The educational screen (c1922-c1956])

'M The Educational Screen ual education along artistic lines it was highly satisfactory. In a dramatic way, the experiment was equally interesting and educative. We followed the plan of having all the chil- dren learn the parts, choosing finally the ones best suited to speak for the marion- ettes. The class rehearsed both words and gestures after the usual fashion of putting on a play. In the meantime, the teachers made the marionettes from cheap dolls, according to suggestions from the Sarg book. Arms and legs were cut off and sewed back on again with half-inch tape joints. Bodies were cut in two, and a firm, soft piece of cloth inserted, the idea being to make the marionette just as "floppy" as possible. The strings, linen thread, 40 inches long (the height of the stage) were sewed to the hands, knees, ears and back, so keeping the figure upright, and yet capable of manipulation. These strings were attached to a T-shaped piece of wood, the control, which, when manipu- lated, gave the figures life-like actions. For instance, a single string attached to the back of the doll, when tightened, pro- duced a graceful bow. Arms and leas were moved in a similar manner. The puppets were dressed for their parts by the teachers, from scraps of material brought by the children. With an older group, this sort of work could have been done by the children themselves. The children practiced with their pup- pets in front of mirrors placed on the floor level, sometimes speaking for their dolls, sometimes with all attention con- centrated on the best way to secure an appropriate gesture. There was not much we could tell them about the manipula- tion. Strange as it may seem, the mar- ionettes possess distinctive personalities. A gesture resulting from certain tensions of the strings of one puppet will not al- ways be forthcoming when the same ten- sions are applied to the control of an- other. The children worked out the ges- tures of their own puppets themselv with many quaint and ingenious metho We teachers tried it and were ama; at our inability to make the puppets spond. Perhaps these little acting d< are like fairies, who respond only those attuned to understand them. After a short period of mirror pract: the scene of action Was transferred; the stage. If any one puppet seen to lose his dramatic qualities as far as actions were concerned, a short per: of practice before the mirror resto! him. Stage properties—such as chairs, I rors, rugs, etc.—were contributed fr doll houses, or made by the children their manual training periods. They w not elaborate, but fulfilled their miss admirably. As near as words will scribe it, the stage resembled a la dry goods box, with top and one removed. On the outside of the bo: behind stage—ran an elevated platfc on which the children stood, marionettes, suspended by the stris attached to the controls, were lowe to the stage floor. Each child held control in his right hand, and action the dolls was produced by manipulat the strings with his free left hand—c; child at the same time speaking lines for his particular puppet. Of necessity the children "ran tt own show." The stage was too sm and the back-stage platform too nan for teacher to be anything but in way. In fact, we stood meekly ready to fetch and carry. Between a victrola music filled in the few mim} needed to change scenes. The lights went off; two little st hands pulled the curtain, and a sg childish treble announced: