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A Bibliographical Study of Canadian Radio and Television Drama

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A Bibliographical Study of Canadian Radio and Television Drama / UNIVERSITY OF SASKATCHEWAN , .. ,' .. ., .. ..... "... PERMISSIo.N TO USE POSTGRADUATE THESES Title of Thesis and , "_A_'_B_1_·b_1�i�o�g�r�a�p�h_1_·_c_a_l__S_t_u_d__y__o_£._C_an a_d_i_a_n__R_a__d_i_o______ Television Drama Produced on the Canadian Broadcasting Corporation's National Network;, 1944 to 1967" Name of Author 'Willis Barry Pearson Department or College Department of Drama 0 Degree Master of Arts .'����. I� presenting tbis thesis in partial fulfilment of the requirements for a postgraduate degree from the University of Saskatchewan, I agree that ,the Librarief! of this make."it available for UniverSity may freely inspectiono. .,J further agree that permission for exbensdve copying of this thesis for ""'scholarly purposes may be granted by the professor or professors who super­ .vised my thesis work or, in their absence, by the Head of the Department or'. the Dean of the College in which my thesis work w$s doneR .It is understood that any copying or publication or use of this thesis or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due re�gnition shall be .. gj,yen to)ne,_aXlg to the Univ�rsity of Saskatchewan in any scholarly use which may be in . ,my thesiso Saskatoon. Saskatohewan. Date April 25, 1968. "A Bibliographical Study of Canadian Radio and Television Drama Produced on the Canadian Broadcasting Corporation's National Network, 1944 to 1967ff A Thesis Submitted to the Faculty of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Department of Drama University of Saskatchewan by Willis Barry Pearson Saskatoon, Saskatchewan May, 1968 The author claims copyright. Use shall not be made of the material contained herein without proper acknowledgment, as indicated on the following page. \)�\"ERS/Ty The author has agreed that the Library, University of Saskatchewan, shall make this thesis freely available for inspection. Moreover, the author has agreed that permission for extensive copying of this thesis for scholarly purposes may be granted by the professor or professors who supervised the thesis work recorded herein or, in their absence,< by the Head of the Department or the Dean of the College in which the thesis work was done. It is understood that due recognition will be given to the author of this thesis and to the University of . Saskatchewan in any use of material in this thesis. Copying or publication or any other use of the thesis for financial gain without approval by the University of Saskatchewan and the author's written permission is prohibited. Requests for permission to copy or make other use of material in this thesis in who�e or in part should be addressed to Head of the Department of Drama University of Saskatchewan Saskatoon,- Canada (i) :. ACKNOWLEDGMENTS I wish to thank my superviso� Professor Emrys Jones, for his valuable suggestions and criticisms during the course of my research and writing. In addition, I wish to thank the canadian Broadcasting Corporation for their co-operation, particularly Mr.! Robin Wood a�d Miss Sharon Marcus \ . , of CBC Program. Archives,' Mr." Bob Clark of CBC Program Records, and Mrs. Sheila Spoerly of CBC Radio Drama and Special Programs.' I am deeply grateful to the Dean and Members of -- the College of Graduate Studies for the Assistantship, the Summer Supplement. and the Travel Allowance which they granted me; (ii) TABLE OF CONTENTS Page INTBODUCTION •••••••••••••••••••••••••••••• (iv) DEVELOPlwIENTS IN CANADIAN RADIO AND TELEVISION DRAMA ••••••••••••••••••••• (ix) '. ABBREVIATIONS AND FORMAT OF CATALOGUE ••••• (xvii) BADIO DBAr1A . (1) TELEVISION DRAMA •••••••••••••••••••••••••• (47) .. BADIO INDEX ADAPTORS AND TBANSLATORS ••••••••••••• (77) AUTHORS AND PLAYWRIGHTS •••••••••••••• (80) PRODUCERS •••••••••••.•••••••••••••••• (99) SER.IES ••••••••••••••••••••••••••••••• (102) TELEVISION INDEX ADAPTORS AND TBANSLATORS ••••••••••••• (104) AUTHORS AND PLAYWRIGHTS •••••••••••••• (106) PRODUCERS •••••••••••••••••••••••••••• (119) SERIES ••••••••••••••••••••••••••••••• (122) (11i) INTRODUCTION When I began to examine the field of Canadian drama in search of a thesis topic, I was impressed by the fact that, although the Canadian Broadcasting Corporation had produced thousands of radio and t.elevis ion plays. no formal study of the CBC's productions had been done since 1948.1 I was particularly interes ted in the playwrightl:s role in Canad1an broadcasting media; however,I found� it imposs1ble to gain any perspective to investigate this subject in depth because no basic research had yet been done. It occurred to me that there existed a number of other questions and avenues of investigation which could be pursued if coherent basic material were available; for example: A. What has been the pattern of evolvement of Canadian radio and televiSion in relation to drama? What are the effects and implications of this evolvement? lSee Robert McDougall, "Drama Designed for Listening" (M.A. Thesis, University of Toronto, 1948). (lv) B. What effect will the popularity of the telev­ ision medium be likely to have upon Canadian playwrights and their development? (When I began my study, it had been my assumption that television was opening great new vistas for the writer. This assumption was proven to be false) • C. What relationship; if any,' exists bet:ween Canadian radio and television drama and Canadian culture? What rolesdo radio and " televiSion productions play in the shaping and reflection of our culture? D.' In view of the number of adaptations of Canadian literary works broadcast.- what effect has radio and television had�upon the publication of works by Canadians? Bas' the Corporation had a significant inflUence upon short story writers� novelists, and poets? It became evident that a catalogue of Canadian radio and television drama would lay the groundwork for studies into the foregoing questions. To help other students and researchers, and to answer some of my own questions, I decided to cross-indeE the catalogue. A work of this (v) sort would be valuable in a number of ways: A. It would furnish a quick reference for specific facts about a particular author, producer, play,series or type of drama. B. It would provide a basis for e�sy quantitative assessment of Canadian radio and television drama. C. It would help researchers 'doing depth studies in the field of Canadian broadcasting by providing a key to the filed and unfiled information held by various CBC departments. (This information is recorded in a number of ways, sometimes by date, sometimes by producer, sometimes by author, and sometimes by series or other category.) D. It would provide a starting point for editors wishing to publish collections of Canadian plays. In addition to being a valuable reference source, I felt that the undertaking would provide me with knowledge about research procedures and methods particular to this type of investigation which could be helpful to others (vi) doing work of this type or in this area of research. The following is a summary of my sources and procedures which may assist others wishing to pursue studies involving Canadian broadcasting media. There are three basic sources: The CBC National Drama Department, the CBC National Script Department, and CBC Program Archives, all located in Toronto. The National Drama Department has a chronological listing (by aries) of all "dramatic programs, plus names of authors and producers in most cases. The National Script Department has a list of Canadian televiSion dramas arranged by series and year. I found both of these depart­ ments to be very co-operative in providing material from their files. CBC Program Archives is working on a cross­ indexed card file compiled on the basis of discs and tapes of radio programs,' both dramatic and non-dramatic. This file is not complete and there is�large uncatalogued section of recordings. Secondary sources of information include: CBC Program RecoIds and CBC Library, both'1m Toronto, as well as regional production centres in Vancouver, Winnipeg, Montreal and Halifax. CBC Program Records has a large collection of scripts and daily records of broadcasting schedules. Some of these records are on (vii) mlcrofllm, and are card-lndexed, others are flIed chron­ ologlcally, but are uncatalogued. The CBC Lllrary has cllpplng flIes on most CBC personnel and programs, in addltlon to a complete bound collectlon of the CBC Times (another collection of which is held by the National Library in ottawa).' Regional production centres have records pertaining to their own productions, but usuallT theT have no complete lists of information; therefore, if a researcher needed a substantial amount of material, he would have to gain access to the files and extract lt himself. (viii) DEVELOPMENTS IN RADIO AND TELEVISION DRAMA Radio Since its inception in 1944. CEC radio drama has been shaped by the growth and change inherent in a popular creative art. Among the most significant developments were an interes t in Canada and what it means to be Canadian. a trend toward more complex and sophisticated drama, and the development of Canadian writers with special skills particularly 'suited to radio. For Canadians in the 1940's the long process of self-discovery as a people and a nation had barely begun. Canadian radio writers, working in a medium that leapt across a geographically disparate country and gave them half a continent for an audience, quickly developed an interest in Canadian people, places, culture and
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