How Hull House Bridged Leisure, Creativity, and Play Ann Goodson Loyola University Chicago

CORE Metadata, citation and similar papers at core.ac.uk Provided by Loyola eCommons Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 2015 The ettleS ment Stage: How Hull House Bridged Leisure, Creativity, and Play Ann Goodson Loyola University Chicago Recommended Citation Goodson, Ann, "The eS ttlement Stage: How Hull House Bridged Leisure, Creativity, and Play" (2015). Master's Theses. Paper 2891. http://ecommons.luc.edu/luc_theses/2891 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 2015 Ann Goodson LOYOLA UNIVERSITY CHICAGO THE SETTLEMENT STAGE: HOW HULL HOUSE BRIDGED LEISURE, CREATIVITY, AND PLAY A THESIS SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL IN CANDIDACY FOR THE DEGREE OF MASTER OF ARTS PROGRAM IN CULTURAL AND EDUCATIONAL POLICY STUDIES BY ANN E. GOODSON CHICAGO, IL AUGUST 2015 Copyright by Ann E. Goodson, 2015 All rights reserved. TABLE OF CONTENTS ABSTRACT iv CHAPTER ONE: A BRIEF HISTORY OF HULL HOUSE 1 Overview of Research 1 The Beginnings of Hull House 3 Hull House’s Commitment to the Arts 8 Conclusion 10 CHAPTER TWO: A SYNTHESIS OF TWO THEORIES 12 A Hull House Pedagogy 12 Play Theory and Hull House 29 Significant Terminology 36 Conclusion 40 13 CHAPTER THREE: A TEMPLE OF SATIRE 41 “That Wonderful Spolin Way”: A Brief History of The Second City 41 “We know we are standing on the shoulders of giants”: Second City as a Historical Artifact 49 “What we are striving for is something that is to be reckoned with”: A Distinct Brand of Social Satire 57 “There’s a fearlessness to the work”: The Role of Play 62 “There are satellites of this training everywhere”: Second City’s Continued Growth 68 Conclusion 69 APPENDIX A: ORAL HISTORY INTERVIEWS 72 Brooke Breit 73 Norm Holly 89 Anne Libera 107 Bina Martin 129 Rachael Mason 146 REFERENCES 161 VITA 163 iii ABSTRACT Of the settlement house movement in the United States at the turn of the century, perhaps the most famous of these houses was Chicago’s Hull House. Founded in a slum by Jane Addams, Hull House provided healthcare, education, recreation, and childcare services to recent European immigrants living in extreme poverty (Addams, 1990). While the impact of Addam’s work at Hull House on modern sociology, education, social work, welfare and child labor laws have been well documented, less celebrated are the contributions made by the arts education programs at Hull House to modern creative dramatics. This thesis examines the presence of arts education, particularly creative dramatics, in Chicago’s Hull House from 1890-1940. I contend that at the turn of the century, the ideologies of recreation and play developed by Jane Addam’s and Neva Boyd combined during their time together at Hull House to produce a new, pedagogical approach to arts education, synthesized in the work of Viola Spolin. The work of Boyd and Addams, further developed by Spolin, combined in Hull House to not only facilitate local community growth on Halsted Street and to provide services to the extreme poor, but to create an altogether new creative discipline and approach to education with significant and lasting historical ramifications. iv CHAPTER ONE A BRIEF HISTORY OF HULL HOUSE In chapter one, I will provide an overview of the research which follows before briefly examining the history of Hull House, including the goals of the settlement, the conditions of Halsted Street during the settlement’s founding, key players in the settlement’s founding, the settlement’s well-documented commitment to the arts, and the historical implications of the work done at the settlement. Overview of Research This thesis will contend that a direct link exists between the theatre education efforts of Hull House, directed by Viola Spolin and under the guidance of Jane Addams and Neva Boyd, and modern trends of improvisation and sketch exemplified by the work of Chicago’s famed Second City Theatre. In the chapters that follow I will argue that Chicago’s wildly popular, provocative Second City Theatre represents the direct result of Spolin’s work at Hull House in the early 1900s. The historical significance of Jane Addams’ Hull House, and the contributions of the settlement to sociology, labor laws, child development, and education pedagogy have been well documented. While much scholarship exists examining the importance of the settlement as a whole, comparatively little exists which examines the significant arts education efforts offered by Hull House. Of this limited scholarship on arts education within the settlement, none directly examines the 1 2 historical correlation between the foundational work done by Viola Spolin at Hull House and the establishment of Chicago’s Second City Theater in 1959. Conversely, while most scholarship on Second City and modern improvisational theater credits Spolin and the improvisational games she developed while working at Hull House as providing some foundation for the later development of Second City, this credit is usually only a brief acknowledgement of her work. Overwhelmingly, books on improvisation, Second City, and drama fail to adequately credit Spolin’s work for providing the entire theoretical foundation upon which Second City is built, choosing instead to focus on the contributions made by her son, Paul Sills. While Sills contributed a great deal to Second City’s founding and his work should not be diminished, it is troublesome that his contributions so often overshadow the groundbreaking work of his mother. It is my contention that students of both theatre and education are remiss to neglect the study of Viola Spolin’s work at Hull House. Devoting consideration to the radical theatre of Viola Spolin provides a more nuanced understanding of both Second City and Hull House. Further, I argue that examining the historical connection between Hull House and Second City reveals that both are far more socially radical and provocative than typical schools of scholarly thought would suggest. In sum, by examining the historical line which may be drawn between Hull House and Second City, there is a great deal to be learned about both. In the chapters that follow, I will demonstrate that Viola Spolin’s work constitutes a synthesis of the ideologies of Neva Boyd and Jane Addams and a groundbreaking new ideology of recreational play. I contend that this new ideology of recreational play lead directly 3 to the founding of Second City nearly 50 years later, and that the type of theatre performed daily on the Second City stages represent a continuation of the work done at Hull House over a hundred years after the settlement’s founding. The Beginnings of Hull House In 1989 Jane Addams and Ellen Gates Starr founded Hull House in a slum on Chicago’s Halstead Street (Dilberto, 1999). Addams, herself the unmarried daughter from an affluent family, felt compelled to establish a settlement house to provide assistance to Chicago’s recent, European immigrants living in extreme poverty. Located in a neighborhood diverse in race, ethnicity, nationality, language, religion and education level, Hull House quickly began responding to the unique and varied needs of the community (Lunbland, 1995). One of the first of what would become a large-scale settlement house movement in the United States, Addams modeled Hull House on London’s Toynbee Hall. Addams intended to create Hull House in the image of Toynbee Hall in an effort to unite Chicago’s poor classes under common citizenship (Dilberto, 1999). When Jane Addams and Ellen Gates Starr took over the Hull Mansion on Chicago’s Halsted Street in 1989, they were joining a desperately needy community (Addams, 1990; Dilberto, 1999; Tims, 1961). Addams and Starr disagreed with policy-makers of the day, believing that it was often injustice, rather than immorality, which could facilitate the spread of poverty (Dilberto, 1999). Addams and Starr quickly observed that what limited charity did exist was painfully inadequate for the needs of the deeply impoverished and ever-growing community of recent immigrants 4 living in the slums of Halsted Street. Addams (1990) recalls the early days of Hull House grimly: One of the first lessons we learned at Hull-House was that private beneficence is totally inadequate to deal with the vast numbers of the city’s disinherited. We also quickly came to realize that there are certain types of wretchedness from which every private philanthropy shrinks and which are cared for only in those wards of the county hospital provided for the wrecks of vicious living or in the city’s isolation hospital for smallpox patients. (p. 202) In referring to the “wretchedness” of Halsted Street, Addams is identifying not just the disease—chief among them, smallpox—and poverty plaguing the community surrounding Hull House, but the ubiquity of prostitution, into which young girls were often lured. Indeed, Addams’ Hull House was one of the only resources in the community willing to assist former sex workers (Addams, 1990). With no playground or safe, communal space in which to play, “children played around piles of rotting garbage and, occasionally, the bodies of horses that had collapsed while pulling carts loaded with junk or vegetables. Sometimes, to amuse themselves, the children fished for rats under the sidewalks,” (Dilberto, 1999, p. 151). So in need of resources and infrastructure was Chicago, Tims (1961) describes it as “a city of garbage and gangsters,” (p. 59). It was in this desperate climate that Addams and Starr established Hull House, with very specific goals in mind for the settlement.

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