurant

Management building to be utilized as a sidewalk cafe.

I **********

Interrelationships between vocational programs is one of the great advantages of being located at a school such as the Fort Hayes Career

Center. One might even speculate at the possible benefits to be gained by exchanges with programs at the other career centers in the Columbus area; programs such as welding and theatre, carpentry and theatre (or 212 other programs), theatre and programs such as electricity, house con­ struction, law enforcement, tailoring, interior decorating, mechanical drawing, advertising and promotion, to name Just a few.

Interrelationships, exchanges, and trades' are not, however,

"being utilized to their fullest at Fort Hayes Career Center. So much more could be done. The failure is an administrative one. Discussed earlier was the departmental exchanges in the Performing Arts building and their failure. The problem here was also an administrative one.

For exchange programs such as these to be successful, several items must be present. First, the administration must be farsighted enough to see the possibility of the existence of these programs and the benefits that can be realized from them. The exchange program at

Fort Hayes originated in the Performing Arts building, and it was a great task to get the idea approved by the administration.

Secondly, programs such as these which exist between departments and buildings must be administered. They must be set up in advance; organized and coordinated by a central body which, because of its administrative position, can see possible problems and conflicts and avoid them from the start.

Third, after the administrative body has organized the programs, they must monitor them for problems and successes; evaluate them, reorganize, eliminating as many problems as possible, and accentuate s u c c e s s e s .

None of this was done or is being done at Fort Hayes. As a result, the exchange programs that do exist are haphazard, and the potential is not being utilized. CHAPTER IX

CONCLUSIONS

There are sections in this work that may appear to be rather negative. It is not the intent of the work to be either negative or positive, but rather to describe as accurately as possible the voca­ tional theatre program as it exists at the Fort Hayes Career Center.

If the descriptions made herein appear to be negative, it is because there are more negative aspects of the program at this time than positive. The purpose of this chapter will be to make generally con­ clusive statements regarding the various aspects of the program as depicted in other parts of this dissertation, with specific attention to the success or failure of that particular aspect.

Curriculum

The curriculum is working. There have been changes, to be sure.

There will be more changes in the future. A good curriculum is not static. One in vocational education cannot be. It must constantly assess the job market situation and adjust as the field changes. As was stated in Chapter V, the major-minor program is the first major change in the curriculum. It is too early to tell if this will be totally successful. It is definite, however, that four hours per day for two years is not enough time to incorporate a totally comprehensive course of study in all aspects of theatre.

-213- 2 1 k

The students are proof of the success of the curriculum. Before the first class graduated from Fort Hayes, many of the students were auditioning early for college entrance- Every student who auditioned not only passed his audition, but did so exceptionally well. Several received rather large scholarships. Some universities were nearly recruiting the Fort Hayes students as college football teams recruit players. Reports from both Students and instructors indicate that the

Fort Hayes student has been well prepared for the college situation in the area of theatre.

The students have also proven the success of the curriculum while still attending Fort Hayes. Every student in the program has appeared at least once on local television. Several have appeared several times, making local and national television commericals, Two students worked slimmer stock in outdoor theatre productions. Within a year of the opening of Fort Hayes, the theatre students have gained the reputation of being a well trained, well disciplined theatre worker.

Sadly, the greatest detriment to the curriculum is the adminis­ tration. While on the one hand insisting upon well organized paper work in the form of weekly and daily lesson plans, course descriptions, and written department philosophies, the administration seems to have total disregard for the importance of the classroom instruction or the sanctity and unity of that instruction. There has been no unit in the proposed curriculum which has been taught from beginning to end within multitudinous interruptions. Members of the administrative staff have no compunction with regard to interrupting classes with tours, asking students to be excused from class to run errands, operate 215

lights and sound for special shows, go to meetings, have assemblies,

and the like. Entire classes will be asked to stop all instruction

for several days in order to prepare a special show for some visiting

group.

The administration is quick to point out the necessity and

importance of each of these interruptions. The results, however,

are that (l) the students become confused due to the lack of unity

in the teaching of curriculum units— many units never even being com­ pleted; (2) many students receive failing grades, not as a result of their lack of effort, but as a result of the fact that they have been taken out of class so many times that they simply miss too much material to pass the unit; and (3) the student, and often the instruc­ tors, sensing that the administration does not feel that the classroom

is important, begins to also feel that the classroom is not important; that what goes on there is of little value. This attitude results in students exhibiting discipline problems, missing classes, failing to hand in assigned work, and paying less attention in the classroom situation. Their basic attitude is, nvhy should I feel that class is

important if the administration does not,1*

It is the opinion of this researcher that all other aspects of the curriculum are either working well or are in various stages of progress toward success. The problem stated in the aforegoing paragraph could, however, keep it from ever reaching any major position of success. 216

Productions

In terms of audience, the productions have not faired well. The

average audience size has been around seventy-five in a house that

seats three hundred and four. There have been several reasons for this. Publicity has been a problem in view of the fact that local newspapers insist that Fort Hayes theatre is just another high school theatre department, and as such is entitled to two pictures per year in the local papers. Most high school drama departments have an endigenious neighborhood audience from which to draw. When they present a play, a few posters around the school will reach several hundred students. A few posters around the neighborhood will reach a major portion of the community in which that school is located.

This is not the case with Fort Hayes. The students come from many communities all over the city. Posters in the school reach only a small number of students, all of which have stronger loyalties to their home schools. The "community" for Fort Hayes is the entire

Columbus metropolitan area. Posters for that entire community are economically unfeasable. Consequently, the Fort Hayes theatre is not

Just another school drama department. It needs a great deal of adver­ tising through newspapers and the electronic media to reach the public.

These sources will not agree, however, to give the time and space needed to make the community aware of what is happening at Fort Hayes.

Distance also plays a role in the audience difficulties. In most neighborhood schools, parents need only travel a few blocks to reach the school where the event is taking place. At Fort Hayes, parents and students live from five to thirty-five miles from the school. Many are reluctant to travel such distances to witness any events. 217

If Fort Hayes is to make the public aware of its events, the

local media must change its rules regarding advertising. If this

does not happen, then the theatre program at Fort Hayes must become

financially sound enough to purchase advertising as professional theatres

must do. Lastly, and perhaps most importantly, if the plays produced

at Fort Hayes are of a high quality, word of mouth advertising, over

a period of time, will cause the audience to grow; to seek to find

out what is taking place, and to be willing to travel the great

distance to witness the event.

To this last end, some headway is being made. Productions have

been of a high quality. They have given good experience to students,

and gained favorable responses from audiences. The size of the audiences

has been gradually increasing in size, seeing many of the same people

returning for play after play. One local television station has begun

to review the plays as they do other professional and community pro­

ductions. It is felt that in this area, in spite of problems, the

Columbus audience will be made aware of the existence of the Fort

Hayes Theatre Company, and of the quality of its work. The audiences

will grow, as long as the quality continues to be high.

Grading System

The grading system described in Chapter VI has proven to be

extremely successful. It has been given very favorable comments by the State supervisor for the PRIDE Committee {See Appendix C), and

copies of the system have been requested by many instructors in voca­

tional educational programs all over the Central Ohio area. With minor

adjustments, the grading system will remain in effect. 218

Exchange Programs

As Chapter VIII expressed, a great deal of work needs to be done on the exchange programs if they are to succeed. A vocational campus could gain a great deal from the wealth of skills and knowledge in each of its programs. The sharing of products and skills provides the opportunity for students in one program to learn not only skills which could be useful, but also to learn the benefits which grow out of learning to work with others. The problem which exists at this time is one of lack of precise organization. For an exchange program of this type to be successful, it must be very well planned and administered. One cannot Just say "exchange with television" and expect positive results. Until guidance and planning are exhibited in this area, it will remain primarily an untapped resource.

Budgets

It is difficult, at this point, to speak of budgets in the

Columbus Public School System. There is no money available in the system. All requisitions turned in by the theatre department were denied due to lack of funds. It is hard to understand why the money to finish the theatre is not available, but it is not; and conse-

j quently, the theatre is not finished. It is felt, however, that lack of understanding contributes some to the problem. Administrators who have been in vocational education understand the needs of cos­ metology programs and medical assisting programs. They do not under­ stand the needs of theatre programs. When you have little money, you place where you understand its use. This factor contributes to the 219 lack of funds for the theatre department. The department itself, however, has handled its revenue quite well. With just a few plays and small audiences, the department has gone from having no money to accumulating nearly one thousand dollars. If this trend up, the department may be able, at some point in the future, to cease to ask the Columbus Public Schools or Fort Hayes for any financial assistance. They will have achieved a certain element of financial independence; largely on their ora with no help from anyone.

Generally

The problems for vocational theatre are many. Those that are present are so detrimental to the program, and administrative problems so great, that it is the opinion of this researcher that vocational theatre is in danger of an early demise.

State requirements and state administrators have little under­ standing of theatre as a profession or as an educational program.

Vocational theatre will have trouble surviving when the State of Ohio insists that fifty-one percent of all graduates must be employed full­ time in theatre. There are not that many jobs available, and the nature of the work is that professionals in the field are seldom employed full time. Additionally, when individuals in theatre are employed full time, it is almost never the traditional forty hour work week, fifty weeks per year which is enjoyed by other professions.

One might conjecture, therefore, that there is no need for a voca­ tional program in theatre. If we follow that line of thinking, we would have to take theatre out of every high school arid every college in the country. Ours is not an educational system that insists that students V

220

utilize precisely what we have taught them. We provide an education

for those who want it. It is their choice in a democratic society.

If we insist upon this extreme in accountability, the arts would have

no training ground. We know that few will succeed, but we must con­

tinue to educate on the grounds that some will. Of those who do not,

we hope that they will apply what they have learned to other endeavors.

If the fifty-one percent rule is enforced, theatre as a vocational

course will undoubtedly loose state funding.

There is, and has been, a strong feeling that theatre as it is

taught at Fort Hayes is a valuable course, but should not be under

the auspices of the state department of vocational education. The

fifty-one percent rule alone may lend weight to this opinion.

It is possible for a student to be educated in technical theatre without equipment, but when he is in competition with people that have

been trained using radial arm saws, welding equipment, paint sprayers,

and other similar tools, he is at a distinct disadvantage. Adminis­ tration insists that fifty-one percent be employed, but refuse to see

the need for proper equipment. The equipment problem at Fort Hayes extends beyond Just basic tools. The fact that the theatre has unfinished make-up rooms, unfinished costume rooms, a shortage of classrooms, an unfinished shop, a loft which is too low, and no loading bridge, all indicate a lack of concern and understanding at the adminis­ trative level.

The State still insists that the vocational instructor must return to college for fifteen hours of training in distributive education.

This is understandable, and after having gone through the fifteen hours, 221 this researcher can state that there were things gained from the courses. There were also, however, a great many things totally ir­ relevant to the teaching of theatre. There is no need, for example, for someone in theatre to be educated in warehousing and marketing.

Those elements in the fifteen hours that have to do directly with sales, retailing and marketing could well be replaced with other more relevant subjects. Again, we are faced with a problem that, for years, this is the way things have been done. It is now time for a change if we are to progress. The course work for the instructor in per­ forming arts must be geared to that which he must teach. In view of the fact that the instructors have been in the field which they are teaching and administrators have not, there should be some utilization of the knowledge of the instructors in setting up new vocational c o u r s e s .

Requiring a music teacher to spend six hundred hours working in a music store to qualify as a vocational insturctor is most certainly a waste of valuable time. Again, those at the administrative level still see performing arts as sales oriented. It is even insisted upon that the theatre program be called Theatre Gales. Does this mean we should teach students to sell theatres? When those in administration are asked what we are selling in theatre, their only answer is "yourselves ." To be sure, we do sell ourselves in theatre, but that is not the corner­ stone of study in theatre.

In reality, there is no category in vocational education in which performing arts fits. In technical theatre, it is similar to the category of Trade and Industrial. This is the group that deals with 222

such programs as carpentry, electricity, welding, and the like. How­

ever, when theatre students begin working in costuming, they are more

like home economics; when in make-up, they are similar to cosmetology;

and when they begin to act, there is no division for them.

If theatre remains in vocational education, there will need to be a new category devised, and with that new category, new and more relevant requi rements.

Also at the immediate administrative level is the day to day use of the performing arts department and the theatre facility. The theatre itself is the most obvious facility to be considered. The theatre is, according to Dr. Neal Vivian, head of Distributive Educa­ tion for the Ohio State University, the laboratory for the theatre department. By definition, the laboratory in a distributive educa­ tion program is that area in which the student meets the customer.

In the theatre program, the audience is the customer, and the audience comes to the theatre. However, the Fort Hayes administration insists that the theatre is not the theatre program laboratory, but is rather the laboratory for all performing arts programs; and additionally, the meeting place for many community groups. A decision must be made.

If the theatre is going to be the laboratory for the theatre program, then the program must have priority use of the facility. If it is going to be a general laboratory and meeting place, then the theatre program needs a laboratory.

Another factor must be considered. If the theatre program does not have priority in the theatre, other individuals and groups cannot expect the theatre students to be on immediate call to operate the theatre for any group which chooses to use it. 223

The basic decision here is as to who will govern the facility.

If the theatre program is truly vocationally oriented and the students

are there to learn from using the facility, then the laboratory/theatre

is where he should learn. In that case, the theatre should be operated,

scheduled, and administered by the theatre program and its students.

**#*##***#**###*#***

Vocational theatre at the Fort Hayes Career Center is struggling.

It is fighting a lack of understanding on the part of administrators,

fear from other schools and teachers, and antiquated and irrelevant

requirements from the State of Ohio. Its success at this point has been largely due to the outstanding interest and talents of the students

involved in the program and the tenacity of the instructors. They have survived and excelled in the face of these many problems. A program of this type cannot succeed as the sole result of student or

instructor effort. If problems of state requirements do not lead to a regulatory demise of the program, the problems stated in this work will eventually cause Fort Hayes to fail to attract the quality instructor and student. At that point, there will be NO factors at work to promote a successful program.

The final conclusion is obvious. If the problems brought forth herein are not solved, at least in part, theatre as a vocationally oriented subject at Fort Hayes will not meet with success, much less continue to exist for any length of time. Those stubborn and talented

students will, however, go on to success, and will make their mark on the world. A P P E N D I X A

LETTERS FROM PRIDE COMMITTEE MEMBERS

- 2 2 U - 225

Dear Sirs:

First of all, I would like to thank you for asking me to be part of your committee. The concept of vocational theatre in the high school is unique, and I am pleased to be a part of it. Since the concept is uniqxie, the problems connected with it should also be unique. Unfortunately, from what I have seen, this is not entirely true. Along with the problems of establishing a new program, Mr. Wilson has had to contend with many problems not directly related to the new Program. Belov, are some of the outstanding problems that I noticed while visiting Fort Hayes;

I. Physical Plant

A. The most outstanding problem is the absence of the loading door in the backstage area. The last time I visited the department, the temperature could not have been more than fifty degrees, and there was a drift of snow partially covering their supply of wood. That day, the students spent part of their lab period shoveling away the snow, and replacing a piece of plastic over the opening to keep snow out.

B. While backstage, I surveyed the make-up and dressing rooms. Considering the amount of space available backstage, the shop area is entirely too-small. In addition, the make-up rooms and dressing rooms are nowhere near being finished. How can students be instructed in these areas when they are incomplete?

C. For part of my last visit, we had to use a flashlight to see. The area I am speaking of is the backstage area, set aside for dressing rooms and toilet facilities. I was glad to see that toilet facilities were supplied, but was disappointed to see that they were not finished, and as such, could not be used. When I asked what students did for water during performances, I was told that it had to be carried to the backstage area in con­ tainers brought from home!

D. It was also brought to my attention that as of yet, the department has not received any mirrors, tables, chairs, or lights to be used in the make-up rooms. 226

E. I was impressed with the storage area that the students had constructed for their tools and equipment, but was disappointed to find that the tools were so late in being delivered. I also question why students should have to take their time and supplies to build a tool . storage room.

F. From what I could see, the counterweight system was not equipped with a loading bridge. This is a dangerous situation! I hope that the system has good insurance to cover any problems that might arise as a result.

G. On the other side of the curtain, the picture changes. The theatre is both beautiful and functional. The audience gets a very nice picture. I did notice that the window separating the booth from the house has not been installed. I would make an educated guess that this causes problems for booth students working in the booth, and audience members during performances.

Another problem that seems to plague the theatre is that there does not seem to be anyone actually in charge of the theatre. Events are scheduled by numerous people. Without one person ultimately responsible for the theatre, I feel that adverse conditions will arise which will be detrimental to the students and to public relations with the general public.

Having seen the original plans for the building, I sincerely hope that the sutdents in theatre- are able to use all of those facilities originally planned for them (laboratory, box office, theatre, classroom, e t c .).

The problems mentioned here do not help to create sin environment totally conducive to learning. Last year, the situation was, in many ways, worse. It was not until September that the theatre was finished enough for the students to present their first production. This year's seniors will graduate without really receiving the full benefit of the program. In September, 1977, the Junior class arrived, but there was not a second instructor to teach them. From September until January, Mr. Wilson was, in addition to massing a major production (their first), and running daily labs,had the burden of instructing both the juniors and seniors. In November, Mr. Simmons arrived. A good deal of the burden of producing a play was taken over by him. Mr. Wilson, however, still had to run rehearsals and teach two related classes and labs every day. Mr. Simmons was finally added to the staff on January 2, more than two months after arriving at Fort Hayes. 227

A large area of concern for mu is that, generally speaking, educa­ tion is not arts oriented. If education is going into performing arts, it is difficult, if not impossible, to use the same kinds of standards and goals that are used in other educational areas. Performing arts is based upon a creative atmosphere. Education as ve know it is struc­ tured. This limits, confines, and works against the creative process. Performing arts, because of its unique nature, needs a unique educa­ tional approach. The climate must be right! For this to happen, there must be present the support of administration, other teachers, and the general public. I sincerely hope that this is what is present at Fort Hayes.

**#»«»«*»*

I was told that this report is to help the program by reviewing it. Therefore, I have not spent a great deal of time on the positive points of the program. The program is set up to be interesting and challenging. The students seem to be interested and excited about it. Mr. Wilson and Mr. Simmons seem to have compatible and complimentary talents, and the students seem to flourish.

Overall, the impression I receive is that the program can succeed if some of the obstacles are removed. If the program succeeds, the students will succeed; and that is the object of education.

JeanAnn Weaver 228

PRIDE REPORT ROBERT SHIELD

Overall, I believe that you are doing a superb job of preparing your students for almost any phase of theatrical work. However, there are some deficiencies, primarily in the physical plant and its use, which should be brought to your attention.

Your theatre itself gives the appearance of being ideal from out front, but suffers backstage from several problems which must make good pro­ duction work (and more important, the teaching of good production) most difficult.

1. You have no earphone communication backstage. Such a system would have been a luxury when I was a young actor; but today, with more sophisticated and therefore more complicated production techniques, it must be extremely difficult for your stage manager to coordinate all backstage and booth activity.

2. When I enquired about the sound system for the theatre, I was told that it was not operational. We both know that good sound is an indis­ pensable item in good theatre, and theatrical trainees must be familiar with the operation of such a system if they are to be properly prepared. This needs immediate attention.

3. I was surprised to find that the theatre was not available to your students the afternoon I was there, because it was being used by QUBE for one of its productions. While the use of the theatre by outside groups may be financially helpful, too much of this sort of activity is bound to interfere in the training of the students. It should be kept to an absolute minimum.

U. It is unfortunate that the stage is four feet short overhead, and you can't fly anything; but at this juncture there is nothing to be done about that.

5. In the not operational sound booth, I didn't see any turntables (record players)???

6. Moving further backstage, there were no dressing rooms, no wardrobe room, and no make-up facilities. I am aware that you pointed out space supposed to be used for these purposes, but empty space (without even a ceiling!) won’t do the job. While classroom lectures (on make-up, for example) are necessary, their value is diminished, and the real training cannot take place without mirrors and plenty of lights. I'm sure all this is as obvious to you as it is to me, but such weaknesses are so important, I feel I have to mention them. » 229

One more complaint, and then a couple of good points.

7. The day I was there, your students were working for a time on set construction. They were attempting to build flats, but seemed to be handicapped by the fact that there were insufficient hand and hand

power tools to work with. I didn't actually count, but saw very few power drills, saws, etc. They will need to know how to use these things in the theatre. Additionally, it seemed to me that you were ‘ cramped for the building and movement of large flats and other set pieces unless you could have had the stage area in which to work. With it being used by an outside group, that was impossible; with the result that the training program suffered.

To summarize, it is my opinion that you are doing a fine Job with what you have, and that you have a potentially fine plant in which to work; BUT until these things I have mentioned are corrected, you will be handicapped in your efforts, and the training of your students must suffer accordingly.

I thoroughly enjoyed your classroom session on make-up, and offer my hearty congratulations on your excellence as a teacher. Your students obviously respect you, and are highly motivated. Your lecture was interesting, had a fine light touch, and really communicated your ideas to your audience. Their interest and enthusiasm were obvious from their animation and their many questions. I am happy to say that I think you are a splendid teacher.

I am also happy to say that the results of your labors as displayed in the production, "The Diary of Anne Frank," are uniformly excellent. I felt that it was the finest student production I have ever seen. Knowing now some of your many problems, I am even more impressed with what you and the students accomplished in keeping the illusion alive and real from curtain to curtain. From box office to backstage, it was good theatre. Again congratulations!

Robert F. Shield 230

January 25, 1978

The Pride Committee:

Re: Fort Hayes Career Center Theatre Department 5^6 Buckingham Street Columbus, Ohio

Gentlemen:

First of all, 1 want to thank Mr. Wilson for his time and trouble of giving me the grand tour of their facility.

I want to say a little bit about last year. They have a fine building with lots of great potential. They had so much delay with all the building delays* it took a whole year* and the Juniors didn't even get to benefit from it and put on their own first production. The Theatre was used for other people, for which the students got to help. This was to be their facility, and they kept having one delay after another until finally the Fall of 1977 came, and they got to have their big moment, for which they had worked so hard. Even now, things are not finished the way they should be. When is this going to be a final reality for these people? I must say their first production, "Diary of Anne Frank," was absolutely the finest performance I've ever' seen done. Mr. Wilson worked wonders with all the bad conditions he had to work under.

The appearance out front for the audience is good, but what about behind the scenes where it is all happening? Their working conditions are terrible.

A. Where is the overhead door to the back of the building, to be used for loading and delivery purposes?

B. Why aren't the backstage rooms finished, as well as the dressing rooms, make-up rooms, and plumbing facilities? It was my understanding that these rooms were to have ceilings and good lighting. What about the storage rooms, work shop, and the green room?

C. What about the lack of proper equipment to build their sets with? With every production, they must build their set with no equipment. How can they possibly do this? They need normal things such as paint, screws, wood, nails, hammers, saws, etc. 231

D. The control booth, where Is the window that encloses it? What about the whole communications system? Why has it never been finished? It is my understanding that Jimmie Hay Electronics did not complete their work. Why hasn't something been done about this? How can they have communications with the people in various places backstage, etc.?

E. Why is their classroom divided, and they have to share it with the television people? This year, with having the juniors and seniors together, their portion of that classroom is not big enough.

F. What happened to the caps that belong on the top of the railings in the back of the theatre? Why was that never completed?

It is my understanding that QUEE Television is using the theatre, and they will be paying a rental fee for the use of the theatre. I also understand that this money will probably not be given to the Fort Hayes Theatre Department for their benefit. I do not understand why they shouldn't be the ones to get this benefit. When outside people come in to use this facility, the money that they pay should be put back into the theatre, and maybe some of these needs could be taken care of.

On an overall picture, I think Mr. Wilson is to be congratulated for a job well done. Mr. Wilson has given Bill the best of his knowledge, talent, and experience, for which we are truly grateful. I feel that Bill has been extremely fortunate to work with Mr. Wilson, and to have a facility like this to explore his talents.

Sincerely,

Mrs. Mary Ann Partlow APPENDIX B

COMPOSITE SUMMARY OF THEATRE PRIDE REPORT

-232- 233 PRIDE REPORT - THEATRE COMPOSITE SUMMARY

THE PHYSICAL PLANT

Positive Points

1. The theatre itself is an extremely versatile facility. 2. The theatre is very intimate, with a small seating capacity. 3. The lighting control is better than average. Ik The lighting hanging facility is very versatile. 5. The power distribution for lighting is excellent. 6 . The appearance of the house is very unique and attractive.

Negative Points

1. There is no door on the loading portal. This results in the theatre being very cold and damp; an atmosphere causing equipment to rust, wood to warp, and students to catch colds. 2. The dressing rooms, make-up rooms, green room, and shop are all unfinished and relatively unusable. 3. There is totally improper lighting in the shop, contrary to OSHA regulations— and very dangerous. It. There is improper electrical power distribution in the shop, con­ trary to OSHA regulations— dangerous, and detrimental to learning. 5. There are no toilet facilities in the dressing/make-up room area. 6. The sound system, Just recently made operational, is not operating properly. 7. The loft ceiling is too low to permit full flying. 8 . The patch panel and dimmer control are not fully compatible. 9. There is no maintenance of the lighting facility by the installer, and the sound maintenance is not good. 10. Much of the theatre facility was recently finished or is yet to be completed. As a result, those students who spent last year in theatre were unable to learn many things. It was somewhat of a lost year for them. 11. There are far too many outside groups using the theatre facility and the Performing Arts building. As a result, theatre students do not get full use of the facility, and there is also damage and theft of theatre equipment. 12. Some tools arrived just this year. This was the first time the theatre department has had tools. Again, last year was a lost year for learning. 13. Budget cuts caused tools requisitions to be cut. At this time, the theatre operates on a bare minimum of tools. lit. There is no window in the control booth at the rear of the theatre. 15. The sound reverberation in the theatre lab is inconducive to learning. 23U

16. The split related room is not large enough for the class. There are not enough related rooms to go around. The television class uses the other side of the theatre related room. As a result, the senior related class must be held in the lab. 17. There is no one in charge of the theatre. As a result, whoever wants to use it schedules themselves into the' facility. As a result, there is confusion. Much of the time, theatre facili­ ties are being operated by individuals who do not know proper operation. As a result, items are often misused. 18. It is the consensus that the theatre should be controlled by the theatre teachers. 19. There is no parking lot near the theatre. 20. There are no mirrors, lights, or make-up tables in the make-up r o o m s .

EQUIPMENT

Most comments concerning equipment have been covered in the above section on the physical plant. Generally speaking, it is felt that there is far too much equipment missing. What equipment is available has arrived too late for the seniors to benefit from it. It is felt that what equipment there is is being used well. The students are learning to operate what equipment there is.

TEACHING

The relationship between teachers and students seems to be good. The morale of the students when he is in the classroom and lab is high. There seems to be an excitement present in the student about what he is doing at Fort Hayes. There is a low morale in the student existing in the fact that he feels that the administration is not concerned about him, his welfare, or the program. 1 The two teachers work well together, and seem to compliment one another.

Mr. Simmons’s background in the practical work world of construction, welding, and carpentry, work well into the program. His background in working in technical theatre has prepared him well for this assignment.

Mr. Wilson, being Just a few months away from his Ph. D., brings a strong academic background to the program. His practical work as a professional entertainer gives him more than adequate background in the real work world of theatre.

I 235

PROGRAM

The program is obviously still in its embryonic stages. It is relatively veil organized, but the organization changes from time to time as the instructors attempt to find what facets are good and which are not. This is to be expected of a program which has never been attempted before. The program seems to cover all aspects of theatre, and as such, will prepare the student for entry level jobs or further education.

SUMMARY

There is potentially a good program here, but a great many drawbacks are standing in the way of it achieving that potential. The instructors are doing a good job, and achieving good results, in spite of the drawbacks; but this is not the situation in which they should have to work.

I APPENDix C

STATE SUPERVISOR'S PRIDE REPORT

- 236- 237

I. CUHRICULUM 1. A course of study is being developed for this program with good blocking and sequencing of activities. 2. The contract and grading system that is being used is very realistic to the industry. 3. Career opportunities are being taught in the senior year. Some os this unit should be taught in the junior year.

II. FACILITIES AND EQUIPMENT 1. The two related rooms should be available for use of this program. At present, only one is being used. 2. Proper lighting in the backstage area should be installed, along with additional electrical outlets for the operation of tools. This should be done immediately for the safety of the s t u d e n t s . 3. A loading bridge for the counterweight system must be installed. U. Toilets and restrooms should be installed in the backstage area. 5. Proper scheduling of the theatre area is necessary, so that it is available for this program. 6. Outside groups using this facility should pay for equipment, and lighting use and this money should be kept separate to repair or replace equipment.

III. INSTRUCTIONAL STAFF 1. Agree with comments of committee about the' instructors' back­ grounds and qualifications. The instructors need to continue courses to obtain four year vocational certificates.

IV. STUDENTS 1. A student club organisation does exist, but the students need to have more involvement in the financial operation of their organization. A student activity account should be established, along with proposed budgets that established procedures for spending the monies.

V. PRODUCT REVIEW No comments

VI. ADDITIONAL COMMENTS 1. Advisory committee should meet at least three times a year, formally. 2. The recommendations of the PRIDE committee need to be reviewed and iraplimented, giving priority to those recommendations regarding students' safety.

R. David Rankin State Supervisor U/10/78 APPENDIX D

STATEMENT OF PHILOSOPHY

i

i

-238- STATEMENT OF PHILOSOPHY

THE FORT HAYES CAREER CENTER

The Fort Hayes Career Center provides a learning environment in vhich each student in attendance will maximize their individual talents and interest in the development of vocational skills and an appreciation of what it means to he a productive worker, good family member, and a positive participative member of society. APPENDIX E

PURPOSE STATEMENT

-2140- 21+1

PURPOSE STATEMENT

THE FORT HAYES CAREER CENTER

As ve work together during the school year, may we exchange ideas, learn from each other, make and implement plans for the continued improvement of our vocational education program for the students and communities we serve. May we work with a positive commitment so that in a time when ve are surrounded by skepticism, governmental frustra­ tion and great pessisism, we avoid the easy and all too popular with­ drawal sysmtom of negativism. Rather, our direction and commitment must be to the positive and to the doing. Also, by our example, those we work with and those ve work for may be directed to accomplishment and purpose. May our program goals prepare our students to be pro­ ductive members of society, effective family members with economic security through a saleable skill. APPENDIX F

OBJECTIVES

- 2 U 2 - 2l»3

OBJECTIVES OF THE FORT HAYES CAREER CENTER

In keeping with the philosophic base that serves as the guide for the Fort Hayes Career Center, ve have developed the following objectives that, when met, will transform this philosophy to practical achievement.

Students in the program area of their choice shall demonstrate skill proficiencies necessary for entry level employment.

Students shall develop additional human skills and insights in their relationships with others, develop a healthy attitude towards work, translate responsi­ bility into action in order to be a contributive member of his family, an involved citizen and productive worker.

Students who wish shall have the opportunity for further goals through the application of training received at our school coupled with the educational efforts of their home high school.

To provide our students with opportunity for success and through that success to develop self worth and a s s u r a n c e .

Our vocational youth organizations will provide occasions for students to develop leadership traits, self assertion and accomplishment.

The employment and service needs of community will be served and identified through our program operation.

!Our school will compliment the educational efforts of the Columbus School System.

i A PPENDIX G

IMPLEMENTATION PLAN TO MEET CENTER OBJECTIVES

- 2 k h - 21*5

IMPLEMENTATION PLAN TO MEET CENTER OBJECTIVES

The organizational mix of the planned administrative pattern, program schedule, facility, equipment, curriculum efforts, consumable supplies, activities, orientation of staff and students provides for the achievement of the objectives for our career center. In addition, the input of community expertise of our general and program advisory committees keeps our school and program intact and on track.

Our schedule permits students to be involved in a theory base, human relationships, job preparation and career awareness situations for forty-five minutes each day. Three hours are devoted to developing skills and having the opportunity for evaluation of their efforts through performance objective orientation.

Academics are available at our tenter for those students who would like to take third and fourth year English, American History, and Social Studies at the Fort Hayes Career Center. By having the exposure at the center, the opportunity for integrating skills and academic principles can be accomplished.

Our youth activities provide students opportunities to parti­ cipate in ways never before opened to them in the school environment. Offices in students' organizations presses the student for additional leadership. Entry into inter ar.d intra school competition in program areas sharpens self-image and feelings of success for the student.

The advisory committees which serve our program meet several times yearly to discuss program content, employment needs, and other assistance for the program instructor. This is an important process in maintaining a positive link with the business and industrial community. APPENDIX H

DAILY TIME SCHEDULE

-21*6- 21*7

DAILY TIKE SCHEDULE

8:15 A.M. CLASSES BEGIN 1 1 : 5 7 A.M. CLASSES END

1 2:00 P.M. CLASSES BEGIN 3:1+2 P.M. CLASSES END

REGULAR SCHEDULE ACTIVITY S C H E D U L E I ACTIVITY SCHEDULE II

PERIOD TIME PERIOD TIMEPERIOD TIME

1 6:15- 8:57 1 8:15- 8:1*7 ACTIVITY 8:15- 8:55 2 9:00- 9:U2 2 8:50- 9:22 1 9:00- 9:32 3 9:^5-10:27 3 9:25- 9:57 2 9 : 35-10:07 h 10:30-11:12 1* 10:00-10:32 3 10:10-10:1+2 5 11:15-11:57 5 10:35-11:12 1* 10:1*5-11:17 ACTIVITY 11:17-11:57 5 11:20-11:57

6 12:00-12:1*2 6 12:00-12:32 ACTIVITY 12:00-12:1*0 7 12:1*5- 1:27 7 12:35- 1:07 6 12:1*5- 1:17 8 1:30- 2:12 8 1:10- 1:1+2 7 1:20- 1:52 9 2 :15- 2:57 9 1:1*5- 2:17 8 1:55- 2:27 10 3:00- 3:1+2 10 2:20- 2:57 9 2 :30- 3:02 ACTIVITY 3:02- 3:1+2 10 3:05- 3:1+2

A.M. TEACHER SCHEDULE 8:00 A.M. - 3:30 P.M.

P.M. TEACHER SCHEDULE 8: 30 A.M. - 1*:00 P.M.

ACTIVITY SCHEDULE

The activity schedule chosen will be the one most appropriate. On occasion, it may be necessary to call students together at a time other than the described schedule. Variations of the daily schedule will be noted in the weekly bulletin and/or morning and afternoon announcements. A P P E N D I X I

THE PERFORMER'S CONTRACT

-21*8- CONTRACT NO. Performer’s Contract

THE FORT HAYES THEATRE COMPANY

THIS AGREEMENT made t h e ______day of ______in the year nineteen hundred and ______by and betveen ______hereinafter called the performer and the Fort Hayes Theatre Company, Fort Hayes Career Center, School for the Performing Arts by ______its director hereinafter called the theatre, WITNESSETH that the performer and the theatre for the con­ sideration hereinafter named agreed for the production of ______W H I C H C O M M E N C E S ON ______AND TERMINATES ON ______as follows;

ARTICLE 1: The theatre agrees to award grade/pay in the theoretical sum in the amount of ______in return for ______services rendered by the performer.

ARTICLE 2: The performer agrees to render said services to the best of his/her abilities in the position of ______.

ARTICLE 3: The theatre agrees to supply an adequate physical plant for all rehearsals and performances.

ARTICLE : The performer agrees to be present at all rehearsals listed on the attached rehearsal schedule {Form A). In the erent that the performer fails to be present at any rehearsal listed, he/she will forfeit all of the above stated grade/pay for that rehearsal plus an additional fine o f ______.

ARTICLE 5: In the event that the performer fails to be present at more t h a n ______rehearsals, he/she will be dropped from the company and shall forfeit all pay for said production plus an additional fee of

ARTICLE 6: The performer agrees to be present at all performances listed on the attached rehearsal schedule. In the event that the per­ former fails to be present at any performance, he/she shall forfeit all pay from said production, plus an additional fine of ______. A d d i ­ tionally, he/she shall not be permitted to participate in any Fort Hayes Theatre Company production for a time not to exceed ______from the date of the last performance of the production contracted for in this agreement. 250

A R T ICLE 1: The performer agrees to arrive on or before, but not later than the stated times of commencement listed on the attached rehearsal schedule. Failure to arrive on or before the stated time will cause the performer to forfeit the sum of ______Late arrivals exceeding the number of ______will cause the performer to be dropped from the company.

ARTICLE 8: The theatre agrees to terminate rehearsals on or before but no later than the times stated in the attached rehearsal schedule. Failure to do so will cause the theatre to award to the entire company the sum of ______.

ARTICLE 9: The theatre may not require the performer to perform any action which may be hazardous to the performer's health or well-being.

ARTICLE 10: The theatre may not require attendance at any rehearsal called that is not listed on the attached rehearsal schedule.

ARTICLE 11: The theatre may not commence rehearsals at a time earlier than that time listed and stated in the attached rehearsal schedule.

ARTICLE 12: The performer agrees to abide completely by the rules stated on the attached list of rules (Form B). Failure to abide by said rules will result in a grade/pay fine of no less than ______or more than ______. This sum will be left to the discre­ tion of the director. Failure to abide by the attached list of rules may also result in immediate expulsion from the production without warning or recourse.

ARTICLE 13: The performer agrees to abide and obey without argument all lawful and moral orders given to him/her by the director or his a g e n t .

Ther performer and the theatre for themselves, their successors, execu­ tors, administrators, and assignees, hereby agree to the full performance of the covenants herein contained. IN WITNESS WHEREOF, the said parties have executed this agreement, the day and year first stated and written a b o v e .

Signed,

(Performer) (Director of Theatre) BIBLIOGRAPHY BIBLIOGRAPHY

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_ , Personal interview with Jack Gibbs, Executive Director of the Fort Hayes Career Center.

_ . Personal interview with Ernest Landis, Director of the Fort Hayes Career Center.