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 271 389

PART 3 PART 4
Theatres from Modern Theatres
1660 to 1875 Chapter 12 Theatres from 1875 to 1915 393

Chapter 9 The Theatre of the English Chapter 13 Theatres from 1915 to 1950 437
Restoration 273 Chapter 14 Theatres after 1950: Traditional and
Chapter 10 Theatres in the Eighteenth Experimental 479
Century 303 Chapter 15 Theatres after 1950: Multicultural
Chapter 11 Theatres from 1800 to 1875 343 and Global 537

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 Contents

Preface xvii How Do Scholars Study Theatre History? 23

About the Authors xxii Where Do Theatre Historians Present Their
Work? 24
Theatre in History: Points to Remember 24
CHAPTER 1 ■ Debates in Theatre History: Is There a Canon of
Dramatic Texts? 26
Theatre: Its Origins and Summary 28
Its History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Why Should We Study Theatre History? 3
Theatre Is Universal 5
Theatre in Everyday Life 5
PART 1
Imitation, Role Playing, and Storytelling 6
Popular Entertainment 6 Early Theatres 31
Ceremonies and Rituals 7
Participatory and Immersive Theatre 12 CHAPTER 2
Prohibition of Theatre 12
How Historians Reconstruct the
Greek Theatre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Elements of Theatre 14 Background: The Golden Age of Greece 33
A Playing Space 15 Origins: Greek Theatre Emerges 36
The Audience 15 Theatre in the Fifth Century B.C.E. 37
The Performers 15 Greek Theatre and Greek Religion 37
Visual Elements 15 Festivals and the City Dionysia 37
Texts 16 ■ Debates in Theatre History: Did Women Attend
Coordination of the Elements 16 Dramatic Festivals? 39
Social Requirements 16 ■ Past and Present: Theatre Festivals Today 41
The Study of Theatre History 17 Greek Theatre and Greek Myths 42
Traditional Chronological Narratives 17 Greek Tragedy 42
Recent Historical Approaches 18 Climatic Drama and Greek Tragedy 49

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 Satyr Plays 53 The Decline of Roman Theatre 92
Old Comedy 54 Summary 93
Greek Theatre Production 56
■ Debates in Theatre History: The Configuration of the
Greek Orchestra and Skene 57 CHAPTER 4
Theatre in the Hellenistic Age 63 Early Asian Theatres . . . . . . . . . . . . . . . 95
Hellenistic Theatres 63
■ Past and Present: The Theatre of Epidaurus 64 Background: The Theatres of Asia 95
Hellenistic Acting 66 Indian Theatre 97
New Comedy 67 Sanskrit Drama 98
Summary 69 Later Indian Drama 101
Chinese Theatre 101
Early Theatre in China 102
CHAPTER 3
Theatre in the Yuan Dynasty 103
Roman Theatre. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 ■ Debates in Theatre History: Did Playwrights in the Yuan
Period Create Tragedies? 105
Background: The Republic and the Empire 71 Theatre in the Ming Dynasty 106
The Development of Roman Theatre: Popular Later Chinese Theatre 107
Influences 74 Japanese Theatre 107
Roman Comedy 77 Early Theatre in Japan 108
■ Debates in Theatre History: Was Terence the First No- 108
Black Playwright? 81
Bunraku 112
Roman Tragedy 81
Kabuki 115
Dramatic Criticism in Rome 83 ■ Past and Present: Kabuki 119
Theatre Production in Rome 84 Southeast Asia: Shadow Plays 120
Actors and Acting Companies 84 ■ Past and Present: Puppetry 123
Theatre Buildings and Scenic Elements 85
Summary 123
Popular Entertainment in Rome 88
■ Past and Present: The Colosseum 91

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 CHAPTER 5
Medieval Theatres PART 2
in Europe. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Background: The Middle Ages 125
Theatres of the
Byzantium: Popular Arts and
Theatrical Preservation 128
Renaissance 157
The Middle Ages in Western Europe 128
CHAPTER 6
Liturgical Drama 132
Development of Medieval Liturgical Drama 132 The Theatre of the Italian
■ Debates in Theatre History: Why Was Hrosvitha
Ignored for So Long? 133 Renaissance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Producing Liturgical Drama 134
Background: The Renaissance in Italy 159
■ Debates in Theatre History: The Origins of Medieval
Theatre and the Role of Quem quaeritis 136
Italian Theatre 162
Drama 162
Early Medieval Theatre in France 136
■ Debates in Theatre History: Adaptations as
The Development of Religious Vernacular Drama 137 Sources of Drama 164
Mystery or Cycle Plays 138 Opera 166
English Cycle Dramas and The Second Shepherds’ Play 140
Commedia dell’Arte: A Popular
The Emergence of Episodic Form 140 Theatrical Form 167
Producing the Cycle Plays 142 ■ Past and Present: Improvisation 171
■ Past and Present: Passion Plays 143 ■ Debates in Theatre History: Women Performers in
■ Past and Present: Street Theatre 150 Commedia dell’Arte 172
Morality Plays 150 Italian Theatre Architecture 173
Everyman 151 Theatre Buildings 173
Producing the Morality Plays 152 ■ Past and Present: Teatro Olimpico 174
Secular Theatre in the Middle Ages: Audience Seating 177
Popular Forms 152 Scene Design and Early Theatre Technology 178
The Decline of Religious Theatre 154 ■ Debates in Theatre History: What Is the Exact
Summary 155 Origin of the Proscenium Arch? 179
Italian Dramatic Criticism 184
The Neoclassical Ideals 184

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 The Neoclassicists’ Influence 187 Acting Practices 219
Issues of Dramatic Criticism 187 Representation of Female Characters in Elizabethan
Theatre 220
The Legacy of the Italian Renaissance 189
■ Debates in Theatre History: Elizabethan Acting Style 221
Summary 189
Jacobean and Caroline Drama 222
Court Entertainment: The Masque 226
CHAPTER 7 Summary 229
The Theatre of the English CHAPTER 8
Renaissance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191 The Spanish Golden Age
Background: The Renaissance in England 193
The Early Drama of the English Renaissance 193
and French Neoclassical
Elizabethan Drama 195 Theatres . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Elizabethan Playwrights 196
Background: The Spanish Golden Age 233
Marlowe and the Mighty Line 196
Religious Theatre in Spain 234
Shakespeare’s Skill and Diversity 200
Religious Dramas: Autos Sacramentales 234
■ Past and Present: Shakespeare Four
Producing the Autos Sacramentales 234
Centuries Later 202
Secular Theatre in Spain 235
Elizabethan Theatres 203
Comedias 236
Theatres and Production Practices:
Problems of Research 203
Spanish Dramatists 238
Female Playwrights 242
■ Debates in Theatre History: Who Wrote
Shakespeare’s Plays? 204 Producing the Comedias 242
Public or Outdoor Theatres 207 The Corrales 242
Private Theatres 213 ■ Debates in Theatre History: What Was the Appearance
of the Corral del Principe? 244
■ Debates in Theatre History: The Campaign to
Scenery, the Stage, and Costumes 245
Save the Rose and Its Impact 214
■ Debates in Theatre History: A Lost Spanish Popular
Scenery and Costumes 216
Entertainment? 246
Elizabethan Acting Companies 217 Acting Companies 247
The Lord Chamberlain’s Men 217 The Status of Actresses 247
The Admiral’s Men 218 Background: France in the Sixteenth and
Organization of Acting Companies 218 Seventeenth Centuries 248

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 French Drama 250 Serious Drama 278

Early Drama, Popular Theatre, and Pageantry 250 Restoration Comedy 279

Neoclassical Drama 251 The Transition from Restoration Comedy to

Ballet at Court 258
Eighteenth-Century Drama 286

Theatre Production in France 259 Restoration Audiences 288

Architecture, Scenery, and Technology 259 Performers 289
Acting 261 Actresses and Actors 289
■ Past and Present: The Comédie-Française 263 Acting Companies 293
■ Debates in Theatre History: Should We Envy Europe’s Restoration Theatres 294
National Theatres? 266 Government and the Theatres 294
Audiences 268 Theatre Architecture in the Restoration 295
Summary 268 ■ Debates in Theatre History: The Dorset
Garden Theatre 296
Scenery, Scene-Shifting Technology,
Costumes, and Lighting 297
■ Past and Present: The Drury Lane Theatre 298

PART 3 Threads in Theatre History 300

Summary 300

Theatres from
CHAPTER 10
1660 to 1875 271 Theatres in the Eighteenth
CHAPTER 9 Century . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303
The Theatre of the English Background: The Eighteenth Century 303
Eighteenth-Century Drama 306
Restoration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273 Middle-Class Tragedy 307
Background: The Restoration 273 New Popular Forms: Ballad Opera and Comic Opera 309
Theatre during the Commonwealth 276 Sentimental Comedy and Laughing Comedy 310
The Theatre of the Restoration Begins 276 Comedy in Eighteenth-Century France 313
Restoration Drama 278 Storm and Stress 314

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 Audiences 350
Theatre Riots 350
Theatre and Nationalism 351
Nineteenth-Century Drama 352
Romanticism 353
Melodrama 354
■ Past and Present: Melodrama 357
The Well-Made Play 357
Nineteenth-Century Theatre Production 359
Acting Styles 359
Acting Theory: Delsarte 363
The Acting Profession 364
Further Steps toward Directing 368
Theatre Architecture 374
Realism and Departures from Realism in Commedia ■ Past and Present: The Bayreuth Festspielhaus
dell’Arte 315 and Festival 378
Melodrama: A Popular Genre Emerges 317 Scenery, Costuming, and Lighting 379
Theatre Regulation 317 Nineteenth-Century Global Theatre
Regulation of Theatres in France 317 Trends: Russia 382
Government and Theatre in Germany 318 Global Theatre: Asia 385
Regulation of Theatres in England 319 Peking (Beijing) Opera: A Nineteenth-Century
Theatre Buildings 319 Development 386
Covent Garden 319 Summary 386
Theatres in Europe 321
■ Past and Present: Drottningholm Theatre 322
Theatres in America 323
Theatre Production 325
Scenery 325 PART 4
Scenic and Technical Experiments 327
■ Debates in Theatre History: When Was Modern
Theatres 389
the Box Set Introduced? 328
Costumes 328
Acting 329
The Early Emergence of the Director 334 CHAPTER 12
■ Debates in Theatre History: Who Was the
First Director? 336 Theatres from
■ Past and Present: Actor-Directors 338
Summary 341
1875 to 1915 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393
Background: The Turn of the Century 393
CHAPTER 11 The Emergence of Realism 395

Theatres from Realistic Drama 396

Naturalistic Drama 399
1800 to 1875. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343 Producers of Realism and Naturalism 400
Realistic Acting 408
Background: The Nineteenth Century 345
Visual Elements in Realistic Theatre 412
Theatre in Nineteenth-Century Life 347
The Emerging American Theatre 412
Popular Entertainment 347
Early American Realism after 1875 412
■ Debates in Theatre History: Is Popular Entertainment
Worthy of Serious Study? 349

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 Early Departures from Realism 414 Surrealism 443
Symbolism 414 The Bauhaus 444
Wedekind, Ibsen, and Strindberg 415 Theatre of Cruelty 445
Producing Departures from Realism 417 Epic Theatre 446
Eclectics 424 European Theatres during the War Years:
Popular and Commercial Theatres 425 Additional Innovations 451
■ Debates in Theatre History: Why Are Women’s France 451
Contributions to Theatre History Overlooked? 427 Spain 452
Multicultural Theatre: Italy 454
African American Theatre 428 Great Britain 455
African American Stock Companies: Theatres under Totalitarianism 457
The Lafayette Players 429 ■ Debates in Theatre History: Evaluating
African Americans in Popular Theatre 430 Totalitarian Art 458
Global Theatres, 1875–1915 430 American Theatre: Popular, Noncommercial,
Asian Theatres 431 and Multicultural 459
Early-Twentieth-Century Chinese Theatre 431 Commercial versus Noncommercial Theatre 459
Theatre in India 432 Playwrights in the United States 462
Theatre in Japan 433 The “Little Theatre” Movement 465
Theatre in Southeast Asia 434 The Group Theatre 466
Theatre in the Middle East and Africa 434 The Federal Theatre Project 468
Summary 435 College and University Theatres 469
Multicultural Theatre: African American Theatre 469

CHAPTER 13 Global Theatres 474

Theatre in China 474
Theatres from Kathakali in India from the Seventeenth to Twentieth
Century 476
1915 to 1950 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437 Theatre in Japan 477
Background: A Time of Unrest—The World Summary 477
Wars 437
Theatre of Unrest: Dramatic Innovations 440
Expressionism 441
Futurism and Dada 443

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 CHAPTER 14 Postmodernism 525
The Performance Group and Richard Schechner 526
Theatres after 1950: The Wooster Group 526
Traditional and Mabou Mines 526
Other Alternative Ensembles 527
Experimental . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 479 Alternative American Directors 528

Background: Post World War II—A Time Performance Art 530

of Social Upheaval 479 Summary 535
Trends in Theatre since 1950 483
Traditional Drama: 1950 to the Present 483 CHAPTER 15
Selective Realism 484
Variations on Traditional Realism 490
Theatres after 1950:
Non-Commercial U.S. Theatres 493 Multicultural and Global. . . . . . 537
Regional Theatre 493
Background: Multicultural Theatre 537
Off-Broadway, Off-Off-Broadway, and
African American Theatre 538
Alternative Regional Theatres 495
African American Theatre after World War II 538
British Realism: Angry Young Playwrights and Their
Influence 498 Civil Rights and African American
Militancy and Theatre: 1960–1980 540
Documentary Drama: Fact-Based Realism 499
African American Producing Organizations: 1970s to the
Popular Traditional U.S. Theatre 501 Present 542
Contemporary American Musical Theatre 501 Contemporary African American Directors: 1980 to the
Innovation and Experimentation 507 Present 543
Existentialism 508 ■ Debates in Theatre History: Color-Blind and
Nontraditional Casting 547
Theatre of the Absurd 509
Contemporary African American Playwrights 547
Happenings and Multimedia 515
Latino/a American Theatre 548
Environmental Theatre 516
Chicano Theatre 549
New Technology 518
Cuban American Theatre 550
Postwar Eclectic Directors 520
Nuyorican Theatre 552
Off-Off-Broadway: Haven for Experimental Theatre 521
Other Latino/a Theatre Companies and Performers 552

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 Asian American Theatre 553 Canadian Theatre 578
Native American Theatre 555 Australian Theatre 580
Native American Theatre Companies 556 Russian and Eastern European Theatre 581
Native American Playwrights 557 Russia 581
Other Multicultural Playwrights and Theatres 557 Poland, Romania, and the Czech Republic 581
Feminist Theatre 558 Theatre in Western Europe, Britain, and Ireland 583
Feminist Theatre Companies in the United States 561 Western European Directors 583

Gay and Lesbian Drama 561 German, Italian, and French Dramatists 586

Gay, Lesbian, and Transgender Theatre Groups 563 Key British and Irish Playwrights 587
European and British Theatre Companies 589
Background: Approaching Global Theatre 565
The Vitality and Endurance of Live Theatre 593
Theatres in India, China, and Japan 566
Technology and the Global Theatre 594
Theatres in the Middle East 570
Summary 595
African Theatre and Drama 572
Northern (Arabic-Speaking) Africa 573
Portuguese-Speaking Africa 573 Glossary of Theatrical Terms G1
French-Speaking (Francophone) Africa 573 Pronunciation Guide: Theatrical Terms and Names P1
English-Speaking (Anglophone) Africa 574 Selected Bibliography B1
Latin American Theatre 577 Credits C1
Cuban Theatre 578 Index I1

XVI

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 Preface to the
Seventh Edition

By definition, any history is a chronicle—a recapitulation or a reconstruction

of events from the past. It cannot, therefore, be a contemporary, spontaneous
occurrence. And yet, that is precisely what theatre is—an event that exists not
in the past but in the present. In fact, theatre exists only at the moment when it
occurs. The essence of theatre is an immediate exchange between the audience
and what unfolds onstage: performances, words of a text, and visual effects of
sets, lights, and costumes.
The first challenge, therefore, of writing histories of theatre is to bring theatre
from the past to life today. In Living Theatre, we have taken a number of steps to
achieve this. Our original goal in writing Living Theatre was, first of all, to create
a thoroughly accurate, reliable, up-to-date history of theatre. At the same time,
we wanted to produce a lively text that was entirely readable and engaging, not
simply a chronicle containing facts, names, and dates. In short, we wanted to
avoid producing a volume that read like an encyclopedia; instead, we sought to
develop one that helped students to understand the key concepts in each historic
period and to visualize how plays were staged in the past. The goal was to ensure
that our coverage was comprehensive and highlighted key figures and events.
In addition, we strove to cover multicultural and global artists and theatres. The
positive response among our many adopters, we believe, is an indication that
our approach has been pedagogically successful. In the current edition we have
continued to revise, add, and reorganize in our ongoing effort to be as accessible,
comprehensive, up-to-date, and inclusive as possible.
The seventh edition of Living Theatre retains all the features that have been well
received by students and professors in previous editions while debuting a new
feature, incorporating new findings and debates in contemporary scholarship, and
adding significant new sections.

Engaging Features
Past and Present
By exploring how older theatrical practices, traditions, and theatres are currently
used, new Past and Present features focus on the myriad ways the theatre of the
past shapes and inspires the theatre of the present. In Chapter 2, for example, we
discuss how the incredible acoustics and impressive design and size of the Greek
theatre of Epidaurus enable it to still be used for performances today, fully 2,400

XVII

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 years after its construction. In Chapter 11, we discuss melodrama and how its
tropes and character archetypes continue to be evident in the drama of today,
notably in soap opera, crime television shows, and even Hitchcock films. We
also discuss how these archetypes are often subverted in modern drama to create
more complex and interesting characters. These features are often accompanied
by contemporary photos depicting the way a given historical practice or theatre
looks today. Other Past and Present features include:
• Theatre Festivals Today
• The Colosseum
• Kabuki
• Puppetry
• Passion Plays
• Street Theatre
• Improvisation
• Teatro Olimpico
• Shakespeare Four Centuries Later
• The Comédie-Française
• The Drury Lane Theatre
• Drottningholm Theatre
• Actor-Directors
• The Bayreuth Festspielhaus and Festival

Debates in Theatre History

Our most popular feature from previous editions will return in the new seventh
edition. These features serve to illustrate that the history of theatre is far from
settled, and that just as theatre itself is alive and evolving, so is theatre history.
We have updated all the Debates to include recent scholarship and historical
finds—for example, the revelation of Shakespeare’s family arms. As discussed in
the Chapter 7 Debate, “Who Wrote Shakespeare’s Plays?,” this discovery provides
further evidence that William Shakespeare, as a gentleman-writer, is indeed the
author of the plays attributed to his name. We have also included a new Debate
in our final chapter concerning nontraditional casting. This practice has become
increasingly common, as the recent Broadway hits Hamilton and Natasha, Pierre &
the Great Comet of 1812 demonstrate; but prominent theatrical persons have spoken
against it, notably the late August Wilson.

Newly Designed Visual Program

Photos
Our bold new design features 241 photos of both historical and contemporary
productions. These include small avant-garde productions and commercial hits,
modern dress adaptations of ancient plays, and more traditional set historical
productions—all carefully chosen to demonstrate how the history of theatre often
bleeds into contemporary productions.

XVIII Preface

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 Theatrical Diagrams
These newly designed diagrams aid students in conceptualizing complicated stage
mechanics as well as theatre architecture. They include:
• ground plans for Greek, Roman, traditional Chinese, nō, and kabuki theatres,
as well as more modern configurations such as the arena and thrust stages;
• stage techniques such as the Greek mechane and ekkyklema, and the Italian pole-
and-chariot system;
• depictions of an Elizabethan playhouse and a medieval pageant wagon.

Updated Maps
Maps throughout the book have been updated. Special attention is given to
those from ancient Greece and Rome, which now include more of the important
theatres of the era, such as the Theatre of Epidaurus and the Theatre of Orange.

Timelines
The seventh edition features fifteen updated timelines that chronicle theatrical as
well as cultural and political events. These timelines enable students to place the
major events of theatre history in a broader context of world history.

Revised Final Chapters

Organization
In an attempt to make the seventh edition even more readable than previous edi-
tions, we have reorganized the final chapters. Instead of dividing recent theatre
according to date and location, we now approach theatre made after 1950 the-
matically. As their titles indicate, Chapter 14 explores “Theatres after 1950:
Traditional and Experimental,” while Chapter 15 focuses on “Theatres after
1950: Multicultural and Global.” Through this approach, we avoid encyclopedic
lists of newer plays and artists, and we highlight the driving forces behind con-
temporary theatre—namely, the development and interaction between traditional
and experimental theatre as well as the many viewpoints and backgrounds from
which modern theatre springs.

Emphasis on Multicultural Theatre

Throughout the text, we strive to emphasize the contributions of minority groups
and women in theatre. For example, the Debates in Theatre History features
include such topics as “Was Terence the First Black Playwright?” and “Are Wom-
en’s Contributions to Theatre History Overlooked?” We have also included new
sections on underrepresented female and African American artists in Chapter 13.
Most dramatically, we have organized our final chapter around multicultural and
global theatre, including extensive coverage of:
• African American Theatre
• Latino/a American Theatre

Preface XIX

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 • Asian American Theatre
• Native American Theatre
• Feminist Theatre
• Gay and Lesbian Drama

Instructor Resources
Interactive Instructor’s Guide
This searchable and sortable site features hundreds of images, teaching notes, links
to videos and other outside resources, and more for in-class presentation.

Test Bank
The test bank includes over fifty questions for each chapter. Every question
is tagged with its difficulty level, page number reference, and question cate-
gory (Understanding, Remembering, Analyzing, Applying), making it easy for
instructors to construct tests.

Lecture PowerPoints
Visually engaging lecture PowerPoint slides, using the art from the book, feature
classroom lecture notes that can be particularly helpful to first-time teachers.

YouTube Channel
Our digital resources now include a YouTube channel with clips of performances
from many important plays.

W. W. Norton also publishes the Norton Anthology of Drama, which reprints

sixty-four plays, nearly all of which are discussed in this text, and which can be
packaged with Living Theatre at a discounted price. Contact your local Norton
representative for more information. You can find your local representative by
visiting http://books.wwnorton.com/books/find-your-rep/.

Acknowledgments
The authors are very excited to have W. W. Norton publish the seventh edition
of Living Theatre. Norton’s support of our work on this new edition has been
inspiring. We want to especially thank Peter Simon (vice president and editor)
and Gerra Goff (associate editor) for their unwavering assistance and guidance.
We also want to acknowledge Chris Freitag (music editor), who introduced us to
Norton and his wonderful colleagues.
Retained from earlier editions is the excellent material provided by Professor
James V. Hatch on African American theatre. For information in the chapter on
Asian theatre, we are deeply indebted to Professors J. Thomas Rimer and Samuel
Leiter. Much of the original biographical information was developed by Dr. Rita
Plotnicki, Professor J. K. Curry, Thom Thomas, Michelle Sullivan, and Dr. Susan
Tenneriello. For many of the African American figures, original material was
originally furnished by George C. Wolfe, who is now an important director and
playwright and whose work is cited in our text. Dr. Ann Haugo contributed
invaluable information on Native American theatre, and Angie Balsamo provided
XX Preface

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 additional information on Latin American theatre. The pronunciation guide was
compiled by Kurt Taroff.
There are three people to whom we would especially like to express our
gratitude. One is Inge King, who, without doubt, is the finest photo editor and
researcher of anyone working in the theatre. It has been our great good fortune
to have her collaborate with us for almost forty years on thirty editions of our
books, including this seventh edition of Living Theatre. During that time she
has presented to us some 35,000 photographs from which to choose the ones we
have featured in various editions. There is no way we can adequately express our
admiration and appreciation.
Also, Alice Vigliani is our new copy editor. She provided an invaluable careful
reading of our text and made important contributions to this new edition. We
would also like to thank Megan Geigner for her impeccable work creating the
new media program.
Especially those who provided in-depth reviews:
We are grateful for the important contributions of all of our instructor reviews
over the course of six editions. We thank the following people for their advice and
suggestions during development of the seventh edition of Living Theatre:

Jimmy Bickerstaff Saint Mary’s University of Minnesota

Lisa Brenner Kutzown University of Pennsylvania
Kevin T. Browne University of Central Arkansas
Claudia Case Lehman College of the City University
of New York
Jean Daniels Blinn College
Steve Earnest Coastal Carolina University
Patrick M. Finelli University of South Florida
John Fletcher Louisiana State University
Andrew Harris University of North Texas at Denton
Stewart Hawley Reinhardt University
C. Austin Hill Tennessee Wesleyan University
Lois A. Hock Wilmington College
Cyndi Kumor Montclair State University
Robert G. Levy Clarion University of Pennsylvania
Heather McMahon Maryville College
Stephen Rupsch St. Norbert College
Elissa Sartwell Belhaven University
Norman Schroder Idaho State University
Shannon Blake Skelton Kansas State University
Robert L. Smith Kutzown University of Pennsylvania
Victor Talmadge Mills College
Kellee Van Aken Seton Hill University
Virginia Anderson Connecticut College
Wendy R. Coleman Alabama State University
Alison Frost Texas A&M University
Robert I. Lublin University of Massachusetts Boston
Elizabeth Reitz Mullenix Miami University
Gregory W. Lanier University of West Florida
Gaye Jeffers University of Tennessee at Chattanooga

Preface XXI

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 About the Authors

Edwin (Ed) Wilson attended Vanderbilt University, The Theater Experience, was recently published, and
the University of Edinburgh, and Yale University, the ninth edition of Theatre: The Lively Art (coau-
where he received an M.F.A. and the first Doctor thored with Alvin Goldfarb) will be published in
of Fine Arts degree awarded by Yale. He has taught 2016. Wilson is also the editor of Shaw on Shakespeare
theatre at Vanderbilt, Yale, and, for over thirty and author of the murder mystery The Patron
years, at Hunter College and the Graduate Center Murders.
of the City University of New York (CUNY). He is
the author of several original plays as well as author Alvin (Al) Goldfarb is president emeritus and profes-
of the book and lyrics for a musical version of Great sor emeritus of theatre at Western Illinois University.
Expectations, which was given a fully mounted pro- He also served as provost, dean, department chair,
duction at the Mill Mountain Theatre in Roanoke, and professor of theatre during his twenty-five-year
Virginia. tenure at Illinois State University, as well as man-
Wilson has produced plays on and off Broadway aging director of the Illinois Shakespeare Festival.
and served one season as resident director of the He holds a Ph.D. in theatre history from the City
Barter Theatre in Abingdon, Virginia. He was University of New York (CUNY), a master’s degree
assistant to the producer on the Broadway play from Hunter College of CUNY, and a bachelor’s
Big Fish, Little Fish directed by John Gielgud and degree from Queens College of CUNY, graduating
starring Jason Robards, and of the film Lord of the Phi Beta Kappa.
Flies directed by Peter Brook. On Broadway, he co- He is coauthor of Living Theatre and Theatre: The
produced Agatha Sue, I Love You directed by George Lively Art, as well as coeditor (with Edwin Wilson) of
Abbott. He also produced a feature film, The The Anthology of Living Theatre. Goldfarb is also co-
Nashville Sound. He was the moderator of Spotlight, a editor (with Rebecca Rovit) of Theatrical Performance
television interview series on CUNY-TV and PBS, during the Holocaust: Texts, Documents, Memoirs; the
from 1989 to 1993; during that time ninety-one half- book was a finalist for the National Jewish Book
hour interviews with outstanding actors, actresses, Award. He has published numerous articles and
playwrights, directors, and producers were broad- reviews in scholarly journals and anthologies.
cast on 200 PBS stations in the United States. Goldfarb served as a member of the Illinois Arts
For twenty-two years Wilson was the theater critic Council and the Illinois Alliance for Arts Education.
of the Wall Street Journal. A long-time member of the He has received service awards from the latter
New York Drama Critics’ Circle, he was president of organization as well as from the American College
the Circle for several years. He is on the board of the Theater Festival. He also received an Alumni
John Golden Fund and served a term as president of Achievement Award from the City University of
the Theatre Development Fund (TDF), whose board New York Graduate Center’s Alumni Association,
he was on for twenty-three years. He has served a and another Alumni Award from Hunter College
number of times on the Tony Awards Nominating of CUNY. He currently serves on the board of the
Committee and the Pulitzer Prize Drama Jury. Arts Alliance of Illinois and as a judge, treasurer,
He is the author or coauthor of the three most and executive committee member for the Joseph
widely used college theater textbooks in the United Jefferson Awards Committee, which honors the best
States. The thirteenth edition of his pioneer book, of Chicago’s theatre.

XXII

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 Living Theatre
A HISTORY OF THEATRE
SEVENTH EDITION

235627_00_i-xxii,1_r2_ra.indd 1 29/06/17 10:02 AM

235627_01_002-029_r3_rj.indd 2 29/06/17 10:29 AM
Another random document with
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under lock and key. Alternate sections are assigned to a class to avoid congestion
and confusion.
The cost of the building several years ago was $3,500. Local carpenters built the
demonstration theater, lumber rack, cabinets, etc. The demonstration bench cost
$27; the stain and glue tables approximately $4.50 per running foot; and the
cabinets for unfinished work $12 per section.

16. Size of Classes. It should be noted that the building was

planned originally for twenty benches and that it now contains
twenty-four. Twenty benches ought to be the maximum number so
far as the giving of proper instruction is concerned. When more are
given the instructor the conditions for the most efficient work are not
good. This problem of accommodating twenty-four boys will have to
be met, and may as well be planned for just so long as school
directors insist upon crowding fifty pupils in the regular classroom
when the teacher ought to have but thirty-five or forty to do her best
work. Then, too, it frequently happens that a room contains more
boys than girls. Some of these boys might be sent to another and
adjoining center. It is best to plan to care for twenty-four boys,
however, where the regular room enrolment runs above average. In
this case the dimensions of the building as given in the preceding
text should be changed. Enlarge the width of the building by six feet.
This will permit the placing of the extra demonstration seats upon the
platform and also allow sufficient floor space near the lumber rack for
cutting out stock, and about the finishing table, etc.
In placing benches, plan to have the light enter over the back and
the left end of the bench. That is, when standing at his bench, the
light should strike the pupil in the front and left.
An amphitheater is very desirable both in the high school and the
grade school shop. In large classes it is a necessity. With small
classes it is possible to make use of desk stools arranged about a
bench. Many manual training centers, in fact, most manual training
centers, do not have the amphitheater. This is no argument against
its desirability. It simply means that the boys get but an imperfect
understanding of the demonstration and that their work must suffer
accordingly.
17. Lockers. The locker problem is one that has been a source
of trouble. The arrangement described in connection with the
description of the Montclair shop is by far the best solution of this
problem that has come to the author’s attention. The extreme length
of pieces that can be accommodated is 34″. A few pieces will be
longer than this. These can be accommodated outside the locker or
the locker sections may be planned large, say 40″ in the clear.
The grindstone is best suited for pupils’ use in sharpening edge
tools. Where a small motor is used for power, it is very desirable to
have a small dry emery grinder for the use of the instructor. Ten
dollars will cover its cost and it will pay for itself quickly. It can be
placed near the grindstone.
Unless the centers have frequent delivery of lumber supplies, or if
there is no central cutting-up station, it may be found advisable to
add to the building described a small room for the storage of quantity
lumber with, possibly, a power saw in it.
18. Bench and Tool Equipment for Grade Center. The
individual bench is to be preferred to the two- and four-pupil bench.
Aside from the fact that the double benches are not conducive to
good order and system, it is next to impossible to get such benches
to remain rigid without going to an initial expense that would be
sufficient to purchase the individual bench. Unless they are rigid, it is
an injustice to ask a boy to return accurate work. The effect that
violent work at one side of a double bench will have upon fine or
accurate laying out by some boy on the other side of that bench is
not difficult to imagine. The only argument in favor of a double bench
is economy of space. If space must be economized, it is better to
place the individual benches back to back with just enough space
between them to keep them from touching and thus shaking each
other.
The rapid-acting vise is desirable, if it is a good one. Some rapid-
acting vises now on the market are not as desirable as the old
fashioned continuous metal screw vise. A vise is in almost constant
use and should be most carefully investigated before being
specified.

INDIVIDUAL EQUIPMENT.
Bench, open frame without drawer, glued up top 23 in. by 52 in. $ 10.00
 tool rack, rapid-acting vise, approximate cost
Jack-plane, Stanley or Bailey No. 5, each 2.09
Wooden mallet, Stanley No. 1 .13
Rule, Stanley No. 34 .17
Hammer, Maydole bell-faced claw, 13 oz. .50
Wing Dividers, P. S. W., 6″ .23
Chisels, socket firmer, Buck Bros., 3⁄8″ and 3⁄4″ both .83
Marking-gage, Stanley No. 62 .12
Try-square, Stanley No. 20, 6″ .21
Saw, Bishop Handy Saw, 12″, No. 9 .75
Swedish Sloyd Knife No. 7 .40
Bench Brush, No. 2A, Orr & Lockett .30
Bench-Hook .25
Chisel-Board .00
Total $ 5.89

GENERAL TOOLS FOR 24 PUPILS.

6 Nailsets, cup pointed, assorted sizes, @ 10c. $ .60
6 Try-squares, Stanley No. 20, 12″, @ 36c. 2.16
3 Turning-Saws and Frames, 18″, @ $1.00 3.00
6 Spokeshaves, Bradshaw and Field or Stanley No. 84, 21⁄2″, nut
adjusted @ 59c. 3.54
3 Gouges, 1″, No. 8, outside bevel, Buck Bros., @ 43c. 1.29
2 Ratchet Braces, Barber No. 33, 8″ sweep, @ $1.45 2.90
2 Plain Braces, Barber No. 13, 8″ sweep, @ $1.08 2.16
3 Crosscut-saws, Bishop No. 89, 22″, 10 pt., @ $1.55 4.65
3 Rip-saws, Bishop No. 89, 24″, 8 pt., @ $1.65 4.95
2 Planes, Jointer 22″, Bailey No. 7 or Stanley, @ $3.03 6.06
2 Rose head Countersinks, Buck Bros., @ 23c. .46
2 Screwdriver bits, Buck Bros., @ 17c. .34
4 Screwdrivers, 4″ blade, fluted handle, @ 25c. 1.00
2 Auger-bits, 11⁄4″, R. J., @ 80c. 1.60
4 Auger-bits, 1″, R. J., @ 60c. 2.40
2 Auger-bits, 3⁄4″, R. J., @ 50c. 1.00
4 Auger-bits, 1⁄2″, R. J., @ 35c. 1.40
4 Dowel-bits, 3⁄8″, R. J., @ 27c. 1.08
4 Dowel-bits, 1⁄4″, R. J., @ 27c. 1.08
4 Dowel-bits, 3⁄16″, Morse, @ 12c. .48
 1 T-bevel, Stanley No. 18, 8″, @ 44c. .44
1 Monkey Wrench, Coes, 8″, @ 50c. .50
1 Pair Combination Pliers, 6″, @ 40c. .40
2 Combination India Oilstones, 6″ × 2″ × 1″, in iron boxes, @
$1.00 2.20
1 Oil-can, 1⁄4 pt., @ 18c. .18
6 Handscrews, No. 812, @ 40c. 2.40
2 Steel Bar Carpenter Clamps, 21⁄2 ft., @ $1.69 3.38
1 Set Steel Figures, 3⁄16″, @ $1.88 1.88
1 Shellac Can, 1-qt. .78
1 Kerosene Glue Heater, 2-pts. 1.50
1 Steel Framing-Square 1.00
200 Individual plane-irons, @ 25c. 50.00
6 Coping-saws with Blades, @ 25c. 1.50
2 Brad-awls, @ 15c. .30
2 Scribe-awls, @ 15c. .30
List price $108.83

SUMMARY.
24 Benches, @ $10.00 $240.00
1 Demonstration Bench 27.00
25 Sets of Tools, @ $5.89 147.25
General Tools 108.83
List price $523.08

Less 10% $470.68

This estimate does not include lockers, shelving, machinery, etc.

The cost of lockers, shelving, etc., can be roughly estimated by
noting the price per foot as given in the description of the Montclair
shop. A grindstone with motor power can be purchased for $30.00
for stone and $60.00 for motor.
Where the instructor must do much grinding, a No. 101 Cortland
Corundum Wheel Co. Grinder, cost with tool rest and two grinding
wheels complete ready to belt $10.00, will be found an extremely
satisfactory investment.
 Where power is not obtainable a Pyko Peerless Dry Emery
Grinder, cost $6.00 with tool rest attachment, will give excellent
service. It cuts much more rapidly than a grindstone and is therefore
not so tiring on the one who turns it.
In justice to other makers of tools it must be explained that the
mentioning of the firm names is due to the fact that indefinite
specifications are worthless. There are other tools as good as those
named, some of which are preferred by some manual training men
to those mentioned. Those mentioned are first class in every respect
and will serve to give the dealer an idea of the class of goods you
want. It will be for the purchaser to see that he gets equal quality. By
all means, avoid the poor grade tool whatever its price. Were it not
for limited space the author would like to list other makers of first
class tools. If one is not conversant with the different brands let him
consult some of his mechanic friends.
The prices given are list price for 1911-12, Chicago. A discount of
at least 10 per cent. will be allowed for quantity purchase.
19. Individual Tools. The individual plane-iron is not absolutely
necessary. It is very desirable since the plane is in constant use. To
make use of the same irons class after class is unjust to the good
worker. He will spend a good part of the period getting his iron in
condition only to find when he comes again the next week that it all
has to be done over again. It puts a premium on slovenliness. True,
the same argument holds for the chisels, and it would be well if
individual chisels could be provided. The chisel is not used nearly so
much as the plane-iron and can, therefore, be used in common
much better than the plane-iron.
No machinery for cutting up stock, is included in the estimate. In
most cities the high school machinery can be used for this purpose.
According to the course outlined, there will be little stock cutting by
machinery required. What little there is might well be done as “busy
work” by the more rapid workers thruout the year. Such stock could
be stored away until needed.
20. Equipment for Mechanical Drawing, Grade Center. Since
the teacher of woodworking must also be the teacher of mechanical
drawing in the grade center, no special room for drawing is
advisable. With the first twelve weeks devoted to drawing, the
woodworking benches can be used as drawing tables, the
woodworking tools not being placed until all the drawing work is
completed. When the shop is properly cleaned during the summer
vacation there is no reason for its not being kept as clean as any
special drawing room during the drawing period of twelve weeks.
The benches should be scraped clean and shellaced.
A blackboard is needed for both drawing and woodwork and may
as well be placed in the woodworking shop.
For the most efficient presentation of drawing there will need to be
plenty of blueprints or plates from which the student may work.
These must be so well executed, as to technique, that the pupil will
have before him only the best as models. No one would think of
placing before the writing class other than the best models of style
and execution in penmanship, yet it is not infrequent to find
mechanical drawing students copying from blueprints that are far
below standard as to excellence.
In presenting the problems, models will be found of very great help
to the student in his efforts to interpret the conditions. Too much
dependence should not be placed upon models in the work of older
pupils.

INDIVIDUAL EQUIPMENT.
Drawing-boards, 16″ × 22″, basswood, each $ .70
T-squares, 22″, plain blade, fixed head, each .20
45° Triangle, 8″ each .16
30°-60° Triangle, 10″, each .15
Desk Stool, 24″, rubber tipped, each 1.25
Total
$ 2.46
Total for 25 sets, less 10%
$55.45

There will be needed in addition to the above a knife, scale,

compass, and sandpaper block. The knife and rule used in the
woodwork will serve equally well in the drawing. The sandpaper
blocks or pencil sharpening blocks can be made in the shop.
 In connection with these blocks, it will be found expedient to have
them so fastened to the bench that pupils cannot get them on top of
the bench in sandpapering a point on the pencil. This can be done
by fastening the block to the bench with a screw in such a way that it
can be revolved from under the top of the bench when wanted.
Otherwise beginners will have the bench top and then drawings
covered with the fine lead of the pencil.
In getting equipment avoid “baby” sets. A taboret drawing, to be
well made, must be on a scale of 1⁄4″. This, with marginal lines will
mean a paper of 12″ by 18″.
PERSONAL EQUIPMENT.
Excelsior or Eagle Pencil Compass.
Pencil, Dixon Manual Training, 2H.
Eraser, Ruby Pencil.
Envelope for holding drawings.
Thumbtacks, two.

The personal equipment to be uniform should be purchased by the

school and sold to the pupils.
While this personal equipment may be kept in the woodworking
lockers, some instructors prefer to have a special case of drawers to
hold the drawing envelopes, and blocks of wood with suitable holes
for holding the pencils, erasers, and tacks, monitors being appointed
to look after them.
The paper used need not be as expensive as that of the high
school where problems are to be inked. A manilla paper such as is
used in the regular or freehand drawing classes will answer
admirably and can then be provided by the school. Such paper is
usually purchased in sizes 12″ by 18″ and 9″ by 12″. The former is
the desired size for the eighth grade work and the latter for the
seventh grade. A 6″ by 9″ size will be found suitable for stock bills,
where printed blanks are not to be provided.
In the matter of paper, it is possible to practice economy without
detracting from the drawing. All that are not wanted at the close of
the year should be kept and the reverse sides made use of where
experimental penciling is required.
Drawing equipment will be stored when woodwork is begun.
 21. High School Joinery Shop. The general plan of the wood
shop for the high school will depend so greatly upon its relation to
other shops in which wood is worked that the most that can be
hoped by discussing it is that the plan offered may offer a starting
point from which to work. In some communities the one shop will be
all that is needed both for cabinet work, first year joinery, and
pattern-making with, possibly, wood-turning. In other communities
the number of students taking the work may warrant separate shops
with full machine equipment for each. In still others it may be
advisable to have adjoining shops but still necessary to make use of
the same machinery. Some schools plan to have all the classes in
one big room, sometimes having as many as seventy boys with
three instructors. If this latter plan is followed, tho it is not advised,
there should certainly be provided an adjoining demonstration room
where the instructors may talk to the boys without the competing
noises of other classes.
Fig. 11 is a suggestive sketch. It provides for lockers similar in
make-up to those discussed in connection with the grammar school.
 1. GLUE TABLE 9. TOOL AND SUPPLY CASES
2. GRINDSTONE 10. EXHIBIT CASE
3. BAND SAW 11. LUMBER RACKS
4. JIG SAW 12. CUT-OFF SAW AND TABLE
5. LOCKERS FOR UNFINISHED 13. CIRCULAR SAW
WORK 14. PLANER
6. WALL RACKS 15. JOINTER
7. FINISHING TABLES 16. INDIVIDUAL LOCKERS
8. TEACHER’S DESK 17. GRINDER

Fig. 11. SUGGESTED FLOOR PLAN FOR HIGH SCHOOL SHOP.

General tools are to be kept in a tool room which may be placed in

charge of a student assistant. Each boy is then to be provided with
metal checks. When a tool is asked for the assistant will hang the
student’s check in the place of the tool taken out. Upon the return of
the tool the check will be returned.
First year students may be safely taught to use the band-saw and
jig-saw, with proper safe guards about the former. Other machines
are best kept in a separate room.
Since high school pupils ought to be taught how to apply more
difficult finishes, such as rubbed varnish, than those taught in the
grammar schools, a special room will be necessary in order to avoid
the shop dust. This room should be made fire proof, if possible, and
should have racks about the walls upon which to place work being
finished.
22. High School Bench and Tool Equipment. The benches for
the use of high school pupils are best when of the cabinet type
having drawers below in which each student may keep his individual
edged tools. Such a bench with drawers enough to accommodate all
the boys that will be able to make use of the bench during the day,
with a hinged or revolving board upon which may be fastened the
general tools that belong to that bench will cost approximately thirty
dollars. This includes a first class rapid-acting vise. The individual
bench in the high school is as desirable as it is in the grades.
Where a high standard of technique is to be demanded of the
pupils, the following tools should be added to those specified for the
grammar school bench equipment:
 INDIVIDUAL TOOLS.
Smooth-Plane, 13⁄4″ cutter, 8″ long, Stanley $1.66
Jointer-Plane, 2 ⁄8″ cutter, 22″ long, Stanley
3 3.03
Screwdriver, 6″, Stanley .35
T-Bevel, 6″, Stanley .40
Combination India Oilstone, 1″ × 2″ × 6″ 1.10
Oil-Can .18
Crosscut-saw, 20″, 10 pt., Bishop No. 89 1.40
Rip-saw, 22″, 8 pt., Bishop No. 89 1.55
Spokeshave, 2 ⁄2″ blade, Bradshaw and Field
1 .57
In place of the Bishop Handy Saw specified in the grammar school list,
substitute Bishop No. 8 Backsaw, 10″, cost 94c.
Provide for each drawer, that is, provide each boy with the following:
Chisel, 1″, bevel edged, firmer socket, Buck Bros. $ .57
Chisel, ⁄4″, bevel edged, firmer socket, Buck Bros.
1 .41
Chisel, 3⁄8″, socket mortise, Buck Bros. .40
Plane-iron for Jointer .29
Plane-iron for Jack-plane .25
Plane-iron for Smooth-plane .23
Spokeshave-iron .15
Sloyd knife, 2 ⁄8″
5 .40

This list presupposes that the mortising of the first year will be
done by chisel alone, no boring. If mortises are to be bored first, it
will be advisable to equip each bench with a Barber’s 8″ ball bearing
brace, cost $1.45.
In addition to the general tools specified for the grammar school,
make the following changes and additions:

GENERAL TOOLS.

Omit the rip- and crosscut-saws.

Omit the plain braces in case the bench is so equipped.
Omit handscrews and clamps, and glue heater.
Add 1 doz. Handscrews, No. 812, cost each 40c.
Add 2 doz. Carpenters’ Clamps, wood bar, 2-ft., @ 85c.
Add 1 doz. Carpenters’ Clamps, wood bar, 4-ft., @ 95c.
Add 1 Set Steel Letters, 3⁄16″, @ $1.88.
Add 1 Steam Glue Heater, O. & L. No. 9, @ $9.50.
Add 2 Draw-Knives, 8″, L. & I. J. White, @ 65c.
Add 1⁄2 doz. Steel Cabinet Scrapers, @ 10c.
Add 1 Set Auger-Bits in box, R. J. @ $4.00.

MACHINERY.

For the highest type of work the following machines should be

placed at the disposal of the first year high school classes:
Grindstone.
Scroll or Jig-saw.
Band-Saw.
These machines should have proper safety devices and should be
placed where they will be under the immediate observation of the
instructor. Machines for woodworking vary so greatly in price and
desirability that it is not thought wise to specify any particular make.
Only the experienced man will be called upon to equip with
machinery and such an one will have the information necessary to
make the purchase.
For the second year, or optional cabinet work, there should be
placed at the disposal of the students, and they should be taught
their use, the following machines in addition to those specified for the
first year work:
Circular-Saw.
Machine Jointer.
Planer.
Boring Machine and Mortiser.
Trimmer.
It is possible so to arrange these machines that the circular-saw
and planer may be used in getting out stock for other classes. The
floor plan given contemplates such use.

EQUIPMENT FOR HIGH SCHOOL MECHANICAL DRAWING.

A special room should be provided for the teaching of high school

mechanical drawing.
 A north light is best and the tables should be so placed that the
light may come upon the board from in front and the left. If artificial
light must be used, employ the inverted system.

Fig. 12. TABLE FOR MECHANICAL DRAWING.

Tables have much to commend them over the pedestal. They are
easily swept around and keep a room looking orderly. Fig. 12 shows
a type of table that is commendable. On the left are drawers for
keeping the students’ instruments. On the right is a drawer for
keeping general equipment that is used by the boys in common.
Below this drawer is the cabinet for holding the drawing-boards.
These boards are so locked that only the board belonging to the boy
with the key can be released. Such a table with a top 24″ by 48″ and
41″ high will cost $30, list price. Estimate for individual equipment will
be as follows:

TABLE EQUIPMENT .
1 Table $30.00
1 Stool 3.50
5 Boards, of size to fit cabinet, @ $1.50 7.50
5 Sets Instruments, German Silver, @ $5.00 25.00
1 Scale, @ 38c .38
1 T-square, 24″, celluloid lined 1.50
1 45° Triangle, 8″, celluloid .48
1 30°-60° Triangle, 10″, celluloid .48
1 French Curve, .20
1 Bottle Ink .25
Total
$69.29
PERSONAL EQUIPMENT.
Sheets Paper.
Heavy Manilla Envelope for holding drawings.
Thumbtacks.
Eraser.
Pencil, hard, 4H.
Pencil, soft, H.
GENERAL EQUIPMENT.
1 Roll Blueprint Paper, (not to be purchased until ready to be used).
1 Blueprinting Frame, 18″ by 24″.
1 Roll Tracing Cloth.
Blackboard Triangles, Straight-edge, Compass.

There will also need to be cases in which to file the envelopes in

which the students keep their completed drawings. If much
blueprinting is to be done, there should be a suitable room with sink
and running water. Where models are used, there should be a case
for storing them when not in use.
Practice varies greatly as to the amount of material provided by
the school. Some schools require the pupils to furnish their own
instruments, as well as paper and other supplies. The advisability of
requiring much or little will have to be determined by the social
conditions of the community it is intended to serve.
 PART II.
LESSON OUTLINES.
 CHAPTER VI.
LESSON OUTLINES FOR GRADE VII.

GRADE VII.
(Mechanical Drawing)

Lesson 1.
Introductory Talk—
The purpose of manual training.
Explanation of signal bells—beginning, five minute rest, closing.
Regulations concerning drinking fount, lavatory, toilet.
Responsibility for tools; care of bench top.
Shop deportment. To and from shop.
Ownership of finished work.
Preparation for Demonstration; Assignment for Lesson 2—
Essentials of Woodworking, Appendix III, Sections 1 and 4.
Demonstration—
The essential points in making Introductory Drawing.
Instruments, lines, angles, lettering.
Sharpening pencil—sandpaper.
Work—
All pupils begin Introductory Drawing.
Note:—Copies of drawings from which pupils are to work should
be in the hands of the pupils while demonstration is being given.

GRADE VII.
(Mechanical Drawing)

Lesson 2.
Recitation—
Working vs. perspective drawings?
Drawing instruments (T-square, etc.) How held?
Kind of lines (vertical, oblique, etc.) How drawn?
Angle defined. How measured? Does extending the sides change the value?
The angles of the triangles? How avoid inaccuracies at the vertex in drawing?
 How many degrees in a circle? In the sum of the angles about a point?
How would you draw an angle of 75 degrees?
The order of procedure in putting on border and cutting lines?
Why have a cutting line?
Letters and figures, how proportioned? (Test pupils at black board.)
After the proportions are once learned, how lay out for lettering?
Preparation for Demonstration; Assignment for Lesson 3—
Essentials, Appendix III, Sections 2 (relating to scale), 3, and 6.
Demonstration—
The essential points in making Drawing for Woodwork Group I. (Cutting-
board.)
Order of procedure; scale; blocking out; placing and spacing views; simple
dimensioning.
Work—
Complete Introductory Drawing.
Make drawing for Woodwork Group I.
Rapid workers measure, draw, and dimension three views from a rectangular
block. (Blocks used in the study of woods.)

GRADE VII.
(Mechanical Drawing)

Lesson 3.
Recitation—
Scale? Figures on the drawing vs. size of the drawing.
Projection and relation of views—The four principles developed.
Order of procedure—Determining the size and spacing; blocking out vertically;
horizontally; dimensioning; lettering; inking; if not to be inked?
Preparation for Demonstration; Assignment for Lesson 4—
Essentials, Appendix III, Section 2. (That part relating to lines, etc.)
Demonstration—
The essential points in making Drawing for Woodwork Group II.
(Counting-board, key-rack, hat-rack.)
Foreshortening.
Work—
Complete drawing for Woodwork Group I.
Make drawing for Woodwork Group II. Counting-board.
Rapid workers make another drawing in Group II.
 GRADE VII.
(Mechanical Drawing)

Lesson 4.
Recitation—
The conventions—Seven kinds of lines—how made and their meanings?
What part of a mechanical drawing is made freehand?
A broken view? Why used?
Section drawing? Cross-hatching?
Preparation for Demonstration; Assignment for Lesson 5—
Essentials, Appendix III, Section 5.
Demonstration—
The essential points in making Geometric Sheet.
Circles.
Work—
Make the geometric drawing first.
Complete unfinished drawings for Woodwork Group II.
Rapid workers make other drawings for this latter group.

GRADE VII.
(Mechanical Drawing)

Lesson 5.
Recitation—
The hexagon? How made?
The six point star?
The octagon?
The ellipse?
Assignment for Lesson 6—
Review Essentials, Sections 1, 2, 3, 4, 5, 6 in Appendix III.
Demonstration—
The essential points in making drawings for Woodwork Group III. (Ring toss,
game-board, laundry-register, spool-holder.)
Hidden edges.
Work—
Complete drawings for Woodwork Group II.
Make drawings for Woodwork Group III.
Rapid workers make other drawings in Group III.
 GRADE VII.
(Mechanical Drawing)

Lesson 6.
Recitation—
Perspective vs. working drawing?
Instruments, their uses?
Scale drawing?
Seven kinds of lines? Their meanings?
The freehand part of a mechanical drawing?
Broken view?
Cross-section? Cross-hatching?
Four principles of projection?
Spacings of letters and figures?
Hexagon? Octagon? Six point star? Ellipse?
Order of procedure in making mechanical drawing?
Assignment for Lesson 7—
Essentials, Introduction, and Section 25.
Demonstration—
The essential points in making drawings for Woodwork Group IV. (Sleeve-
board, bread-board, cake-board, scouring-board, coat-hanger.)
Center and section lines, cross-sections, tangents, points of tangency,
dimensioning circles.
Work—
Complete drawings for Woodwork Group III.
Make drawings for Woodwork Group IV.
Rapid workers make other drawings in Group IV.

GRADE VII.
(Mechanical Drawing)

Lesson 7.
Recitation—
Sharp, clean tools, why?
Care of bench top?
Care of tools not in immediate use?
Some of the more important results in manual training?
Take a rectangular block and name the terms used, length, etc.
Grain? “Against the grain?”