Drama Director’s Report–1972 Christine Foshag
“Almost everyone wishes at times that for a little while at least she might become some other person—or a bird, an imaginary creature, or some animal”, wrote Christine in her first paragraph of the report. “A play, skit, creative dramatics or a puppet show may give her the perfect opportunity to be someone else.”
She described the values attributed to participation in dramatics, which included thinking creatively and independently, the ability to observe and then act like some other person, grow in understanding people with differing viewpoints, controlling emotional release, experience thinking on one’s feet, expressing ideas clearly and just plain fun! Add to that poise and initiative that come from expressing and the impression it leaves once it has been enacted and appreciated as an art form.
The puppets allowed the campers to act together without the fear of facing an audience self-consciously. They learned to come in on cue, listen and develop their voices. The skits allowed the campers to “throw” themselves into the part, acting and reacting with exaggeration. The plays allowed the campers to become real people for short periods, despite the length, and they were able to react to a given situation.
She said, “The unique thing about creative drama is that it is always improvised. When a story is put in dramatic form, the play is planned by the group, and then played with spontaneous action and dialogue.” She explained that it was different at each playing, an immediate experience and talent was not necessary, but the more unlike the character the child plays, the less self-conscious she will be.
The classes were held on the side porch of the lodge and on nice days, the creative drama group would take an “excursion to the gate and have a quiet meditation under an inviting tree”. There was a mock stage in the lodge in an open area with bench seating and the scenery was up to the audience to imagine. Campers provided clothing or dug into the costume box, which was basically their “wardrobe department”, or hung signs around their neck to depict their character.
Christine fashioned a puppet theatre by hanging a rope across the stage and hung sheets to hide the puppeteers from their audience. They would kneel as they spoke and worked the puppets along the top of the sheet. Their puppets were sometimes two bag puppets with a head, shoulders and body to create the look of a “real actor”. Puppet shows included “Who Will Be King?”, “Robin Hood Meets Little John”, and “The Three Worms”. Illustrations and directions were included in her report.The skits that were listed included counselor skit, “Murkey Monster Foiled Again”, and “Rabbit, Skunks and Spooks”.
The director and the assistant taught the one- hour and two-week classes together, which included creative dramatics, skits and plays and puppets. At times, due to age differences or overcrowding, two classes might have been taught together. She included her lesson plans, which covered many aspects of drama in general and definitions. The girls learned theatrical techniques, movements and handling of puppets, how to memorize their lines and work as a team, how to play different characters, casting, rehearsals, pantomimes, fairy tales, poetry and drawings within sensitivity groups and drama games. (Charades, playing imaginary ball and mirroring another person.)
Laughingly, she had one big rule. DO NOT SIT ON THE PING PONG TABLES! Her assistant was Terry, who had “initiative, creative ideas and was an asset to me and the classes”, she wrote. Christine handled the director’s duties of scheduling classes, planning lessons, and teaching, while Terry handled most of the secretarial duties. She recommended that drama be continued, more books and magazines be made available, a continued variety of classes be offered, a specific night be designated for the performances and that the new director come prepared with many new ideas!
Did you enjoy dramatics and were you at camp during Christine’s sessions?