THE DEVELOPMENT OF A GRADUATE

ACHIEVEMENT TEST

IN THEATRE

DISSERTATION

Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University

By BILL G. HULSOPFLE, B. S. in Educ., M. A.

The Ohio State University 1958

Approved by:

Department of Speech ACKNOWLEDGMENTS

I would like to express m y deep appreciation to all those individuals who have helped to make this study possible. This list of individuals includes professors and students from various depart­ ments at The Ohio State University but especially those professors and students in the Department of Speech.

Nfor gratitude is extended to Professor John E. Dietrich who, as my adviser, has offered encouragement and suggestions that have profoundly contributed to the progress and completion of this study. I am especially indebted to Dr. Wallace 0. Fotheringham who has patiently and unselfishly given of his time. Without

Dr. Fotheringham*s advice and counsel, this study would not have been possible. I would like also to thank my wife, Vivian, who has been a constant source of inspiration, as well as a captive listener and adviser.

ii TABLE OF CONTENTS

Chapter Page

I. SETTING OF THE STUDY ...... 1 Statement of the purpose of the study • •••••• 1

The importance of a broad, general background in

theatre • .••••••••••••••••••• 4

Need for a graduate achievement test in theatre • • 6

Definitions of terms used • ••••••••••.. 8

Organization of the remainder of the study • • • • • 8

II. SELECTION OF METHODOLOGY TO BE USED ...... 10

Methods used in selecting a master list of

vocabulary entries •••••••••••••••• 11

Methods used in pre-validating test items • • . • . 17

Methods used in establishing a background criterion. 20

III. METHODOLOGY OF THE STUDY ...... 25

Procedure used in selecting the master list of

words, terms, and symbols •••••••••••• 26

Procedure for the selection of pre-validated entries

from the master list ••••••••••••••• 31

Procedure in test item construction and writing

the test .•••••••••••••.«••••• 39

Procedure in the development of the criterion . . . 45

Procedure in the administration of the test .... 51

Procedure in the analysis of the test ••••••• 53

iii p iv Chapter Page

IV. PRESENTATION AND EVALUATION OF RESULTS...... 57

Results of procedures used in selecting entries

from the master list ••••••••••••••• 66

Results of procedures used in writing the test . . . 75

Results of procedures in developing the test

c r i t e r i o n ...... 81

Results of procedures in scoring backgrounds • • • • 89

Results of procedures in analyzing the test • • • • 93

V. SUMMARY AND CONCLUSIONS...... Ill

Summary •••••••• ...... ••••••••• m

Conclusions ...... 112

Implications for further study ...... 116

BIBLIOGRAPHY...... 118

APPENDIXES ......

A. Master list of words and terms ...... 121

B. Test: Form 51858 153

C. F o r m s ...... 189 LIST OF TABLES

TABLE PAGE

1* Preliminary Bibliography of Test Materials...... 5S

2. Qualifications of Experts Selecting Sources for

Words and Terms • ...... 63

3* Frequency With Which Sources Were Selected by

Forty-one Experts • •••••...... 63

4« The Basic Sources of Test Materials ....••••• 65

5* Distribution of General Graduate Sample by

Departmental Affiliation ...... 67

6. Distribution of General Graduate Sample by Major

and Minor Background Affiliations • •••••.•• 69

7« Use of High Familiarity Ratings on Fictitious Terms

at Various Levels of Graduate Standing ••••••• 70

B0 Distributions of Familiarity Indexes in a Sample

of 39 Words in General Usage Compared With a

Random Sample of Words and Terms from the

Master List • ••••••••••••••••••• 72

9. Mean Familiarity Ratings on Infrequent Words and

Terms by Doctors and near Doctors in Theatre • • • • 74

10. Per Cent of Course Work Offered by Various Schools

in Each of Eleven Sub-Areas in Theatre Included

in the Test • ••••••••••*••.••••• 7B

11. Qualifications of Experts Rating Types of Training

and Experience ...... 82

v vi

TABLE PAGE 1 2 . Means and Standard Deviations of Expert Ratings of Types of Training and Ex rience •••••••••• 83 13.Comparison of Scale Values Resulting from Grouping with the Individual Mean Ratings of Fifteen Types of Training and Experience ••••••••••••• 85

14. Advanced Student Formal Production Experience . • . . 87

15. Scale Values Assigned for Formal Production Experience 90 16.Test Items Built around Acceptable Words and Terms Compared with Those not in Respect to Item Validity

and Item Difficulty •••••••«•••••••• 92

17. The Total and Major Division Background Indexes and

Test Scores •••••••••••••••••••• 94

18. Validity of Total Test and Major Divisions of Test • • 96

19. Tentative Predictions of Background Indexes from

Various Test Scores •••••••••••••••• 98

20. Reliability of Total Test and Major Divisions of Test. 99 21. Data on Sub-areas: Tertile Means and F Ratios • • • . 100 22. Item Analysis of Test: Item Difficulty and Item Validity ...... 101 CHAPTER I

SETTING OF THE STUDY

The purpose of this study is to answer the question: nCan

a graduate achievement test, based on the vocabulary in the field

of theatre, be developed that will satisfactorily estimate the back­

ground of graduate theatre students?” In determining the answer

to this major question, the study proposes further to answer a

number of subsidiary questions:

(1) Can an acceptable criterion be developed?

(2) Can this graduate achievement test in theatre meet acceptable standards of item difficulty without sacrificing item validity?

(3) Can test validity, reliability, and efficiency be maintained despite the comprehensiveness of a graduate achievement test in theatre?

(4) Can this graduate achievement test in theatre meet the commonly accepted standards of good test con­ struction?

(5) Can the vocabulary entries in the master list be relatively free from the influence of specific institu­ tions or geographical areas?

(6) Can a criterion of the background of graduate theatre students be built which will be relatively free from the influence of specific institutions or geographical areas?

Different steps have been taken in many institutions in recent years to determine the background status of graduate theatre

students* Attempts have been made to estimate their backgrounds on

1 2 the basis of grades and rank-in-class from official transcript s*^"

There have been attests to estimate background from letters of recommendation* Attempts have been made, also, to estimate this background status through testing*^ However, to this author*s knowl­ edge, no published results of a graduate achievement test exclusively in theatre have been made available* A graduate achievement test, for the purposes of this study, is defined as na test designed to measure the results of learning or teaching* • *"3

The development of a graduate achievement test in theatre, based on the vocabulary of the field, is the purpose of this study*

Such a test could be submitted to a graduate population and its results analyzed and made available*

The idea that special vocabularies, peculiar to specific fields, do exist is not new*

A student of astronomy would have a good vocabulary of astronomical terms at his command; a keen baseball fan can discuss the intricacies of the "diamond" in a language quite unintelligible to the layman* • •

^For a discussion of these as methods of estimating back­ ground status, see Chapter II* 2 Hubert Heffner, "Common Grounds for Speech and Theatre," Educational Theatre Journal. V (1953), 344*

^Clarence L* Barnhart, editor, Ths American College Dictionary. (New York: Random House, 1947), p* 10*

^Gladys C* Schwesinger, The Social-Ethical Significance of Vocabulary (New York City: Bureau of Publications, Teachers College, Columbia University, 1926), p* 13*

W 3 The fact that this vocabulary Is "quite definitely a func­

tion of the topic" has also been substantiated.5 In the planning

and developing of a test which deals primarily with vocabulary, it

is recognized immediately that other factors, i.e., intelligence,

unusual recall ability, etc., have an effect upon the final results.

Those results should not be disturbed too radically, however, in

light of studies where comparisons between test scores and intelli­

gence have been made. The value of vocabulary in testing intelli­

gence, for example, was shown in a study by Gerlach who showed that

a person with low intelligence could make good grades within a

particular field through application. At the same time he noted

that a highly gifted person through lack of application could score

poorly with respect to that particular field. From these comments,

Gladys Schwesinger drew the inference that "whatever measures this

general capacity {intelligence], does at the same time tend to

predict behaviour within a specific field, if experience within that

field has been provHed."^ Miss Schwesinger also concluded from her

study, "The Social-Ethical Significance of Vocabulary," that for

those individuals who had had emphasized experience in a particular field, "there is found to be an increased ability in verbal expression,

^Walter S. Monroe, editor, Encyclopedia of Educational Research (New York: The Macmillan Company, 1952), p. 389.

^F. M. Gerlach, "Vocabulary Studies," Studies in Education and Psychology. Colorado College, No. 1, 1917# quoted in Schwesinger, op. cit*, p. 9* 7 'Schwesinger, op. cit.. p. 9. which ability is not attributable to intelligence alone."® From this it can be inferred that intelligence as a factor, within a particular field of study, could contribute to varying degrees of success; at the same time, success in that particular field is unlikely without experience in the field itself.

Other qualities such as talent, creative ability and imag­ ination, a sense of space relationships, etc., are necessary contri­ butory factors in many successful theatre situations. Because of this it would seem highly desirable if, ultimately, a complete battery of tests for the field of theatre might be available. It is not the purpose of this study, however, to construct such an omnibus test.

With the belief that one measurable condition in the study of theatre is a knowledge of the vocabulary of the field, the purpose of this study is limited to the development of a graduate theatre test based upon theatre vocabulary.

The Importance of a Broad. General Background in Theatre

Emphasis has been placed repeatedly upon the necessity for a broad, general background for graduate students in theatre.

They must be well read in the dramatic literatures of the world, grounded in the history and development of the theatre; students of the history of culture and style; trained in stage directions; familiar with the arts contributory to the art of the theatre; capable not only of directing, but, if necessary, of doing the necessary

®Ibid.. p. 71. technical 'work of production; • • • in short, as highly trained as experts in any other departments of college instruction. Some will be specialists in direction, design, lighting, costume, acting, dance, music— but all must share a point of view....°

This approach to a study of theatre arts, stated by A. M.

Drummond in 1926, is still being practiced in American universities today. Stipulations attendant upon the acquisition of an M.F.A. degree at the University of Texas indicate that—

The graduate student may major in four fields: produc­ tion, drama education, theatre history and criticism, playwriting.

The department offers some 50 different courses in all phases of theatre. • v, all requiring work of all students on crews (lighting, costuming, stage building, publicity, house, etc.) and in laboratory exercises. • • 0

At Tale University the following description is provided:

The aim is to acquaint students with ail aspects of theatrical art, so that graduates of the department are not only qualified to undertake special duties, but are provided with broad training, both theoretical and practical, in allied subjects. •

Quotations from other institutions could add length and strength to these examples. However, additional examples would

^A. M. Drummond, "The Theatre in Colleges and Universities, The Drama. XVII (October, 1926), 32.

■^Pb . P. Conkle, "Drama at Texas," Theatre Arts. XXIV (April, 1950), 51.

UNorman Philbrick, "A Flan for a Graduate Program in Drama," Educational Theatre Journal. V (1953), 94* result in unnecessary- repetition* Therefore, it is reasonable to

state that departments in theatre offering advanced degrees generally

promote a broad approach in the training of their graduates and that

this training consists of experiences both within and without the

classroom.

In order to meet the conditions of a broad, general back­ ground, those specific smaller proportions of the complete field of theatre helping to comprise that background must be determined*

These specific smaller proportions of the complete field of theatre are referred to as wsub-areasn in the remainder of the study* The determination of these specific sub-areas is associated relevantly to the comprehensiveness of the vocabulary used*

Meed for a Graduate Achievement Test in Theatre

The development of a graduate achievement test in theatre could give impetus to the functions of measurement in many institu­ tions*^ In addition, such a test could help solve the problem of estimating the background status of graduate students in theatre*

Evidence of this problem is given in an account by Hubert

Heffner* Heffner tells of the student, with a beautiful transcript,

■^According to one source these functions deal with (1) the facilitation of learning, (2) the improvement of instruction, (3) the counseling of students, and (4) the placement of students* See E* F. Lindquist, editor, Educational Measurement (Washington D.C*: American Council on Education, 1950), pp. 3-116* ■who arrives on the scene for graduate work in theatre* Later it is discovered that the student knows very little about drama and the theatre.

When that student is called into conference to explain his lack of knowledge, he states that he spent his last year or his last two years in college playing roles in plays or working on backstage production crews, and that, in return for his excellent work in one of these positions, he was largely excused from the work normally required in such courses as appear on his academic transcript* He has been given academic credit toward his degree fpr work which he did not do and frequently has been given high grades for that work because he was a good actor or a good stage technician. •

A solution to this problem might cause the critics of this field of study, such as Edwin Burr Pettet, to look upon academic theatre more favorably. Pettet, noting conditions similar to those cited by Heffner, wrote **• • • Drama departments teach show business

English departments teach literature* Who teaches theatre?**^

In summary, the development of a vocabulary-type graduate achievement test in theatre takes place in a setting that recognizes

(1) the various attempts which have been made to estimate the back­ ground status of graduate theatre students, (2) the knowledge of vocabulary which is acquired through training and experience in specific fields of study, (3) the value of a broad, general back-

•^Heffner, loc* cit*

^■Edwin Burr jPette-Q, ^Educational Show Business Has No Business,** Theatre Arts. XXXVI (April, 1952), 93. ground in the field of theatre, and (4) the problems associated with attempts to estimate the background status of graduate theatre students*

Definitions of Terms Used

To avoid confusion, the following definitions of terms are provided for the remainder of the study:

(1) Non-production situation. An instance not involv­ ing a performed play before a public audience* In this study a non-production situation deals mainly with class­ room situations* In addition to this, however, it may involve instances of speaking and publishing not necessarily related to the classroom*

(2) Production situation. An instance in which a play is performed for the public*

(3) Training* The learning acquired through formal non-production situations*

(4) Experience. The learning acquired through formal production situations*

Organization of the Remind of the Study

The remainder of the study consists of four distinct steps*

First, a review of the literature and a selection of the methodology are presented in Chapter II*

Second, a discussion of the steps and procedures which were followed in developing a graduate achievement test based on theatre vocabulary is presented in Chapter III*

Third, the results and analyses of the steps and procedures used in developing a graduate achievement test in theatre are presented in Chapter IV* This chapter provides the data for answering those questions which formed the purpose of the study.

Fourth, a summary of the study itself, the conclusions, and the implications for further study resultant from the findings are presented in Chapter V. CHAPTER II

SELECTION OF METHODOLOGY TO BE USED

Certain basic procedures are followed after the objectives have been determined in the development of a test. These procedures generally involve (1) the selection of materials for the test itself and (2) a series of steps through which items are validated.-^

A third basic procedure deals with the validity of the test

"The essential question of test validity is how well a test does the job it is employed to do. • ,”2 A decision must be made with respect to the selection of a criterion before this question can be answered.

The criterion of a test, if it is valid, will indicate the relative degree to which the testee has "attained some specified educational objective. • ."3

Therefore, three major procedures must be determined in considering the methodology to be followed in the development of a graduate vocabulary-type achievement test in theatre:

(1) The method through which vocabulary entries may be obtained for a master list

(2) The method through which the test may be prevali- - dated (at least partially)

(3) The method through which background criterion may be established

^■Edward B. Greene, Measurements of Human Behavior (New York The Odyssey Press, 19£l), p. 6.

^Lindquist, pp. cit.. p. 621.

p. 625. 11

Each of these procedures was determined by reviewing the available literature dealing with vocabulary-type achievement test construction.

Methods Used in Selecting a Master

List of Vocabulary Entiles

One of the first considerations in the construction of any test based upon vocabulary is the means through which the vocabulary can be obtained. Many studies have been made in which varying methods have been used. One of the first methods was that used by

E. A. Kirkpatrick in 1907, who was interested in testing general vocabulary. Kirkpatrick, using Webster*s Academic Dictionary, made up a list of one hundred words which were selected on a predetermined basis. He used the first, second, third, last, or any other single word on every sixth page of the dictionary. After compilation of the list, the study involved the testee*s reaction by means of orally and visually presented stimuli. By having the testees indicate those words they knew with a plus sign, those they did not know with a minus sign, and those about which they were not sure with a question mark,

Kirkpatrick was able to draw conclusions with respect to the type of stimulus which had been used.^

E. W. Doran, using Webster>s High School Dictionary.

^E. A. Kirkpatrick, "A Vocabulary Test,” Popular Science Monthly. LXX (1907), 157-64. 12 selected words either by a predetermined order or randomly. His testees were required to give either written or oral definitions.5

Many variations of this method of selection followed, including that of L. M. Toman,^ but none were radically different.

In 1915 Or. M. Whipple, using the Kirkpatrick list and method, attempted to test knowledge in a particular field. He extended the list in order that it might contain one hundred addi­ tional words which were carefully selected. These words were

. . . representative of some specific field of knowledge or activity, in the sense that if S. has not made him­ self familiar with a given field, he will almost cer­ tainly not know the tern, or at least will not have such knowledge of it as to enable him to define it exactly. Thus, general knowledge of American history is tested by the name fAnthony Wayne, * knowledge of French by ’au.jourd *hui.1 of chemistry by * chlorine, * of ethics by ’hedonism, * of golf by ’midiron, * of social usage by ’R.S.V.P., * and of the technique of photography by *f-64,•' etc.'

In criticism of this method, however, a list of one hundred words, representative of a variety of fields or activities lacks the comprehensiveness to estimate a person’s knowledge in a specific field or activity.

Very little was ever done by the earliest pioneers with

5e . W. Doran, nA Study of Vocabularies,” Pedagogical Seminary. XIV (1907), 401-38.

^L. M. Terman, The Measurement of IntftTUy<=mce (Boston: Houghton-Mifflin Co., 1916)7 pp. 1-1^3.

?G. M. Whipple, Manual of Mental and Physical Tests. Part II (Baltimore: Warwick and York, 19157, p. 317. respect to word difficulty in the development of these lists of vocabulary. According to Starch the first step in this direction was taken by E. L. Thorndike in 1916.® The significance of the word- dlfficulty evaluation by Thorndike in his "Visual Vocabulary Tests" was that it led eventually to a new method in word or vocabulary selection. In 1921 Thorndike's Teacher's Word Book based upon an estimation of the "commonness and importance of words"^ made its appearance. In this book Thorndike listed alphabetically the ten thousand most commonly used words. After each word was a number denoting the order of importance of that word. Thorndike then suggested that grade standards with respect to vocabulary achieve­ ment could be adapted from the list. His own tests on word knowledge resulted from this suggestion.

Later, together with Irving Lorge, Thorndike published

The Teacher's Word Book of 30.000 Words.^ In compiling this list the authors made only a word and partial abbreviation count. In addition to this the Thorndike method involved the grouping of words and their variations as follows:

®D. Starch, Educational Measurement (New York: The Macmillan Company, 1916), p. 195*

^E. L. Thorndike, The Teacher's Word Book (New York: Bureau of Publications, Teacher's College, Columbia diversity, 1921), p. iv.

^9e » L. Thorndike and Irving Lorge, The Teacher's Word Book of 30.000 Words (New York? Bureau of Publications, Teacher's College, Columbia University, 1944). 14 Regular plurals, comparatives and superlatives, verb forms in a, d, ed, and ing. past participles formed by adding n, adverbs in that occur less than once in a million words, and equally rare adjectives formed by adding n to names of places are ordinarily counted in under the main word* So are words which have special mean­ ings when capitalized and words usually capitalized which have special meanings when not capitalized* • • • in general participial adjectives and verbal substantives are included under the main word* The general principals followed are; Every occurrence is counted somewhere* No occurrence is counted twice*

• • • certain rare contractions, proper names, foreign words, and slang words are not counted in the list unless they occur in at least three of the four counts* This avoids cluttering up the list with words of almost no importance and of questionable occurrence* • *•*"*■

A number of special word counts have been made in the years

that have followed the appearance of the original Thorndike word list*

Edward B* Greene reports that **. • • In order to examine special vocabularies in special fields, word counts have been made of textbooks

and other publications in both physical and social sciences***-^

One of the important earlier studies was made by L* C*

Pressey* In this study 14 different fields were represented* Through

the cooperation of interested teachers, essential terms for both high

school and college level have been selected for many of the fields*

These fields include arithmetic, German grammar, physics, music, etc*^

U -Ibid*. p, ix*

■^Greene, op. cit*. p* 166*

43l * C* Pressey, •‘The Determination of Technical Vocabu­ laries in School Subjects,** School and Society (July 19, 1924), 91-96. With respect to graduate testing, however, very few tests have been developed* Most notable among the graduate tests of achievement have been the Graduate Record. Examination and The Miller-

Analogies Test* Another graduate test, the Fotheringham Terminology of Speech and Hearing Disorders Test, has been used rather extensively in the area of speech science at the Ohio State University.

The Graduate Record Examination is not based exclusively on vocabulary* However, it has some vocabulary-type items* This examination is constructed in a manner described below*

For a given area three people are selected who make up a list of objectives* These objectives are stated in specific terms*

After this a group of item writers attempt to write items in keeping with these objectives* A few of the items are of the vocabulary- type. After construction, the test items are given to the statistical staff who compute data through a series of test runs.^*

In addition, the Graduate Record Examination in speech covers the entire range of speech activities, i.e*, speech science, public address, theatre, etc* It was not designed as a comprehensive measuring instrument for one specific area within the field of speech*

The Fotheringham test resulted from a study which made use of the basic concept behind the word count inaugurated by Thorndike*

Fotheringham refined and extended this earlier method in order to

^Conference with Dr* John Horrocks, June 25, 1958 16 acquire a master list of "words, compound terms, symbols and abbre- yiations.**^ These, he reasoned, would represent more generally the vocabulary of graduate students in a specific field*

The general outline that was used is as follows:

Sources are counted* Every source, in which a word, term, symbol, or abbreviation, or variation of it occurs, is counted until two or more sources have been noted containing the entry a cumulative total of ten or more times* The frequency of occurrence of each entry is counted* Every variation of an entry is grouped under the main entry and counted, in any one source, until a total of ten occurrences have been found, or until two or more sources contain the entry a cumulative total of ten or more times* No occurrence is counted twice*

• • • The present study, because of its purpose, does include foreign words and proper names if they are part of a compound term* • • Furthermore, as is implicit in the purpose of the list, only those words, terms, symbols, and abbreviations which the author judged to be identified with the area of speech and hearing disorders were included* • • Finally, entries were excluded when considered in such general use that they would be useless in graduate test construction* •

This latter method, which had been designed to produce a master list of words, terms, etc., in a specific field of study is the one which was selected for the present study.

In the present study a further extension in the selection of words and terms was felt necessary in a field such as theatre*

This extension is discussed in Chapter III*

^Wallace C* Fotheringham, A Study of Methodology in the Construction of a Graduate Achievement Test in the Area of Speech and Hearing Disorders. Ph.D. dissertation (Columbus: The Ohio State University, 195l), p. 52. .

I6lbid*. pp. 52-53. 17 Methods Used in Pre-validating Test Items

The method used by Fotheringham for selecting words, terms, etc*, for a master list was considered adaptable for a similar test in theatre* Consequently, his methods with respect to pre-validation and establishment of a criterion with which the test scores could be correlated were studied*

The Fotheringham method of pre-validation was Judged to be the best for this particular study* He had submitted entries from the master list of words and terms to graduate students outside the area of investigation. This was done on the basis that groups of graduate students in other departments were comparable to those for whom the test was constructed with respect to **age, maturation, motivation, and intelligence, yet. • • quite different in scholastic background* • Further, he had hypothesized that—

First* » . entries occurring frequently in the literature of the area would be more valid test material than those which occurred infrequently* Second, entries which were essentially unfamiliar to students outside the area were selected on the assumption that such entries would result in more adequate test item difficulty and validity* Third, entries which were significantly more familiar to students of the area than comparable students outside the area were assumed more likely to result in valid items.-1-®

^Ibid. ■ P* 56 18Ibid.. p. 54 IS

On a form provided, the non-speech graduate students rated the words on a scale from one to five* Through this method it was possible to compute a non-speech graduate familiarity index for each of the entries in the master list*

Other methods of pre-validation that might be considered are those used by Thorndike and by the Graduate Record Examination*

In the former study Thorndike had maintained that nan accurate gradation with respect to importance gives a reasonable gradation with respect to difficulty*As stated above, this was the first time that serious consideration had been given to the idea of word difficulty. Later, however, Edward Dolch pointed out, through a number of other studies, that Thorndike was "• • • not altogether right in assuming. • • that difficulty is measured by frequency* • •**20

Dolch continued his discussion of this method by stating that "• • • therefore one would not be entirely safe in grading words in school readers according to frequency in the Word Book."2'*'

In answer to this shortcoming Irene Gansl, writing in 1939, stated that the Thorndike list was nevertheless *». * . far superior to any one person’s judgment of the importance of words and has been accepted as a basis on which to build a true scale of vocabulary*"22

^Thorndike, The Teacher’s Word Book, loc* cit.

^Edward W* Dolch, Reading and Word Meanings (Boston: Ginn and Company, 192?), p* 55*

2^Loc. cit* op Irene Gansl, Vocabulary: Its Measurement and Growth (New York: Archives of Psychology, No* 23<>, 1939), P* 9* 1 9 The Graduate Record Examination, on the other hand, uses a method of pre-validation which has become popular with national testing agencies who attempt to standardize their tests. Known as

either the standardized test or formal test, there are three distinct steps that contribute to its validation:

(1) The formal test has more rigidly standardized directions for administration and scoring which come from the revision of many preliminary trials. ^

(2) The context of a formal test has been more thor­ oughly scrutinized to include only important facts and skills, and to eliminate ambiguities and chance factors.

(3) The formal test has ««na.ny been more widely applied, so that norms are available for many persons in various age, grade, or nacunati onal group's.***

The difficulty with the latter method in its application to the present study is directly related to the sample size available.

The method used in pre-validating items on standardized tests auto­ matically assumes the availability of a large number of testees representing a wide geographical area. With respect to the sample size available in the field of theatre, in any institution throughout the country, it was reasoned that no institution in its best year would be able to muster a sample in excess of 50 students. Graduate theatre students at the Ohio State University in 1958, for example,

2% h e italics used in these three points are mine, intended to emphasize those important features which differentiate such a process from the Fotheringham method.

^Greene, pp. cit.. p. 37. 20

numbeared 29* Because of this, preliminary test trials were not con­

sidered feasible as a method of pre-validation* With respect to the

representation of a wide geographical area, however, other steps

could be taken to insure that the test, itself, would meet such a

requirement *^5

Methods Used in Establishing A Background Criterion

The method used by Fotheringham for establishing a back­

ground criterion was adopted in this study* This method was selected

on the basis of its having possessed those qualities which are

desirable in a criterion measure* These are M. • • (l) relevance,

(2) freedom from bias, (3) reliability, and (4) availability. • •n2^

Briefly, this method consisted of carefully stated types

of background training or experience that the graduate student might

have had* Scale values were assigned to each type of training and

experience through computing the ratings received from the experts*

Then the testee was asked to fill out a sheet indicating thevtype or

amount of experience he had bad for each of the types of training or

experience listed* It was possible to obtain a background index

score for each testee through substituting and adding the expert

^See the discussion on the method of selecting a basic list of test materials in Chapter III*

^^Robert L* Thorndike and Elizabeth Hagen, Measurement and Evaluation in Psychology and Education (New York: John Wiley and Sons, Inc*, 1955;, p* 118* 21 ratings for each type of training and experience. The correlation through this method in the Fotheringham study was *83 *2^

Other methods that have been used in establishing background criterion have included grades and rank-in-class based upon transcripts as well as letters of recommendation.^® No discussion of the lack of validity accompanying transcripts and grades seems necessary in view of the discussion dealing with the value of these criteria by Hubert

Heffner, above* While grades may be a good criterion in some educa­ tional or training programs,^ a better system should be sought for a study such as theatre* An obvious alternative course to follow would be to analyze letters of recommendation^® However, these usually deal in general terms with purely subjective judgments regarding the students* ability, past success and predictions of success in the future*

Other methods of establishing a criterion include the use of previous tests as that criterion* This was done by Thorndike in 1947 when earlier scores on a Stanford-Binet test were used as a predictor for a w* • • difficult Verbal-Comprehension test given during the 31 last year of high school* • •” A review of this method, however,

^Fotheringham, op* cit*. p* 124*

^^E* V* Hollis, Toward Improving Ph.D* Programs (Washington D.C.: American Council in Education, 195l)» p* 32.

^Thorndike and Hagen, op. cit*. p. 117*

^°Hollis, loc* cit*

^Greene, op* cit*. p. 149* 22 shows that the correlation varies a great deal in relation to the time of the initial testing* • • The correlations decrease from

•71 for Binet Tests given in the tenth grade to *39 for Binet Tests given in the first grade* • *n32 No previous test scores are known to hear a distinct relationship to a study of theatre at this time*

In a summary of the review of the literature, it can be said that the Fotheringham method has been found to possess qualities

(l) for the selection of a master list of words and terms, (2) for pre-validating the test materials, and (3) for establishing a back­ ground criterion that appear to make it a superior method to be adapted for the purpose of developing a graduate achievement test in theatre*

In addition to these qualities the Fotheringham method had other features that w o t s in keeping with good testing procedures*

First, the Fotheringham method possessed a uniform procedure with respect to test item construction. The importance of this pro­ cedure was pointed out by Gansi in her criticism of an earlier college exam, the CAVD, which '*• * * used 3 forms of multiple choice: picture, oral word, and written word selection.”^

Second, this method had attempted to arrange items on the basis of increasing difficulty* The significance of such a procedure was shown by Johnson 0*Connor in his re-arrangement of the items in

32xoe. cit*

Gansi, op. cit*. p. 10* 23 the English Vocabulary Test, Worksample 95* Prior to this time the

alphabetically arranged items were a part of the Inglis Test of

English Vocabulary.^

A third feature, which indicates the validity and reliability

of those methods employed, is the value of the test as a descriptive instrument. Dr. John Black, of the administrative staff in the area

of speech and hearing disorders at the Ohio State University, stated that—

The achievement test that Dr. Fotheringham constructed around materials of Speech and Hearing Science has been a real help to us. All entering graduate students have taken the test within a few weeks after beginning their graduate study. . . . Students and staff alike sense the broad scope of the test and appreciate that a weak score din a section of the test indicates that a student needs specialized work in that area, either through courses or individual study.

From time to time we have surprised students by asking them to take the test a second time after a substantial period of graduate study, usually a year. The differences between the two scores invariably are heartening .35

With respect to student reaction to the test, Dr. Sheila

Morrison, who took the test while working toward her doctoral degree, gave the following appraisal:

A completely detailed and comprehensive test, the Fotheringham achievement test yielded scores which made

^Johnson 0 f Connor, Psychometrics. A Study of Psychological Measurement (Cambridge, Massachusetts: Harvard University Press, 1934)> pp* 134-42. 35i,etter from Dr. John ¥. Black, Director, Speech and Hearing Clinic, Department of Speech, The Ohio State University, Columbus, Ohio, May 13, 1958* 24 possible an evaluation of the extent of my knowledge in the field of Speech and Hearing Science* Strengths and weaknesses were indicated by relative scores on areas of information*

The result of this evaluation was the selection of courses which completed my weaker areas and avoided repe­ tition of c oura e-areas in which I had already demonstrated proficiency*

In my opinion, the test and the evaluation based on the scores on the test were of considerable importance in directing my individual s t u d y *

From these features it can be seen that the method selected for the development of a graduate achievement test in theatre possessed procedures which contributed to good test construction* In addition, the test possessed the feature of being useful as a descriptive instrument*

3^Letter from Dr* Sheila G* Morrison, Assistant Professor, Speech and Hearing Clinic, Department of Speech, The Ohio State University, Columbus, Ohio, May 24* 1958* CHAPTER III

METHODOLOGY OF THE STUDY

During the fall quarter of 1956, the various procedures and steps for the study were outlined* These procedures provided a means for determining the answers to those questions which formed the purpose of the study* The steps of the study, grouped under six general categories, were as follows:

(1) those procedures leading to the compilation of a master list of words, terms, and symbols used in the area of theatre

(2) those procedures used in reducing the master list in order to obtain a pre-validated list of words, terms, and symbols that would discriminate between those of varying backgrounds in theatre

(3) those procedures specifically associated with test item construction and the writing of the test

(4) those procedures resulting in the development of a criterion with which the scores on the test could be compared

(5) those procedures used in the administration of the test

(6) those procedures that composed the plan of test analysis1

The methodology and its evaluation in this study are quite similar to those established by Wallace C* Fotheringham* The author of this study would like to call the reader*s attention to chapters II and III of that particular study, A Study of Methodology in the Construction of a Graduate Achievement Test in the Area of Speech and Hearing Disorders. Ph*D*, dissertation, The Ohio State University, 1951, 4rf53& 25 26

Procedure In Selecting the Matter List of

Words. Terms, and Symbols

The compilation of a preliminary bibliography was the first step taken* The preliminary bibliography contained sources of words, terms, and symbols, peculiar to a study of theatre* Conditions governing the bibliography were as follows:

(1) It should contain only sources that are widely used by students of theatre*

(2) It should contain content and discussion in all the sub-areas of theatre*

(3) It should contain several 8010*063 emphasizing for­ mal theatre production problems specifically*

(4) It should not be so extensive that it might dis­ courage adequate consideration by those directors of theatres and graduate faculty who would be asked to select items from the total list*

The preliminary bibliography was established through consul­ tation with the theatre staff at the Ohio State University^ and inclusion of sources from several non-official bibliographies from other universities* This preliminary bibliography met the conditions outlined above* After revision, the bibliography was made up of 58 sources These sources were grouped differently on two separate forms* The first form contained the sources grouped alphabetically by authors* The second form contained alphabetical groupings by

^For a discussion of these sub-areas see pages 40-1*

^Specifically these were Dr* Roy Bowen, Dr. John Dietrich, Dr* John McDowell, and Dr* Everett Schreck*

^•See Table 1, pp* 58-61* 27 title conditioned by the particular theatre sub-area under which the source could be classified* These forms were to be submitted to

"experts" in theatre*

An "expert" was described as one who was engaged not only actively in the graduate education of theatre students, but one who could meet one or more of the following requirements:

(1) possession of a doctoral degree

(2) director of theatre in an institution where graduate students are an active part of the total program

(3) a graduate faculty adviser to students in theatre

It was desired that these experts represent wide geographical distribu­ tion as well as a wide variety of institutions offering graduate work in theatre* If these qualifications were met, the group of experts, in general, could consist of qualified persons in graduate theatre education while reducing the effect that one institution or geograph­ ical area might otherwise have on a study of this type*

The two bibliographic forms were duplicated prior to the national annual joint conventions of the S*A*A*^ and A*E*T«A*^ held in Chicago, Illinois (December, 1956)* It was felt that enough experts could be met there so that use of the mails could be elimi­ nated and studied responses could be more assured*

At the convention the author was introduced to experts through members of the speech staff of the Ohio State University*

^Speech Association of America*

^ A m e r i c a n Educational Theatre Association* 28

These experts were asked to check no fewer than ten nor more than 12

of the 53 sources included in the bibliography. The experts were

asked to *'check a source in each sub-area of theatre that they con­

sidered important in the total background of the graduate theatre

student.” The experts were asked further to ”cheek those sources which they considered most prominent and most important in the back­

ground of the graduate student of theatre.” The experts were asked

also to ”list, in the spaces provided at the end of the bibliography,

any other sources which they considered to be among their top ten

or 12 selections not included in the bibliography.”

A total of 24 experts had been contacted at the conclusion of the convention. These 24 experts tended to represent more heavily

the eastern and middlewestem sections of the country. The list of

experts was supplemented later by use of the mails. Seventeen

additional forms were sent to institutions representing the western and southern sections of the United States. Representative institu­ tions offering graduate instruction in theatre were selected from the

1956 report of Dr. Franklin H. Knower.7 Personal contacts were

suggested by Dr. John E. Dietrich. Along with the duplicated forms was sent a letter explaining the nature of the study together with the same instructions that had been given on the personal-contact level in Chicago.

7Franklin H. Knower, "Graduate Theses: An Index of Graduate Work in Speech,” Speech Monographs XXIII (August, 1956), 189-91. 29

After receiving the returns through the mails, these, together with the results received at the Chicago convention, were tallied. The steps considered in selecting the top sources for inclusion in the study were (l) that as many sub-areas as seemed necessary in the background achievement of graduate theatre students be used and (2) that no source be used if it were selected by fewer than 30 per cent of the experts contacted. This particular division was arbitrary but seemed justified in light of the results obtained in weighting the various sub-areas in test item construction. This method also allowed duplication, either general or specific, for each of the sub-areas represented.

The sources within the widely used bibliography were not examined with respect to their use on a textbook level. Some sources were of a textbook variety while others were probably in more general use as reference books.

The additional sources suggested by the experts were examined. The frequency of each additional source was recorded.

After the basic sources or bibliography had been determined, the method for extracting words, terms, and symbols was employed.®

These words, terms, and symbols were to form a preliminary list from which the master list could be taken.

% o r a discussion of this method, see Chapter II. 30

The Fotheringham method had included foreign words if they were part of a compound term. This study did not insist upon the

compound terms for inclusion of foreign words, however. In a study of theatrical history, for example, such transliterations as skenion were included as well as some actual foreign words or terms important to other sub-areas.^ If doubt centered around any word, term, or abbreviation, the general practice was. to include it in the prelimi­ nary list. Some entries such as auditorium, proscenium, scenes, acts, etc., were eliminated from the count. Words of this type were considered of such general usage that they would be of little value in the development of a graduate achievement test. Decisions regard­ ing these words were arbitrary. However, it was fait that such fre­ quently occurring words would be familiar to non-speech graduate students as well as theatre graduates. In addition, the preliminary list was not considered to be a complete word count of all words and terms peculiar to theatre.

The next step in the study was to underline each word, term, symbol, abbreviation or variation which is peculiar to a study of theatre. This was done in each of the sources examined. The under­ lined entries were typed on 8j by 11 inch paper— a different color representing each of the sources. The entries were triple spaced, three columns per page. The pages were cut into slips. There was one entry per slip. Through alphabetizing and assembling the slips

^An example of this is Bergson*s &Lan vital in playwriting. it was possible to count the number of sources in which the word, term, symbol or abbreviation occurred* Individual frequency counts were made, also* Following this, one slip representative of each word, symbol, term, or abbreviation was attached to a 3 by 5 file

card* The frequency of occurrence and the number of sources in which an entry appeared were recorded on these cards* The cards were alphabetized and placed in file boxes* These cards formed the preliminary list of wards, symbols, terms, etc* From this preliminary list a master list was assembled* Since the preliminary list had in

excess of 10,000 entries, an initial step was taken to obtain a master list* An entry was included in the master list if it had appeared (l) no fewer than five times in one source or (2) if it had appeared in at least two sources* This method was employed to screen out that test material which potentially had the least value* Those entries which appeared with greater frequency were more likely to be included in the experience of graduate theatre students*

Procedure for the Selection of Pre-validated

Entries from the Master T,i at

The selection of pre-validated entries from the master list was governed by three stipulations which were' accepted as a part of the general methodology* These were (l) that entries which occurred more frequently in the literature covering a particular area would be more valid than entries of less frequent occurrence, (2) that entries which were not generally familiar to graduate students outside 32 the area would contribute to more valid test items, and (3) that those entries generally familiar to graduate students within the area while generally unfamiliar to graduate students outside the area would contribute to valid test item construction. The first consideration became the most important factor governing the selec­ tion of pre-validated entries. These pre-validated entries were used in the development of the graduate achievement test in theatre.

The next step in selecting pre-validated entries was to define "adequate frequency of occurrence." "Adequate frequency of occurrence" was defined as the appearance of an entry at least ten times in the literature examined. These entries with adequate fre­ quency of occurrence were marked with an (F). "Adequate number of sources" also remained to be clarified. The procedure used was

(l) that the entry must appear in at least two sources if it had appeared no fewer than ten times or (2) that the entry must appear in at least three sources if it had appeared no fewer than six times in the literature examined. These were the first considerations before an entry was declared "acceptable."

The second consideration of acceptability was determined by the degree of familiarity with which an entry was identified by non-theatre graduate students. Consequently, graduate students from other departments such as medicine, law, agriculture, and engi­ neering, comparable with respect to "age, maturation, motivation, and intelligence" with graduate students in theatre, were used. It was believed that a difference in familiarity with theatre termin­ 33 ology -would exist between those graduate students of theatre and those graduate students in other areas because of the differences in their scholastic backgrounds*

Contacts were made with department heads of other areas*

Through these contacts the nature of the problem was explained and a request for 20 minutes during the regular classroom period was made.

The master list had been divided into 13 forms, described below, to minimize the time requested*

Through this preliminary planning, the author was able to meet with each group that cooperated on the project* It was possible to assure the students that their names and other data usually appearing on an answer sheet were not required*

In addition to this, an unconditional free ticket in a drawing for a $20*00 gift certificate at a local store was provided*

Through these means it was felt that (1) the total student population contacted would respond more favorably and (2) the percentage of response would be adequate.

Three forms were used to establish this familiarity index*

The first-1-® was a form on which were recorded the graduate standing of the student contacted as well as his major and minor areas of con- centration*^ The second form was one of 13 lists containing entries

•L®See Appendix C, p. 191*

^■These results are presented in Table 6, page 69* 34 from the maBter list of words and terms. The third form was an

answer sheet. Pencils for the total population were furnished.

Among the directions provided on the second form were

definitions of five degrees of familiarity which the graduate student

could use. He was asked to—

Mark (1) if you can give a substantially precise definition of the word or term.

Mark (2) if you are certain you can correctly use the word or term in various sentences.

Mark (3) if you are uncertain about the meaning; you would need to use a dictionary or other source to check yourself.

Mark (4) if you have heard of the word or term, but do not know its meaning.

^JJark (5) if the word or term is quite unfamiliar to

The second form contained one of the 13 lists^-3 0f one

hundred words and terms. The alphabetized 3 by 5 cards on which the master list of words and terms was recorded were divided into 30

approximately equal stacks. The top card in each stack was placed

in group 1, the second card in each stack was placed in group 2,

etc. This was done until each of the 13 groups had 30 words and terms.

The process was then repeated a second and a third time. This method

of "randomization” helped to separate words and terms of similar root

in such a way that they would not appear on the same list. Any

-^Fotheringham, op. cit.. p. 58.

■^The thirteenth form contained only 67 words. 35 possibility of a student's rating his familiarity on the basis of root similarity was minimized in this manner*

Two procedures provided a partial validity check on each of the returned answer sheets* First, a number of words were found to be in The Teacher's Word Book of 30.000 Words* Of these, 39 were

selected to permit the use of three in each of the 13 groups described above* If a student were to describe adequately his familiarity with the words on a given list, those of more frequent occurrence should receive higher degrees of familiarity than those which are used less frequently*

Another method which provided a validity check was the creation of a list of ten fictitious terms for inclusion in these 13 groupings. The 39 words found in the 30,000 most frequently used words were to provide a check on invalid unfamiliarity while the fictitious terms were to provide a check on invalid f 1 -i arH tv.

Those persons who indicated excessive familiarity with fictitious words and terms probably would not be too reliable in their other ratings*

The ten fictitious terms were (1) Bibbiena lantern,

(2) Mahratta Period, (3) Lorca's constructivism, (4) book-cyclorama,

(5) Agamemnon-complex, (6) the Stanislavsky batten, (7) Appia's directing theory, (8) Hindu staging technique, (9) Mar di-gras formula and (10) Antoine's law* This list of fictitious terms was rotated through the groupings* In each grouping they occupied the positions

12, 19, 27, 39, 43* 51, 67, 79, 86, and 93* These fictitious terms were rotated from one group to another to reduce the possibility of detection in the event that students might compare forms. The terms were assigned permanent positions in order to facilitate scoring.

In distributing the word lists, it was possible to get

equal representation, from each of the groups contacted, in response to each of the 13 sets. The ratings of the ten fictitious terms were

checked first. If any student rated these as "excessively familiar,n additional sets were obtained so that the representation might remain

constant from one group to another.

A familiarity rating of (3) or more on these fictitious terms was considered excessively familiar if it were used three or more times. Some students might feel as though they had “heard of1* the term. This would result probably in a (4) rating. If the rating were (3), (2), or (1), the student was in effect claiming that he knew the word. However, false recognition could have been a factor.

Consequently, it was assumed that if those ratings were used three or more times "masking rather than false recognition" had taken place.

The percentage of papers (less than 5 per cent) rejected on this basis was almost negligible. No further interpretation was attempted.

The answer sheets which made up the final expression of familiarity for this sample of non-theatre graduate students were analyzed item, by item. The ratings for each item were tabulated by hand and a mean score was computed for each. These mean scores were entered in a column^ labeled "Non-Speech Graduate Familiarity Index" in the master list of words and terns.

■^•See Appendix A, page 124* 37 The difference between familiarity indexes was another condition governing the selection of pre-validated words and terms from the master list for possible test item construction. It was necessary to establish a theoretically feasible cutting point. This cutting point helped to determine those words and terms which were acceptable on the basis of difference. The differences were computed by using means from the same sample of non-speech graduate students.

The computations were made by running a number of t tests for uncorrelated measures. It was found, through running these t tests, that a significant difference typically existed between the 5 per cent and 1 per cent levels of confidence if the means differed by 1.5 points. Therefore, some confidence was placed in the statement that a rating of 1.0, expressing complete familiarity, was different from a rating of 2.5» It was decided to select words and terms which indi­ cated the highest degree of unfamiliarity.

These words and terms were selected from the master list with respect to the mean ratings received from those graduate students outside the area of theatre. Words were selected first that had a non-speech graduate familiarity index of 4*5 and higher. This initial list was not long enough with which to work. To this list were added those words with a non-speech graduate familiarity index of 4*0 and higher and finally those with an index of 3.8 and higher. This cutting point of 3*8 resulted in a list of words and terms Just slightly over five hundred in number. It was decided that this cutting point would be final rather than threaten the discriminatory 38 power of the test by further lowering the Index of those words and terms from which test items would be constructed.

One third of the words and terms selected from the master list did not meet the first consideration for acceptability based upon frequency of occurrence or the number of sources in which the term appeared.

Further acceptability was established by determining the differences of familiarity indexes between non-speech graduate students and graduate theatre students. A list of those words and terms without adequate frequency or number of sources was submitted to ten persons within the theatre area. A speech graduate familiarity index was obtained through this procedure. Five of the ten persons used were professors in theatre. The other five had passed their general examinations for doctorates in theatre. The list was presented to these people with the following directions:

(1) No name or other personal identification is necessary.

(2) Describe your familiarity with each word by use of the scale p r o v i d e d . ^

(3) If you are in doubt between two of the ratings provided, use that one which expresses the greater degree of unfamiliarity.

They were told further that the purpose of this particular form was (l) to eliminate any words of dubious familiarity from the possibility of test item construction, and (2) to establish further the difference in familiarity ratings between general graduate

^This scale was identical with that described for use by non-theatre graduate students. 39 students and those graduate students In the area of theatre*

The mean ratings for each word or term were computed.

These ratings were entered in the master list under the heading

"Speech graduate familiarity index.” By comparison of the two famil­ iarity indexes, it was possible to add the final condition of accepta­ bility* This condition was based on a mean difference of 1*5 between the two means*

In summary, words and terms in the master list were marked with an (A) as acceptable for test item construction if they met the following conditions:

(1) Appearance in at least two sources with frequent occurrence

(2) Appearance in at least three sources with an occurrence of at least six

(3) A non-speech graduate familiarity index of at least 3.8

(4) In the absence of the specifications outlined in items 1 and 2, the word or term must have a familiarity index mean for speech graduate students with a difference of at least 1*5 points from the non-speech graduate familiarity mean to be accepted.

Procedure in Test Item Construction and Writing the Test

Three decisions were made with respect to the construction of this particular achievement test.

The first decision dealt with the weighting by items of each of the various sub-areas represented in the total test* The second decision dealt with the type of test items to be used* This involved 40 any pre-validation that was necessary to insure studied selection of correct responses. The final decision dealt with the arrangement of items within the test in keeping with good test construction.

From the preliminary list of words and terms it was obvious that some sub-areas were more strongly represented by the number of entries obtained than others. It was also obvious that mere accept­ ance of all acceptable words for test item construction could place more weighting upon a sub-area than would be justifiable. Therefore, a system was sought whereby a judgment of that sub-area »s weighting in the total test could be obtained. This made defense of that weighting possible.

An estimate of the sub-area fs importance to the total test was determined from the course offerings in various institutions throughout the country. This part of the study was accomplished in the registrars office at the Ohio State University. Thirty-eight catalogues were available from the 41 institutions represented by the various experts in the earlier part of this study.

The various courses and their respective credit hours were tabulated according to the descriptions that were provided. This was done also for courses referred to in allied departments, especial­ ly those courses in the English and Fine Arts departments which were considered by directions in the catalogues to be pertinent to a study of theatre. It was recognized that error could be introduced by such arbitrary classification. The description provided, however, an estimate of importance according to the credit hours available in a 41 given sub-area in each of the 3& institutions* Percentages of the total number of hours were computed for each sub-area* Despite the crudeness, the procedure suggested the importance of each sub-area in a more comprehensive study of theatre* It was possible, through this method, to determine the number of test items for each sub-area*

Through this approach it was argued that training and/or experiential background in a few sub-areas would not be enough to produce a high score on the total test* If this were true, the test would serve one of its most desired purposes— that it be useful as a descriptive instrument in the counselling of students with respect, at least, to major divisions of background *^

The question arose as to the method through which entries from the master list could be assigned to specific sub-areas for test item construction. The first check on this occurred when the entries were attached to the 3 by 5 file cards. The source in which an entry appeared was identified by the color of paper on which the entry was typed* The most frequently appearing color of paper was the one secured to the file card* The file card, therefore, suggested the sub-area to which the entry belonged on the basis of frequency. Other than this, only face validity determined the sub-area to which the entry was assigned* The entries appeared to belong to more than one sub-area of the total test in some instances* If this were the case, the entry in question was assigned usually to that sub-area in which

l^These major divisions, in the test, are (1) stagecraft and production and (2) theatrical history and literature* A2 a deficiency in item length occurred. A few of the sub-areas lacked the quota of items that was suggested by the percentage scaling. In a few instances, entries from the preliminary list, which lacked the frequency for inclusion in the master list, were used.1? In some instances, entries from the master list which did not have the dis­ criminatory value of 1.5 from one familiarity index to the other were used.-*-® Beyond this, no further steps were taken to secure additional entries for fear of contaminating the final product.-*-9

The next step in the study was the selection of the type of item to be used. The multiple-choice type of item with five alter­ native responses was selected.

The scoring of the items was considered in making this decision. Objectively scored items were considered best in light of the nature, length, and coverage of the test. The items would be of the right answer rather than best answer variety. The test would consist of three hundred items. The test would cover two major divisions as well as 11 sub-areas of theatre.

True-false items were rejected because of available material and time. The available material for test item construction indicated that the greater comprehensiveness (five hundred to six hundred items)

^These accounted for 1.3 per cent of the total test.

"**®These accounted for 3 par cent of the total test.

■^The greatest difficulty in this respect occurred in the sub-area of "directing** where a large number of entries were familiar to non-speech graduate students. 43 usually associated with the true-false test would not be possible*

A two and one-half hour time limit was to be used in administering

the test* This time limit would permit answering three hundred

multiple-choice it ms*

Five alternative responses were used in the construction of

these multiple-choice type items* It was recognized that two, three,

four, five, or even more responses could have been used* The brevity

of the item stem, however, would allow the use of enough alternative

responses to reduce the problem of correction for chance* This was

one reason for the selection of the five alternative responses form.

No more than five alternative responses were used because of the

availability of standard five response answer sheets*

Consequently, three hundred multiple-choice type items were

used in the test. Each item contained five alternative responses.

The definitions used in item construction were based upon

the sources from which the entries had been taken* An effort was made to use essentially the same language that had been used in those

sources* When conflicting definitions occurred, from one source to

another, the entry was eliminated.^® Occasionally, however, it was possible to construct items by use of these definitions after specific

parts representing the conflict were avoided* This was the manner

through which the correct responses were identified*

The alternative responses came from various sources* These

^®This accounts for the non-usage of most of the entries in the master list which were marked "acceptable" (A)* hh included (l) the remainder of entries in the preliminary list of words and terns, (2) certain entries from the master list of words and terms— -particularly those with known acceptability which had been rejected on the basis of definition, (3) a standard dictionary,

A Handbook of T.i tarai-v Terms. and The Theatre Dictionary.^ (4) the creation of terms not in use, and (5) consultation for certain areas with a graduate student from Greece* Through these means it was hoped that a level of difficulty could be maintained which would be consistent with graduate testing*

Special care was taken in the placement of the correct response within each item. A method of randomization was employed.

Five wooden discs (each containing a single letter— -a, b, c, d, or e) were placed in a cup* The cup was shaken* One wooden disc was removed, and its letter was recorded. The wooden disc was replaced in the cup* This process was repeated for the placement of the correct response of each of the three hundred items*

Items were checked for possible clues of identification within the stem of the item and the item responses* Care was taken to eliminate the possibility of mixing plural with singular responses*

The final decision made was one dealing with the arrange­ ment of the items* All items representing one sub-area were grouped together* These groupings constituted various sub-tests* The sub-

^•H. R* Yelland, S, C. Jones, and £• W* W* Easton, A Hand­ book of Literary Terms (New York: 1950). _

^Richard Granville, The Theatre Dictionary (New York: 1952). 45 tests were arranged In a manner which seemed logical even though some­ what arbitrary. For this reason the test cannot be divided at one

specific point to separate one major division from another. This did

not seem necessary in light of the small number of sub-tests compris­

ing each of the major divisions.

Procedure in the Development of the Criterion

The criterion developed to validate a graduate achievement

test in theatre presented an index of background training and experi­

ence in the area.^

The steps involved in establishing an index of background training and experience in theatre were:

(1) Development of a list of clearly defined types of training and experience common to those with a back­ ground in • • • (theatre) •

(2) A method of scaling these types of training and experience.

(3) Development of forms on which graduate students could record their backgrounds with respect to those types of training and experience.

(4) Establishment of a procedure through which these types of training and experience could be combined into a quantitative i n d e x . ^ 4

The broad categories were determined under which theatre training and experience could be classified. These broad categories were (1) formal production experience, (2) organized course work and

23por a discussion of this method see Chapter IX.

^Fotheringham, op. cit., pp. 73-74. 46 seminars, (3) teaching experience, (4) speaking situations, and

(5) publication# Fifteen different types of more specific experience and training were suggested by these broad categories# A list of the specific types of training and experience were shown to the various members of the theatre staff of the Ohio State University# Individual consultations with these staff members indicated that the list appeared to be comprehensive as well as complete for the purposes for which it would be used# A further indication of the clarity and completeness of the list was shown by the reactions to the list from the experts to whom it was submitted# These results are presented in Chapter IV#

It was decided that the experts who were asked to cooperate in the earlier part of the study possessed desirable qualifications^-* for rating these types of training and experience# 2 A A form was prepared and mailed to each of the experts#

The directions supplied asked the experts to rate on a scale, from one to five, that level of background which he believed each type of training or experience generally indicated# Specific directions were—

Mark (1) if the type of training or experience generally indicates a very weak background#

Mark (2) if the type of training or experience generally indicates a moderately weak background#

25See page 63 for a discussion of these#

^ S e e Appendix; C, page 193# 47

Hark (3) if the type of training or experience generally indicates an average background.

Mark (4) if the type of training or experience generally indicates a moderately strong background.

Mark (5) if the type of training or experience generally indicates a very strong background.2?

Additional directions to the experts included a request that the ratings (1) and (5) be used at least once. Also that any addi­ tional types of training and experience, which the expert felt should have been included, be written on the reverse side of the sheet. A conscious use of the ratings (1) and (5) helped produce the type of differentiation needed to build an acceptable scale. The request for additional types of training and experience was an added check on the completeness of the list.

The replies from the experts were tabulated and analyzed.

The analysis included (l) the percentage of the responses, (2) the qualifications of those experts who responded, (3) the geographical distribution of the experts who responded, (4) the mean rating and standard deviation of each of the 15 types of training and experience,

(5) the reliability of the mean ratings, and (6) the standard error of measurement of each of the 15 mean ratings. These data are presented in Chapter IV.

A method was used whereby the 15 types of training and experience were arranged in five groups. This method facilitated the ease with which students indicated their personal training and

2?Fotheringham, op. cat., pp. 75-76# 48 experience* Forms were devised later for that purpose* The scoring of these forms was made less difficult by such a procedure*

The 15 types of training and experience were arranged in order of increasing value after their mean ratings were determined*

They were arranged in five groups in such a way that the mean differ­ ences diverged as little as possible from one to another* They were checked also for as little divergence as possible after a mean score for each group was determined* The mean score for each group was computed from the mean ratings of the types of training and experi­ ence included in each group* For example, the largest error intro­ duced was found in group 1* The mean ratings by the experts for the types of training and experience in this group were 1*84, 2*32, 2*32, and 2*36* The mean rating for the group itself was 2*21* This intro­ duced error ranging from *11 to *37* The error introduced in group 4 was *02* No error was introduced in the fifth group* Even though some error existed in specific groups, it was more than offset by the simplification of the form and the greater ease in scoring*

These individual means together with the group means and the error introduced are presented in Chapter IV*

Forms were devised next on which the background training and experience of each student could be recorded* There were two forms: one on which formal production experience could be indicated, the other for indicating formal non-production experience and training*

The biggest argument for these separate forms was that the terms **a few,” ”an average number,” and ”a large number,” included in the 49 types of experience rated by the experts, were unknown quantities.

It was felt further that a student would be better able to consider his production and non-production training and experience separately.

The first form,2® "Information and Formal Production

Experience Blank," asked the student to (l) indicate whether or not he had received a masterTs degree or its equivalent in academic standing in theatre, (2) circle the number of years formal production

experience he had had from (l) to more than (10) years, and (3) circle the number of formal productions from (l) to more than (20) with which he had had "thorough and responsible production experience*'for each of seven sub-areas.

The second f o r m , 2 ? “Directions for Indicating Your Formal^®

Non-Production Training and Experience," supplied values from one to five for each type of training and experience. The one to five values were taken from the group assignments discussed above. The student was asked to indicate only that value which represented the greatest degree of training or experience he had had. This procedure was followed for each of the 11 sub-areas. Two values were obtained for each of the seven sub-areas included under formal production training and experience through this procedure. Major division

2®See Appendix: C, page 195.

2^See Appendix G, page 196.

^PFormal production was interpreted as meaning "college, repertory, equity, professional, community or civic theatre or summer stock productions. This definition was supplied in the oral direc­ tions at the time the test was administered. background scores as well as total background scores were determined for each student by combining the values that were recorded on the two answer sheets* The method of combining these values accepted only that value which indicated the greatest degree of training and experi­ ence* If, for example, the student had studied the sub-area in an advanced course, a value of one was recorded. This value, indicating training under "formal non-production training and experience^ could be superseded by a higher value, if one were to exist, from the form entitled "Formal Production Training and Experience." It was known at this point that anyone who had had "thorough and responsible produc­ tion experience" in a sub-area with "a large number" of productions would automatically receive a value rating of (5). An example of this might be pointed out in the sub-area of "stagecraft*" It seemed highly possible that in formal non-production training and experience a student may have recorded a value of (l) for study in an advanced course. This same student may have worked on a great enough number of formal productions in a "thorough and responsible" position to warrant use of the value (5)* If this were the case, it was planned to continue with the use of the earlier procedure* Only that value would be used which indicated the highest degree of the student’s background in each of the seven sub-areas involved* The student would receive, therefore, a background value in "stagecraft" of (5). During this computation the mean value for each group was substituted for the group value with which the student worked*

With respect to the manner in which the number of production 51 experiences in each of the serven sub-areas were assigned to the con­ cepts of ”a few,” ”an average number,” and "a large number,” it was believed that cooperation from students in other universities probably would be the best method. This was rejected, however, on the basis that the lack of interest in such a project, the lack of acquaintance­ ship with the author, and the demanding schedules of graduate schools in general would probably produce too few responses. Because of this, it was decided to analyze responses pertaining to criterion of the group to whom the test was administered. These results and the scale values assigned are presented in Chapter IV.

There was no serious objection if the background forms were filled out at the same time that the test was administered.

Procedure in the Administration of the Test

The first problem that arose with respect to the adminis­ tering of the test was one dealing with the available sample size.

It was found that there were 29 graduate theatre students enrolled at the Ohio State University. This number seemed representative of the theatre graduate students in other universities throughout the country.

The hope of finding a sample much larger at any accessible institution seemed remote. If a larger sample did exist the chances of securing cooperation to help determine the value of a test of unknown quality was remote also. A time limit of two and one-half hours was placed upon the test. A time limit meant that the problem of securing a larger sample was even more complex than it might appear on the surface. 52

A compromise between sample size and homogeneity was the most advantageous alternative to follow. All students in the sample had an interest in theatre. They were not exclusively from the speech department, however. It was hoped in advance that the sample could fit into a continuum from no background in theatre to as high a level of background training and experience as possible. Some graduate students who had expressed an interest in theatre and had regularly attended university as well as other local productions, were invited to take the test. The general breakdown of the test sample consisted of 26 graduate theatre students, six graduate speech students, and seven graduate students from other departments. There were 39 graduate students in the total sample.

The motivation of the test sample did not seem to be as serious a problem as was anticipated. The idea of graduate testing in theatre seemed to interest most of the students who cooperated on the project. They were asked to put the test seriously on trial or to Mtry to beat it.”

When the student took the test, he was invited to draw a code number. He used this code number on each of the forms he filled out. The student was the only one, therefore, who was able to identify himself with respect to the test results. This condition seemed to contribute further to the motivation of the group. The student was asked first to fill out the training and experience back­ ground forms. After these were filled out, the tests were distributed with the following directions. 53 (1) The testee would observe a time limit of two and one-half hours. (This was developed under the theory that it should be possible to complete items at the rate of two per minute.;

(2) The testee should answer each of the items even if it were necessary to guess. (This was done in order to gain more accurate difficulty and validity values for each of the items.)

Procedure in the Analysis of the Test

The first step in test analysis was to determine the relia­ bility of (1) the total test and (2) the major divisions of the test.

Split halves reliability coefficients were computed in each of these instances. The upper and lower limits of the 5 per cent level of

confidence were determined for these reliability coefficients. The reliability of the sub-tests was not computed because of the restricted length and/or the insufficient criterion ratings of the sub-areas.

The second step in the analysis of the test was studied with respect to the validity of (l) the total test, (2) the major divisions of stagecraft and production and theatrical literature and history,

(3) the sub-areas of the test, and (4) the types of vocabulary entries which had been selected for test item construction.

The validity of the total test and the major divisions was studied by arranging the total criterion scores in order of decreasing values. The gross score formula was used in computing the validity between these criterion scores and the total test scores related to them. The upper and lower limits at the 5 per cent level of confi- 54 dence were determined for these validity coefficients. In addition to this, the standard deviation of the background index and the standard errors of estimate for the background indexes were computed.

The sub-areas were represented by only one value— the

"highest point" of achievement in the specific sub-area. The criterion of each of these sub-areas consisted of six discrete steps: 0 - 2.21 -

2.70 - 3*52 - 4*10 - 4*48. These steps were not equal.

The method used to determine validity for each of the sub­ tests consisted of (l) dividing the test sample into three groups according to decreasing criterion scores for each of the sub-areas,

(2 ) recording individual sub-area test scores for each of these groups, and (3 ) computing an analysis of variance (three groups with

13 persons per cell) carried out to obtain F ratios. These values for each sub-area were compared with the value of F at the 1 per cent level of confidence which was secured from the F table. Those sub- areas which contained the larger variance due to between groups differ­ ences were identified through this procedure. These results are presented in Chapter 17.

The next step in the analysis was that of determining the item-criterion coefficients. The general methodology, employed in the construction of the test, had recognized (1 ) that a criterion was available* and (2 ) that since a criterion was available it was not necessary to assume validity of the total test.

The method for computing the it em-crit erion correlation was 55 employed. This method divided the test sample, arranged according to decreasing criterion excellence, into three groups of equal size*

The n for each of the three groups was 13 since the total test sample was 39* The formula^ was applied and the it em-crit erion coefficients were determined*

Item difficulty was determined also. This provided an indication of the success of those procedures intended to produce adequate item difficulty. The primary features of those procedures

3lF0theringham, op* cit*. pp* 87-9 • The derivation of a formula for item-ciiterion coefficients, where the criterion group has been divided into three equal parts on the basis of criterion excellence, is as follows: Let the three groups be designated by 3 , 2 , and 1 in the order of decreasing cri­ terion merit* Let the frequency of passing the item by the groups be a, b, and c*. Let the "passes*1 column be assigned a score of 1, the "fails** column a score of 0. The various frequencies can then be represented for the general case and the formula derived.

ITEM SCORES X

Y Fail = 0 Pass “ 1 Total

N 3 N _ a a 3 3

2 N - b b N 3 3

1 I - c c N 3 3

Total N - (a + b + c) (a + b + c) N The values for the gross score formula for the correlation coeffi­ cient are: N *= N X X = a + b + c a + b + c - g (1 +.2 + 3) - 2N 3 were (l) the establishment and use of a non-speech graduate familiarity

index and (2 ) the alternative responses provided for each item which

had been selected on the basis of adequate unfamiliarity.

The method of test analysis was a basic part of the broad

plan of methodology* The results of this methodology are presented

in Chapter IV*

JET2 - | (1 + 4 + 9) - 3 M

XXY - 3a + 2b + c R « No* of rights or passes “ a + b + c W * No* of wrongs or fails « N - (a + b + c)

Substituting in the gross score formulas r - N XT - X Y______V N X2 - ( X)2 W Y2 *— ( Y)2 N (3a + 2b c) - (a -t b + c) (2N) r ■» _ _ V N(a + b + c) - (a + b + c)2 V W lAN) - TWP ( 3 ) Canceling N from numerator and denominator: (3a + 2b + c) — 2(a 4- b + c) r “ V N (a + b + c) - (a + b + c)2 V 2 3 Collecting terms in numerator and factoring in the denominator:

V a + b + e pi - (a + b + c) V 2. Substituting R and ¥: a - c r *» ______j 2HW 3 It is worth noting that the reciprocal of the denominator can be made into a table for all values of E¥. There will be N/2 such values* Thus, the computation of any item coefficient is a simple multiplica­ tion of (a - c) and the proper reciprocal. CHAPTER IV

PRESENTATION AND EVALUATION OF RESULTS

The first step in this study, after the initial steps and procedures were outlined, was to compile a preliminary bibliography*

This was done through consultation with four members of the theatre staff of the Ohio State University* It was hoped that this compila­ tion might include representative selections from the various and most important sub-areas of theatre* At the same time, the list was not intended to be a complete bibliography of the area* Such an extensive list would be too lengthy probably for the type of con­ sideration by the experts that was desired* The resultant list, therefore, contained 5& sources* It is presented in Table 1*

The first decision was that the experts contacted could select no fewer than ten sources nor more than 12* Even though some variability was introduced from an uneven number of selections from one expert to another, the major purpose of the study was not in jeopardy. This major purpose was to select those sources most important in the background training and experience of graduate theatre students. A maximum number of selections (12) represented

21 per cent of the total list while the minimum number of selections

(10) represented 17 per cent of the total list. Hence, the varia­ bility was not as great as it may have seemed. Additional votes added strength to those sub-areas included in the test* Duplications arose, through this procedure, rather than additional sub-areas*

57 58 TABLE 1

PRELIMINARY BIBLIOGRAPHY

1. Barton, Lucy, Historic Costume for the Stage, Boston: Walter H. Baker Company, 1935*

2# Bentley, Eric Russell, In Search of Theatre. New York: Knopf, 1953.

3. Boleslavsky, Richard, Acting: The First Six Lessons. New York: Theatre Arts Books: Robert M. MacGregor, 1933.

4. Burris-Meyer, Elizabeth, This is Fashion. New York: Harper and Brothers Publishers, 1943.

5. Burris-Meyer, Harold and Edward C. Cole, Scenery for the Theatre. Boston: Little, Brown and Company, 1918.

6 . Cheney, Sheldon, The Theatre: Three Thousand Years of Drama. Acting and Stagecraft. London: Longmans, Green and Company, 1929.

7. Clark, Barrett H., European Theories of the Drama. New York: Crown Publishers, 1947.

8 . Cole, Toby and Helen K. Chinoy, Actors on Acting. New York: Crown Publishers, 1949.

9. Cole, Toby and Helen K. Chinoy, Directing the Play. Indianapolis: Bobbs-Merrill, 1953.

10. Cornberg, Sol and E. L. Gebauer, A Stage Crew Handbook. New York: Harper and Brothers Publishers, 1941.

11. Corson, Richard, Stage Makeup. New York: F. S. Crofts and Company, 1946.

12. Dabney, Edith and C. M. Wise, A Book of Dramatic Costume. New York: F. S. Crofts and Company, 1931.

13. Dean, Alexander, Fundamentals of Directing. New York: Rinehart and Company, Inc., 1941.

14. Dietrich, John, Play Direction. Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1953.

15. Dolman, John, The Art of Play Production. New York: Harper and Brothers Publishers, 1946. 59 TABLE 1 (contd.)

16. Ferguson, Francis, The Idea of a Theatre. Garden City, New York: Doubleday and Company, Inc., 1949.

17. Fisher, Carolyn E., and H. G. Robinson, Children and the Theatre. London: Geoffrey Cumberlege: Oxford University Press, 1955.

18. Freedley, George and John A. Reeves, History of the Theatre. New York: Crown Publishers, Inc., 1955.

19. Fuchs, Theodore, Stage Lighting. Boston: Little, Brown, and Company, 1929.

20. Gallaway, Marian, Constructing a Plav. New York: Prentice-Ha.ll, 1950.

21. Gassner, John, Masters of the Drama. New York: Dover Publica­ tions, 1954.

22. Gassner, John, Form and Idea in Modern Theatre. New York: Dryden Press, 1956.

23. Gassner, John, Producing the Play with the New Scene Technicians Handbook by Philip Barber. New York: Dryden Press, 1941.

24. Gassner, John, The Theatre in Our Times. New York: Crown Publishers, 1954.

25. Goff in, Peter, The Art and Science of Stage Management. New York: Philosophical Library, 1953.

26. Gorelik, Modecai, New Theatres for Old. New York: Samuel French, 1940.

27. Granville-Barker, Harley, The Use of the Drama. Princeton, New Jersey: Princeton University Press, 1945«

28. Granviile-Barker, Harley, Prefaces to Shakespeare. Princeton, New Jersey: Princeton University Press, 1946.

29. Heffner, Huber C., Samuel Selden and Hunton D» Sellman, Modern Theatre Practice. New York: Appleton-Century-Crofts, Inc., 1946. „

30. Herts, Alice Minnie, The Children»s Educational Theatre. New York: Harper and Brothers, 1911. 60 TABLE 1 (contd.)

31. Hewitt, Barnard, J. F. Foster, and M. S. Wolle, Play Production: Theory and Practice. Philadelphia: Lippincott, 1952.

32. Hunt, Hugh, The Director in the Theatre. London: Routledge and Paul, 1954.

33. Jones, Robert Edmond, The Dramatic Imagination. New York: Theatre Arts Books, 1941.

34. Kerr, Walter, How Not to Write a Play. New York: Simon and Schuster, 1954.

35. Lambourne, Norah, Dressing the Play. London: Studio Publica­ tions, 1953.

36. Lawson, John H., Theory and Technique of Plavwriting. New York: G. P. Putnam*s Sons, 1936.

37. Lees, Charles L., Play Production and Direction. New York: Prentice-Hall, 1948.

38. Liszt, Rudolph, The Last Word in Makeup. New York: Contemporary Play Publications, 1938.

39. Macgowan, Kenneth and R. E. Jones, Continental Stagecraft. New York: Harcourt, Brace and Company, 1922.

40. Macgowan, Kenneth and William Melnitz, The Living Stage. New York: Prentice-Hall, 1955.

41. McCandless. Stanley. A Method of Lighting the Stage. New York: Theatre Arts Books: Robert M. MacGregor, 1953.

42. McGaw, Charles, Acting is Believing. New York: Rinehart and Company, Inc., 1955.

43. Nicoll, Allardyce, The Development of the Theatre. London: George G. Harrap and Company, Ltd., 1949.

44* Nicoll, Allardyce, World Drama. London: Harrap and Company, Ltd., 1949.

45. Oenslager, Donald, Scenery Then and Now. New York: W. W. Norton and Company, Inc., 1936. 61 TABLE 1 (contd.)

46. Rowe, Kenneth T., Write That Play. Mew York: Funk and Wagnalls Company, 1939*

47* Rubin, Joel and Leland Watson, Theatrical Lighting Practice. New York: Theatre Arts Books, 1954*

48. Selden, Samel, First Steps in Acting. New York: Appleton- Century-Crof t3 , Inc., 1947*

49• Selden, Samel, The Stage in Action. New York: App3,eton- Century-Crofts, Inc., 1941.

30. Selden, Samel and H. D. Sellman, Stage Scenery and Lighting. New York: F. S. Crofts and Company, 1936.

51 • Shaw, G. B., Dramatic Essays and Opinions. New York: Brentano*s, 1925. 52. Simonson, Lee, The Stage is Set. New York: Dover Publications, 1946.

53* Stanislavski, Constantin, An Actor Prepares. New York: Theatre Arts Books: Robert M. MacGregor, 1936.

54* Stanton, Sanford E., Theatre Management. New York: D. Appleton and Company, 1929.

55* Strauss, Ivard, Paint. Powder, and Makeup. New Haven, Connecticut: Sweet and Son, 1936.

56. Strenkovsky, Serge, The Art of Makeup. New York: E. P. Dutton and Company, 1937.

57* Whiting, Frank M.. An Introduction to the Theatre. New York: Harper, 1954.

58. Wilcox, Ruth Turner, The Mode in Costume. New York: C. Scribner*s Sons, 1942. 62

Twenty-four experts were contacted at the annual joint con­

ventions of the S.A.A. and the A.E.T.A. Each of these 24 responded

to the request. Later, the mails were used in order to supplement

the list for increased institutional as well as geographical represen­

tation. Seventeen letters were sent to experts in other institutions.

Replies were received from all of them making the total response to

the request 100 per cent.

The completeness and comprehensiveness of the list were

tested by asking the experts to add any additional sources which

they felt should be included. Twenty-one of the 41 experts made

additional selections on this basis. No additional source was mentioned more than three times, however. With 51 per cent of the

experts making additional selections and no selection appearing on more than 7 per cent of the forms, it was concluded that the list was comprehensive enough.

Information was tabulated on the qualifications of the

experts who responded. In addition to this a breakdown was made of the geographical distribution that was represented. These data are presented in Table 2. 63 TABLE 2

QUALIFICATIONS OF EXPERTS SELECTING- SOURCES FOR WORDS AND TERMS

Qualifications N Per Cent

Possession of Ph.D* 29 70*73 Directors of Theatre 18 43.90 Graduate Faculty 41 100.00 Chairmen of Departments 16 39.02 Geographic location a* East 9 21.95 b. Mid West 15 36.58 c* South 8 19.51 d* West 9 21.95

The 13 sources receiving the highest percentages of selection were used* These 13 sources were needed to include the 11 sub-areas that comprised a broad general background in theatre*^ This allowed some duplication in subject matter for each of the sub-areas involved*

The frequency with which the experts selected the 58 sources is presented in Table 3*

TABLE 3

FREQUENCY WITH WHICH SOURCES WERE SELECTED BY FORTY-ONE EXPERTS

(Arranged in Three Groups According to Frequency)

Per Cent of Experts Group ______Number of Sources Selecting the Sources

I 13 39.0 to 70.7 II 20 14.6 to 36.6 III 25 00.0 to 12.2

1 See the method for determining further the basis for inclu­ sion of these sources on pp. 40-1. 64 Examination of the frequency of selection showed that those sources included in Group II were only further duplications of Group I* Consequently, no source from Group II was used* The sources in Group III were not considered because of infrequent selection*

It was felt that the group of theatre experts considered the 13 sources in Group I to be "the most valuable and widely used in the background training and experience of graduate theatre students•" The 13 sources in Group I are presented in Table 4*

Each source had a frequency of selection of at least 39 per cent*

These sources totaled more than 5300 pages and contained content in the two major divisions of (l) stagecraft and production and

(2) theatrical literature and history*

The next step in the study was the examination of the 13 basic sources of test materials* This involved the extraction of

(l) compound words and terms, (2) symbols and abbreviations,

(3) foreign words and transliterations, (4) proper names when they were part of a compound term, and (5) some proper names that were o used in reference to a broad classification. This extraction pro­ duced a preliminary list of words and terms* The preliminary list was composed of more than ten thousand groups of entries. In estab­ lishing a master list from which test items might be constructed ultimately, any word appearing with a frequency of less than five (5)

^Proper names signifying broad classifications were such things as Arlecchino and Brighella where the name represents a type* 65

TABLE 4

THE BASIC SOURCES OF TEST MATERIALS

1. Barton, Lucy, Historic Costume for the Stage* Boston: Walter H. Baker Company, 1935*

2. Burris-Meyer, Harold and Edward C. Cole, Scenery for the Theatre* Boston: Little, Brown and Company, 1918.

3. Clark, Barrett H*, European Theories of the Drama* New York: Crown Publishers, 1947*

4* Corson, Richard, Stage Makeup* New York: F* S* Crofts and Company, 1946.

5* Dean, Alexander, Fundamentals of Play Directing* New York: Rinehart and Company, Inc*, 1941*

6* Gassner, John, Masters of the Drama* New York: Dover Publications, Inc., 1954*

7* Gassner, John, Producing the Play with the New Scene Technician* s Handbook by Philip Barber* New York: Dryden Press, 1941*

8. Gorelik, Mordecai, New Theatres for Old. New York: Samuel French, 1940*

9* Lawson, John Howard, Theory and Technique of Playwriting* New York: G. P. Putnam*s Sons, 1936.

10. McCandless, Stanley, A Method of Lighting the Stage. New York: Theatre Arts Books: Robert M* MacGregor, 1953*

11. Nicoll, Allardyce, The Development of the Theatre. London: George G* Harrap and Company, Ltd., 1949*

12. Simonson, Lee, The Stage is Set. New York: Dover Publications, 1946.

13. Stanislavsky, Constantin, An Actor Prepares. New York: Theatre Arts Books: Robert M. MacGregor, 1936. 66 with the exception of those words which had appeared in at least two

(2) sources was omitted* The master list was composed of 1137 entries, A breakdown of these entries showed that 686 were made up of one or more compound words or terms; 97 were terms involving the use of a proper word; 93 foreign words were found; 35 proper names were included; seven abbreviations or terms were used; and the remainder of the list was composed of single word entries*

Results of Procedures Used in Selecting

Entries from the Master TAat

After the master list of words and terms was compiled, further data were needed before an entry could be selected for test item construction. The first method used to secure additional data on each entry was to submit the list of words and terms to graduate students outside the area of theatre. A non-speech graduate familiarity index was determined through this procedure. Graduate students were used from other departments. They seemed more similar with respect to age, maturation, scholastic motivation and academic pursuits to graduate students in theatre than any other group. It was planned that this sample (l) represent a wide variety of academic background, (2) be large enough to secure an adequate number of completed forms while working with individual groups, and (3) be highly representative of the areas which were contacted.

A breakdown of these contacted areas, together with other data is presented in Table 5* This sample was not intended as a 67 representative sample of the entire graduate population* It was intended, however, as one which could express graduate familiarity with theatre terminology. The table indicates the department of instruction together with the number of students contacted. The number of forms obtained is also indicated.

TABLE 5

DISTRIBUTION OP GENERAL GRADUATE SAMPLE BY ., DEPARTMENTAL AFFILIATION

Number Number Department or Field of Study Contacted Obtained

Agriculture 28 28 Chemical Engineering 14 14 Dentistry 26 26 Industrial Engineering 14 14 Law 28 28 Medicine 27 27 TOTALS 137 1373

The number of forms obtained, 100 per cent with respect to the number of students contacted, included those forms which were rejected for reasons given below.

This high percentage of return was affected by

(1) the complete cooperation between the author and the contacted department head or instructor of the immediate classroom situation.

(2) a time limit of twenty minutes that was used in filling,out the forms.

(3) the interest displayed by the cooperating staff members (and consequently of the student population itself) in the research being conducted in another area.

^This figure represents all the answer sheets returned. 68

(4) the freedom associated with not having to sign one*8 name to the form being filled out.

(5) the offer of a $20.00 gift certificate from a local store.

(6) the administering of the form to 94*89 per cent of the total sample in the classroom situation.

The data compiled from the requested personal information

consisted of (l) graduate standing and (2) major and minor areas of

study represented. It was found that the average graduate standing of those whose papers had been retained was 2.08 years. It seemed feasible to assume that this graduate sample would be comparable to the graduate sample that could be obtained in the area of theatre.

Since courses related to theatre in one way or another are so diverse, an attempt to list all of them presented a task, the nature of which was too extended for practical purposes. A student enrolled in history or English courses, for example, would undoubtedly have some background with respect to theatre. This same type of back­ ground seemed likely with respect to course work in romance;languages, classical languages, speech in general, etc. Consequently, a record was made of the major and minor areas of concentration which this graduate sample represented. The number of students involved in each major and minor was recorded also. This data is presented in Table 6.

From this data it was reasoned (l) that a much better idea of the background of graduate students in other areas had been obtained, and (2) that even with the inclusion of two people report­ ing background in the area of speech, the list was probably about as representative of a graduate population as could be found. It was 69

TABLE 6

DISTRIBUTION OF GENERAL GRADUATE SAMPLE BX MAJOR AND MINOR BACKGROUND AFFILIATIONS

Major or Minor N Major or Minor N

Accounting 9 Industrial Engineering 20 Agricultural Economics 23 Industrial Management 4. Agricultural Education 7 Journalism 1 Agricultural Engineering 1 Marketing 2 Agricultural Marketing 2 Math 10 Agronomy 4 Mechanical Engineering 3 Anatomy 4 Metallurgical Engineering 1 Animal Husbandry 3 Music 1 Animal Nutrition 1 Natural Science 1 Animal Science 3 Naval Science 1 Associated Sciences 1 Nuclear Engineering 1 Bacteriology 1 Pharmacy 1 Biological Sciences 9 Philosophy 2 Biology 17 Physical Chemistry 1 Botany 1 Physical Education 1 Business Administration 3 Physical Science 1 Business Law 1 Physics 2 Business Management 1 Physiology 4 Business Organization 2 Political Science 6 Chemical Engineering 15 Poultry Science 1 Chemistry 26 Pre-Dentistry 9 Commerce 1 Pre-Law 5 Dairy Science 2 Pre-Medicine 6 Dentistry 6 Psychology 5 Driver Education 1 Real Estate 1 Economics 21 Retailing 1 Education 3 Rural Sociology 1 Electrical Engineering 1 Science 4 English 14 Social Administration 1 Farm Management 3 Social Science 4 Fine Arts 1 Sociology 2 French 1 Spanish 1 General Agriculture 1 Speech 2 General Science 2 Statistics 6 Genetics 2 Theology 1 German 2 Vertebrate Zoology 1 Government 1 Zoology 2 History 6 70 reasoned further that rejection of those forms indicating a speech background would mean that others with related backgrounds would have to be rejected also* As a result of this, the forms were looked upon as a highly representative sample. None were rejected*

In addition to the information secured for Tables 5 and 6, the graduate student was asked to indicate his familiarity with a list of one hundred words and terms* No mention was made of the inclusion of the ten fictitious terms which had been used as a means for checking invalid familiarity* The first check that was made, with respect to the 130 obtained answer sheets, dealt with these fictitious terms* It was found that of the answer sheets obtained only six or 4*62 per cent had expressed a high degree of familiarity with these fictitious terms* Six additional graduate students were contacted through the departments in which this ,,maskLng,,r had occurred* The additional forms, all of which were acceptable, were used as replacements for the rejected forms* These data are presented in Table 7*

TABLE 7

USE OF HIGH FAMILIARITY RATINGS ON FICTITIOUS TERMS AT.VARIOUS LEVELS OF GEADUATE STANDING

Years of Graduate Standing Retained Papers Rejected Papers

First Year .28 3 Second Year 62 2 Third Year 40 1 71 No further interpretation was attempted since the number of

papers rejected on the basis of invAlid f anvil i Art tv was so small. It

was felt, through the rejection of these papers, that the probable

validity of the ratings for legitimate words and terms could be

defended more easily. It was reasoned that an indication of high

familiarity with non-existent words and terms would indicate probably

the same type of treatment for legitimate words and terms.

After six papers were rejected on the basis of invalid

familiarity, the remainder were checked for possible invalid

unfamiliarity. Each set of papers contained three words of known

familiarity. On checking these words of known familiarity, it was

found that none of the words included had received a mean rating

higher than 2,90, It was reasoned that a rating of 3,00 on a word

of known familiarity could be legitimate on the basis that some degree

of familiarity was associated with the rating. No additional papers

were rejected, A breakdown of the mean ratings of these 39 words

together with a breakdown of the mean ratings for three hundred other words randomly selected from the master list is presented in Table 8, 72

TABLE 8

DISTRIBUTIONS OP FAMILIARITY INDEXES IN A SAMPLE OF 39 WORDS IN GENERAL USAGE COMPARED WITH A RANDOM SAMPLE OP WORDS AND TERMS PROM THE MASTER LIST

Familiarity Indexes Types of words and 1.0- 1.5- 2.0- 2.5- 3.0- 3.5- 4*0— 4.5- terms 1.49 1.99 2.49 2.99 3.49 3.99 4.49 5.0 Sample of 39 words in general usage 6 9 1 0 14 0 0 0 0 Random sample exclusive of "39 words" 3 11 19 35 50 52 43 82

The mean familiarity rating for the 39 words was 2.14, and the standard deviation of the ratings was .57. The mean familiarity rating of the three hundred randomly selected words, exclusive of the

39 words in general usage, was 3.33. Since the distribution of this group of three hundred words was somewhat skewed (in comparison with the 39 words) with respect to the upper limits of unfamiliarity, it was decided to divide the familiarity indexes into two groups.

Using this procedure, the theoretical frequencies for each cell were in excess of five. In computing this two by two table, a chi square value was obtained. It was 50.49. The chi square value, significant at the 1 per cent level of confidence, for such a table is 6.635*

The significant difference which was obtained from these two samples was interpreted as meaning that the general non-speech graduate sample had been discriminatory with respect to familiarity. It was 73 assumed that this indication of discrimination was representative of the entire list of words and terms. Therefore, it was believed that the obtained familiarity indexes were partially validated.

The 130 retained papers were scored with respect to the familiarity index mean of each of the 1137 entries. Ten papers of like distribution were retained for each of the 13 groups. From the mean ratings of these entries it was found that 258 entries were acceptable^ for test item construction while 247 entries were incon­ clusively acceptable. The remainder of the entries (632) were rejected on the basis of too high a degree of non-speech graduate student familiarity. At this point the length of the test was considered more seriously. A test with a length of more than three hundred items would be almost impossible from the number of acceptable or inconclusively acceptable entries available. The length of the test from that point was governed by (l) the number of acceptable entries that could be used effectively and (2) the number of incon­ clusively acceptable entries that could be included in the acceptable grouping after a familiarity index had been established for those words with graduate students in theatre.

The next step was designed to produce a "speech graduate familiarity index" for those entries which, in terms of the data gathered, remained inconclusively acceptable. A list of 238 of these

%*or a discussion of the standards adopted through which these entries were acceptable, inconclusively acceptable or unacceptable, see pages 31-9. 74 words and terms was presented to a group of ten persons in the theatre area* These ten people had either received doctorates or were in the process of obtaining them. It was explained to the members of this group before they- recorded their ratings that (l) their answer forms would remain anonymous and (2) their cooperation would help further the study being conducted* A breakdown of the resultant mean familiarity ratings for this group of speech graduate students is presented in Table 9*

TABLE 9

MEAN FAMILIARITY RATINGS ON INFREQUENT WORDS AND TERMS BY DOCTORS AND NEAR DOCTORS IN THEATRE

Mean Familiarity 1 . 0 - 1*5- 2.0- 2.5- 3.0- 3.5- 4.0- 4.5- Ratings 1.49 1.99 2.49 2.99 3.49 3.99 4.49 5-0

Number 42 48 51 39 29 20 8 1

From this table it can be seen that at least 24 per cent of the words were rated (3) or higher. These ratings ranged from uncer­ tainty to complete unfamiliarity with the word under examination.

Because of this it seemed unlikely that masking had had much of a role in the familiarity indexes which were established. The procedure, itself, was considered to be an effective means through which those words of inconclusive acceptability could be either accepted or rejected on the basis of the differences in familiarity between graduate theatre students and students from the general graduate sample. 75 Results of Procedures Used in Writing the Test

The steps and procedures which were followed in the writing of the test involved (l) a basis for the weighting by items of each of the various sub-areas of the test, (2) a decision with respect to the type of item that would be used, and (3) a method for arrangement of the items within the test which would be consistent with good test construction.

The weighting by items of each of the various sub-areas of the test, was accomplished by analyzing the course offerings in each of 38 institutions which had active graduate programs in theatre.

The /fl institutions represented by the experts in the earlier part of the study were used. Records were not available for three of the institutions represented. Therefore, the list contains informa­ tion derived from 93 per cent of the total number. The courses were categorized in accordance with descriptions supplied in the various institutional catalogues. It was recognized at the time that this procedure was probably more crude than other methods which might be employed. At the same time it was felt that the information received would (l) provide a general idea of the weighting of a particular sub- area through course work in each institution and (2) provide further an idea of expert opinion since these very experts probably were instrumental in the adoption of the various courses listed.

In the preliminary planning, a sheet was provided for each of the institutions. On each of these sheets were listed the Individual courses and credit hours that were described* The courses and credit hours were assigned to specific sub-areas* The credit hours were combined to obtain an indication of the credit hours available in each sub-area* A grand total of the credit hours In each sub-area was obtained by totaling the sub-area credit hours for the 33 Institutions* Percentages were computed to determine the importance of each sub-area within the total program for all institu­ tions* A check was made on the most predominant sub-areas in this total program* Eleven sub-areas were retained on the basis of these percentages* All other sub-areas were rejected* The basis for rejection was at a 30 per cent level* No sub-areas were included if they were made up of course work offered in fewer than 30 per cent of the institutions represented* These were the sub-areas that received the lowest percentages within the total program* This cutting allowed inclusion of the 11 sub-areas represented by the basic texts which had been selected by the experts* It also elimi­ nated such sub-areas as children’s theatre, creative dramatics, motion picture technique, puppetry, theatre management, etc*

Another step was adopted for the remaining 11 sub-areas*

The remaining 11 sub-areas were assigned a value of 100 per cent*

This 100 per cent value represented the broad, general background to be covered by the graduate achievement test in theatre* New percent­ ages were computed to determine the weighting of each of these 11 sub-areas within the framework of that broad, general background*

On the basis of this 100 per cent value, the percentage of each of the 11 sub-areas was computed for each of the 33 institu­ 77 tions. The percentages for each of these sub-areas were totaled again* The means of these totals were computed. By multiplying the means by three, for a three hundred item test, it was possible to obtain an estimation of the sub-area *s weighting within the frame­ work of a broad, general background* These sub-areas, together with the data computed, are presented in Table 10*

A certain amount of freedom was reserved for the actual weighting since this method of sub-area weighting was intended to be only an estimate of the sub-area’s importance in the total test.

It was known in advance, for instance, that a test of three items in makeup or a test of five items in criticism could have little value in estimating background in those particular sub-areas. It was felt also that a test of one hundred items would not be necessary in the sub-area of dramatic literature. However, it was not intended to increase or reduce the total number of items too radically* A

Spearman rho coefficient was computed between the number of items that the percentages suggested and the number of items actually used per sub-area. The coefficient was .87* This indicated that the degree of freedom which was employed in weighting the sub-areas was not too radical. The number of acceptable entries available for each sub-area was another factor in determining the number of test items for each sub-area.

There were 282 items in the total test which were built around acceptable vocabulary entries* Fourteen items were buQt around TABLE 10

FEE GENT OF COURSE WORK OFFERED BY VARIOUS SCHOOLS IN EACH OF ELEVEN SUB-AREAS IN THEATRE INCLUDED IN THE TEST

1. 11.65 6.31 8.25 19.89 1.45 26.21 3.88 9.70 9.70 2.91 - 2. 10.34 36.20 17.23 5.17 20.68 5.17 5.17 - -- 3. S.16 6.12 57.14 28.36 •M - - -- - 4. 6.49 6.49 49.35 6.49 3.89 6.49 2.59 2.59 5.19 - 10.38 5* 25.00 8.33 20.83 12.49 8.33 4.16 4.16 8.33 8.33 - - . 6. 5.66 1.32 43.39 5.66 11.32 5.66 5.66 5.66 - m m 5.66 7. 12.00 8.00 24.00 21.33 4.00 13.33 4.00 - 8.00 1.33 4.00 8. 9.75 - 51.21 9.74 5.69 5.69 4.87 4.87 4.87 .81 2.43 9. 10.63 6.38 46.80 17.01 10.63 8.50 -- --- 10. - 60.93 18.74 4.68 4*68 - - 9.37 1.56 - 11. 7.22 4.82 25.30 32.52 7.22 14.45 2.4L 3.61 - 2.41 - 12. 14.23 7.14 25.71 17.14 8.57 8.57 2.85 7.14 5.71 2.85 - 13. 3.57 7.62 36.19 8.56 11.42 11.42 3.81 7.62 2.85 1.90 - 14. 3.29 9.89 57.14 9.89 13.18 6.59 - --- 15. 30*00 10.00 33.33 10.00 - - - 6.66 6.66 3.33 - 16. 4.83 14.51 24.19 22.57 4.83 14.51 3.22 9.67 1.61 -- 17. 9.92 9.16 18.32 24 .42 3.81 4.58 9.16 6.10 9.16 2.29 3.05 IS. 9.57 10.63 35.10 9.57 9.57 5.32 3.19 5.32 5.32 1.06 5.32 19. 14.54 16.36 52.72 7.27 9.09 ------

■>3 00 TABLE 10 (contd.)

20, 11.88 2.97 48.51 15.84 3.96 1.98 1.98 5.94 5.94 .99 — 21. 10.43 5.21 26.08 26.94 3.47 8.69 3.47 6.08 3.47 .87 5.21 22. 12.22 10.00 25.66 23.33 10.00 - 6.66 10.00 1.11 - 23. 7.14 3.57 50.00 11.90 3.57 7.14 3.57 7.14 3.57 2.38 - 24. 13.95 6.97 51.16 6.97 13.95 6.97 - - --- 25. 5.26 5*26 42.10 14.03 10.52 5.26 1.75 10.52 3.50 1.75 - 26. 14.10 6.41 41.02 14.09 3.84 3.84 - 2.56 12.82 1.28 - 27. 2.09 6.29 19.58 29.37 4.89 8.39 5.59 11.88 9.09 2.79 - 28. 9.57 9.57 24.46 21.27 6.38 9.57 3.19 6.38 2.12 1.06 6.38 29. 14.97 8.38 16.16 17.96 8.98 8.38 3.59 8.98 7.18 - 5.39 30. 5.55 11.11 41.66 27.77 8.33 - - 5.55 - - - 31. 18.34 5.50 — 50.45 12.84 8.25 - - 2.75 1.83 - 32. 11.76 8.72 23.53 11.76 29.41 8.82 - 5.88 - - - 33. 7.14 8.57 40.00 11.42 7.14 7.14 8.57 4.28 4.28 1.42 - 34. 15.00 15.00 22.50 17.50 7.50 7.50 - 7.50 - 3.75 3.75 35. 4.67 5.60 11.21 15.88 23.36 19.62 4.67 10.28 4.67 - - 36. 10.86 6.52 10.86 34.78 10.86 4.34 4.34 3.26 3.26 2.17 8.69 37. 5.55 11.11 25.92 29.62 14.81 5.55 1.85 5.55 - - - 38. 9.82 5.35 38.39 8.92 20.53 5.35 2.67 2.67 2.67 1.78 1.78 TABLE 10 (eontd.)

! 8 o © o £) © b0 I • r l +> a © DO © © o +> © <«! £ w 3 Q

Per­ centage Mean 10.05 7.78 33.37 18.13 8.61 7.46 2.81 5.18 3.74 1.15 1.63

Number of items per sub- area 30 23 100 54 26 23 8 16 11 3 5

Number of items used in test 25 15 70 60 30 20 20 20 20 10 10

Total Percentage Mean 99.91 Total Number of Items Per Sub-Area 299 Total Number of Items Used 300 81 inconclusively acceptable vocabulary entries. Four items were built

around vocabulary entries with defined non-acceptability. These data

are presented in Table 11,

Since those items built around inconclusively acceptable

entries (4*66 per cent) or entries of defined non-acceptability

(1,33 per cent) represented such a small percentage of the total test

(6 per cent), no comparative computations were made.

Results of Procedures in Developing the Test Criterion

The procedure used in developing a test criterion for grad­ uate theatre students was one based upon background training and

experience. This procedure was developed through (l) a list of

clearly defined types of training and experience in theatre, (2) hav­ ing the experts rate these types of training and experience, and

(3) developing a quantitative index of training and experience based on the ratings of these experts.

This method was developed under the assumption that

• , , most of the training and experience available to graduate students in the area was associated with (1) study in organized courses and seminars, (2) teaching, (3) speaking to various audiences, (4) production , • • work, and (5) publication, • •->

Fifteen types of training and experience were grouped under these five general categories. These groupings were submitted to the

^Fotheringham, op, cit.. p. 117. 82

TABLE II

TEST ITEMS BUILT AROUND ACCEPTABLE WORDS AND TERMS COMPARED WITH THOSE NOT IN RESPECT TO ITEM VALIDITY AND ITEM. DIFFICULTY

Items Using Items Not Acceptable Using Words Acceptable Total and Words and Test Terms Terms

Item Validity: Per Cent of item-criterion correlations significant at the five per cent level of confidence 51.00 52.84 22,22

Per Cent of it em-eriterion correlations not significant at the five per cent level of confidence 49.00 47.16 77.77

Item Difficulty:

Mean difficulty 44.61 45.45 31.39

Standard deviation 19.49 19.60 15.25 Per cent of items below ,35 in difficulty 34.00 31.91 66.66 83 members of the theatre staff of the Ohio State University for analysis

and recommendations* A few additions were suggested by the members

of the staff* However, it was decided on further examination that

these additions were covered by the specific types of background

already included*

The aid of the 41 experts who cooperated in the selection

of the basic texts was sought again* They were asked to rate the 15

types of training and experience in such a way as to indicate the

level of background each represented* Twenty-five (60*97 per cent)

of the 41 experts returned the completed forms* The qualifications

of these 25 experts are presented in Table 12* It was felt that

this group of experts represented an acceptable sampling of the total number*

TABLE 12

QUALIFICATIONS OF EXPERTS RATING TYPES OF TRAINING AND EXPERIENCE

Qualifications Number Per Cent

Ph.D. 19 76.00

Director of theatre or graduate member in the area 25 100*00

Geographic Distribution

East 6 24 .00 Far West 7 28 .00 Mid-West 7 2 8 .00 South 5 20 .00

Number of Institutions Represented 23 84 Both central tendency and variability were studied in the completed forms. These data are presented in Table 13• The means range from 1.84 to 4.48. The variability of the means ranges from

•499 to 1.015. It was considered desirable, of course, to have less variability than this. Therefore, it was decided to compute the standard error of the mean so that a more known quantity of the variability could be shown. From the table, it is observed that the standard error of the means ranges from .099 to .203. It was felt that the resultant means adequately expressed the values to be attached to each of the 15 types of training and experience.

These 15 types of training and experience were broken down into five groups in order to establish an index for each of the 11 sub-areas of theatre. The sub-area index for each of the 11 sub-areas was the "highest point" of training and experience. The five groups were arranged in such a way that as little distortion as possible was introduced into the ratings. . These data are presented in Table 14.

A t test for correlated measures was computed in determining whether or not a significant difference existed between the ratings in one group and those in another. In one instance, comparing a mean rating of 4 .10 with one of 4*48, the difference was significant at less than the 10 per cent level of confidence. In another instance, comparing a mean rating of 4*12 with one of 4*48, the difference was , significant at less than the 5 per cent level of confidence. It was decided that the difference between mean ratings for one type of TABLE 13 85

MEANS AND STANDARD DEVIATIONS OF EXPERT RATINGS ON TYPES OF TRAINING AND EXPERIENCE

Type of Training and Experience Mean S.D.

1. The graduate student gave a speech 2.36 1.015 .203 on a phase or sub-area of theatre to a non-professional audience such as a P.T.A. or radio audience. 2. He gave a speech to a state, 4.12 .909 .182 regional, or national convention, on a sub-area to professional workers in theatre. 3. He gave a speech on a sub-area to 4.08 .891 .178 professional workers in fields related to theatre.

4. He studied a sub-area in an advanced 2.32 .733 .147 course. 5. He studied a sub-area in an 1.84 .880 .176 introductory course. 6. He studied the sub-area, on the 4.48 .574 .115 graduate level, as a field of concentration.

7. He has had thorough and responsible 3.68 .615 .123 theatrical experience in a sub-area with what theatre directors would call ”an average number” of formal productions.

8. He has had thorough and responsible 4.48 .499 .099 theatrical experience in a sub-area with what theatre directors would call ”a large number” of formal productions. 9. He has had thorough and responsible 2.64 .933 .187 theatrical experience in a sub-area with what theatre directors would call ”a few” formal productions.

10. He has taught a phase or sub-area 3.36 .557 .111 of theatre in an introductory undergraduate course. 11. He has taught a phase or sub-area 4.08 .627 .125 of theatre in an advanced course. 86

TABLE 13 (contd.)

Type of Training and Experience Mean S.D.

12. He has taught a phase or sub-area 2.68 .882 .176 of theatre in an introductory or general survey course on the high school level.

13. He has published an article on a 4.12 .711 •142 phase or sub-area of theatre in a professional journal. 14. He has written a "term paper** on a 2.32 .882 .176 phase or sub-area of theatre. 15. He has prepared an article on a 2.80 .938 .188 phase or sub-area of theatre for classroom or similar local distribution.

experience and another was significant enough to warrant use of the mean rating or scale value for the group under which the specific type

of training or experience had been classified.

The mean error introduced by this arrangement of the types of training and experience was .088. It was reasoned that this error would probably cancel out in the total background index. This was not the case, however, with each of the sub-areas. The mean error for each sub-area was also .088 of a step on the one to five point

scale. The validity of these sub-area tests would be questionable while the reliability, because of item-test length, in some instances, probably would be low. TABLE 14

COMPARISON OF SCALE VALUES RESULTING FROM GROUPING WITH THE INDIVIDUAL MEAN RATINGS OF FIFTEEN TIPES OF TRAINING AND EXPERIENCE

Mean Mean Rating Difference Rating or Scale or Error Types of Training Group by Value for Introduced or Exnerience Assignment "Experts" Group

Studied the sub-area in an 1 1.84 2.21 .37 introductory course

Studied the sub-area in an 1 2.32 2.21 .11 advanced course

Written a "tera paper” for 1 2432 2.21 .11 classroom credit on the sub-area

Given: a sneech on the sub-area 1 2.36 2.21 .15 to a non-nrofessional audience such as a PTA or radio audience 1 2.36 2.21 .15

Has had thorough and responsible 2 2.64 2.70 .06 theatrical experience in the sub-area with a "few” formal productions

Taught the sub-area in an introductory 2 2.68 2.70 .02 or general survey course on the high school level

Prepared An article or uaoer 2 2.80 2.70 .10 on the sub-area for classroom or similar local distribution TABLE 14 (contd.)

Mean Mean Hating Difference Hating or Scale or Error Types of Training Group by Value for Introduced or Experience Assignment "Experts” Group

Taught the sub-area in an 3 3.36 3.52 .16 introductory undergraduate course

Has had thorough and responsible 3 3.68 3.52 .16 theatrical experience in the sub- area with an "average number" of formal productions

Given a sneech on the sub-area to 4 4.08 4.10 .02 professional workers in fields related to theatre

Taught the sub-area in an advanced course 4 4.08 4.10 .02

Given a sneech to a state, regional, or 4 4.12 4.10 •02 national, convention on the sub-area to professional workers in theatre

Published an article on the sub-area 4 4.12 4.10 .02 in a orofessional journal

Has had thorough and responsible 5 4.48 4*48 .00 theatrical experience in the sub- area with "a large number of cases"

Studied the sub-area, on the graduate level, 5 4.48 4.48 .00 a as a field of concentration 0 Results of Procedures in Scoring Backgrounds

The first step in scoring backgrounds was to determine the amount of weighting to be assigned for the various levels of "thor-

ough and responsible theatrical experience” on "formal productions."

The forms that were rated by the experts contained three distinct levels# Those levels were described as "a few," "an average number," and "a large number#" No definitions for these levels had been

supplied. It seemed desirable to secure this type of information from the students themselves# The reasons for not having a wide sampling of students from various institutions are presented in

Chapter II#

The students were asked to indicate the number of produce . tions on which they had worked with "thorough and responsible" experience# This was done for each of the seven sub-areas represented#

These results were tabulated and are presented in Table 15# The nature of this tabulation involved careful interpretation# First, it was not considered advisable to establish mean rankings because

(l) distortion of the mean by someone with more than 20 such experi­ ences in a given sub-area would result and (2) three distinct levels of background were to be established# Second, the method of estab­ lishing one type of central tendency under which all of the sub-areas could be grouped was rejected# It was reasoned that some sub-areas such as "acting" would involve automatically a larger number of experiences representative of these distinct levels than other sub- TABLE 15

ADVANCED STUDENT* FORMAL PRODUCTION EXPERIENCE

Type ot Production Experience ______Number of Productions

0 1 2 3 4 £ 6 2 8 2 10 11 12 12 ik i£ 16 iZ is 12 20 more

Design 23 2 3 3 1 1 2 1 l 2

Makeup 19 7 4 1 1 1 1 1 2 l 1

Costume 23 4 4 2 1 1 1 1 1 l

Acting 7 2 2 4 5 2 2 2 1 2 i l 1 7

Stagecraft 33 4 1 2 2 2 1 1 4 l l l 1 5

Directing 14 2 2 4 5 2 2 2 1 2 l l 1

Lighting 19 3 3 1 2 5 2 1 l 1 1

*This includes non-theatre graduate students as well as graduate theatre students*

vO o 91 areas such as "costuming.” This would make, unnecessarily, the levels of experience in one sub-area contingent upon those in another* At the same time such "standardized” results would distort the given levels of background, either by increasing or decreasing the amounts of that level from one sub-area to another.

It was decided to divide the background experiences for each of the sub-areas into tertiles. A value of "a few,” "an average number,” and ”a large number” for each of the sub-areas was obtained through this method. The tertiles suggested that "an average number” of "thorough and responsible” experiences in "costuming” is 3 - 8 while the "average number” in "acting” is 5 - 10. Both levels of background received a weighting of 3.52. These data are presented in Table 16. All cases of zero (0) experience were assigned a value of (0). They were not included in the tertile breakdown because the lower level, receiving a weighting of 2.21, assumed that some experience had been acquired.

It was possible to secure another set of background experi­ ence forms from 20 (51*28 per cent) of the original test sample one month after the administration of the test. The reliability of this test-re-test method was .99. Therefore, it was felt that some confidence could be placed in the original procedure. 92

TABLE 16

SCALE VALUES ASSIGNED FOR FORMAL PRODUCTION EXPERIENCE

Number of Formal Productions Scale Value Assigned

Sub-Area: Design

1-3 2.70 4-8 3.52 12-20 4.48

Sub-Area: Makeup

1-2 2.70 3-7 3.52 8-over 20 4.48 Sub-Area: Costuming

1—2 2.70 3-8 3.52 10-16 4.48 Sub-Area: Acting

1- 4 2.70 5-10 3.52 20-over 20 4.48

Sub-Area: Directing

1-3 2.70 5-7 3.52 8-20 4.48

Sub-Area: Stagecraft

1 - 4 2.70 5-13 3.52 14-over 20 4.48

Sub-Area: Lighting

1-3 2. 7 0 4-5 3.52 8-over 20 4*48 Results of Procedures in Analvsri-ng the Test

The test, presented in this study, was analyzed -with respect

to (l) the total test, (2) the major divisions of stagecraft and

production and theatrical literature and history, (3) the sub-areas

of the test, and (4) the test items*

The obtained data included the testee's (l) total test

score, (2) total background index, (3) major division scores, and

(4) major division background indexes* These are presented in

Table 17*

The validity coefficients (l) of the total test, (2) of the

major divisions, and (3) of the sub-tests are presented in Table 18*

These computed coefficients were regarded as promising* However,

higher validity coefficients could be obtained through further refine­

ment of (1) the criterion and (2) the test itself. Through use of

the total test scores and major division scores, estimations of back­

ground indexes can be made with standard errors ranging from 49*1 per

cent to 36 per cent of the error possible without the use of the test*

All of the students, taking the test, had come in contact with theatre in some respect* Only four or 10*25 per cent had not

had those types of training or experience listed on the formal produc­

tion experience blank* Consequently, the group in general was treated as if it were homogeneous* An attempt was made to have the general

sample rank from no background experience to as much experience as possible* This produced a continuum from zero to a possible 49*28* TABLE 17

THE TOTAL AM) MAJOR DIVISION BACKGROUND O iiwawoq a n d t e s t s c o r e s

Stagecraft Stagecraft Theatrical Theatrical Total Total and and History History Test Background Test Production Production and Lit* and Lit. Group Testee Index Score Index Score Tndpoc Score

Graduates 1 43.13 196 29.64 111 13.49 85 Majoring 2 41.62 183 25.97 92 15.65 91 in Theatre 3 38.77 177 27.66 104 11.11 73 4 36.91 140 21.26 75 15.65 65 5 34.88 193 24.57 120 10.31 73 6 34.23 171 25.39 97 8.84 74 7 33.29 23 5 22.65 89 10.64 46 8 33.19 185 26.56 113 6.63 72 9 32.86 161 21.69 89 11.17 72 10 32.67 203 21.01 102 11.66 101 11 32.61 115 30.40 70 2.21 45 12 32.51 173 25.88 100 6.63 73 23 32.18 179 21.01 110 11.17 69

Graduates 1 31.70 207 27.28 126 4.42 81 Majoring 2 29.83 161 20.99 91 8.84 70 in Theatre 3 28.89 163 20.05 99 8.84 64 4 27.52 176 24.00 114 3.52 62 5 27.51 168 23.09 107 4.42 61 6 27.19 160 20.56 96 6.63 64 7 24.88 217 18.25 125 6.63 92 8 22.67 109 13.83 69 8.84 40 TABLE 17 (contd.)

Stagecraft Stagecraft Theatrical Theatrical Total Total and and History History Test Background Test Production Production and Lit. and Lit. Group Testee Index Score Index Score Index Score

Graduates 9 21.75 98 19.54 70 2.21 28 Majoring 10 21.36 122 21.36 83 0.00 39 in Theatre 11 21.28 119 16.86 67 4.42 52 12 20.99 145 18.78 91 2.21 54 13 16.51 168 12.09 90 4.42 79

Graduates 1 13.34 82 31.13 54 2.21 28 Not 2 7.94 118 7.94 75 0.00 43 Majoring 3 5.40 84 \ 5.40 52 0.00 32 in Theatre 4 4.91 82 4.91 48 0.00 34 5 4.91 75 2.70 39 2.21 36 ' 6 4.42 55 4.42 30 0.00 25 7 2.70 63 2.70 37 0.00 26 8 2.70 61 2.70 40 0.00 21 9 2.21 86 0.00 54 2.21 32 10 0.00 93 0.00 53 0.00 40 11 0.00 78 0.00 40 0.00 38 12 0.00 66 0.00 36 0.00 30 13 0.00 61 0.00 38 0.00 23

NOvn TABLE 18

VALIDITY OF TOTAL TEST, MAJOR DIVISIONS, AND SUB-TESTS OF THE GRADUATE ACHIEVEMENT TEST IN THEATRE

Lower Upper Limit Limit Five Per Five Per Standard S.D. of Validity Cent Cent Error of Background Section of Test Coef • Level Level Estimate Index

Total Test •86 .755 .925 6.98 13.69 Stagecraft & Production .86 .755 .925 5.06 9.92 History and Literature .77 .600 .870 3.83 5.99 Design .75 .570 .860 1.09 1.64 History •64 .415 .800 1.18 1.53 Makeup .53 .260 .724 1.43 1.69 Costuming .71 .515 .840 1.12 1.58 Stagecraft .83 .705 .910 .92 1.66 Lighting .66 .435 .805 1.35 1.81 Playwriting .40 .100 .635 1.03 1.12 Criticism •44 .145 .660 1.29 1.44 Dramatic literature .77 .600 .870 .96 1.50 Directing .45 .165 .674 1.39 1.56 Acting .72 .519 .840 1.03 1.47

nO o 97 The coefficient of correlation between total background indexes and total test scores was *86 with this treatment* The fiducial limits for the general sample were *75 and *92* The standard error of estimate of the total background index from the total test score was

6*98* The obtained range of the background indexes was zero to 43*13 or 43*13 points* If the test group could be accepted as a homogeneous

3ample, it seemed justifiable to conclude that total background indexes could be reasonably estimated from total test scores.

It was possible to compute a tentative set of norms for graduate students in theatre as a result of this procedure* The use of standard scores was rejected on the basis that such scores assume a normal distribution* An assumption of normal distribution was unwarranted in view of the sample size, even though this assumption might be sustained with an increase in the size of the test sample.

Therefore, the regression equation formula was used in setting up a tentative table of norms* Through the use of this formula it was possible to predict the background index from the test score* These norms together with the standard error of measurement are presented in Table 19*

The total test and major divisions were studied also with respect to reliability. Coefficients for combined-halves reliabili­ ties for these parts of the test are presented in Table 20• The coefficients obtained make the test premising as a reliable measuring instrument*

An intercorrelation was confuted between the test scores 98

TABLE 19

TENTATIVE PREDICTIONS OF BACKGROUND INDEXES FROM VARIOUS TEST SCORES

Test Score Background Index Standard Error of Estimate

50 .81 60 3.24 70 5.68 80 8.11 90 10.55 100 12.98 110 15.41 120 17.85 130 20.28 140 22.72 150 25.15 160 27.58 170 30.02 180 32.45 190 34.89 200 37.32 210 39.75 220 42.19 230 44.62 240 47.06 250 49.49

of the two major divisions of the test because of these sufficiently high correlation coefficients* The coefficient was *86*

It was assumed, with this intercorrelation, that the training and experience in one major division of theatre was not isolated com­ pletely from the training and experience in the other major division*

The next step in test analysis dealt with the U sub-areas that made up the total test* The total test sample was divided into 99

TABLE 20

RELIABILITY OF TOTAL TEST AND MAJOR DIVISIONS OF TEST

Upper Limit Lower Limit Reliability Five Per Cent Five Per Cent Section of Test Coefficient Level Level

Total Test .97 .985 .950 Stagecraft and Production .95 .973 .906 Theatrical History and Literature .95 .973 .906 three groups of equal size according to decreasing sub-area criterion indexes for each of the sub-areas involved. The mean test scores for each of the 11 sub-areas were computed for each of these tertile groups. The F ratios were computed through an analysis of variance for each of the sub-areas. The computation of the F ratios produced evidence that a significant difference existed for each sub-area between the criterion groups. This analysis of variance indicated that each of the 11 sub-areas contained significant mean differences at the 1 per cent level of confidence. These data are presented in

Table 21. These results suggest that each of the 11 sub-areas are valid measures of background in theatre.

The final procedure in the analysis of the test dealt with the individual test item. Item-criterion correlations were computed as well as item difficulties. These data, together with the correct 100

TABLE 21

DATA ON SUB-AREAS: TERTILE MEANS AND F RATIOS

Mean Mean Mean * Sub-Areas in Order Upper Middle Lower F Presented in Test Tertile Tertile Tertile Ratio

1. Design 13.84 12.53 5.00 57.66

2. History 19.07 17.84 7.46 25.28

3* Makeup 5.69 5.30 3.38 8.67

4* Costuming 11.15 11.38 3.92 14.64

5* Stagecraft 34.69 32.92 16.00 23.14

6* lighting 11.84 12.07 5.69 19.33

7* Playwriting 11.38 8.69 5.53 15.08

8. Criticism 4.30 3.28 2.15 8.92

9. Dramatic Literature 37.46 30.69 16.23 23.48

10. Directing 8.77 9.07 5.61 7.72

11. Acting 11.84 11.15 6.23 28.54

& Significant F at the 1 per cent level of confidence: 5.12.

response for each itep, are presented in Table 22*

In summary of this table, 153 or 51 per cent of the item- criterion correlations were significant at the 5 per cent level of confidence* An increase in this percentage would be, of course, highly desirable* Means through which this might be accomplished 101

TABLE 22

ITEM ANALYSIS OF TESTS ITEM DIFFICULTY AND ITEM VALIDITY

Item Item Number Word Difficulty ic

Sub-Areas Design

1. mansion stage 41 .45 2* tableau 72 .56 3. Kuppelhorizant 38 .58 4* Chinoiserie 28 -.14 5. diorama 18 .16 6. presentation house 5 .20 7* raked stage 72 .56 S. Serlian setting 33 .40 9. space stage 59 .32 10. plastic stage 72 .49 11* sculptured stage 3 .00 12. Epic style 74 .58 13* constructivist setting 77 .45 14* theatricalist style 67 .60 15* selective realism 90 .21 16. Naturalistic theatre 64 .79 17* Belascoism 69 .75 18. montage 31 •20 19* Dadaism 64 .39 20* Decor simultane 64 .46 Sub-Area: History

21. ekkvklema 54 .63 22. theatron 41 .38 23* stropheoin 36 •20 24* bronteion 36 •26 25* hyposcenion 67 .73 26. episkenion 67 .73 27* mechane 26 •14 28. exostra 56 •32 29* skene 74 •43 30* proskenion 69 .42 31. paraskenia 64 .39 32. pinax 54 .50 33* orkeBtra 62 .59 34* periaktoi 69 .61 102

TABLE 22 (contd.)

Item Item r Number Word Difficulty ic

35» frons scenae 59 »51 36. oavea 4 6 *19 37« auleum 54 .19 3 8 . vomitaria 2 6 ,29 39* nlatea 77 .30 4 0 * combination production 5 *00 41* Continental repertory theatre 36 -.13 4 2 . corral theatre 51 .25 43* Noh theatre 33 #47 44* the "glory** 59 .45 4 5 * the flower path 28 .21 4 6 . ubermarionette 4 6 .50 47* "Theatre of the Five Thousand" 38 .45 4 8 . a "heavens" 4 6 .31 49. tiring house 62 .52 50. the Baroque theatre 28 .28

Sub-Area: Makeup

51. chiaroscuro 4 4 .25 52. nasolabial folds 7 2 .14 53. stumps 4 6 .50 54« value 49 .31 55- soap 62 .52 56. low value 13 -.19 5 7 * wig with a join 31 .27 58. periwig 62 .33 59* fish skin 8 .12 6 0 . black wax 85 .17

Sub-Area: Costuming

6 1 . onkos 59 .65 62. cothomus 51 .63 63. chiton 51 .57 6 4 . himation 4 9 .44 6 5 . fibula 4 4 .32 6 6 . fichu 51 .44 6 7 * cote-hardie 3 6 .33 6 8 . "points" 51 .31 69* fontage 33 .20 70. Doric chiton 23 .07 103 TABLE 22 (contd.)

I ton Item r Number Word Difficulty ”ic

71. stomacher 46 .31 72. surplice 26 .14 73. polonaise 36 •26 74. chasuble 41 •44 75. baldrick 38 .26 76. houoDelande 49 •13 77. dalmatica 44 •13 78. panniers 59 .45 79. Spanish farthingale 4L .19 80. Directory 38 .52

Sub-Area: Stagecraft

81. tab curtain 38 .58 82. cyclorama 79 .54 83. false proscenium 4L .32 84. sill iron 46 .31 85. lash line 85 .35 86. opera trap 31 .20 87. head block 59 .26 88. 5*9" 54 .38 89. check lines 46 .13 90. snatch lines 31 .00 91. saddle iron 36 .33 92. Cut-Awl 4L — .06 93. lift jack 33 .33 94. tip-jack 31 .20 95. roll ceiling 31 •24 96. sheave 44 .38 97. toggle-bar 56 .32 98. stage screw 64 .39 99. locking rail 56 .38 100. "in one" 23 .45 101. scene dock 56 .57 102. strike 90 .21 103. thickness piece 51 •44 104. overhaul line 18 .25 105. template bench 49 •24 1 0 6 . strap iron 54 .44 107. dutchmen 67 .60 108. fly gallery 49 .31 104 TABLE 22 (contd.)

Item. Item r Number Word Difficulty ic

109. corner block 59 .26 110. flake glue 49 .38 111. salamoniac 21 .16 112. clout nails 56 .13 113. mending plate 33 .40 114. stiffeners 51 .31 115. hanger iron 54 .50 116. leg drop 62 .77 117. cut drop 23 .52 118. ground row 74 .65 119. gridiron 77 .45 120. keeper hook 26 •22 121. masking piece 74 .29 122. profile board 38 .45 123. spattering 69 .27 124. dry-brushing 69 .41 125. scumbling 38 .26 126. "dead pack" 26 .00 127. "live pack" 64 .00 128. stage braces 51 .50 129. wagon stage 58 .28 130. sliding stage 23 .00 131. jackknife stage 72 .42 132. scarf joint 36 .39 133. morti s e-and-t enon-j oint 28 .14 134. blocked-butt-joint 38 .26 135. masts for scenery 18 .08 136. Tiller rope 28 -.07 137. arm cyelorama 26 .29 138. floating a flat 38 .19 139. grips 56 .61 140. alcohol dyes 28 -.21

Sub-Area: Lighting

141. metal hood 46 .31 142. fixed domes 54 .50 143. light bridge 67 .27 144. bobbinette, scrim, gauze drop 49 .38 145. gelatin medium 82 .25 146. T-type lamp 26 -.14 147. Fresnel-type lens 62 .45 105 TABLE 22 (contd.)

Item Item r Number Word Difficulty ic

148. horizon strips 36 •26 149. stage conceived as a cube 31 .00 150. stereoptican 28 -.26 151. Fortuny lighting system 56 .57 152. striplights 56 .41 153. scioptican 23 •22 154. motivating light 64 .33 155. roundel 56 .51 156. Olivette floodlight 67 .27 157. U.V. 54 •44 158. globular lamp 21 .31 159. tonal lighting 51 .31 160. tormentor lights 64 .46 Sub-Area: Plavwritins

161. dramaturgy 49 .38 162. the woman-symbol 18 .08 163. the synthetic pattern 31 .41 164. "drama of ideas" 21 -.31 165. acts of volition 36 -.07 166. elan vital 54 .19 167. the play’s root action 41 .32 168. the root idea 36 .33 169. "the soul of the drama" 13 .19 170. Brunetiere’s law 26 .36 171. telegraphic dialogue 38 .26 172. acts of preparation 79 .31 173. chronicle play- 74 .29 174. dialectical materialism 23 .22 175. dithyramb 59 .64 176. play doctor 62 .00 177. Aristotle’s theory of purgation 56 •44 178. obligatory scene kk .51 179. antiphonal responses 28 *28 180. the unique soul 64 .46 Sub-Area: Criticism

181. Sturm and Drang 41 .51 182. eclogue 23 .15 183. enonee 18 .00 106 TABLE 22 (contd.)

Item Item r Number Word Difficulty ic

184. Old controversy 36 .26 185. scenes a faire 46 .31 186. the thesis play 15 .34 187. dramatic proposition 77 .00 188. entremeses 15 .17 189. the French "rules*1 18 .16 190. after-piece 28 .28 Sub-Area: Dramatic Literature

191. French Farce or Sottie 28 .07 192. entr*actes 59 .45 193. Old Comedy 31 .27 194. conrus 44 .44 195. French Classicism 56 .32 196. nieces a machines 51 .25 197. Phlyakes 31 .07 198. Fabian society 69 .21 199. mystery cycles 28 .21 200. Hassidism 51 -.06 201. Pseudo-Naturalistic 54 .06 202. the poetic image 51 .31 203. Jacobean drama 33 .07 2 0 4 . stasimon 18 .16 205. intermedii 44 .44 206. Jansenists 59 .38 207. the Baroque dramatic form 44 .19 208. the miracle-play 64 .39 209. comedy of manners 74 .14 210. closet dramas 74 .43 211. 6th century B.C. 18 .16 212. Restoration comedy 74 .58 213. agitprop plays 36 .20 214. Aristophanlc comedy 54 .38 215. "storm and stress" 31 .20 216. learning play 18 .25 217. orgiastic drama 46 .31 218. jongleurs 54 .63 219. chorus of Furies 69 .41 CM o 220. 5th century B.C. 33 . 221. Maccus 36 .00 222. miles sloriosus 33 .60 223. 1660 2 8 .56 107 TABLE 22 (contd.)

Item Item r Number Word Difficulty ic

224.- . Golden Age of the Spanish Theatre 49 .50 225. 1636 18 -.17 226. 11 Dottore 46 .50 227. Arlecchino 41 .57 228. fabula Atellana 21 .00 229. fabula toaata 13 .28 2 3 0 . fabula palllata 31 .20 231. genre 72 .42 2 3 2 . agon 13 .19 233. anagnorisis 33 .27 234. trope 54 .57 235. the Alexandrine 18 .08 2 3 6 . Brome 5 •28 237. oarabasis 33 .13 238. drolls 77 .60 239. 1642 41 .38 2 4 0 . ludi 49 .44 241. Mons 26 •22 2 4 2 . Cornish plays 26 .29 243. comedia dell arte 77 .60 244. Neo-Romanticism 28 .14 245. the Romantic Movement 5 .14 2 4 6 . the York cycle 28 .35 247. Coventry cycle 28 .21 248. Activism 21 .23 249. trolls 49 .31 250. bathos 13 .00 251. parados 15 .09 252. Sardoudledom 62 .52 253. Scribe 44 .57 254. court masques 51 .31 255. claque 54 .32 256. "The New Stagecraft" 51 .31 257. quarto 26 .29 258. Christinas munsnings 3 •00 259. antistroohe 46 .19 260. Atellan farce 33 .33 Sub-Area: Directing

261. "casting-office" method 33 .19 262. Meiningen conqpany 64 .53 263. choregeus 33 •20 264. greenroom 35 .44 108 TABLE 22 (contd.)

Item Item r Number Word Difficulty ic

265. rerisseur 59 .57 266. strong body position 87 .38 267. one-quarter position 59 •06 268. the imitative method 56 .25 269. "give-the-scene" 51 .13 270. ’•ensemble” method of playing 41 -.06 271. the ”beat” of the play 21 -.23 272. ’•full-back" position 77 .37 273. mise-en-scene 36 .13 274. progressive staging 33 •20 275. personal-interview casting 36 -.26 Sub-Area: Acting

276. the illusion of the first time 23 .15 277. James-Lange theory 31 .07 278. inner justification 54 -.06 279. subjective method of creation 15 .00 280. one whole unbroken line 18 -.16 281. through line of action 46 .19 282. magic if 44 .38 283. "slice of life" technique 69 .34 284. bio-mechanics 46 .63 285. "supers’* 62 .77 286. units and objectives 18 .08 287. adjustment according to Stanislavsky 18 .00 288. emotion memory 92 .35 289. plastic movements 26 .14 290. external characterization 82 .41 291. muscular memory 62 .00 292. main organic episodes 38 .39 293. technical acting 41 .32 294. inner grasp 23 .15 295. I wish 8 .00 296. "unconscious creativeness through 33 .00 conscious technique" 297. actor-manager system 38 .45 298. the "system" 13 .19 299. method of psycho-technique 10 .10 300. "truth on the stage" 72 •42 109 include (l) an increased test sample to produce stabilized coeffi­ cients, (2) a larger, more homogeneous test sample, and (3) an analysis of the incorrect item alternatives allowing retention of those which possess high negative validity coefficients* This would involve the introduction of new alternative responses to replace those which appear to be in conflict with the correct response*

The item, difficulty tabulation yielded additional informa­ tion with respect to the individual items* It was found that the mean difficulty was 43*25* Some indication of normal distribution can be seen from the quartile difficulty scores* was 28*00;

Q2 was 44*54; and was 59*50* It was seen that the test was not highly skewed either negatively or positively from these quartile figures*

Item difficulties were examined further with respect to their acceptability. Items were declared acceptable if at least

30 per cent but not more than 70 per cent of the test sample had passed them* The lower limit of *30 was selected because chance behavior on a five choice item would tend to produce an item diffi­ culty of *20 with a standard error of approximately .08* A difficulty of .30 was required, therefore, to reduce the possibility that only chance behavior was involved in the selection of the correct response by the test sample* The upper limit of .70 was selected to hold in question those very easy items which might be non-discriminatory between persons of high and low background* With these standards of n o acceptability, 190 or 63*33 per cent of the items f e n within an acceptable difficulty range.

The efficiency of the test as a comprehensive measuring instrument was studied* One student was able to complete the total test in 55 minutes* No student required more than the anotted time of two and one-half hours* Most of the students were able to answer a n of the items in less than two hours* The average time taken was approximately one hour and 45 minutes* This average time indicated that the average student was able to complete approximately three items per minute* Consequently, the test was regarded as an effi­ cient instrument through which theatre background of graduate students could be estimated* CHAPTER V

SUMMARY AND CONCLUSIONS

The development of a graduate achievement test in theatre has been concerned primarily with (1) the setting in which the study took place, (2) the answers to those questions which formed the pur­ pose of the study, and (3) the results of the procedures which made possible the answering of those questions. In addition to this, the study is concerned with those implications for further study which have resulted.

SiTn'°naTiy

It was seen that a number of conditions related to graduate testing in theatre are in existence today:

(1) The importance of a broad, general background in theatre for all students of theatre

(2) The differing methods that have been used in various institutions to estimate the background status of graduate theatre students

(3) The absence of published tests for measuring graduate achievement in theatre from which a statement pertaining to background could be made

(4) The knowledge of vocabulary which results from training and experience within a particular field of study

The study was limited to the development of a graduate achievement test in theatre. This test was based upon a knowledge of the vocabulary which might be obtained either through background

111 training or background experience in theatre* The methodology which was used had the following distinctive features:

(1) A method for extracting those words, terms, symbols, etc* which were peculiar to a study of theatre

(2) A method through which these words, terms, symbols, etc* could be, at least partially, pr e-validated

(3) A method of establishing a criterion with which the test scores could be correlated

The general procedure which was followed possessed other qualities* These included (l) uniform test construction, (2) judi­ cious arrangement of items within the test, and (3) the distinctive feature of rendering the finished test useful as a descriptive instru­ ment*

Conclusions

The conclusions of this study are related directly to the limitations of the study itself* The most important limitation was that dealing with the samples used* These samples included experts in theatre and.graduate theatre students. The size of these samples was the most serious limitation* This particular limitation has a deterring effect upon the confidence with which the findings can be accepted* The sample of experts was limited chiefly with respect to size* The samples of graduate students were limited with respect to size, motivation, and institutional affiliation* Despite these limi­ tations , it is reasonable to expect that larger samples or samples foreign to those used in this study would tend to sustain the con­ clusions which have been drawn* Other limitations of the study are (l) the inaccuracy of the sub-area weighting which was related to the number of acceptable words, terms, etc., that could be used as a part of that sub-area; and (2) the lack of comprehensiveness in the establishment of the criterion; or the amount of error introduced in the establishment of the criterion* Despite these added limitations, the results would increase the expectation that the conclusions, listed below, would be sustained.

A test of knowledge of vocabulary in theatre provides a satisfactory estimate of the background of theatre students* With respect to the test’s ability to estimate total background criterion, the validity coefficient of the total test is *86* Through use of the test, the error of estimate of background is reduced 49*1 per cent* The major divisions of (l) stagecraft and production and

(2) theatrical literature and history have respective validity coef­ ficients of *86 and *77* The errors of estimate of background for these two major divisions are reduced 49*1 per cent and 36 per cent respectively* Reductions of the error of estimate of background for the sub-areas of the test are as follows: Design, 33*7 per cent;

History, 22*5 per cent; Makeup, 15*2 per cent; Costuming, 29*3 per cent; Stagecraft, 44*4 per cent; Lighting, 25*2 per cent; Playwriting,

8*4 per cent; Criticism, 10 per cent; Dramatic Literature, 36 per cent; Directing, 10*6 per cent; Acting, 30 per cent* The fact that some of the reductions of error are small in some of the sub-areas suggests the use of the test to measure comprehensive background* 114 An acceptable criterion waa developed based on types of training and experience in theatre. An idea of the reliability of the criterion was obtained by having theatre students, from the test sample, record their background training and experience on two occasions. The first statement of background was obtained when the test was administered. One month later the second statement was obtained. The reliability coefficient through this test re-test method was .99*

Acceptable standards of it an difficulty were achieved in this graduate vocabulary-type achievement test without sacrificing item validity. Acceptable validity coefficients were obtained for the items within the test; 51 per cent of the item-criterion correla­ tions were significant at the 5 per cent level of confidence. The mean difficulty of the items was 43.25. In addition, the te3t was not highly skewed either negatively or positively with 63.33 per cent of the items falling within a difficulty range of .30 to .70. This difficulty range would tend to produce test scores that are not highly skewed.

The validity. ah-nity. and efficiency of this graduate achievement test in theatre were apparently madn-fcairiftd despite the comprehensiveness of the test. There were three hundred items, each containing five alternative responses, in the total test. A time limit of two and one-half hours was observed by all graduate students taking the test. One student completed the test in 55 minutes. The average time required to complete the test was about one hour and 45 115

minutes. This meant that the average student was able to answer

nearly three items per minute. No student required the maximum time

allowed to complete the test. As a result, the validity coefficients,

reported above, and the reliability coefficients are not misleadingly

high because of inability to complete the test. The reliability coef­

ficient for the total test was .97 • A reliability coefficient of .95

was obtained for both of the major divisions, stagecraft and produc­

tion and theatrical literature and history.

Procedures used in the development of this graduate achieve­

ment test in theatre resulted in a product that met the commonly

accepted standards of good test construction. The validity and

reliability coefficients of the total test, related above, indicate

that the test tended to achieve the standards of good test construc­

tion. Further indication of the tendency to maintain these standards was seen through the item-criterion correlations and the item diffi­

culties that were obtained. The item difficulties demonstrated that the test was not highly skewed either negatively or positively.

Procedures used in the development of this graduate achieve­ ment test in theatre assured relative freedom from the influence of

specific institutions or geographical areas with respect to the vocabulary selected. The 13 basic sources of test materials were selected by 41 experts who represented diversified institutions and geographical areas. The master list of words and terms from which the test items were selected was established on the basis of (l) the frequency of occurrence in those basic sources, and (2) the familiarity 116 of those words to graduate students outside the field of theatre*

Procedures used in developing the criterion for this graduate achievement test in theatre assured relative freedom from the influence of specific institutions or geographical areas* The

15 types of training and experience making up the criterion scale were ranked by 25 experts who represented diversified institutions and geographical areas*

Implications for Further Study

One of the most prominent limitations of this study was the size of the available test sample* Further study might involve an enlargement of the test sample to include graduate students in the field of theatre from various other institutions. This would automatically improve the present test sample which included 13 people who were not majoring in theatre. An enlarged test sample could produce additional data for further analysis of the test items.

Through this analysis it would be possible to revise the test items*

Such a revision should increase the test*s ability to estimate grad­ uate background in theatre*

In addition to this the test could be kept up-to-date by the inclusion of new basic sources as they became more important and more widely used* Vocabulary entries from new basic sources of theatre could be added easily to the original records*

Also, the criterion which has been used in this test could be refined further* There are undoubtedly other aspects, not covered 117 in this study, which contribute to a person*s achievement in theatre.

Consequently, a refinement of the criterion would contribute to the test's usefulness in estimating background.

Other tests in theatre could also be developed along the lines described in Chapter I. Certainly, it would be worthwhile to have a complete battery of theatre tests. Such a battery could give information with respect to a student's creative ability and imagina­ tion, etc., in addition to measuring his background in the field.

Finally, it would appear that other achievement tests in the field of speech could be constructed in the same manner. If this test could be looked upon as a companion test to the Fotheringham

Terminology of Speech and Hearing Disorders Test, other companion tests in the general field of speech could lead, ultimately, to a complete battery of tests for measuring that general field. BIBLIOGRAPHY

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Pettet, Edwin Burr, "Educational Show Business Has No Business,” Theatre Arts. XXXVI (April, 1952), 92-3.

Philbrick, Norman, "A Plan For A Graduate Program In Drama," Educational Theatre Journal. V (1953), 93-9.

Postle, A. S., "Objectives of Teaching Drama,” The Quarterly Journal of Speech. XVI (February, 1930), 69-74* Powers, S. R., "A Vocabulary of Scientific Terms for High School Students.” Teachers College Record. 28 (1926). 220^45. 120

Pressey, L. C., nThe Determination of Technical Vocabularies in School Subjects,” School and Society (July 19, 1924), 91-96,

Schwesinger, Gladys C., The Social-Ethical Significance of Vocabu­ lary, New York City: Bureau of Publications, Teachers College, Columbia University, 1926, 73 pp,

Selden, Samuel, "Academic Shadows on the American Theatre,” Educa­ tional Theatre Journal. VI (1954), 97-105.

Starch, D,, Educational Measurement, New York; The Macmillan Company, 1916. 202 pp.

Terman, L, M., The Measurement of Intelligence, Boston: Houghton- Mifflin Co., 1916. 362 pp.

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Thorndike, Edward L. and Irving Large, The Teacher»s Word Book of 30.000 Words. New York: Bureau of Publications, Teachers College, Columbia University, 1944. 274 pp.

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Travers, Robert M. W., Educational Measurement. New York: The Macmillan Company, 1955. 420 pp.

Whipple, G, M., Manual of Mental and Physical Tests. Part II. Baltimore: Warwick and York, 1915. 336 pp. APPENDIX A

MASTER LIST OF WORDS AND TERMS

121 122 DATA ON THE MASTER LIST OF WORDS AND TERMS FROM THE PRELIMINARY LIST OF WORDS TAKEN FROM THIRTEEN SOURCES JUDGED BASIC TO AND IN WIDE USE AMONG GRADUATE STUDENTS IN THEATRE

NOTE

Explanation of terms and symbols used in Appendix A:

Non-Speech Graduate: This term applies to all those graduate students not having theatre as a major or minor area of concentration in their graduate studies*

Adv. Speech Graduate: This term applies to a group of ten (10) persons with advanced standing in the field of theatre; five of these ten are professors in the area and the remaining five have completed their general esxaminations.

Familiarity Index: This term indicates the degree of familiarity a sample of ten persons has with respect to the word (see pages for detailed explanations).

(T) The word considered is included in the 30,000 most fre­ quently used words in the Thorndike-Lorge List.

G.U. The word under consideration was found to be in wide general usage in the sources examined.

F. The word under consideration had a frequency of ten (10) or more in the source or sources.

A. The word was acceptable for possible test item construc­ tion.

U • The word was used in test item construction. .

Data was not gathered on the word with respect to the characteristic under consideration. In a few instances a word was selected from the total list of words without having been submitted to graduate students for establish­ ment of its rating on the familiarity indices. 123

The following symbols are employed to identify the sub-area to which the word was assigned once a test item had been constructed:

A. Acting C. Costume Cr. Criticism Des. Design Dir. Directing D.L. Dramatic Literature H. History L. Lighting M. Makeup P. Playwrighting S. Stagecraft

\ 124 Master List of Words and Terms

to ro •p H bO *« •H Pi A •p CO •• o O O 0) (0 a> 0] . ©

t>» o •P EH ir\ a O o 00 § P. a © *8 p a t—i s f-43 3 -p L •H ir\ Pj o a 3 P i - p 3 co a* 3 0) CO 1* o Q) O o c *8 fj o tH o o CO o o o £ 3 pt( «*! o => til I

act drop 3 4 4.3 1.2 A acting area 6 F 2.4 ---- Activism 1 5 4*4 2.9 A U D.L, the actor opened up 2 F 3.3 ---- the act or-manager system 5 F 4.0 — A U A.

actorfs imaginative creation 4 F 3.2 acts of preparation 3 F 3.8 ---- A U P. Adjustment: in the 2 5 4.9 2.0 A U A. Stanislavsky system aesthetic balance 1 F 3.0 — aesthetic principles 3 F 2.1 ----

aesthetic value 1 5 1.6 ——— affective memory 2 F 3.6 ---- after-piece 2 7 4.0 1.0 A U Gr. the Age of Rococo 4 F 3.8 —— A agitrop plays 4 F 5.0 ---- A U D.L

agon 3 6 4.5 A U D.L alcohol dyes 1 1 — U S. the Alexandrine 3 6 4.2 A U D.L American system of 2 F 4*6 A U H. combination production amperage 1 F 2.3 —— -

anagnorisis 3 7 4.9 — — - - A U D.L aniline dyes 2 6 2.2 anti-climax 3 7 1.9 antiphonal responses 2 4 3.8 1.7 A U P. antistrophe 2 2 4*4 2.1 A U D..L

applique 2 F 3.7 ___ aquiline nose 2 F 2.7 — arbitrary movement 1 F 3.0 — arc spotlight 3 F 2.2 . archaic period 2 F 4.0 —. A 125 architectonic 2 2 3.5 the architectural facade 3 6 2.7 — architectural settings 6 F' 3.0 — arena productions 2 8 2.9 — Aristophanic Comedy 3 5 3.8 1.1 A U D.L

Aristotle*s theory of 4 F 4.7 — A purgation Arlecchino 3 F 4.7 — — ... AU D.L arm cycloramas 2 5 4.7 2.0 A U S. art-for-artTs sake production 3 9 2.1 — Art Nouveau 3 6 4*6 --- A fart of representation* 3 F 3.3 — "art theatres” 3 F 1.8 asides T F 2.8 ---- assimilation of a part 1 6 2.0 ---- asymmetrical balance 1 F 2.6 ----

Atellan farce, the 3 8 4.9 AU D.L, auleum 1 4 4.8 2.8 AU H- autos sacramental es 3 6 5.0 A baby spotlight 3 9 3.2 ---- back painting 1 5 3.1 ---- backdrop G.u. F 1.7 back-flap hinge 2 3 4.9 1.5 A background movement 1 5 2.5 — backings 4 F 2.7 back-shutters shown in 1 4 3.4 "relieve” baldrick 1 F 5.0 2.8 AU C. "bands”, costume 1 F 3.2 Baroque dramatic form 2 F 4.8 ---- A U D.L, Baroque setting, the 3 F 3.2 — Baroque theatre, the 1 F 3.9 1.2 A U H. bathos 4 6 4.5 ——. AU D.L, batten T F 2.2 ---- batten clang? 3 8 4.1 — A battened 3 F 3.7 battened flats 2 3 4.5 1.6 A beam lights 4 F 2.2 -- ,Tn • Bear-garden, the 2 2 5.0 2.1 A "beats” of the play, the 2 F 4.7 -— ' A U Dir, becket 2 5 4.6 3.6 behaviorism 1 7 2.2 -—. 126 "Belascoism" 2 F 4.9 A U Des. berthas 1 F 4.5 3.6 bio-mechanics 4 F 4.0 ----- A U A. bits of your role 1 8 3.0 ----- black wax 1 8 4.4 2.4 A u M. blending light 3 F 2.8 — r---- bl-i a n t 1 F 4.7 3.3 blocked butt-joint 2 F 4.3 A u S. blocking-out 2 F 2.2 — blood-and thunder revenge 2 4 2.6 ——— ' literattire boa 2 7 4.6 1.9 A board feet 2 5 2.1 __ Bobbinette 2 4 5.0 1.7 A u L. the body of the role 2 3 3.4 ------book ceiling 2 F 4.4 ----- A borax T 3 2.0 ----- r border batten 3 4 4.9 1.3 A borderlight 3 F 3.6 — bottom rail 2 9 4.2 1.3 A “boulevard*1 spirit of the 2 8 3.2 — popular Parisian theatre

"Bourgeois** drama 3 8 3.8 A box set G.U. F 3.9 — A brace jack 2 F 4.8 — A breakaway scenery 1 5 2.9 — the “bridge** 3 F 3.5 — Brome 2 2 5.0 3.1 A u D.l. bronteion 2 2 5.0 3.4 A u H. Brunetiere*s law 2 F 5.0 — A u P. “buckler** 2 8 4.4 2.1 A building a scene 2 F 3.7 “bull roarer” 2 3 3.8 3.6 butt-jointed- 2 F 4.3 A candle power 2 F 1.5 ___ cantilevered structure 1 6 2.8 ___ canvas duck 3 4 4.5 1.2 A

“cape and sword" plays 2 7 2.7 —— capitano 2 F 4.0 A carriage bolt 2 F 3.4 — cartoon, to 1 6 3.7 ----- cassock 2 F 2.8 — 127 cast shadow 2 F 4.2 — A caster plank 1 F 4*8 2.8 A ’'casting-office'* method 1 4 -- -- U Dir catharsis 3 F 3.8 -- A U P. causative character 3 F 3.0 —-

Cavalier costume 2 F 2.9 -- cavea 1 8 4.4 2.7 A u H. ceiling plate 2 F 4.5 -- A central scenic motif 3 6 3.2 — Chain—mail 1 F 2.8 — chamise 1 F 3.6 ___ character business 3 6 3.7 -- character comedy 2 F 2.1 -- character drama 1 9 2.2 ---- character makeup 2 F 2.5 — character of affectation 1 F 2.9 — -1.. character properties 2 8 3.3 -- characterization T F 1.9 — character-types 3 6 1.6 ---- chasuble 1 F 4.8 2.8 A u C.

''chatelaine'* 1 6 4.6 ---- , check line 1 7 4.2 1.3 A u S. Chester cycle 2 6 4.9 1.7 A chiaroscuro 2 F 5.0 ---- A u M. chignon 1 9 4.2 ----

Chinese formalism 3 4 4.0 2.6 Chinoiserie 2 7 5.0 2.6 A u Des chiton 2 F 4.5 — A u C. chlamys 2 F 4.8 ---- A choral drama 3 3 3.4 ---- choral passage 4 F 2.8 choral ode 4 F 3.7 .---- choregeus 3 5 4.9 2.2 A u Dir chorus of Furies, the 5 F 4*6 — A u D.L Christmas mummings 2 F 4.0 ---- A u D.L chroma .1 F 3.7 —_ chronicle play 4 F 3.8 — ; A u P. Church drama, the 3 F 2.1 Cid controversy, the 1 7 4.7 2.0 A u Cr. circle of attention 1 F 2*9 — circuits T F 2.7 *'circus** production 3 6 3.3 ------i 128 Claque 2 4 4*8 1.0 AU D.L Classicism 6 F 2.8 climax of a play, the 5 F 1.2 --- clinch plate 1 6 4*6 1.8 A closely-knit play, the 2 2 2.4 ”Closet drama” 2 4 4.0 1.0 AU D.L cloth border 2 4 3.7 ___ clout nail 2 F 4.8 —— AU S.

Clown white 2 F 4.8 — ,r. A color boomerang, a 3 F 3.7 —— color circuit 2 4 3.5 --- color intensity 3 F 2.4 . color medium 2 F 3.1 —— comedies of intrigue 3 5 2.9 — comedy TF 1.1 ___ ”comedy of humours” 3 F 3.3 — comedy of manners 5 F 3.8 AU D.L, commedia dell *a-rte 10 F 4.3 — AU D.L. community theatre 4 F 1.4 comus 3 F 4.8 --- A U D.L, conflict of will 2 F 3.2 --- connector 2 . F 4.0 --- A connotative movement 2 4 3.6 conservation and build 1 F 3.7 — .— Continental repertory 1 6 4*6 2.1 A IT H. theatre Constructivi sm 5 F 3.0 ___ constructivist set 5 F 4.9 A u Des. contrasting movement 2 7 3.2 --- contrasts employed in 2 F 4.3 --- A directing contrived stage-piece 1 8 3.7 ___ conventional types of 3 F 3.0 --- acting cope TF 2.4 mm—— corner-block 3 F 4.3 __ A u S. Cornish play 2 8 4.2 2.3 A u D.L, corral theatre 2 7 4.8 3.2 A u H. costume fillet 1 F 4.6 3.4 cote-hardie 2 F 5.0 A u C. cotton duck 1 • 8 5.0 1.8 A 129

counteraction 2 4 3.3 —— counter-focus 1 F 3.1 __. count ermovement 2 2 2.8 — countersink 2 F 3.4 — * counterweight arbor 2 F 4.8 — A

counterweight carriage 2 4 4.3 1.4 A counterweight scenery 3 3 3.0 — counterweight system 3 • F 3.5 —- counterweight unit 1 6 4.6 1.1 A court masque • 2 6 4.2 1.1 A U D.L

court play 3 F 3.7 court stage, the 2 3 3.7 court theatre 2 7 3.6 Coventry cycle 2 5 4.5 1.3 A U D.L "cover, to" 2 F 3.4 — .

creative acting 3 F 2.7 1—T ,r L , | crepe hair 3 F 3.3 — ~ crinoline T F 2.7 —— cross, to 2 F 2.5 cross-gartering 2 5 5.0 ----- "crowd psychology” 1 F 2.2 Cubism 6 F 3.7 ——— cuecuius 1 6 4.9 cue-sheet 4 F 1.4 curtain-raiser, a 2 6 1.6 -----

curved screen, a 2 2 2.6 cut drop 1 F 4.1 1.5 A u S. cut line 2 7 4*4 3.1 Cut-Awl 1 7 4.9 2.1' A u S. cutoff 2 F 3.7 --

cut-out setpiece 5 F 3.9 A cutting list, the 1 7 3.0 eye border 2 2 4.9 1.2 A eye light 3 9 3.9 A cycle of plays 4 F 4.2 -— A cyclorama, or eye 6 F 4.2 A u S. Dadaism 3 F 4.1 A u Des. dalmatica 1 F 5.0 2.4 A u c. danc e-drama 4 F 3*1 "dead pack" 3 7 4.3 — A u S. declamatory style 4 F 3.4 —,- , decolletage 1 F 3.5 ——» 130

decor simultane 1 7 4.3 2.1 A U Des. decorum of the stage 5 F 2.7 Delphic oracle, the 3 3 3.1 -- Delsartels methods 2 2 5.0 1.2 A denouement 7 F 3.4 -- dentil 2 4 4.8 3.3 A "dermatograph” pencil 2 3 3.6 — deus ex machina 7 F 3.5 ——

dextrine 1 5 3.4 dialectic method, the 1 F 3.2 dialectical materialism 1 7 3.8 2.7 U P. diction T F 1.1 didactic drama 3 4 3.2 —

diffused light 4 F 1.8 -r— dimity- 1 9 4.2 dimmer plate 1 F 4.3 1.9 A Diorama 2 3 5.0 1.5 A U Des. dip-dyeing 2 5 3.8 1.5 A

dipping the lamp 3 F 5.0 A directional lighting 2 3 2.7 Directory period 1 F 4.6 2.0 A U C. ’’discovery”, the 3 F 3.3 --- dithyramb 6 F 4.8 —- A U P. documentary drama 2 F 2.0 --- dolman sleeve 1 8 4*4 2.3 A domestic drama 2 F 3.2 •’domino” pattern 1 9 4*4 — Doric chiton 1 F 5.0 1.3 A U c.

Dottore 3 F 5.0 A U D.L. down left 3 7 1.7 down right 4 8 3.0 -- downstage plane 1 9 2o4 -- ’’drama of ideas” 1 F 4.2 1.7 A U P. drama of intrigue 2 F 2.7 dramatic action 5 F 1.9 dramatic antagonist 1 3 4.8 1.1 A dramatic conflict 2 F 2.2 dramatic enlightenment 3 F 2.8 T - dramatic justification 3 F 2.9 dramatic mechanism 2 6 3.3 —— dramatic metaphor 4 F 2.9 .-- ' ■ 131

dramatic movement 3 6 3.1 dramatic progression 4 F 3.3 — dramatic proposition 2 F 4.3 A U Cr. dramatic representation 2 2 2.5 — dramatic structure 3 8 4.3 ___ A dramatic technique 4 F 1.9 — dramatic type G.U. F 3.0 —

dramatic vignette 3 7 3.7 — dramatis personae G.U. F 2.7 _— dramaturgy 4 F 4.9 . A U P. draw curtains 6 F 1.7 ___ drawing room play 4 6 2.4 — dream interlude 3 6 3.1 ____ "dream play" 2 2 4.0 1.2 A "Drolls" 2 2 4.1 2.0 A u D.L. drop, stage 6 F 3.1 --- drop batten 3 7 4.7 --- A dry color 2 F 4.0 — A dry-brushed 2 7 4*4 1.3 A u S. dualism of mind and matter 2 F 3.5 dumb show 2 4 3.5 Duo-emphasis 1 8 3.0 ---

"dutchman" (cloth or canvas) 4 F 4.9 —- A u S. eclectic and synthetic 2 2 3.3 dramatist eclogue 2 F 4.6 --- A u Cr. effect machine 4 F 3.5 --- Egyptian mode 1 5 4.4 --- eighteenth century 5 F 3.4 ekkyklema 5 F 5.0 — A u H. elan vital 3 F 4.5 --- A u P. elevator-wagon combinations 2 5 4.6 1.6 A Elizabethan drama 4 F 2.8 --- Elizabethan playhouse 6 F 2*3 Elizabethan ruff 2 F 4.6 __ A ellipsoidal reflector 2 F 3.2 —- spotlight and floodlight "elocutionary" acting 4 4 2.7 ___ emotion memory 3 F 3.8 A u A. emphasis light 3 7 1.9 —— emphatic figure ■ 1 F 2.6 ---. 132

’’Empire" style 2 F 4*6 -— A "ensemble" method of playing 7 F 4*4 — AU Dir entr’actes ■ 6 F 4.0 — A U D.L

entremeses 2 6 4.6 4.0 U Cr. enunciation T F 1.4 — epic or tragic imitation 1 6 3.9 2.7 epic poem 2 F 1.9 ----- Epic style 5 F 4.5 ——— AU Des epilogue T F 2,0 — ™ episkenion 2 8 5.0 2.1 A u H. epopee 1 6 4.9 4.1 u Cr. "esthetic distance" 3 8 3.7 —-- esthetic theory 3 F 3.0 ----- ethical act 3 4 3.7 Eton style 1 8 5.0 — eulogy T 2 2.9 ----- exhibition performance 1 6 2.9 — _. existentialist play 1 F 3.6 ----- exodos 3 7 2.9 exostra 3 7 5.0 ----- A u H. experimental production 4 F 3.1 ----- expressionist play 6 F 2.9 ----- Extension Arm 2 2 3.3 ----- external characterization 2 F 3.8 A u A. Fabian Society 4 F 3.9 ,— A u D.L Fable, the T F 2.8 __ fabula Atellana 1 F 4.9 2.0 A u D.L Fabula Palliata 2 6 4.6 3.1 A u DiL fabula togata 2 4 4.8 2.6 A u D .Li faience 1 8 4.8 faking, the 1 F 3.7 falling action 1 5 3.1 — false proscenium 2 3 3.9 . 1.0 A u Des, fantasies T F 2.2 ■ _,mrnw-m fantastic play 3 5 3*1 farce T F 1.5 farce-comedy 3 5 2.3 “ farthingale 3 F 4.6 A u C. feed cable, the 2 4 3.9 2.5 "feel their parts" 2 F 1.6 -—- ferrule 2 2 3.9 ----- 133 fibulae 1 F 4*7 2.3 A U c. fichu 2 F 5.0 —— A U c. fifth century B.C. 4 F 3.8 A U D.L, final crisis of the play 2 4 2.3 —- first draft 2 8 2.6 — "Fish skinM 2 4 4.7 2.9 A U M. fixed dome 5 F 4.6 ----- A U L. flake glue 3 F 4.5 — A U S. flippers 4 9 3.5 — .... floating a flat 2 2 4.5 1.9 A US. flower path, the 3 6 4.9 — A U H. flown scenery 4 F 4.2 — A fly curtain 3 F 3.7 fly gallery 4 F 3.9 — A U S. flying system 1 7 5.0 1.0 A flymen 4 F 4.7 ___ A focal length 1 F 1.8 —— folio T F 2.9 ,11. m . folk-play 4 F 2.2 fontaggr' 1 F 5.0 3.1 A U c. foot candle, a 2 F 2.0 footiron 2 F 4.2 ----- A formal stage-setting 4 7 2.8 ——— Formalism 5 F 3.4 Fortuny lighting system 1 5 5.0 1.3 AU L. fourth century B.C. 5 F 3.9 ----- A framed flat 2 F 3.2 0 French classicism 2 6 4.1 1.4 A U D.L French Farce or Sottie 4 7 4.2 — A U D.L, French "rules'* 2 F 4.9 — A U Cr. Fresnel-type of lens 2 F 4*6 A U L. frons scenae 2 F 4.7 — A U H.

"full-back" position 1 6 4.4 A U Dir, "full-front" position 1 F 1.7 — functionalism 2 4 3.6 —— "futurism" 4 F 3.6 ___ gallery, the T F 1.4 —— gambeson 1 7 4.9 4.4 "ganged" together 1 6 3.9 2.1 A gasket, to 2 4 4.5 3.4 gauze drop, a 4 F 3.6 ——. gelatin medium 6 F 3.8 — A u L. 134

general tryout method 3 8 3.3 __ Georgian era 3 8 3.7 German cloud machine 3 4 4.5 2.4 A German Romanticism 2 3 2.5 —_ "give the scene” 2 F 3.8 ----- A U Dir

given circumstances 1 F 3.3 —— globular lamp 2 5 4.2 1.4 AUL. ”glory”, the • 3 6 4.5 — A u H. Golden Age of Greece 3 8 3.2 — golden age of the Spanish 3 4 3.8 2.3 A u D .L theatre

gorget 1 F 4.9 Graeco-Roman period 3 F 3.1 __ greaseless base 1 9 2.9 — Greek chorus, the 6 F 3.3 —- Greek tragedy 3 F 2.3 ---

greenroom 4 9 4.2 — A U Dir ‘•grips” 3 F 4.8 — :— AU S. grommets 3 F 2.9 --- grooves in the stage floor 5 F 4.0 -— A grotesque style 4 F 3.7 --- ground row 4 F 3.8 -__ A u Des gum arabic 1 7 3.2 --- half keystone 2 6 5.0 2.4 A halved joint 2 8 4.7 2.3 A hand prop 3 F 2.0 —— *•

hanger iron 2 F 4.7 A u S. hard base 1 7 4.0 2.7 Hassidism 1 7 4.2 4.0 u D.L, hauberk 1 F 4.2 3.6 head block 2 F 4*4 — A D S.

'•heavens, a” 3 6 4.5 A U H. Hellenistic style 6 F 3.6 — "heroic play" 2 F 2.8 — hexagonal leno weave 2 2 4.9 4.3 high comedy 3 F 2.8 , — high tragedy 2 F 3.2 w— high-value color 3 8 3.3 — himation 2 F 4.8 A U C. historical drama 7 F 2.1 histrionic art 4 F 3.5 — c- 135

horizon strips 3 F 4.0 — A D L. houtroelande 1 F 5.0 3.2 A U C. hue T F 1.8 —— Humanist Drama 2 F 3.1 — humanitarian drama 2 F 2.9 —

Hraoscenium 1 5 4.3 2.4 A U H. "I wish1* method in acting 1 F 4.7 2.8 A U A. iambic 3 F 2.8 —- idyllic form 3 F 3.6 - — « ifs, magic 2 F 4.7 — A U A.

’’illusion of the first time” 2 4 4.1 1.9 A U A. illusionistic staging 7 F 3.1 illustrative action 4 8 2.0 — imaginary stimuli 1 8 2.9 > imaginative drama 4 7 2.7 — imitation of an action 2 F 3.2 — imitation of nature 3 8 3.2 —- imitative method 3 F 3.9 — A u Dir. Imperial Toga praeteacta 1 7 5.0 2.5 A impressionistic play 5 F 2.8 —

"In one" 2 8 4*6 3.1 A u S. "Incroyable" 2 7 4*6 3.5 independent theatre movement 6 F 3.4 — infratemnoral 1 4 4.4 3.8 Inner Creative Mood 5 F 2.7 .— inner grasp 1 F 3.8 2.0 A u A. inner proscenium or frame 3 F 4.7 — A inner stage 5 F 3.1 -- inner truth 2 F 3.6 —— inner vision 2 F 2.6 -- interlude in drama 7 F 2.5 - - - intermezzi 2 2 3.2 -- interpolation 1 F 2.7 — Ionic Chiton 1 F 4.4 1.3 A iris-type shutter 6 F 2.7 —-

Italian Commedia 4 8 2.8 - Italian intermedii 1 F 4.5 2.2 A u D.L. itinerant player 2 3 2.6 jackknife stage 2 F 4.0 — A u S. jack-roller 1 7 4.5 2.8 A

Jacobean drama 2 7 3.8 1.5 A u D.L. James-Lange theory of emotions 1 2 ..-- -- u A. 136

Jansenists 1 5 4.4 3.3 U D.L. jogging the set 2 6 4.4 1.1 A .jongleurs 1 F 4.5 2.0 A U D.L.

journalistic drama 5 8 3.4 keeper hook 2 F 4.9 . AU S. kennel, gable, or pedimental 1 F 4*6 ------headdress "kimono11 sleeve 3 F 3.3 kolpos 1 F 4.6 3.4 kothornos. cothurnus 3 F 5.0 A U C. Kuppelhorizant, or plaster- 2 2 4.7 1.1 A U Des. dome lantern slide, the 3 F 3.0 . — . lash cleat 2 F 4.2 — A lash line 3 F 4.0 A U S.

lashing scenery 3 F 3.4 ___ "law of inner justification" 3 F 4.4 — A "learning plays” 4 6 3.8 — AU D.L. leg drop 3 F 4*6 — A U S. leghorn hat 2 7 4*6 2.2 A

"legitimate" stage G.U. F 2.0 W l n rn leit motif 4 6 4.2 ------A lens unit 3 F 3.6 _ lift jack 2 F 4.0 __ AU S. light bridge 2 4 4*4 1.4 AU L. light drama 2 4 2.1 light intensity 2 F 2.1 ___ light tower 3 8 3.3 ___ line of movement 1 F 3.0 — "lining”, color 3 F 3.5 -— ■ Linnebach lantern or 5 F 3.1 — projector literary genre 7 F 4.5 — A U D.L. "little theatre” 4 F 3.4 liturgical drama 3 F 3.7 — live pack 3 5 4.8 3.3 A U S.

"living newspaper" production 5 F 3.4 living your part 3 F 1.6 ___ local color 4 F 1.3 locking rail 2 F 4.9 — A u S. loft block 2 F 3.9 . — . A 137

loggia, a 3 F 4.1 — A logical character 3 F 2.7 —- long load 2 5 4.5 3.2 loose pin hinge 3 F 3.4 —— low value 3 8 3.8 ---- A UM.

lower stage 2 2 3.3 __ lowlisht 1 7 3.0 Lucerne play, a 1 6 4*4 3.2 ludi 2 7 4.9 2.1 A U D.L. luff or watch tackle 1 F 5.0 3.9

Luminescence 2 F 3.6 -n- lyrical dramatist 4 F 3.5 lyricism 3 F 3.1 Maccus 2 F 4.8 A U D.L. main organic episode 6 F 4*6 ---- AU A. main portal, the 3 F 2.9 —— mansion stage, the 7 F 4.0 ___ A U Des. marine duck 2 3 4.9 2.0 A **to mask off1* 5 F 4.1 ---- A masking piece 4 F 4.7 — A U S. masque, a TF 2.7 ---- mass action 3 3 2.9 — mass movement 2 3 . 2.8 ---- mass production 2 F 3.2 ---- masts for scenery 1 5 3.8 2.5 U S. mechane 3 9 4.4 AU H. mechanical acting 3 F 3.2 mechanized stage 2 6 2.2 ---- Meiningen company, the 5 F 4.9 ---- A U Dir. melodrama T F. 1.5 ---- meloooeia 1 5 4.7 3.7 mending plate (mending batten) 2 2 4.6 2.2 A U S. f*Mephistophelesn costume 1 F 3.2 — metal hood 2 F 4*5 ---- AU L. metaphysics 1 F 1.9 —- meter, the T 6 2.2 method of psycho-technique 2 F 4.0 —. AU A. Middle Comedy 3 6 3.6 middle-class drama 3 F 3.7 . —— miles gloriosus 4 F 5.0 ---- A u D.L. 138 mime 4 F 3.9 A mirai 1 F 4.8 2.5 A mimic drama, a 5 F 3.6 _— miracle-play, the 5 F 4.0 — A U D.L. mlse-en-scene 6 F 4.6 A U H. miter joint 2 8 2.8 , mixed conventional and 1 8 4.4 1.6 A illusory style mob scene 6 F 1.4 mob-cap 1 F 4.7 — mobile light 4 5 1.9 — mobile scenic unit 3 F 2.1 — - modern-dress version 3 4 1.8 "monodrama" 2 4 3.1 — Mons 2 F 4.9 — A U D.L. montage 3 7 4*4 -— A U Des. mood T F 1.9 - mood of a scene, the 2 2 2.1 —— "moral passion" 2 8 3.7 — moral purpose, a (utilite) 1 F 3.4 — morality-play 8 F 1.8

,___ morris time 3 F 4*4 A mortise 2 F 3 .8 — A morti s e-and-t enon-j oint ed 2 F 4.3 — A u S. motion-picture technique 3 3 3.7 — motivated movement 3 F 2.9 — motivating light 1 F 4.0 1.5 A u L. mountebank 4 5 4.3 1.6 A mounting position 3 F 3.4 —- multi-set design 4 F 2.7 --- muscle technique 2 8 4.3 3.0 muscular memory 2 3 4.2 1.7 A u A. Muses, the 3 9 2.8 music-drama 5 F 2.7 — mystery cycle 3 7 4.3 A u D .L. mystical play 3 9 2.8 — mysticism T F 2.1 nasolabial folds 1 F 3.9 2*3 A u M. "natural speech” 2 4 3.3 naturalism G.U. F 2.5 — — . - Naturalist movement, the 2 4 3.7 —. 139 naturalistic acting 3 3 3.4 — Naturalistic play G.U.F 3.5 Naturalistic theatre 3 F 3.8 --- A U Des necessary suppositions 1 F 3.3 --- Neo-classicism 5 F 2.6 --- neo-conv entional 1 5 3.1 Neo-Realism 3 3 3.2 Neo-Romantic period 3 F 4.1 AU D.L, New Comedy, the 3 F 3.4 ’’New Stagecraft, The” 2 F 4.9 --- AU D.L, nineteenth century. 3 5 2.2 Noh theatre 4 F 4.8 --- AU H. non-illusionistic drama 5 F 3.6 --- ”non-logical conduct” 1 7 3.2 --- no-scenery type of production 2 8 2.6 --- notched joint 2 F 4.3 -,rrw A objective lighting system 2 6 3.8 3.5 objective method 3 F 2.7 ■ ’’obligatory scene” 3 F 4.0 AU P. Okribas 2 2 4.8 4.5

Old Comedy, the 3 F 4.2 ——— AU D .L i Olivette type floodlight 3 6 5.0 AU L. one whole unbroken line 2 F 3.9 ---- A U A. one-quarter position 2 F 4.5 --- AU Dir, onkos 2 F 5.0 --- AU C. opaque color 3 7 1.7 opaque mat, an 4 F 4.8 A open mortise and tenon joint 2 5 4.4 1.8 A opera trap 3 5 4-4 1.5 A U S. optical centre 1 5 3.4 --- oratorio staging 2 2 3.6 - Oresteian Trilogy 3 F 4.3 — A orgiastic drama 2 2 4.1 2.1 A u D.L. Oriental stylization 2 3 3.5 —— orkestra 6 F 4.2 --- A . u H. outer manifestation 3 7 2.9 . I, , outer stage 2 3 2.9 over-acting 1 6 1.2 ' —~ ' ' over-gown or oolonaise 1 F 4.4. 2.7 A - u C. ’’overhaul line” 1. 7 4.2 2.7 A u S. 140

pace of a performance 3 F 2.6 — "paenula" 1 F 5.0 4.0 pageant stage 4 F 2.5 — paint frame 2 F 4.5 — A paisley design 2 6 4*6 2.0 A

pallium 2 8 4.6 3.7 panniers 2 F 4.9 —_ A U C. pantalettes 2 F 2.4 --- parabasis 3 6 4.8 ___ A U D.L. parabolic reflector 2 6 1.7 —

parados 3 F 4.9 __ A U D.L. parallels T F 2.2 — paraskenia 2 F 5.0 --- A U H. parody T 3 2.8 — pas s ement er i e 1 F 4.7 3.3

pastoral play 6 F 2.5 _ pathos 4 F 2.5 — pear-shaped lamp 2 3 3.3 — "peep-hole” stage 4 9 4.0 A peep-show 3 5 2.1 —

pelerine or canezou 1 F 4.9 4.3 peplum 1 F 4.9 ___ periaktoi 6 F 5.0 — A U H. period style 3 5 3.4 — "periwig” 2 F 4*4 — A U M. permanent Acting company 4 8 2.6 ___ permanent architectural 3 7 3.1 facade permanent scenic background 2 3 3.2 -!- permanent setting 6 F 2.3 --- permanent vanishing point 3 3 5.0 1.4 A personal drama 2 8 2.8 — r- personal-interview casting 1 3 — --. — U Dir. personality actor 2 2 lo8 — perspective settings 10 F 3.1 ___ peruke 2 5 4*6 — phallic revel 4 6 4o5 -— , A Phlyakes 1 F 5.0 2.1 A U D phonetics 1 F 1.3 —_ photographic realism 2 3 3o3 . — Phrygian dress 2 6 4.6 --- 1 4 1

physical balance 1 8 2.8 physiological rhythms 2 F 3*5 — picture-frame stage 4 F 3;6 —- picturization 1 F 3 i2 — niece bien faite 2 4 3 .9 1 .9 A U D.L.

niece de resistance 2 4 3.5 m m m m p m piece of business 3 8 2 .9 ------nieces a machines 1 4 4 .6 2 .1 A U D.L. pilaster 3 6 3 .8 — A ninakes 2 F 4 .6 ------A u H.

pin-hinge 1 F 4 .3 1 .5 A pin-rail 4 F 4.5 *— A "pinking” 2 6 4 .9 —— pipe batten 3 F 4 .3 — A pit, the T F 1 .4 —

plano-convex spotlight 2 F 2.3 plaster cyclorama 4 4 4 .1 1 .1 A plastic art 2 3 3 .8 1 .9 A plastic element 2 F 3 .6 plastic makeup 1 F 2 .9 ------

plastic movement 3 4 3 .9 1 .4 A u A. plastic setting, the 3 F 4 .0 — A plastic stage 3 F 4 .7 — A u Des. nlatea 3 8 4*4 A u H. platform stage 5 F 2*9 — play doctor 2 3 3 .9 1 .1 A u P. playing area 2 3 2.6 playlet 2 8 3 .0 — play’s catastrophe 5 F 3 .6 play’s crisis 4 F 1 .7 — play’s: development 3 4 1 .9 — TTTnn- play’s main line 3 6 2 .3 play’s protagonist 4 F 2 .7 play’s root-action 1 F 3 .9 2 .7 u P. plot-structure 2 3 2*6 plugs and panels 3 F 3 .1 '— ,11. poetic image, the 3 6 4 *1 ------A u D.L. poetic imagery 4 F 3 .4 — ’’poetic production” 2 4 3.5 — poetic truth 2 8 3.3 point of attention 1 5 3 .0 ’’pointing” the line 1 8 3 .1 — ----- 142

’joints11 2 F 4.7 -- A u c. poke bonnet 1 F 4.3 -- pongee 1 F 4.9 —-

practical unit 2 4 3.6 ___ praetexta 2 6 4.9 2.9 A pragmatism 2 F 2.8 — prefocus base 2 4 " 4.7 1.6 A presentation house 1 F 4.1 1.9 A U Des, presentational style 6 F 3.6 preset unit 2 F 4.8 — A primary colors of light 2 F 2.2 — primitive drama 2 F 3.5 —— "princesse" line 1 F 4*6 —

principal character 3 QS 1.1 — principle of balance in the 2 F 1.9 — stage picture principle of "empathy” 3 6 4.2 — A problem play 5 F 3.1 —— "profile" position 2 F 2.8 —

profile-board 4 F 3.8 — A U S. progression to his 2 2 3.5 — characterization "progressive” approach 2 8 4o0 3.2 U Des. project, to 3 F 1.8 projected scenery 5 F 3.7 — prologue T F . 1.8 — prompt script 3 F 3.0 — prompt side 2 3 2.7 — prop plot 2 9 2.8 ■— propagandist drama 5 F 1.9 T— "props” G.U. F 1.0 — proskenion 3 F 5.0 A U H. prosody 2 2 4.5 2.6 A pseudo-classical drama 3 9 2.8 —_ Ps eudo-Natur alis ti c 2 3 3.9 2.4 A U D.L. psychic life 3 3 2.4 ___ psychological action 4 F 2.0 i—- psychological conflict 2 3 1 .8 ___ psychological drama 3 F 1.5 psychological truth 2 3 2.9 — ' purchase line 1 5 4 .8 2.6 A t*

143 pylon 3 4 3.6 — - quarto 2 3 3.9 1.2 A U D.L. raisonneurs 3 4 4.9 2.4 A raked sbage 4 F 4 . 5 ---- A U Des. realism T F 1 . 7 ---- realistic drama 6 F 2.5 -- realistic style 8 F 2.3 -- recognition scene 3 F 2.4 -- reflecting surface 2 F 3.4 regisseur 8 F 4 . 9 A U Dir. '•relief stage” 4 F 3 . 6 ---- religious drama 2 F 1.2 -- religious "mystery” play 9 F 3 . 4 ---- renaissance style 4 F 3.1 -- repertory system 10 F 3 . 7 ---- representational staging 5 F 3.7 — Republican era 3 F 3.2 -- resolution of the climax 3 9 3.4 — resonance T F 1.7 —

Restoration comedy 3 F 4.1 — - A U D.L. Restoration period G.U. F 3.0 -- retrospective method 2 2 2.6 ---- "reveals" 1 F 3.5 -- Revels, the 3 6 4*4 — A revolving stage 6 F 2.2 -- rhetorical play 2 3 2.5 -- rhythm of the lines 2 6 2 . 8 ---- rhythm of the play 3 F 3 . 4 ---- rhythmic movement 2 F 2.9 -- rhythmic spacing 2 8 3.5 — rising action 2 F 2.9 -- role of the conscious will 2 F 3 . 8 ----- A role of the "will 5 F 3.9 — A; roll ceiling 2 F 3.9 — A U S.

Roman comedies 3 8 2.5 -- Roman Mime 3 F 4*4 A Romantic actor 3 3 2 . 1 ---- romantic comedies 3 F 2.4 -- romantic drama 3 F 2.3 —

Romantic movement 6 F 4.4 A U D.L. romantic naturalism 2 8 3.0 ---- 144

••Romantic realism” 2 3 2.9 __ •romantic• setting 5 8 2.8 _ Romantic style 9 F 3.4 — root-idea, the 1 9 4.0 2.7 U P. rope system, the 3 F 4.2 ------A roundel (or rondel) 2 F 4.9 --- A U L. rubber stamp piece of acting 2 8 3.7 ruching 1 F 4.6 — rumble cart 2 7 3.7 ——— running a flat 2 F 4.0 --- A sack-coat 1 F 4.1 ------sacre rappresentazioni 3 7 5.0 ------A saddle iron 2 7 4.3 1.7 A U S. saint play 1 7 3.3 salammoniac 2 4 4*6 3.0 A U S. ••Sardoodledom” 2 5 5.0 1.7 A U D.L. saties 2 2 4*4 4.4 satirical comedies 2 F 1.8 — satyr plays 5 F 3*3 Scaramuccia 3 6 4.5 A scarf joint 2 8 4.8 2.6 A U S. scenarios T F 2.9 —_ scene dock 4 7 4.2 ------A U S. scene of exposition 7 F 3.0 ___ scene plot 2 2 2.2 ------scene unit 3 F 3.5 --- scenes a faire 3 6 4.4 --- A U Cr. scenes of ’’comic relief” 2 4 3.5 --- scenes of conflict 2 4 2.5 scenic facade 2 3 3.3 --- scenic imagery 2 5 3.6 --- Scenic Naturalism 5 F 3.1 --- schematic structure of the 2 4 4.2 1.4 A play scioptican 2 5 4.8 2.6 A U L. screen idea 4 F 3.3 — sculptured stage, the 2 3 4.0 2.1 AU Des scumbling 2 5 5*0 2.5 A U S. ••searchlight” technique 2 3 3.7 ----- secondary emphatic figure 2 F 3*5 secular drama 3 7 3.5 ----- 145

“selective realism 3 F 4.1 __ A U Des. selectivity 4 F 3.4 — semi-permanent setting 2 F 2.9 — -

semi-transparent drop 3 3 2.6 sense memory 3 F 3.4 — sentimental comedy 3 F 2.6 —— sentiments, the 1 F 3.7 — Serious Drama 5 F 2.9 —

Serlian setting 2 F 4.9 A U Des. set return, a 3 6 3.8 A set-piece 4 F 3.2 ----- seventeenth century 2 5 2.8 —— “Shakespeare * s stage** 3 4 3.2 -----

sheaves 2 F 4.3 A U S. shirtwaist costume 1 F 3.5 short, center, or long lines 3 F 3.0 ——— shutters (cut-offs) 6 F 2.8 — side-wings 4 F 2.6 -----

sight lines 5 F 3.3 sill iron 2 F 4.3 .----- A U S. simultaneous setting 4 F 3.6 — * “situation1*, the 5 F 2.7 sixth century B.C. 3 6 4.0 ----- A U D.L.

size water 2 F 4.6 — A sizing 2 F 2.9 —— skeletonized form 4 6 2.0 skene 3 F 4.4 A U H. sky border 4 4 2.6 -----

sky drops 4 7 3.0 “slice of life*’ technique 4 F 3.9 —— A U A. sliding stage 3 6 4.0 A U S. snap hook (harness hook) 1 5 2.8 “snap line”, a 2 F 3.8 ----- A snatch lines 2 F 3.8 —- A u S. soaped eyebrows 2 3 4*4 2.1 A u M. social conflict 3 7 1.9 social drama 5 F 3 .3 ——— “Socialist realism” 3 F 3.7 ---- soft base 1 F 3.9 --- _ soliloquy TF 2.4 soul of the drama, the 3 5 4.4 2.7 A u P. 146 sound plot 2 2 3.2 _— "space stage”, a 3 F 4.0 — A U Des. space composition 1 5 3.7 — spangles T 4 2.7 —- spatial arrangement of the 2 2 3,0 " 11 setting spatial relationship 2 3 2.1 — spatter method, the 2 F 4.3 ——A U special lighting 2 6 2.1 ___ specific acts of volition 2 6 3.9 2.1 A U P. spherical reflector 2 F 3.0 ----- spill light 3 7 3.6 ----- spine of the play 2 F 3.2 — spirit gum 2 F 3.1 ___ splay-footed 2 3 3.5 ----- ’’sponging” technique 2 B 5.0 1.6 A ’’spotting lines” 2 4 4.2 1.6 A Spray-dyeing 2 F 2.7 —— ’’spreaders” 2 F 4.0 A ’’squaring” method 2 7 4.8 3.3 A stage apron 9 F 2.2 — stage "border”, a 8 F 3.3 — stage brace 3 F 4.0 — A U S. stage brace cleat 2 F 4.6 A stage business 3 F 2.3 — stag^ close-ups 3 B 2.5 ___ stage 'vdiscs 2 F 4.0 —— A stage flats 6 F 3.6 — stage flies 6 F 4.7 A stage focus, the 2 F 3.7 —_ stage gallants, the 6 F 3.5 — stage "grid" 2 F 4.1 — A stage gridiron 4 F 4.1 — A stage left 2 F 1.9 stage levels 4 F 2.2 stage manager 4 F 1.8 stage planes 4 F 3.6 — stage positions 1 F 2.0 — stage reactions 3 7 3.3 _—— stage rigging 2 F 2.2 ___ stage right 4 F 3.0 -— stage screws 4 F 4.3 — A U stage space 6 F 4 .3 — A 147

stage tableau 7 F 3.8 — A U Des, stage turntable, the 3 9 3.5 nstage was conceived as a 3 F 4.1 — • A U L. cube”, the stagehouse 2 8 3.1 — stanchion T 2 2.5 «*-—

•‘standard Engligh" 1 5 3.2 standing part, the 2 5 3.1 — Stanislavsky system of acting 3 8 4.2 — A U A. ••star1* system, the 7 F 3.8 _— A stasimon 2 8 5.0 2.4 A U D.L

state of dramatic inaction 3 7 3.1 — T-al— "static” play 3 F 3.1 "stations" 2 4 2.3 "stealing" for position 1 F 2.9 ----- step lens 1 5 3.5 ——

stereopticon 4 F 4.1 A U L. stereotyped acting 2 2 1.9 stiffener 3 F 4.2 — A U S. stippling 2 9 3.7 ----- stock character 3 F 2.4 ---- stock-compani es 6 F 2.1 stola 1 F 4*6 ----- stomacher 3 F 4.2 AU C. stopper line 2 • 6 3.3 ----- "storm and stress" 3 8 4.1 ----- A U D.L

straight makeup 2 F 2.4 straight tunic 2 2 3.5 ----- strap hinge 2 9 3.7 ---- strap iron 2 7 3.9 1.6 AU S. street makeup 2 9 2.7 —

strike, to 4 F 4.3 AU S. striplights 3 F 4.5 — A u L. strong and weak movements 1 F 2.3 strong area 1 F 3.6 ----- strong body position 2 4 4.0 1.0 A u Dir,

stropheion 2 2 5.0 2.9 A u H. Stumps 2 5 4.9 3.4 A u M. S t u m und Drung 4 F 4.0 — A u Cr. styles of drama 5 F 2.3 — styles of acting 3 6 2.3 — ■ 148

styles of production 3 8 3.4 — "stylization” G.U. F 3.4 — stylized gestures and 2 5 1*7 — movements stylized productions 3 6 2.8 — stylized rhythm 3 3 3.9 2.0 A

stylized writing 3 6 3.2 . stylus 2 8 2.3 ----- subconscious life of the 3 F 2.4 __ character subjective drama 4 6 2.5 — subjective method of creation 2 F 4.2 ----- AU A

subordinate climax 3 5 3.3 , , ,r, sub-plot 3 6 1.9 ----- subsidiary actions 3 F 3.4 ----- succession of suspenses and 5 F 2.4 ----- crises "Suggestive” direction 2 5 3.1 -----

superfluous tenseness 2 9 3^2 ___ super-marionette 3 F 4.0 ----- A super-ob .i ective 1 F 3.1 "supers" 4 F 4*6 ----- AUA surcote or cyclas 1 F 5.0 —

"surplice" effect, a 2 F 4.5 AU G Surrealism 4 F 3.5 ----- Surrealist setting, a 2 3 2.1 ----- symbolic character 3 5 2.0 ----- symbolism 8 F 2.4 -----

Symbolist play 5 F 3.1 Symbolist setting 4 9 2.9 ----- Symbolist style 4 9 3.7 --- symmetrical balance 1 5 2.9 ----- synthetic pattern, the 4 F 4.4 ----- A U P,

svrmata 2 2 5.0 3.9 "system", the 1 8 4.6 1.5 AU A, T type lamp 3 8 3.8 A U L, tab curtain 3 9 4.7 — ■ AU S, tableaux vivants 2 5 4.4 1.4 A tabula rasa 2 3 5.0 3.5 A "take scene11 2 9 3.0 teaser 4 F 3.5 technical actor 3 7 3.8 — AU A, technical director 3 F 1.4 — 149

technical movement 1 8 2.9 — technique of illusory 2 F 3.2 -— production telegraphic dialogue 4 5 4.3 2.5 A U p. template bench 2 F 4.7 —__ A U s. tempo of the scene 7 F 2.1 -----

tenons 2 9 4.9 2.1 A Theatre is a tribunal 1 7 4.1 2.1 A "theatre is a weapon" 1 5 3.3 ----- theatre of improvisation, the 7 F 3.5 ----- "Theatre of the Five Thousand", 2 3 4.7 2.2 A u H. the

theatrical artificiality 3 5 2.5 _ theatrical conventionalism 5 F 3.0 __ theatrical emotions 4 F 3.5 ----- theatrical manager 2 7 2.0 —— theatrical representation 2 2 2.5 -----

theatrical stereotype 3 4 1.7 theatrical style 7 F 2.6 Theatricalist setting 4 F 4.3 — A Theatricalist style, the 7 F 4.6 ----- A u Dei theatron 3 4 4.7 1.9 A u H. theme of the play 7 F 1.2 theologeion 2 4 2.8 the thesis-play 5 F 4.3 ----- A u Cr Thesp 1 4 4.0 3.6 thickness piece 2 3 4.8 1.7 A u S. "third-act trouble" 2 2 3.6 three-dimensional scenery 5 F 2.0 ----- "three-folds" 3 4 4*8 1.1 A three-quarters position 2 F 4.4 A *through line of action* 2 F 4.3 — A u A.

tight pin hinge 2 9 4.1 1.5 A Tiller rope 1 F 4.9 3.9 u S. "timing" 2 F 1.4 __ tinsel dressing 2 2 4.3 2.9 tint of a color 2 5 2.1 -----

tip-jack 2 F 4.9 A u . S. 1 *•t ir ing-hous e" 3 4 4*6 1.5 A u H. toga T F 2.2 _— toggle-bar 2 F 4.6 — A u S. tonal lighting 2 F 4.2 — A u L. 150 toque or beret 1 F 2 .5 tormentor light 4 8 4 .3 — A U L. tour de force 2 F 2 .9 Tragedies of fate 4 F 2 .7 — tragedy T F 1 .0 — tragedy of character 2 4 2 .4 tragedy of revolution 2 F 4 .3 A tragic hero 3 7 1 .8 — tragic spirit, the 1 5 3 .3 — tragi-comedy 5 F 2 .5 — trammels 1 6 4 .5 3 .4 transcendentalism 2 2 3 .7 transitional scene 2 F 2 .0 —— translucent drop, a 4 F 2 .6 —— 1transparent» scenery 2 2 3 .6 — traveler curtain 2 F 3 .2 traverse curtain 1 7 2 .3 ... treadmill 3 F 4 .1 — A triangle on stage, the 3 F 3 .4 — triangle play 2 6 3 .0 — trilogy 5 F 3 .6 trim prop 3 F 3 .6 —— Triumvirate, The 2 2 2 .8 — "trolls" 2 3 4 .5 1 .4 A u d .: trope 1 7 4 .1 2 .0 A u d .: truck for the scene, the 3 F 4 .3 A truth on the stage 1 F 4*6 1 .9 A u A. tulle 2 F 3 .7 — tunic T F 2 .9 tunica 1 F 3 .5 —

"turn in" 1 8 3 .7 ___ turnbuckle 2 4 3 .3 — Twenty-four-hour rule 2 2 4 .5 1 .7 A two^Klimensional scenery 3 4 2 .0 type casting 2 3 1.7- —

Ubermarionette 2 4 4*9 1.4 A u H. Tunconscious creativeness 2 2 3.8 2 .1 A u A. through conscious -> technique T I under-plot 1 5 3 .5 _ ungirdled tunic 2 2 2.6 --- » unique soul., the 2 2 4*4 3 .5 u P. 151

unit setting 3 F 2.5 — the Unities 6 F 3.6 — units and objectives 2 F 4.3 — AU A. Unity of Action 5 F 3.3 — up left 3 F 3.1 —

up right 2 5 3.5 — upstage 7 F 1.4 — upstage plane 1 F 3.4 _— utile and the oicturesaue 2 2 3.2 — setting, the U.V. 3 F 4.6 — AU L. value of a color 3 F 3.8 -!- A U M. “vehicle” 3 4 1.5 vertical battens 2 4 4.7 1.5 A vertical strips 2 4 4*6 1.9 A visual memory 1 6 1.8 — visualization 1 F 2.5 ,_ voltage 1 6 1.8 -- vomitoria 2 2 4.7 3.1 A U H. Vorticism 2 3 4.6 3.4 wagon stage 3 F 4.1 — A U S. walking-up a piece 2 3 3.9 1.5 A watt TF 2.9 wattage 2 F 3.8 — A Watteau pleated sacque 2 6 5.0 2.8 A wave lengths 1 8 3.3 -- weak area 1 8 3.4 webbing 2 4 3.1 -- well-made or tightly-knit 4 F 2.9 _— play wig with a join 2 5 5 .0 3.1 A U M. winches T 6 2.5 windlass, a 2 3 2.3 wing setting 5 F 3.1 wit T F 1.6 woman-symbol, the 2 6 3.8 2.4 U P. wood wing 3 3 4.9 1.1 A working drawing 2 F 2.5 working-class theatre, a 2 F 2.7 X-Ray border 4 6 4.2 A yoke and pipe clamp 2 F 4.2 A York cycle, the 2 3 4.7 1.1 A U D.I,. 152

York drama 2 5 4.9 2.0 A 79 A.D. 2 3 3.2 _— 1636 2 6 4.6 2.6 A U D .L 1642 4 F 4.1 — A U D.L 1660 4 F 4.3 — A u D.L

1908 2 2 4.7 4.3 1931 3 F 4.2 — A 5f9" flats 2 F 4.1 _— A u S. 12 * 3 8 3.9 A 20 degree 2 3 3.7 —

1879 2 2 4.7 4.4 1889 2 2 5.0 4.8 APPENDIX B

TERMINOLOGY OF THEATRE TEST

153 154

TERMINOLOGY OF THEATRE TEST

(Graduate Level)

FORM 51858

1. A simultaneous stage setting in the Medieval theatre which con­ sisted of buildings or booths representing palaces, heaven, hell, etc#: a. the "church1* stage d. the "station" stage b. the mansion stage e. the locality stage c. the outdoor stage

2. A frozen pictorial effect on stage: a. entablature d. "still" b. frieze e. "frozen" pantomine c. tableau

3. A Kuppelhorizant is: a. a plaster dome d. a series of plaster wings b. plaster horizon scene units e. a plaster sprayed drop c. a plaster backwall

4. Chinoiserie implies: a. Baroque art using Chinese themes b. Rococo art using Japanese themes c. Baroque art using Japanese themes d. Rococo art using Chinese themes e. All of the above

5. A series of tableaus: a. biograph d. diorama b. panorama e. cinematograph c. spectacle

6 . A presentation house is: a. a motion-picture palace d. an opera house b. a theatre for musical e. an American-style outdoor comedies theatre c. any legitimate theatre

7» The stage that slopes up from the proscenium: a. diagonal stage d# raked stage b. tilted stage e* oblique stage c. sinking stage 155

8 . Perspective scenery composed of a backdrop and side wings: a. Serlian setting d. Inigo Jones setting b. box setting e. wing setting c. "relief stage"

9. Scenically negative type of production which usually employe unadorned geometric platforms: a. "stylization" d. space stage b. architectonic stage e. "art-for-art*s sake produc- c. no-scenery type of tion production

10. Stark, impressive staging which emphasizes the values of lighting on architectonic forms as well as the individual actor: a. the plastic stage d. Oriental stylization b. unit setting e. multi-set design c. architectural setting

11. The neutral stage environment of which only its own psychology or emotional effect upon the beholder remains: a. Cubism d. utile and picturesque setting b. a platform stage e. the sculptured stage c. the semi-permanent setting

12. Stage technique which used non-illusory scene design and func­ tional lighting as well as film shots, cartoons, treadmills, etc.: a. Faddism d. the super-setting b. Impressionism e. psychological staging c. the Epic style

13. A stage setting identified in its original form by levels, scaffolding and generally unornamented pieces: a. stylized symbolism d. constructivist setting b. inductive setting e. mechanical naturalism c. non-theatrical setting

14. Stylized and artificial staging following the principle that one is watching theatre, not "real life": a. cosmic symbolism d. theatricalist style b. nonrealistic style e. demonstrations! style c. Post-Impressionistic style

15. As much realism as is needed to ensure an impression of reality: a. selective realism d. stylized realism b. modified realism e. romantic realism c. photographic realism

16. The most complete and perhaps final expression of stage illusion: a. Naturalistic theatre d. Naturalist-Symbolist theatre b. Surrealistic theatre e. psychological theatre I c. super-realistic theatre 156

17. American Romantic Naturalism which had meticulous regard for detail and little significant facts: a. supernaturalism d. psychological naturalism b. Hollywood Naturalism e. synthesis of naturalism and c. Belascoism fantasy

IB. The composition of a film in motion pictures which mixes present scenes with past scenes by means of overlapping and having no relationship to chronology: a. flashback d. dissolve b. montage e. fade out c. vignette

19. An art form which made use of apparently nonsensical .elements in order to present the impression of chaos, incoherence, etc.: a. Vorticism d. Dadaism b. mechanisticnaturalism e. symbolist-theatricalism c. expressionistic stylization

20. D^cor simultane suggests: a. interchangeable plugsand d. diversified localities unified • » panels e. related areas unified b. a unit setting c. a semi-unit setting

21. A form of wagon stage in the Greek theatre on which scenes were “rolled out” : a. hemicyclon d. ekkyklema b. prothvra e. distegia c. stropheion

22. The horseshoe shaped auditorium of the Greek theatre: a. “Charon's steps'* d. auditoria b. Krepidoma e. theatron c. probulos

23. A revolving machine of the Greek theatre which seems to have displayed heroes in heaven or in sea battles: a. stroficon d. agrenon b. phrontisterion e. stropheion c. diosemia

24. A thunder machine in the Greek theatre: a. pinax d. krade bi bronteion e. demos c. anapiesma 157

25. The space beneath the Greek stage or the pillars which supported that stage: a. hypopyos d. hypokauston hyposcenion e. hvpologeion c. hypogeios

26. The upper.story of the Greek scene-building which was used for stage machinery: a. episkenion d. okribas b. epechon e. phruktorion c. epigeios

27. A mechanical device by which gods of the Greek theatre could be raised or lowered: a. mechane b. aicrai deus ex machine e, rheseis c. magoidia

28. A small platform or wagon stage on which a scene was believed to be "pushed out” in the Greek theatre: a. exostra b. keraunoskopeion c. anapiestmata e. exostrakizon c. exochikon

29. A small building behind the circular dancing place and opposite the sloping hill of the early Greek theatre: a. embates d. skene statistai e, theasthai c. parakataloge

30. The columned facade directly behind the long, low Greek stage: a. theologeion d. hysteroskenion b. purgos e. leiturgia c. proskenion

31. The projected wings at either end of the long, low Greek stage: a. paraskenia d. paradoi b. parachoreterion e. parachordeion c. diptheritis

32. Painted panels placed between pillars of the Greek stage: a. skope d. pinax k. amoibaia e. embolima c. komoidia

33. The early Greek theatreTs circular dancing-place at the foot of a sloping hill: a* XOPOY logeion b. orkestra e. skenai c. antepirrhema 158

3 4 . Triangular revolving prisms used for scene changes: a. thvmele d. teichos b. paidagogos e. periaktoi c. triangulos

3 5• The ornamented part of the stage backwall in the Graeco-Roman theatre: a. scaenica d. frons scenae pulpitum e* ludi scaenici c. vallum

3 6 . The auditorium of the Greek or Roman theatre: a. cavea d. sieges b. galearia e. hospitalia c. voci

3 7 . A curtain in the Roman theatre which dropped into a recess at the front of the stage: a. campo d. zafaldo b. ingegni e. auleum c. pullus

3 8 . The covered entrances of the Roman theatre which made the stage and auditorium an architectural unit: a. domus d. estats b. porta regia e. loca c. vomitaria

3 9 . That part of the medieval stage that remained unlocalized or neutral territory: a. kalpoma d. lius b. platea e. ludus c. sepulchrum

4 0 . Enterprise involved in new plays, revivals, etc., which rim as long as profitable. (This sometimes involves a touring company following or simultaneous with metropolitan run.) a. combination production d. the "commercial theatre" b. "Borscht circuit" e. American barnstormers c. a revival theatre

41. A municipal or state enterprise whose success is based on artistic rather than commercial terms: a. Continental art theatre d. Continental presentation b. Continental community theatre theatre c. Continental stock company e. Continental repertory theatre 159

42. The Spanish courtyard theatre of Lope de Vegas a. corral theatre d. garden theatres b. ring theatre e. pageant wagon theatre c. band wagon theatre

43. Example of oriental stylization which was formal and non-realistic: a. Noh theatre d. Kabuki theatre b. Romin e. Kyogen c. Taiheiki

44. A tableau of a god or gods which descended in the Renaissance theatre: a. aula regia d. "celestial” special b. rosserie e. "throne special” c. the ”glory”

45. A narrow acting platform or runway in the Japanese theatre: a. the flower path d. Hsai-chiang-men b. naraku e. runway c. a trestled ramp

46. The ubermarionette as a replacement for the "unreliable" stage actor was suggested by: a. Gordon Craig d. Adolph Appia b. Maurice Maeterlinck e. Hans Strohbach c. George Bernard Shaw

47* The "Theatre of the Five Thousand” was a project of: a. David Belasco d. Vsevolod Meyerhold b. Max Reinhardt e. Alexander Tairov c. Norman Bel Geddes

48. False ceiling which gave the impression of a vast series of cloud effects: a. Celum d. the "ceiling-stage" b. a ’'Paradise" e. a "Celestial stage" c. a "heavens"

49. Property and dressing room of the Elizabethan theatre: a. waiting room d. "calling house" b. masking room e. "inner" room c. tiring house

50. The later theatre of the Renaissance, typically associated with absolute monarchs: a. the Neo-Classic theatre d. the Rococo theatre b. the Baroque theatre e. the Elizabethan theatre c. the Romantic theatre 160

51. Pattern of light and shadow that attends three-dimensional objects; a. chironomy d. chiaroscuro b. modelled e. delicolor controller c. vennette

52. Facial wrinkles which extend to either side of the mouth: a. nasolabial folds d. epicanthic folds b. Mongolian folds e. orbital fossa c. sternomastoid muscles

53. Small pointed rolls of paper (sometimes chamois) used for lining, shadowing, and all types of makeup too delicate to be done with the fingertips: a. Thesp d. ,,dermatographM pencil b. shading brush e. stumps c. Japanese brush

54* Lightness or darkness refers to: a. chroma d. value b. hue e. tint c• shade

55« Used as base to prepare eyebrows for makeup: a. zinc oxide d. under rouge b. soap e. liquid makeup c. spirit gum

56. Gelatin colors that have a maximum effect upon makeup: a. low value d. high value b. medium value e. high chroma c. low chroma

57* Bald or partly bald wigs: a. wig without a join d. tonsure b. wig with a join e. toupet c. wig-bag

58. The full-bottomed wig of natural colored hair that was in vogue in the 1700*s: a. bagwig d. ttshingled roof" effect b. '•Ramillies wig” e. periwig c. the "tie" wig .

59. Semitransparent and very strong substance used to draw the skin into various shapes: a. kohl d. cotton and silk gauze b. collodion e. moleskin c. fish skin 161

60. A preparation that can be "used to block out the teeth: a. putty d. cotton and collodion b. mascara e. black wax c. plastic makeup

61. Elevated headdress worn by actors of the Greek theatre: a. diptheritis d. okribas orikos e. embates c. kolpoma

62. Foot garb with heavy wooden soles worn by actors of the Greek theatre: a. sandalion d. calcaei b. buskins e. cothornus c. acanthus

63. Loose flowing Greek garment that extended from shoulder to floor: a. tunic d. chiton b* sagum toga c. dalmatic

64. A large outer garment drawn over the right arm or right shoulder: a. chlamys d. himation b. peplos e. dentil c. cuecuius

65. Archaic (usually ornamented) forerunner of the safety pin: a. bulla d. lorica b. clavi e. torgues c. fibula

66. A scarf of sheer material worn with a low-cut dress during the 18th century: a. .jabot d. fichu b. passementerie e. Schelle c. lappets

67• A tailored, long-waisted garment with skirt-effect worn by men after 1300: a. surcote d. Norfold coat b. chape e. cote-hardie c. bob-tailed coat

68. Metal tipped ribbons or laces: a. "points” d. reticules b. tabs e. "opheries” c. tippet 162

69. The •’tower" or ’’commode” worn during the last decade of the 17th century: a. "shepherdess” hat d. fontage b. the vulture cap e. "drum" headdress c. Scuttle hat

70. Often called the peplos, this garment was woven to the wearerTs measurements (with extended length) and frequently had a border on all four sides: a. Ionic chiton d. Toga Candida b. Toga virilis e. Persian tunic c. Doric chiton

71. A "V" shaped false front with the broad end at the low decolletage and the point resting on the skirt: a. pigeon-breasted d. stomacher b. swan-neclc e. frontlet c. "echelle"

72. A bodice with a V-neck formed by folding one side of the garment over the other: a. guimpe d. dip-front blouse b. "partiet" e. "surplice" c. "bateau’* neck

73. An over-gown fitted in the back and front with a draped skirt: a. "redingote" d. robe k la francaise b. sacque e. levite c. polonaise

74. A round or oval shaped closed garment with a hole for the head worn by the priest or bishop: a. chasuble d. cassock b. rochet e. cordon bleu cv collobium

75. A band worn diagonally across the body was originally designed to suspend something on: a. tabs d. bandeau b. "Geneva Bands" e. pallium c. baldrick

76. A garment with characteristic high collar, long skirt and huge flowing sleeves (14th and 15th century): a. cate d. chape b. houppelande e. bliaut c. chainse 163

77* The longer and -wider sleeved tunica of the 2nd and 3rd centuries A.D.: a* Imperial toga praetexta d. polla b. dalmatica e. the Roman senula c. tunica salmata

78. A structure (usually wire) worn beneath the skirts to hold them out at the sides: a. panniers d. bustle b. verdingale e. crinoline c. whisk

79* A hoop skirt made of hoops of graduated size to produce a bell-shaped effect: a. cartwheel d. French farthingale b. underproper e. Spanish farthingale c. Bolster farthingale

80. The period of high waisted, beltless dresses: a. Princesse d. Commonwealth b. Directory e. Late Georgian c. Early Georgian

81. A curtain in two halves that is parted by ropes which pass through rings placed diagonally on each half: a. traverse curtain b. tab curtain b. traveler curtain e. grand drapery c. act curtain

82. A curved stage backdrop that is hung around three sides of the stage: a. roll curtain d. cyclorama b. "brick" curtain e. contour curtain c. Jafety curtain

83. A canvas covered framework with movable sides and crosspiece: a. inner proscenium d. false proscenium b. inner frame e. teaser c. tormentor

841 The tie across the bottom of a door flat: a. jamb d. joining iron b. rocker iron e* tie-iron c. sill iron

85. The cord used to secure two flats firmly together: a* release line d. set line b. bridle line e. lash line c. joiner line 164

8 6 . Traps that may be used as raised levels, parallels, etc.: a. ,!Macbeth Trap” d. appearance trap b. opera trap e. grave trap c. hangman*s trap

87. Several pulley wheels mounted together on a single axle: a. lead block d. moving block b. take-up block e. tension block c. head block

88. The width of the simple (sometimes considered standard-sized flat: a. 5*3" d. 5*6" b. 5?9" e. c. 4*

89. Lines which are attached to the locking rail as well as to the line supporting an unbalanced load: a. safety lines d. bow snap lines b. downhaul lines e. counterweighted lines c. check lines

90. Ropes which can be fastened to hanger irons or ceiling plates after being dropped from the batten of a counterweight unit: a. hauling lines d. center lines b. spot lines e. flying lines c. snatch lines

91. Foot iron with welded reinforced angles: a. hinged foot iron d. corner iron b. saddle iron e. U-iron c. rocker iron

92. Modification of a jig saw with a small tapered blade not attached at its upper end: a. pull-over saw d. Cut-Awl b. Carter router e. Dewalt saw c. rotary cutter

93* Type of equipment which makes it possible to roll set pieces on and off stage or leave them solidly in position: a. caster jack d. tip-jack b. a tripod tip-jack e. lift jack c. motor-driven screw-jack

94* A triangular frame mounted on casters which facilitates the moving and storage of heavy scenic units: a.„brace jack d. tip-jack b. lift jack e. caster jack c. motor-driven screw-jack 165 95* Covering material which is sewn and. permanently attached, to both front and back battens: a. roll ceiling d. set ceiling b. book ceiling e. ceiling with a lip c. drop ceiling

96. The grooved wheel in a pulley over which a rope or wire may pass: a. sheave d. thimble b. becket e. clew c. turribuckle

97* Horizontal members on the inside of a flat: a. toggle-bar d. stile b. rail e. keystone c. brace

9S. A sharp pitched iron or steel screw with a handle: a. thumbscrew d. lag screw b. set screw e. brace screw c. stage screw

99. Counterweight locks are located on this stage level: a. position rail d. tension rail b. locking rail e. safety rail c. securing rail

100. Designates the area of the stage downstage of the first wing: a. ”in one” d. apron b. forestage e. ”down center” c. ”out front”

101. A framework of pipe or wood in which a number of flats may be racked in vertical position: a. scene dock d. frame dock bi scene stand e. flat dock c. frame stand

102. The order given by the stage manager to clear the stage of scenery and lights and store the properties: a. ground d. shift b. store e. strike c • pack

103. The side of a door, window, or archway: a. thickness; piece d. depth piece b. plastic .piece e. profile piece c. side piece 166 104. Rope which passes over a block or pulley: a. cut line d. tie-line b. overhaul line e. pulley line c. short line

105. Used in assembling flats in a “well-equipped" shop: a. carpentersbench d. template bench b. "horses" e. trestles c. "stretcher"

106. Type of material that can be bent into shape (for foot irons, etc.) while cold: a. strap iron d. galvanized iron b. ribbon iron e. sheet iron c. annealed iron

107. Strips of material which cover the cracks between two flats: a. dutchmen d. binders b. flippers e. webbings c. cornices

108. A platform above the stage floor where scenery ropes could be manipulated: a. fly gallery d. fly balcony b. stage gallery e. pinrail balcony c. pinrail gallery

109. Triangular plywood pieces (usually 10" on a side) with beveled edges: a. half-keystone d. corner block b. profile e. clinch plate c. strap 110. Crudely refined material for making size water: a. gelatine glue d. cornstarch glue b. flake glue e. cold furniture glue c. flour (wheat paste) glue

111. Used with equal parts of borax to make a flameproofing solution: a. glycerine d. 3alamoniacr b. dextrine e. lithopone c. gum arabic

112. Nails which are wedge-shaped in one plane and flat in the other: a. clinch nails d. finish nails b. gimp nails e. box nails c. clout nails 167

113. Used to reinforce flats or battens: a. mending plate d. T plate b. corner iron e. corner plate c. angle iron

114. Wooden battens used to steady a section of flats: a. chamfers d. stiffsners b. pin rails e. trammel bars c. floor stays

115. Attached to scenery with screws or bolts, they are equipped with a ring to which a snatch line may be secured: a. roll drop iron d. hanger iron b. clip iron e. snap hook c. harnesshook

116. A drop in which all of the center portion has been omitted: a. battened drop d. leg drop b. polygonal drop e. Linnebach cutout drop c. arch drop

117. A drop which has omitted portions reinforced with net: a. scrim profile drop d. framed drop b. back drop e. cut drop c. skeleton drop

118. A long low scenic unit which keeps the upstage floor area from being exposed: a. wood wing d. risers b. pilaster e. ground row c. low relief

119. A network of metal or wooden beams high over the stage used to manipulate the flying of scenery: a. loft gallery d. boomerang b. gridiron e. rigging c. T-bar tracks

120. Used to stiffen a hinged backwall for flying: a. batten clamp d. drop holder b. backwall hitch e. keeper hook c. belaying pin

121. Scenic unit which conceals the termination of one unit and/or the beginning of another: a. blind piece d. camouflage piece b. cloak screen e. hiding screen c. masking piece 168

122. Theatrical name for three-ply laminated wood: a. cover board d. shadow board b. thickness board e. profile board c. masking board

123. Method used in painting which will cause the painted surface to change color under light changes: a. spattering d. puddling b. dipping e. "cartooning” c. pouncing

124. Method used in painting to create wood grains or bark: a. inking d. dry-brushing b. stippling e. reversing c. brush-lining

12$. Method of blending areas of different colors: a. glazing d. rolling b. pouncing e. Schlepitchka c. scumbling

126. "Dead pack" includes: a. none of the following d. flats removed at actrs end b. flats to be painted e. flats to be repaired c. flats not usable in production

127. "Live pack" includes: a. none of the following d. repaired flats b. usable flats e. flats being used in produc­ c. freshly painted flats tion

128. The use of stage braces suggests: a. common and permanent d. traps and/or parallels b. weight bearing structure e. common and temporary c. reinforcements for . ordinary bracing

129. An incomplete stage on a low platform mounted on rollers which facilitates single-movement scene shifts: a. wagon unit stage d. outrigger wagon b. wagon stage e. rolling unit c. sliding unit

130. Low platform mounted on casters for shifting scenery to either side of the stage: a. traverse wagon d. revolving stage b. sliding stage e. split-platform stage c. three-wagon stage 169

131. A stage on casters, pivoted on the downstage corner so that it may be rolled into or out of the acting area: a. outthrust platform stage d. revolving disc b. side disc e. portal stage c. jackknife stage

132. Used for splicing extra long scene strips or battens together: a. lash joint d. miter joint b. halved joint e. mortise-and-tenon-joint c. scarf joint

133. The customary method of making joints in the 19th century: a. tongue and groove joint d, blocked-butt joint b. butt joint e. notched joint c. mortise-and-tenon-joint

134. Used for reinforcing door and window frames, it is identified by wooden pieces in the angle between two members: a. scarf joint d. tongue and groove joint b. blocked-butt-joint e. lock joint c. notched joint

135. Masts were used on scenery in the: a. 15th century d, 18th century b. 16th century e. 19th century c. 17th century

136. The most flexible type of wire rope that will not stand abrasion: a. Airplane cord d. Tiller rope b. Airplane strand e. Piano wire rope c. Hoisting rope

137. A form of backdrop which encloses the acting area at the back and sides but can be stored in an area related to the rear batten: a. "three-fold” d. rolling-drop b. book cyclorama e. rolling cyclorama c. arm cyclorama

138. Method for putting a flat on the stage floor: a. sliding a flat d. running a flat b. dropping a flat e. floating a flat c. "walking down a piece"

139. Stagehands who handle scenery and properties: a. flymen d. grips b. crew e. "gang" c. grounders 170

140. The best dyes for spraying and painting: a. alcohol dyes d. direct dyes b. salt dyes e. batik dyes c. acid dyes

141. The large recepta'cle of the light instrument in which the lamp is housed: a. stage box d. stanchion b. metal hood e. canopy c. flipper

142. Fixed domes provide ideal lighting for: a. interior scenes d. impressionistic scenes b. exterior scenes e. Dadaism c. constructivist scenes

143. The use of which affords the speeding up of focusing and Color changes during the light rehearsal: a. light bridge d. light tower b. side stud e. rheostat c. photometer

144. Which of the following is not ordinarily used for semi­ transparency: a. bobbinette d. scrim b. gauze drop e. net drop c. chiffon drop

145. A thin sheet of glutinous substance mixed with a color dye which filters all colors but its own value: a. diffusing medium d. gelatin medium b. natural coloredlamp e. lamp dip c. lantern slide

146. The type of lamp necessary to obtain flood effects: a. G-type lamp d. P-type lamp b. S-type lamp e. PS-type lamp c. T-type lamp

147. A lens which appears to be flat but is actually made up of a series of concentric rings of ridges which allows more light to be emitted: a. soft-focus lens d. plano-convex lens b. parabolic lens e. Fresnel-type lens c. ’•Lekolite”

\ 171

148. Striplights or rows of lights which can be sunk in the floor or mounted on movable trucks: a. reflector footlights d. concert footlights b. horizon strips e. reflector type borderlights c. open trough borderlights

149. Appia’s theory which promoted the plasticity of light: a. 20° spread d. cubic volume of illumination b. the stage conceived as a e. the play of shadow in stage cube lighting c. highlight and shadow

150. An effect-machine equipped with a series of lenses which cause the light’s beam to converge on a slide: a. Lobsterscope d. stereopticon b. slide projector e. reflecting projector c. projection lantern

151. An indirect method of lighting the stage in which colored bands of silk reflect and color the stage lights thrown at them: a. Appia lighting system d. Fortuny lighting system b. Hath-Solomon system e. Edison lighting system c. the objective lighting system

152. A row of low-wattage lamps mounted in a metal trough: a. borderlights d. eye lights b. circuit borderlights e. striplights c. compartment-borderlights

153. A high-powered spotlight with an objective lens which makes it possible to magnify and focus an effect picture: a. beam projector d. plano-convex stereoscope b. arc spotlight slide projector c. Autrastat e. scioptican

154. The production’s fundamental lighting as outlined by the play­ wright : a. blending light d. mobile light b. emphasis light e. cross light c. motivating light

155. Circular colored glass mediums used with the individual reflector type of floodlight, footlight and borderlights a. glass circlet d. remote-control color wheel b. color ring e. roundel c. a color boomerang 1 7 2

156. A metal box, open on one side, equipped with a large "mogul” lamp base and a large wattage lamp: a. Olivette floodlight d. sun projector b. Linneback lantern e. bunchlight c. color boxes

157. The source of the constant stimulus for fluorescent paint: a. U.V. d. light filters b. pulp colors e. spectrum colors c. opaque colors

158. A type of lamp used exclusively in spotlights: a. vapor lamp d. C-gas filled lamp b. pear-shaped lamp e. globular lamp c. lamp with a "mogul” base

159. The use of striplights for general and shadowless distribution controlled for color and intensity only: a. localized lighting d. back lighting b. background lighting e. tonal lighting c. unlocalized lighting

160. Spotlights (mounted on a vertical pipe batton) or striplights on either side of the stage: a* X-ray strips d. bridge lights b, curtain lights e. secondary lights c. tormentor lights

161. Dramaturgy is: a. the art of dramatic analysis d. the art of adaptation b. the art of dramatic criticism c. the art of writing plays e. the art of dramatic design

162. That which has been used to typify the life-force: a. the super-problem d. the spiritual essence of b. the woman-symbol character c. the,disappearing "soul” e. the release of the will in action

163. The dramatic structure attributed to Scribe: a. jerry-built plot d. the synthetic pattern b. the carry-all plot e. the cut-and-flash method c. the technique of beginning at a crisis

164. ” ' reated this form of drama: d. "Bourgeois" drama b. "dream plays" e. Humanist drama c. Existentialist plays 173

165* Dramatic structure and criticism was altered when the idea of struggle was subordinated to: a. the ’'reversal of fortune” d. romantic illusion b. acts of volition e. mechanical spiritualism c# the change of equilibrium

166. That which Bergson refers to as "the original principle of life” : a» ^lan vital d. the world of phenomena b. erregende moment e. climactic ersatz c. the ultimate event

167. That which expresses the convictions of the dramatist with respect to man’s outcome in a play: a. crisis of subjectivism d. the world of noumena b. expectation e. the play’s root-action c. the climactic moment

168. That abstraction, representing "the sum total of many experi- ences", which becomes a living event: a. the root-idea d. the climactic point b. revelation e. the dramatic consequence c. a psychological need

169. The soul of the drama: a. dramatic emphasis d. the spoken script b. over-all mood of the play e. the whole action of the play c. emotional rapport between actors and audience

170. The struggle of man’s will opposed to exterior forces: a. theory of Saint-Evremond d. Brunetiere’s law b. Greek fate e. psychological fate c. poetic end

171. A form of speech used by German Expressionists: a. staccato dialogue d. "cut-and-thrust” dialogue b. telegraphic dialogue e. "euphuism" c. philosophical dialogue

172. Necessary steps which precede the crisis: a. secondary plots d. apprehension b. counterplots e. double action of plays c. acts of preparation

173. A "miniature of nature" which cramps the happenings of many years into a few hours stage representation: a. biblical play d. romantic historical play b. political play , e. chronicle play c. mock-heroic play 174

174. A form of materialism which rejects the mechanistic approach; a. dialectical materialism d. emotional materialism b. positivism e. German metaphysics c. Hegelian dialectics

175. The origin of tragedy: a. analogy d. the fable b. dithyramb e. the oracle c. epic poetry 176. The play doctor,s major function: a. rewrite d. re-design b. re-direct e. re-emphasize c. re-interpret

177. The effect of tragedy: a. spectacular illusions d. inner truth b. conflict e. AristotleTs theory of c. moving of the passions purgation

178. The scene which the audience foresees and desires: a. obligatory scene d. French scene b. climactic scene e. expository scene c. crucial scene

179. Verses divided between the chorus: a. strophes d. antiphonal responses b. choral odes e. idyllic passages c. choral passages

180. That which implies absolute free will: a. the conflict of will ' d. the quantity of will exerted b. the struggle quality e. the unique soul c. moral purpose (utilite)

181. A movement of literary reaction which culminated in the Romantic movement: a. Art Nouveau d. Etheticism b. Neo-Classicism e. Sturm and Drang c. Scholasticism

182. A pastoral poem usually in dialogue form: a. eclogue d. analect b. pastoral idyll e. palinode c. sestina

183. The making of epic poetry: a. epakte d. epopee b. eparchos e. epaktos c. epeiros 175

184. The Cid controversy led to: a. acceptance of Corneillian motivation b. absolute rules for French drama c. formation of the French Academy d. election of Corneille to the French Academy e. the resignation of Richelieu

185. Scenes a faire are: a. obligatory d. flashbacks b. climactic e. scenes of crisis c. scenes of warning

186. The dramatic form which was perfected by Dumas and Augier: a. didactic drama d. “cape and sword" play b. the thesis-play . e. the impressionistic play c. humanitarian drama

187. That without which a play does not exist: a. anti-climax d. resolution of the climax b. minor crises e. dramatic inevitability c. dramatic proposition

188. The old Spanish comedy which consisted of one action between common people: a. autos d. entremeses b. intermezzi e. representaciones Ci. cazuela

189. The highly touted unities of time,.place, and action: a. Aristotelian theory d. Classic "rules" b. Horation formula e. the French "rules" c. Euripidean formula

190. Another designation for a satyr play: a. after-piece d. one-acter b. interlude e. interim-piece c. interregnum

191. A French clown play which is trifling and broad and incites pleasure and laughter: a» metier d. masque trouvere e. Fescennine comedy c. sottie

192. The entr’actes were a form of entertainment during intermissions of the play which were: a. associated with the plots d. pantomimic b. not necessarily associated ' with the plots c. enacted by stagehands only e. musical in nature only 176

193* Old Comedy died during the time of a. Menander d. Terrence b. Aristophanes e. Plautus c. Horace

194* A voluntary procession, ending in a phallic song, which honored the god, Dionysus: a. orgiasm d. aition b. Tragos e. comus c. Satyros

195• The literary period that imposed the principle of order on all things while exalting the civilized qualities of refinement and order: a. Functionalism d. French Classicism b. Classicism e. English Restoration c. 18th Century (English)

496. Pieces h machines: a. plays that were technically written b. plays that exploited theatrical machinery c. plays that were artificial in concept d. plays that resolved into a machine-like ending e. plays that were schematically conceived

197* Magna Graeciafs farcical comedy: a. Phlyakes ' d. Delphic b. Cretan e. Atellan c. Corinthian

198. The English group which supported evolutionary socialism: a. Free Stage Society d. Fabian Society b. Marxist Society e. English Literary League c. Spartacist League

199. Liturgical dramas which were performed by the trade guilds: a. miracle cycles d. mystery cycles b. passion cycles e. biblical cycles c. morality cycles

200. Jewish doctrine that brought about a rebirth of literature identified by melancholy and lyric fantasy: a. Exoticism d. Zionism b. Mysticism e. Pantheism c. Hassidism 177

201. The technique of contemporary drama— outwardly Naturalistic but Romantic in content: a. Anti-Romantic d. Neo Naturalistic b. Pseudo-Romantic e. Pseudo-Naturalistic c. Anti-Naturalistic

202. The action, role, or setting of the drama is often based upon this dramatic metaphor: a. the poetic image d. romantic afflatus b. dramatic spirit e. moments of apostrophe c. romantic allusion

203. Stage literature marked by melodramatic, horror-fascinated drama: a. Tragi-comedy d. Cloak and Sword drama b. Drama of Intrigue e. Jacobean drama c. Pre-Shakespearean drama

204. The choral ode of the Greek theatre which was sung when the chorus was on stage: a. prologue d. episode b. stasimon e. exode c. parode

205. Allegorical entertainments which followed the conclusion of the Acts of Italian plays: a. divertimenti d. morisco b* intermedii e. lazzi c. maschere

206. The religious sect which held that all individuals, except those few favored by divine grace, were doomed to perdition: a. Jansenists d. Pr£cieuse b. Basochiana e. Pl&Lade c» infants Sans Souci

207. "Graceful" and "charming" plays employing the theme that the world revolved around kings who ruled by divine right: a. the Rococo dramatic form d. the Baroque dramatic form b. Neo-Gothic dramatic form e. Neo-conventional dramatic c. the Gothic dramatic form form

208. Liturgical drama dealing with the lives of saints or martyrs: a. the morality-play d. the sacrificial play b. the miracle-play e. the religious mystery play c. the sacrosanct play 176

209* Plays which possessed a stereotyped plot and a commonplace outlook while playing gently on the surface of society: a* "comediettas” d. social comedy b. polite comedy e. artificial comedy c. comedy of manners

210. Dramas which were never intended for theatrical performances: a* drawing room plays d. "static” dramas b. subjective dramas e. "hut dramas" c. closet dramas

211. The first contest of Greek plays: a. 3rd century B.C. d. 6th century B.C. b. 4th century B.C. e. 7th century B.C. c. 5th century B.C.

212. Plays which have no reference to reality but maintain the structure of strict classical comedy while creating a vivid picture of sophisticated society: a. Elizabethan drama d. Best oration comedy b. "heroic plays" e. sentimental comedy c. tragi-comedy

213. Plays which aimed social comments at the audience or attempted to indict the members of that audience to social action: a. journalistic drama d. documentary drama b. secular drama e. anti-imperialistic drama c. agitprop plays

214* Plays of grand and exact technical structure which displayed imaginativeness, inventiveness, and political discernment: a. New Comedy d. Aristophanic comedy b. Middle comedy e. "comedy of humours" c. Roman comedies

215. A period in German literature associated with the names of Herder, Goethe and Schiller: a. German Romanticism d. Mysticism b. the "grotesque style" e. "storm and stress" c. "Romantic realism"

216. A form of epic drama pioneered by Berthold Brecht: a. social drama d. domestic drama b. rhetorical play e. learning play c. the tightly-knit play

217. Drama designed to move an audience into a state of tribal frenzy?; a. orgiastic drama d. primitive drama b. mystical drama e* problem drama c. propagandist drama 179

218. Considered by medieval writers to be the direct descendants of the ancient mimi; a. scaenicae d* cimils b. Gollardis e. .jongleurs c. raisonneurs

219* The chorus of the Eumenides which appeared in frightful masks and snake-like locks: a. chorus of Harpies d. chorus of Tritons b. chorus of Fates e. chorus of Furies c. chorus of Satyrs

220. The Golden Age of Greek drama: a. 2nd century A.D. d. 4th century B.C. b. 6th century B.C. e. 3rd century B.C. c. 5th century B.C.

221. A foolish person identified by his hooked nose and round shoulders: a. Tettix d. Buco b. Pappus e. Maccus c. Maison

222. The braggart who was cowardly in face of real danger: a. Pulcinella d. Pierrot b. Agrippina e. miles gloriosus c. pullus gallinoceus

223. The year in which English theatres were re-opened: a. 1660 d. 1663 b. 1661 e. 1664 c. 1662

224. The Golden Age of the Spanish theatre: a. I3th-14th centuries d. l6th-17th centuries b. 14th-15th centuries e. 17th-18th centuries c. 15th-l6th centuries

225. The year of the famous Cid production: a. 1635 d. 1638 b. 1636 e. 1639 c. 1637

226. The exemplification of pedantry in ancient comedy: a. Cucurucu d. Scaramuccia b. II Dottore e. Mezzetino c. Pantalone 180

227. A beggar or servant known for his rascality and patched clothing; a. Arlecchino d. Chrernes b. Brighella e. Feste c. Scapino

228. The literary theatre of Rome: a. Ludi Publici d. fabula Atellana b. Roman mime e. ludi scaenici c. Ludi Megalenses

229. Roman plays which presented Italian rather than Greek manners: a. Fabula togata d. Ludi Plebii b. Ludi Apollinares e. Ludi Romani c. hilario tragodia

230. Roman plays which imitated Greek rather than Italian manners: a. fabula riciniata d. fabula tabernaria b. fabula palliata e. fabulae saturae c. pantomimus

231. A classification for works of art: a. Scansion d. motif b. genre e. patois c. thema

232. Struggle or debate between opposing forces of the Greek comedy: a, diatribe d. stichomythia b* threnoidia e. agon c. sikinnis

233. The Aristotelian scene of recognition: a. proagon d. anagnorisis b. embolimon e. agones c. emmekeia

234. A chanted dialogue which "was inserted into the wordless sequences of the Easter morning mass": a. causerie d. trope b. donte dgvot e. elegiacs c. Geste

235. The Alexandrine: a. heroic quatrain d. rhyming lines of iambic b. Henderasyllabic pentameter c. a four-line stanza 3. rhymed hexameters (quatrain) 181

236. Liturgical play from the Old Testament using medieval vernaculars a. Brome d. Apocrypha b. Canon e. Canticle c. Homily

237. A part of the Greek drama where the chorus speaks directly to the audience: a. narabasis d. apologia b. encomium e. harpazo c. palindromos

238. Entertainments, prior to the Restoration, which were cut-down Elizabethan dramas often seen at the fairs: a. conte d. lai b. parody e. drolls c. pastiche

239. The year of the closing of English theatres by the Puritans: a. 1640 d. 1643 b. 1641 e. 1644 c. 1642

240. City games or "entertainments” of the Roman period: a. histriones d. saturnae b* scabelli e. ludi c. exodi

241. The site of one of the most celebrated mystery plays of which complete records are still extant: a. Paris d. Mimes b. Mons e. Arles c. Orange 242. Specific type of Medieval drama performed in the "rounds": a. Chester plays d. Cornish plays b. Lucerne plays e. dramas of Confr^rie de la c. Valenciennes Mystery plays Passion

243. The theatre of improvisation which sprang up in the squares of Italy: a* comedie humaine d. comedies bourgeoises b* comedia dell*arte e. commedia sostenuta c. comedias Heroicas

244. The literary period noted for its use of various forms of symbolism: a. Neo-Romanticism d. Romanticism b. Romantic realism e. Neo-Realism c. Romantic Naturalism 182

245• The battle against the restrictions of the middle class moral code and conventions: a. the Dadaistic movement d. the Realistic movement b. the Romantic movement e. the Naturalistic movement c. the Neo-Romantic movement

246. Fourteenth century English spirit reflected through these thirty- two plays noted for their vivacity, flavorsome dialect and familiar treatment ofsacred matter: a. the Chester cycle d. the Wakefield cycle b. the York cycle e. the Townley cycle c. the Coventry cycle

247. A group of twenty five plays associated with Ralph Higden (a local monk) and the early liturgical plays: a. York cycle d. Townley cycle b. Wakefield cycle e. Chester cycle c. Coventry cycle

24S« The realistic trend of Expressionism which believed in a rationally ordered society: a. Cubism d. Post-Impressionism b. Activism e. Futurism c. Vorticism

249. Supernatural beings exemplified in Ibsen’s works: a» geant d. confidantes b. raisonneur e. trolls c- gigant 250. An anti-climax which occurs, when not intended, in poorly constructed dramas: a. mock d. bathos b. jeremiad e. absurdus c. pathetikos

251. The first song or recitation of the Greek chorus: a« Prologos d* precessios b. parados e. skapos c. processios

252. The term invented by G. B. Shaw to describe the mechanical art of the well-made play: a. Bowdlerize d. Ibsenism b. Sardoodledom e. Clerihew c. Grand Guignol 183

253. The piece bien faite was favored by: a. De la Taille d. Chapelain b. Boileau e. Scribe c. Beaumarchais

254. Court masques of the Italian Renaissance were: a. fantastic d. parabolic b. mystical e. allegorical c. idyllic

255. The Claque was made up of: a. hecklers d. applauders b. bystanders e. company extras c. academicians

256. Which of the following does not belong to the concept of "The New Stagecraft": a. Naturalism d. Post-Naturalism b. Surrealism e. Impressionism c. Symbolism

257. The name applied to Shakespearian volumes when the folded sheets formed eight pages: a. folio d. octavo b. cap octave e. quarto c. imperial octavo 258. Fertility rites which were a presentational form of drama: a. paties d. fertilis b. phallic revels e. Christmas mummings c. Phallikos

259. That part of the dramatic recitation where the chorus turned from left to right: a» strophe d. exode b. stasimon e. antistrophe c. epode

260. Comedies of the Greek colonies which were concerned with the lower orders of life: a. Triton farce d. Cretan farce b. satyr plays e. mime c. Atellan farce

261. Method used to assemble production forces for a specific play after which those forces are disbanded: a. simultaneous casting d. pictorial casting b. "deferred" casting e. the "preview" system c. "casting-office" method 184

262. The company which first stressed artistic unity and ensemble acting: a. Meiningen d. Antoine b. Stanislavsky e. Reinhardt c. Boleslavsky

263. The Greek counterpart of the modern director: a. dramatourgos d. choregeus chorou e. komoi c. Archon

264. lounge or retiring room for actors: a. greenroom d. auditory b. chatsby e. combined-room c. waiting room

265. European term with same meaning as American director: a. coryphee d. r6gisseur b. directeur e. productenr c. Kapellmeister 266. When all other things are equal, the full-front body and face position: a. weak body position d. position of secondary b. neutral position emphasis c. strong body position e. suspended position

267. The stage position halfway from full front to profile: a. emphatic position d. "turned out” position b. "turned in" position e. half-opened position c. one-quarter position 268. The easiest, shortest and usually most unsuccessful method of direction: a. instinctive method d. contributive method b. the mirrored way e. the imitative method c. the suggestive method

269. A technical movement for emphasis: a. transitional movement d. mechanical movement b. "give the scene" e. "share a scene" c. "static movement"

270. The means through which scenery, costuming, lighting, etc., were brought into artistic unity: a. area-mood method d. through focus; direct and b. "ensemble" method of indirect playing e. stage naturalness c. stylized rearrangement ' 185

271. That which gives the actor»s part a beginning, middle, and an end: a. the stabilizing element d. inherent build b. the emphatic action e. the ’’beat1’ of the play c. connotative value

272. "Full-back" position: a. back directly to another d. one appears to be full back actor e. back directly to protagonist b. any position depending on re­ lationships c. back directly to audience

273. Completed work of the stage-director— particularly in actor groupings and actor-setting relationships: a. body of the play d. scenic proportion b. mettre en scene e. metteur en scdne c. mise-en-sc&ne

274. Staging relative to a particular age which departs from that which is in vogue: a. contribuiive staging d. progressive staging b. instinctive staging e. representational staging c. oratorio staging

275. The type of casting used almost exclusively in professional theatre: a. ensemble casting d. type casting b. non-type casting e. group casting c. personal-interview casting

276. Emotional identification on the part of the actor with the character and situation: a. creative art d. the germ of action b. "given circumstances" e. irradiation c. the illusion of the first time

277• The theory which led to concentration on externalized emotions: a. Cannon theory d* James-Lange theory b. Meyer hold theory e. Carney Landis theory c. Gestalt theory

278. The most important part of Stanislavsky*s theories: a. the body of the role d. psychic life b. inner justification e. Subconscious life of the c. subjective characterization character 186

279. The first step in the subjective method of creation: a. character analysis d. complete relaxation of body b. studied interpretation and voice c. assimilation of a part e. a point of attention

280. That which is built by the artistic imagination of the playwright in order to create the likeness of truth: a. one whole unbroken line d. creative objective b. productive activity e. psychological objective c. unified dramatic conflict

281. That which combines all the smaller units and objectives of a play, directing them toward the super-objective: a. through line of action d. necessary suppositions b. tempo-rhythm e. mutual communion with a c. concentration of attention collective subject

282. Stanislavskyfs method for establishing contact between your life and your part in a play: a. suppose d. imagine b. if e. or c. try

283. ZolaTs theory that the stage should show a fragment of existence through an enlarged peephole: a. naturalistic acting d. response to imaginary stimuli b. the "art of representation" e. "slice of life" technique c. natural-psychological acting

284. MeyerholdTs training for actors which consisted mainly of gymnastic exercises: a. bio-mechanics d. ecology b. bionomics e. physiognomic expression c. physical biodynamics 285. The extras in any entertainment medium: a. "supers" d. supporting cast b. "auxiliaries" e. "doubles" c. "subordinates"

286. External or physical, inner or psychological and rudimentary psychological suggest a study of: a. the Inner Creative Mood d. spontaneous emotions b. methods of adaptation e. intuitive adaptations c. units and objectives

287. Adjustment according to Stanislavsky: a. action rather than thoughts d. thoughts rather than action b. living physical action e. fundamental'impulses c. actions and thoughts 187

288. Ability to act without effort by reviving feelings from, a previous experience: a. outer manifestations d. imaginative creation b. emotion memory e. inter-communication c. technique of division

289. Tends to make an actor more beautiful and more theatrically effective: a. objective movements d. creative movements b. plastic movements e. artificial movements c. stylized movements 290. Absence of true organic feelings that correspond to those of the person being portrayed: a. external characterization d. dramatic inaction b. personality actor e. visual memory c. illustrative action

291. The repetitious handling of certain instruments: a. abstract memory d. sense memory b. affective memory e. mental memory c. muscular memory

292. The largest units within a play: a. the super-objectives d. a succession of conflicts b. main organic episodes e. large circles of attention c. psychological actions

293. Use of conscious adaptations: a. stereotyped acting d. character acting b. technical acting e. forced acting c. traditional acting

294. Ability to establish long, coherent chain of feelings: a. inner vision d. a point of attention b. self-communion e. inner grasp c. inner stream of communication

295. The verbalization recommended by Stanislavsky in choosing an obj ective: a. I wish d. I want b. I believe e. I can c. I am

296. Which of the following is less likely to be a part of "unconscious creativeness through conscious technique": a. conscious role, planning d. excellently prepared b. truthful role playing e. theatrical technique c. vocal and physical apparatus 188

297. The actor-manager is particularly noted for: a. experimental productions d. musical-comedies b. new untried plays e. revivals c. recently closed "first-runs"

298. Stanislavskyfs course on acting: a. the "method" d. the "system" b. the "progressive routine" e. the "discipline" c. the "order"

299. Feelings, mind, and will are basic to: a. schematized characterization b. characterization c. method of psycho-technique d. emotional identification e. progression to characterization

300. That which is necessary in order to establish "truth on the stage": a. faith d. trust b. confidence e. belief c. plausibility APPENDIX C

FORMS: CHECK SHEETS

RATING SHEETS AND DIRECTIONS

189 UNCONDITIONAL FREE TICKET TO DRAWING

The Union Company 131 North High Street

Name__ Address, Phone Department 191

FAMTT.T AFTTY WITH THE TERMINOLOGY USED IN THE STUDY OF THEATRE

The purpose of this study is to separate those words and terms, used in the study of theatre, which are in general usage among graduate students from those which are relatively isolated to that particular field.

The word list given below is a portion of those words and terms found frequently in a large sample of printed matter in the field of theatre. A H the words and terms cohtained in the following list are, therefore, peculiar in some way to theatre. Please keep this in mind when you make your ratings. The words and terms herein contained have been checked against the 30,000 most frequent words found in general reading as determined by the studies of Thorndike and Lorge. Would you kindly fill out the Information Blank, read the directions for marking your answer sheet, and judge your familiarity with each word or term in the list? It is necessary that all words or terms be judged.

INFORMATION BLANK

1. What is your present graduate standing in terms of years? Please check.

first year______second year______third year______

2. Please list below your previous and present majors and minors.

majors minors 192

DIRECTIONS

It is not necessary to supply your name and other data at the top of the answer sheet.

Below is a list of 100 words and terms used in the study of Theatre. On the answer sheet furnished you, using an electro­ graphic pencil, would you

Mark (l) if you can give a substantially precise definition of the word or term.

Mark (2) if you are certain you can correctly use the word or tern in various sentences.

Mark (3) if you are uncertain about the meaning; you would need to use a dictionary or other source to check yourself.

Mark (4) if you have heard of the word or term, but donft know its meaning.

Mark (5) if the word or term is quite unfamiliar to you. 193

DIRECTIONS

Listed below are various types of experiences or training that graduate students are likely to have in the numerous sub-areas of theatre. Some of these sub-areas are lighting, costuming, dramatic literature, history of the theatre, etc. Each type of experience or training might be taken as an indication of the level of a personTs background in any particular sub-area. Please rate the type of experience or training on a scale of (1) to (5)»

Mark each type of experience or training according to that level of background and knowledge which you believe it generally indicates.

Mark: (l) a very weak background (2) a moderately weak background (3) an average background (4) a moderately strong background (5) a very strong background

Please use the ratings (l) and (5) at least once.

Types of Experience and Training

1. The graduate student gave a speech on a phase or sub-area of theatre to a non-professional audience such as a P.T.A. or radio audience.

2. He gave a speech to a state, regional, or national con­ vention, on a sub-area to professional workers in theatre.

3. He gave a speech on a sub-area to professional workers in fields related to theatre.

4. He studied a sub-area in an advanced course.

3. He studied a sub-area in an introductory course.

6. He studied the sub-area, on the graduate level, as a field of concentration.

7. He has had thorough and responsible theatrical experience in a sub-area with what theatre directors would call ”an average number” of formal productions. 194

8. He has had thorough and responsible theatrical experience in a sub-area with what theatre directors would call "a large number1’ of formal productions.

9. He has had thorough and responsible theatrical experience in a sub-area with what theatre directors would call ”a few” formal productions.

10. He has taught a phase or sub-area of theatre in an intro­ ductory undergraduate course.

11. He has taught a phase or sub-area of theatre in an advanced course.

12. He has taught a phase or sub-area of theatre in an intro­ ductory or general survey course on the high school level.

13* He has published an article on a phase or sub-area of theatre in a professional journal.

14. He has written a "term paper" on; a phase or sub-area of theatre.

15. He has prepared an article on a phase or sub-area of theatre for classroom or similar local distribution.

-x- *

State on the reverse side any other experiences that you think should be considered in such a list. 195 STUDY OF BACKGROUNDS IN THEATRE

The results of this particular form will constitute a part of a larger study of graduate measurement. The purpose of this form is to obtain well defined backgrounds from a group of advanced grad­ uate students in theatre. These backgrounds will reveal those phases of training common to graduate students and those which are special to particular graduate students.

Will you kindly fill out the Information and Formal Produc­ tion Experience Blank after reading the DIRECTIONS for marking your answer sheet •

INFORMATION AND FORMAL PRODUCTION EXPERIENCE BLANK

A. Circle whether or not you have a Masterfs Degree or equivalent in academic standing in theatre. yes no

B. Circle the number of years formal production experience you have had. 0123456789 10 more

C. Circle the approximate number of formal productions with which you have had thorough and responsible production experience. Count each production as a single unit.

1. Design 0 1 2 3 4 5 6 7 8 9 10 11 12 '13 14 15 16 17 18 19 20 more

2. Makeup 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 more

3 • Costuming 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 more

4. Acting 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 more

5. Directing 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 more 6. Stagecraft 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 more

7» Lighting 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 more 196

DIRECTIONS FOR INDICATING YOUR FORMAL NON-PRODUCTION TRAINING AND EXPERIENCE

On the next page is a list of phases or sub-areas of the field of Theatre. On the answer sheet furnished you, would you

LEAVE BLANK youranswer sheet for any sub-area in which you have had no organized training or experience of the kinds listed below. For example, leave blank your answer sheet for attendance to a single lecture. occasional personal reading, or any other unorganized approach to the sub-area. MARK (l) if you have ^ studied the sub-area in an introductory course. (b) studied the sub-area in an advanced course, (c) written a "term paper” for classroom credit on the sub-area, or (d) given a speech on the sub-area to a non- prof essional audience such as a PTA or radio audience. MARK (2) if you have (a) taught the sub-area in an introductory or general survey course on the high school level, or (b.) prepared an article or paper on the sub- area for classroom or similar local di stribution. MARK (3) if you have r . {a.) taught the sub-area in an introductory undergraduate course. MARK (4) if you have (a) given a speech on the sub-area to profes­ sional workers in fields related to Theatre. Cb) taught the sub-area in an advanced course, (c) given a speech to a state, regional, or national convention on the sub-area to professional workers in Theatre, or (d) published an article on the sub-area in a professional journal. MARK (5) if you have , . studied the sub-area on the graduate level, as a field of coneentration. NOTE: For any particular sub-area, mark your answer sheet only for that experience which carries the highest number. For example, if you have studied lighting in an advanced course (l), and have also studied lighting, on the graduate level, as a field of concentration (5), mark your answer sheet number (5) only. AUTOBIOGRAPHY

I, Bill G. Hulsopple, was born in Scranton, Kansas,

January 16, 1928, I received ray secondary school education in the public schools of the City of Topeka, Kansas. My undergraduate training was obtained at Washburn Municipal University of Topeka*

Kansas, and the University of Dayton, Ohio. I received the degree

Bachelor of Science in Education from the latter institution in

1950. I received an appointment to a teaching position in Fairview

High School, Dayton, Ohio in 1950. I held this position for three years. In 1954, I received the degree Master of Arts from the

University of Denver, Colorado. During this same year, I received an appointment to a teaching position in Lehman High School, Canton,

Ohio* I held this position for one year. In 1955, I received an appointment as a teaching assistant in the Department of Speech at the Ohio State University. I held this position for two years.

In 1957, I received an appointment as Instructor in the College of

Education at the Ohio State University. Concurrent with this appointment, I also served on an assistantship as a play director for the Department of Speech at the Ohio State University while completing the requirements for the degree Doctor of Philosophy.

197