Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1920-09-28
DR.. JOHN /. HANEY
On Dramatic Appreciation in Schools

w ~ TNfP' SS'S''S' ~
ONE feature of school work that is getting
" serious attention at the present time
and will be developed still further IN the
future is the subject of dramatic appr"cl-
alton, according to DR.: John j.. llanrEi
president of the Central High School and
we'll known English scholar.
'The question of dramatic culture is
rather n difficult one to solve at the present
time with public taste at not Il very high
level" said Doctor IIancy. $50 we must
hope to get our best results i'll the future
by training the child. The Drama League
organized for the bcttcrmcnt OF the drama
is struggling with the first problem ana inc
second is in a measure looked altcr uS thc
Junior Drama League.
"EXpcricnce has taught us that II we are
to make any real hcadway in cultiVatlns
the public taste we must take 1t Whlle II iS
still young. Probably the strongest trmlt
in the child is that of make believe. The
love of the drama and of play acting Is
inherent to degree in almost every chlII.
1t is our business to harness up this tAlt
to his general education so that some years
hence he may have really cultivated
dramatic taste
"You have doubtless often noticed the
child at play in the street, indu!gns in
some exaggerated form OF diversion III
often takes the form of the dramatic ana
it is common sight to see the urchln mn
tatfng the hcroiCs 'Of Bill Hart or the
screen misdemcauOrs of Charlie Chaplin.
$50 far so good. q The child takes to the
exposition of the DRAMATIC quite readily, but
his idea is very elemental, very broad.
''The difficulty comes when we attempt to
have him appreciate the subti'tlrS OF
dramatic art If we show him a passage
from Jane Austen or Barrie he is likely
to ask for something in which there is
something doing, some moving about,
plenty of pep
Give What Public Wants
"Now this can only come gradually and
after long and patient exposition We must
teach the child first of all to appreciate
dramatic construction and to grow to IKE
it, In this way, as time goes on, W" shall
have that generally cultivated audience that
will demand serious, significant plays, with
artistic value, and get them
1.-The average theatrical producer IS not
as a rule moved by atruistic motives in
putting on plays, but he IS prrt'N, Keen
Judge Of wlht the public wants and what it
pays to sec. If four ffths of the public
prefers musical comedy, you will find him
purycyng that sort of entertainment III
about that proportion. If there is greater
demand for serious plays. you wlll not ma
him lacking in appreciation OF that Tact and
he will give serious plays in proportion to it.
"But there are other values quite as dis
tinCt and that to many will probably have
a more practical appeal than the SO o-cal!cd
esthctic or high brow one. A child, like
almost any one clSc, lOf lHul Ildll'I, Is
most Likely to learn effectively by indirCc-
ton. Thus, if we have IA hoy or girl take
part in a play that calls for an enactment
of the manners and customs of the socially
elite, we will be likely, on the whole, un
consciously to raise his or her standard in
that way in everyday life.
"For instance, u child might not apprc-
ciatc being told at dinner that he exhibited
very bad manners by eating peas with
knife. He would feel that an unwarrantCd
attack had been made on his personal con
duct But if he were playing, say the part
of Major Busonby and the coach reminded
be likely to use IA knife in dcvouring his
peas the youngstcr will in all likelihood
get the hint and ever after live up to the
standard which he had uuconsciously
adopted.
"And thus it might run through the whole
gamut Of ethics or graCes. In this way
substantial advance would be made in form
ing future habits and general conduct
1.-THE sense of balance, or proportion,
learned in the cultivation of the drama
would be another very useful element APP
piled to everyday life. Thus a child would
| learn the habit of restraint in the earlier
less consequential scenes and would reserve
his big display of dramatic expression for
| the climax. lie would learn, for instance
that in the scene at the end of the first act
where the milk bottle is stolen he should
| not tear a passion to tattcrs lie might
real display Of anger or other emotions for