Appendix 22
DRAMATIC PRODUCTIONS IN S.D.A. INSTITUTIONS
(Statement prepared by Arthur L. White, Secretary, Ellen G. White
Publications.)
Request
has been received at the White Estate for the materials from the pen of Ellen
G. White which may have a bearing on the question of the production of
dramatic programs in SDA institutions. The E. G. White counsels touching on
this point deal with a number of situations, and in so doing, enumerate
principles which it would seem may well serve as guidelines.
A
survey of these counsels fails to reveal an across-the-board condemnation of
all enacted programs. In other words, Ellen White does not condemn a program
just because it may be dramatized. In this respect the counsels touching
dramatic productions are much like the counsels relating to sports, and
interestingly, the two are treated together in two of the statements of
caution. Mrs. White did not condemn the “simple exercise of playing ball,”
(AH 499) but as she enumerated the principles involved, she pointed out the
grave perils which usually accompanied sports activities. Mrs. White did not
condemn the simple enacted program put on by the Battle Creek Sabbath School
in 1888, but in many statements she clearly points out the many and almost
sure perils which accompany “plays” and “theatrical programs.”
It
would then appear that the questions relating to both sports and dramatic
productions in SDA institutions must be settled on the basis of fundamental
principles rather than on a simple acceptance or prohibition. This greatly
complicates the task and calls for close observation, careful analysis and the
determination to be guided by Christian principle. If the young men and women,
in their personal experience, can be brought to understand and apply these
principles, worthwhile progress will be made in teaching the vital lesson that
the life of the Christian is guided not by arbitrary “do’s” or
“don’t’s” but by principle.
The
Value of Visual Presentation
The
visual presentation is known to be an effective means of communication. It was
often employed by God Himself in enlightening His prophets. The prophet many
times recounts what “he saw” in vision and bore witness as to what passed
before him in panoramic view. Ellen White commented on this while in Europe as
she was called upon to meet the fanatical position of some that all pictures
are prohibited by the second commandment and should be destroyed:
The
second commandment prohibits image worship; but God Himself employed pictures
and symbols to represent to His prophets lessons which He would have them give
to the people, and which could thus be better understood than if given in any
other way. He appealed to the understanding through the sense of sight.
Prophetic history was presented to Daniel and John in symbols, and these were
to be represented plainly upon tables, that he who reads might understand. —Selected
Messages, Book 2, pp. 319, 320.
The
Ellen G. White reference is well illustrated in Ezekiel’s experience in
which the power of God was dramatized:
At
one time the prophet Ezekiel was in vision set down in the midst of a large
valley. Before him lay a dismal scene. Throughout its whole extent the valley
was covered with the bones of the dead. The question was asked, ‘Son of man,
can these bones live?’ The prophet replied, ‘O \Lord God, Thou knowest.’
What could the might and power of man accomplish with these dead bones? The
prophet could see no hope of life being imparted to them. But as he looked,
the power of God began to work. The scattered bones were shaken, and began to
come together, ‘bone to his bone,’ and were bound together by sinews. They
were covered with flesh, and as the Lord breathed upon the bodies thus formed,
‘the breath came into them, and they lived, and stood up upon their feet, an
exceeding great army.’” —E. G. White, MS 85, 1903, in SDA Bible
Commentary, Vol. 4, p. 1165.
Effective
Also for Evil
But
as is so often the case, that which may be effective for good when rightly
used can also, if wrongly employed, be effective for evil, even to the point
where the rightful use may have to be curtailed. Note in the description of
Satan’s work in the world generally that drama is first named as one of the
“amusements” which Satan turns “to account in destroying souls”:
Many
of the amusements popular in the world today, even with those who claim to be
Christians, tend to the same end as did those of the heathen. There are indeed
few among them that Satan does not turn to account in destroying souls.
Through the drama he has worked for ages to excite passion and glorify vice.
The opera, with its fascinating display and bewildering music, the masquerade,
the dance, the card table, Satan employs to break down the barriers of
principle and open the door to sensual indulgence. In every gathering for
pleasure where pride is fostered or appetite indulged, where one is led to
forget God and lose sight of eternal interests, there Satan is binding his
chains about the soul.” —Patriarchs and Prophets, p. 459 (AH 515).
Published in 1890.
A
decade earlier in the Testimonies, sensational dramas were pointed out
as preoccupying the mind of men and women and this hindered the reception of
the message of truth:
The
world is teeming with errors and fables. Novelties in the form of sensational
dramas are continually arising to engross the mind, and absurd theories abound
which are destructive to moral and spiritual advancement.” —Testimonies,
Vol. 4, p. 415, (1880).
The
third E. G. White statement we cite on this point relates to the welfare of
the students at Battle Creek College in the early days before dormitories were
provided, and the students lived in the homes of families residing nearby.
This statement involves the legitimate theater, for it was penned in 1881,
long before the motion picture was known. The perils of “theatrical
amusements” is clearly depicted and fundamental principles delineated:
Among
the most dangerous resorts for pleasure is the theater. Instead of being a
school of morality and virtue, as is so often claimed, it is the very hotbed
of immorality. Vicious habits and sinful propensities are strengthened and
confirmed by these entertainments. Low songs, lewd gestures, expressions and
attitudes, deprave the imagination and debase the morals. Every youth who
habitually attends such exhibitions will be corrupted in principle. There is
no influence in our land more powerful to poison the imagination, to destroy
religious impressions, and to blunt the relish for the tranquil pleasures and
sober realities of life than theatrical amusements. The love for these scenes
increases with every indulgence, as the desire for intoxicating drink
strengthens with its use. The only safe course is to shun the theater, the
circus, and every other questionable place of amusement. —Testimonies,
Vol. 4, pp. 652, 653.
Seventh-day Adventists Wrestle With the Problem
It
was as the number of Seventh-day Adventists residing in Battle Creek greatly
increased and as our institutional program got well under way that we found
ourselves from time to time confronted with the question of dramatic
productions.
At
the Sanitarium
The
Sanitarium with its large number of non-Adventist guests was faced with the
problem of their entertainment. The non-Adventist Dansville, New York
institution under the management of Dr. Jackson had encouraged “plays” as
being beneficial to the patients. (See Testimonies, Vol. 3, p. 172.)
But Ellen White gave firm counsel that this type of thing should not come into
our sanitarium at Battle Creek. This counsel appeared in 1881 in an article
entitled ”Position and Work of the Sanitarium,” but its warnings are by no
means limited to the sanitarium situation:
Those
who bear the responsibility at the sanitarium should be exceedingly guarded
that the amusements shall not be of a character to lower the standard of
Christianity, bringing this institution down upon a level with others and
weakening the power of true godliness in the minds of those who are connected
with it. Worldly or theatrical entertainments are not essential for the
prosperity of the sanitarium or for the health of the patients. The more they
have of this kind of amusements, the less will they be pleased unless
something of the kind shall be continually carried on. The mind is in a fever
of unrest for something new and exciting, the very thing it ought not to have.
And if these amusements are once allowed, they are expected again, and the
patients lose their relish for any simple arrangement to occupy the time. But
repose, rather than excitement, is what many of the patients need.
As
soon as these entertainments are introduced, the objections to theater going
are removed from many minds, and the plea that moral and high-toned scenes are
to be acted at the theater breaks down the last barrier. Those who would
permit this class of amusements at the sanitarium would better be seeking
wisdom from God to lead these poor, hungry, thirsting souls to the Fountain of
joy, and peace, and happiness.
The
managers of the sanitarium may as well conclude at once that they will never
be able to satisfy that class of minds that can find happiness only in
something new and exciting. To many persons this has been the intellectual
diet during their lifetime; there are mental as well as physical dyspeptics.
—Testimonies, Vol. 4, pp. 577-579.
No
information is now available as to the precise nature of the “theatrical
entertainments” given at the sanitarium and here referred to. The statement
must be understood in the context as revealed in the chapter.
SDA
Literary Societies
At
this very time, 1880-1881, in our attempts to provide cultural programs for
our church members, “literary societies” were formed at Battle Creek and
at some other points. Dramatic productions soon became a part of the program.
The January 4, 1881 issue of the Review carried Mrs. White’s report
on the problem with which they were soon confronted, and led her to declare:
In
every case where a literary society has been established among our people, its
influence has proved to be unfavorable to religious life, and has led to
backsliding from God. This has been tried at Battle Creek and in other places,
and the result has ever been the same.
Then
she sets forth the crux of the problem:
The
purposes and objects which lead to the formation of literary societies may be
good; but unless wisdom from God shall control these organizations, they will
become a positive evil. Various entertainments are introduced to make the
meetings interesting and attractive for worldlings, and thus the exercises of
the so-called literary society too often degenerate into demoralizing
theatrical performances, and cheap nonsense. All these gratify the carnal
mind, that is at enmity with God; but they do not strengthen the intellect nor
confirm the morals. Little by little, the spiritual element is ruled out by
the irreligious, and the effort to harmonize principles which are antagonistic
in their nature proves a decided failure. When God’s people voluntarily
unite with the worldly and unconsecrated, and give them the pre-eminence, they
will be led away from Him by the unsanctified influence under which they have
placed themselves.
Many
literary societies are in reality young theaters on a cheap scale, and they
create in the youth a taste for the stage.” —Review and Herald,
Jan. 4, 1881.
The
entire article, now currently available, may be read with profit. See Ellen
G. White Review and Herald Articles, (Facsimile Reprint) Vol. 1, pp. 224,
225. Significant excerpts appear on pp. 11-13 of this document as Exhibit A.
Lyceums
and Literary Societies
At
a later date, Ellen White dealt with the involvements of acts and plays in SDA
lyceums and literary societies. In so doing she repeated some of the counsel
of the 1881 Review article just noted and then broadened the coverage.
She deplored that often individuals of “short religious experience” take
the lead. Then “Satan uses men as his agents to suggest, to lead out, to
propose different acts and a variety of amusing things which give no strength
to the morals or elevation to the mind, but are wholly worldly. Soon the
religious element is ruled out, and the irreligious elements take the lead.”
—E. G. White MS 41, 1991 (See Exhibit B, p. 14). The result was that
there was “brought in low, cheap matters that are not elevating or
instructive; but only amuse.” “The mind” was led “away from serious
reflection, away from God, away from heaven.”
She
admonished:
If
your lyceums and literary societies would be made an opportunity for searching
the Bible, it would be far more an intellectual society than it can ever
become through the attention being turned to theatrical performances. What
high and noble truths the mind may fasten upon and explore in God’s Word!¼
Those
who compose these societies, who profess to love and reverence sacred things,
and yet allow the mind to come down to the superficial, to the unreal, to the
simple, cheap, fictitious acting, are doing the devil’s work just as surely
as they look upon and unite with these scenes.” —E. G. White MS 41,
1900.
Turn
to Exhibit B, pages 14 and 15 for the full statement, depicting the gradual
compromising and vacillating between duty and the world, with the final
results.
Counsel Regarding the 1888 Enacted Christmas Program
Early
Wednesday morning, December 26, 1888, Ellen G. White wrote concerning a
Christmas program at Battle Creek, put on by the Sabbath School children which
she had attended the night before. It was a simple dramatized program
featuring a lighthouse, children wearing costumes, and there were speeches,
poems and songs. Ella M. White, Mrs. White’s six year old granddaughter was
in the program, dressed to typify an angel. This communication appears as
Exhibit D on pages 19 and 20.
It
is significant that the counsel given to the man who organized the program
relates to how the features of the program could have been made more
effective, but there was no condemnation of the program because of the enacted
scenes. Rather she commented, “I was pleased with the lighthouse.¼ The part acted by
the children was good. The reading was appropriate.” —E. G. White Letter
5, 1888, (Page 19). At the same time, she made certain observations:
The
singing was after the order we would expect it to be in any theatrical
performance, but not one word to be distinguished. Certainly the
tempest-tossed ship would be wrecked upon the rocks, if there were no more
light coming from the lighthouse than was seen in the exercises. I must say I
was pained at these things, so out of order with the very work of reformation
we were trying to carry forward in the church and with our institutions that I
should have felt better if I had not been present. This was an occasion that
should have been gotten up not only for the Sabbath school children but words
should have been spoken that would have deepened the impression of a necessity
of seeking for the favor of that Saviour who hath loved them and gave Himself
for them. If the precious hymns had been sung, “Rock of ages, cleft for me,
let me hide myself in Thee,” and “Jesus lover of my soul, let me to Thy
bosom fly, while the billows near me roll, while the tempest still is nigh.”¼ Whose
souls were inspired with new and fresh zeal for the Master in those songs
sung, whose virtue was in the different performances of the singer?”—E.
G. White Letter 5, 1888, (Exhibit D, p. 19).
Then
followed some very pertinent questions regarding the program:
Will
it make those who acted their part in it more spiritually minded? Will it
increase their sense of obligation to our heavenly Father who sent His Son
into the world at such an infinite sacrifice to save fallen man from utter
ruin? Was the mind awakened to grasp God because of His great love wherewith
He has loved us? —Ibid., (Exhibit D, p. 20).
If
the fact that there was acting in the program was in itself sinful, that
certainly would have been made plain. The counsel, rather, related to content,
effect on players, etc.
This
experience would seem to indicate the proper use of an enacted program
dedicated to enlighten men and women concerning the love of God and the way to
salvation, by consecrated men and women engaging in the enterprise, motivated
by the service of God and not the aggrandizement of self. The Faith for
Today telecast would seem to fall in this category. Nor would this appear
to be in conflict with the counsel that the SDA evangelist should carry
forward his work without “theatrical display.” See pages _______, Exhibit
E, “The Evangelist and Theatrical Display.”
The
Use of Our Talents in Communication
In
1898, Ellen G. White sent to the leaders of the church a manuscript entitled
“To Every Man His Work,”* in which she deals with the proper use of
the talents entrusted to us. The talent of communication was treated at length
and in a very enlightening manner. It was pointed out that this talent might
be used to serve self or to serve Christ.
If
we regard the advantages given to us as our own, to be used according to our
pleasures, to make a display and create a sensation, the Lord Jesus is put to
shame by the characters of His professed followers. —E. G. White MS 42,
1898.
Then
she asks:
Can
you glorify God by being educated to represent characters in plays, and to
amuse the audience with fables? Has not the Lord given you intellect to be
used to His name’s glory in proclaiming the gospel of Christ? If you desire
a public career, there is a work you may do. Help the class you represent in
plays. Come to the reality.¼
The Lord has given evidence of His love for the world. There was no falsity,
no acting, in what He did. ¼Ibid.
One
key point, almost hidden, is worth pondering.
All
who desire a place of distinction may have opportunity to wear the yoke of
Christ. —Ibid.
__________________________
*Used
largely in Review and Herald Supplement, June 21, 1898, as a reading to
be presented in the churches. Review and Herald Articles, Vol. 3, pp.
581-583.
She
urged that the media of communication be employed to communicate “a
knowledge of Christ,” not for the glorification of self. (See pp. 16-18,
Exhibit C for fuller statement.)
The
training in “pride and a love of display” which leads to
self-aggrandizement, may come early, fostered by even the Sabbath School
program. Warned Ellen White in 1893:
In
the Sabbath school, men and women have been accepted as officers and teachers,
who have not been spiritually minded, and had no live interest in the work
committed to their care; but matters can be set in order only through the aid
of the Holy Spirit. The same evil has existed for years as now exists in our
churches. Formality, pride, and love of display have taken the place of true
piety and humble godliness. We might see a different order of things should a
number consecrate themselves wholly to God, and then devote their talents to
the Sabbath school work, ever advancing in knowledge, and educating themselves
so that they would be able to instruct others as to the best methods to employ
in the work; but it is not for the workers to seek for methods by which they
can make a show, consuming time in theatrical performances and musical
display, for this benefits no one. It does no good to train the children to
make speeches for special occasions. They should be won to Christ, and instead
of expending time, money, and effort to make a display, let the whole effort
be made to gather sheaves for the harvest. —Fundamentals of Christian
Education, p. 253.
A
second quotation makes the point stand out still more clearly:
Pride,
self-esteem, and boldness are marked characteristics of the children of this
day, and they are the curse of the age. When I see this un-Christlike,
unlovely manifestation on every side, and then see parents and teachers
seeking to display the ability and proficiency of their children and scholars,
I am pained to the heart; for I know that it is exactly the opposite course
from the one that should be pursued. —Counsels on Sabbath School Work,
p. 46.
Senses Confused by Games and Theatrical Performances
The
curtain is drawn aside in 1900 as Ellen White in an article in the Review
and Herald pictures the manner in which, as our youth are receiving their
education, Satan employs an infatuation “in games and theatrical
performances” to confuse the senses of “the young” “while light shines
all about them.” Here is the solemn picture in its setting:
The
public opinion is that manual labor is degrading. But men may play as hard as
they like at cricket, or baseball, or in pugilistic games, without being
degraded! Satan is delighted when he sees human beings using their physical
and mental powers in that which does not educate, which is not useful, which
does not help them to be a blessing to those who need their help. While they
are becoming experts in games that are not of the least value to themselves or
others, Satan is playing the game of life for their souls, taking from them
the precious talents God has given them, and placing in their stead his own
evil attributes, which not only destroy them, but through their influence
destroy those who have any connection with them.
Satan’s
work is to lead men to ignore God, to so engross and absorb the mind that God
will not be in their thoughts. The education they have received has been of a
character to confuse the mind, and eclipse the true light. Satan does not wish
the people to have a knowledge of God; and if he can set in operation games
and theatrical performances that will so confuse the senses of the young that
human beings will perish in darkness while light shines all about them, he is
well pleased. —Review and Herald, March 13, 1900, in “Review
Articles,” Vol. 4, p. 163.
See
Counsels to Parents, Teachers and Students, pp. 274, 275 for
paralleling statement.
Jesus
Christ is the example for the Christian in all things. Of Him she wrote:
I
have not been able to find one instance where He educated His disciples to
engage in amusement of football or pugilistic games, to obtain physical
exercise, or in theatrical performances, and yet Christ was our pattern in all
things. —Fundamentals of Christian Education, p. 229.
A
sound guiding principle to keep ever in mind in dealing with questions of the
kind we have been studying is stated in Testimonies, Vol. 5, p. 360:
Our
example and influence must be a power on the side of reform. We must abstain
from any practice which will blunt the conscience or encourage temptation. We
must open no door that will give Satan access to the mind of one human being
formed in the image of God.
Ellen
G. White Estate
Washington,
D.C.
February,
1963
Appendix 23
COMMITTEE
ON GUIDELINES FOR COMPETITIVE ACTIVITIES AND DRAMA
General Conference
South
Building Board Room, second floor
Washington, D.C.
January
28-31, 1974
SCHEDULE
Monday, January 28
7:00
p.m. to 9:00 p.m. - Opening of the
meeting.
Tuesday
to Thursday, January 29-31
8:00
a.m. to 8:20 a.m. - Worship in the
General Conference Chapel.
8:30
a.m. to 10:15 a.m. - Session, or
sub-committee meetings.
10:15
a.m. to 10:30 a.m. - Recess.
10:30
a.m. to 12:15 p.m. - Session, or
sub-committee meetings.
12:15
p.m. to 1:30 p.m. - Lunch.
1:30
p.m. to 3:15 p.m. - Session, or
sub-committee meetings.
3:15
p.m. to 3:30 p.m. - Recess.
3:30
p.m. to 5:30 p.m. - Session, or
subcommittee meetings.
5:30
p.m. to 7:00 p.m. - Supper.
7:00
p.m. to 9:00 p.m. - Session, or
sub-committee meetings.
Columbia Union College Library Houses: 8:30 a.m. to 9:30 p.m.
* *
*
COMMITTEE
ON GUIDELINES FOR
COMPETITIVE
ACTIVITIES AND DRAMA
Agenda
1. “What is
Competition?” Dwain L. Ford
2. “Spirit of
Prophecy Guidelines on Competition: D. A.
Delafield
3. “Ellen G.
White and Drama” A. L. White
4. “Biblical
Instruction About Drama” Leslie
Hardinge
5. “Contemporary Opinions from
Current Literature Regarding Competitive Sports” Ingrid
Johnson
6. “Philosophical Background of
Sports and Competitive Athletics in Seventh-day Adventist Schools and Colleges”
Reuben Hilde
7. “History of
Sports and Competitive Activities in Seventh-day Adventist Schools: Ron
Graybill
8. “Competition and Music
Festivals, Bible Contests, Music Clinics, Etc.” Michael
Stevenson
9. Report of
Sub-committee I
10.
Report of Sub-committee II
11.
Report of Sub-committee III
* *
*
MEMBERS OF THE
COMMITTEE
ON GUIDELINES FOR COMPETITIVE ACTIVITIES AND DRAMA
| W.
J. Hackett (Chairman)
C.
B. Hirsch (Vice-chairman)
W.
J. Brown (Secretary)
Josephine
Benton
G.
J. Bertochini
J.
W. Burns
W.
J. Cannon
Frances
Clark
Adell
Claypool
D.
A. Delafield
Donald
Dick
Dwain
L. Ford
Elaine
Geldings
Ron
Graybill
J.
H. Hancock
Leslie
Hardinge
R.
R. Hegstad
Reuben
Hide |
W. A. Howe
Ingrid Johnson
Dean Kinsey
Frank
Knittel
Valerie
Landis
C. D. Martin
G.
J. Millet
W. Napier
W.
G. Nelson
Mrs.
Lorenzo Paytee
C. B. Rock
Michael
Stevenson
Eldon
Stratton
William
H. Taylor
A.
L. White
Neal
C. Wilson
Eugene
Winter
Ethel L.
Young
|
*
* *
Sub-Committee
I
THE
USE OF DRAMA
Members:
Ethel L. Young (Chairwoman), Josephine Benton, W. J. Cannon, Frances Clark,
Donald Dick, Elaine Giddings, J. H. Hancock, Leslie Hardinge, R. R. Hegstad,
Frank Knittel, Valerie Landis, and A. L. White.
Papers
to be Presented
1. “Do
Positive Results of Dramatic Productions Outweigh the Negative Results?” Josephine
Benton
2. “Methods of Using Role
playing with Children” Frances Clark
3. “Can
Dramatic Presentations Serve as Usable Vehicles for Presenting Truth?” W.
J. Cannon
4. “Drama
in the Church” Donald Dick
5. “Is
Dramatization Wrong?” J. H.
Hancock
6. “Should
We Make Use of Commercial Drama? What About the Adaptation of Popular Plays?”
Frank Knittel
7. “Drama
in the Secondary Classroom” Valerie
Landis
8. “Is
Drama as an Art Form an Important Element in the Development of Aesthetic Appreciation?
Elaine Giddings
*
* *
Sub-Committee
II
COMPETITIVE
ACTIVITIES
Members:
Walton J. Brown (Chairman), Dwain L. Ford, G. J. Bertochini, Adell Claypool,
D. A. Delafield, G. J. Millet, C. B. Rock, Michael Stevenson, Eldon Stratton,
and William H. Taylor.
Papers
to be Presented
1. “Competition in Oratorical
Contests, Temperance Activities, Missionary Volunteer Activities, Bible
Quizzes, ‘Bowl’ Meets, and Other Such Activities”
G. J. Bertochini
2. “Competition Against Self.
The Competition Which Motivates” Adell Claypool
3. “Competition Among
Seventh-day Adventist Churches Youth and Others) in Sports and Other Activities”
G. J. Millet
4. “Competition for Church
Subsidies and Church Positions” W. G. Nelson
5. “Competition in Church
Activities (Ingathering, Goals Based on Membership, Per Capita Giving, Winning of
Souls Goals, Types of Buildings Constructed, Etc.)”
C. B. Rock
6. “Student Versus Student in
Grades, Honors, School Office Elections, Subscription Campaigns, and Other
Such Activities” Eldon Stratton
7. “Class
Versus Class Within a School, a Sabbath School, a Missionary Volunteer Society, Etc.”
William H. Taylor
*
* *
Sub-Committee
I
ATHLETICS
Members:
W. A. Howe (Chairman), J. W. Burns, Ron Graybill, Reuben Hilde, Ingrid
Johnson, Dean Kinsey, C. D. Martin, W. Napier, W. G. Nelson, Mrs. Lorenzo
Paytee, and Eugene Winter.
Papers
to be Presented, and Activities
1. “Guiding Principles From the
Pen of Mrs. Ellen G. White” White Estate
2. “A
Survey of Seventh-day Adventist Secondary Schools and Colleges” Dean
Kinsey
3. “Recreation, Sports, and
Competitive Activities in Seventh-day Adventist Self-supporting Schools”
Leland Straw
4. “Widening Horizons for the
Seventh-day Adventist Physical Education Program” Eugene
Winter
5. Interview with the Chaplain of
the Washington Redskins, Rev. Tom Skinner
L. H. Grant
6. Panel
Discussion: “The Balanced Athletic Program for Seventh-day Adventist Schools and Colleges”
W. G. Nelson (Moderator) J. W. Burns, W.
Napier, Ron Graybill
Appendix 24
DO POSITIVE RESULTS OF DRAMATIC PRODUCTIONS
OUTWEIGH THE NEGATIVE RESULTS?
A
paper presented to the
Committee
for Guidelines for Competitive Activities and Drama
Washington,
D.C.
January
28 to 31, 1974 by
Josephine
Benton
The
material for this paper has been informally collected, primarily by interview,
from participants in and viewers and producers of dramatic programs at
Seventh-day Adventist colleges. What is said is the result of practical
experience. There is no aim to be extensive nor exhaustive. Rather than to
supply an answer for the question in the title, this paper will suggest a
method for arriving at an answer in the context of a specific situation.
But
first the comments collected will be reported. While they do not in every case
tally with the views of the author of the paper, there seemed to be no reason
to edit them out for that reason. The persons whose thoughts are reported here
are considered by the writer to be Adventists of exemplary character, and
thinking people. They include college students; teachers of science,
sociology, religion, psychology, history, English, and speech; producers of
plays; viewers from outside the college community. Their comments are reported
here, with the simple organization of positive factors juxtaposed against
negative in four categories, indicating to whom the factors are positive or
negative: participants, viewers, producers, or all three. Sources will be
indicated in parentheses following the statement.
FOR
PARTICIPANTS
POSITIVE
FACTORS:
The
DISCIPLINE aspect for the students involved. (teacher)
The
ENTHUSIASM—wish you could come into our department and generate the energy
they produce for drama! (teacher)
The
joy of producing something CREATIVE. (producer)
Sometimes
they are learning something BEAUTIFULLY EXPRESSED. (teacher)
The
encounter with inspiring and GOOD LITERATURE—memorizing large segments,
savoring the language, the wit, the wisdom. (producer)
Develops
PERSONALITY. (teacher)
The
student LEARNS HE HAS GIFTS he never knew he had. (teacher)
Students
develop their abilities in EXPRESSION OF THOUGHT. Acting a particular part
helps them learn to express themselves—brings out latent abilities.
(teacher)
SELF-RESPECT
is developed. A person discovers worth that neither he nor others realized he
had. (teacher) We gain poise. (student)
The
person comes out more CHARMING and POISED. (teacher)
In
drama a person exercises the ability to take and appreciate the role of
someone else, to be able to PROJECT ONESELF INTO ANOTHER SITUATION and act
appropriately. To know you are still yourself, and yet be able to project
yourself into a temporary new identity—role-acting, taking a different
position—is a way of developing adaptability. If a person is characterized
by rigidity, he will BECOME MORE FLEXIBLE, to the extent that he is able to do
this. (teacher)
Students
are given a chance to interact, to participate in TEAMWORK. (teacher)
Drama
offers one of the few opportunities we find in college to become close to
other people, LIKE A FAMILY. (Student)
An
advantage is the obvious taste they get of the MEANS OF DRAMATIZATION as a
mode of communication. They could learn how to do small dramatizations for
various aspects of church work—they wouldn’t need to do the massive
productions done at college. (community viewer)
NEGATIVE
FACTORS:
Can’t
quite rationalize using up people’s TIME so extensively among their other
studies. (teacher)
The
tremendous amount of TIME it costs the participant seems to me
disproportionate to the total amount of time they have for their studies. Per
credit hour, they spend most for the credit in drama. Also, the kind of time
they have to spend—late at night, for instance—must be considered.
(community viewer)
Robbed
of TIME for study. A high school football team may be picked carefully for
ability to keep up with studies, whereas just anyone (scholastically speaking)
with talent may be chosen for drama. (teacher)
Massive
segments of TIME demanded. (student)
The
TIME involved is so extensive, perhaps with little future benefit. (teacher)
Other
GRADES sometimes suffer. (student; parent; teacher)
Physical
HEALTH may not be considered. Drama projects encourage students to drive
themselves mercilessly. (teacher)
Sometimes
individuals develop a certain EGOTISM with regard to their role. That egotism
stays with them, and they never get back to their unaffected, happy-go-lucky
selves. (teacher)
Some
students might feel themselves successful, and be DRAWN TOWARD A HOLLYWOOD
CAREER. (teacher)
Caution
needs to be exercised in selecting students for acting roles. Some after
projecting into a play role might NEVER COME FULLY BACK, until after therapy.
(teacher)
When
a play involves a CRIME (as Murder in the Cathedral), I don’t want to
emphasize that aspect of life. Or in Christmas Carol, I’d hate to be
a Scrooge. A person is LEARNING TO BE NASTY, ARROGANT. This is being impressed
on his mind and character. (teacher) There is HYPOCRISY involved when a person
acts a praying scene. I know that’s my prejudice showing through. (teacher)
VIEWERS
POSITIVE
FACTORS:
Some
GOOD LESSONS are taught in plays. (teacher)
Drama
is a way to LEARN about the past. However, you have to be careful, as in 1776,
to assess how accurate the facts are. (teacher)
I
like drama for ENTERTAINMENT. (teacher)
To
justify a good comedy, I recall that a MERRY HEART does good like a medicine!
(producer)
I
ENJOY going to a good play. (teacher)
It’s
RECREATIONAL. (teacher)
It
HAS A PLACE—but I’m not sure just how much. The preacher in the pulpit
uses a little drama to get his point across.
NEGATIVE
FACTORS:
If
a person has developed a taste for the theater, it has a TREMENDOUS PULL.
People who want to keep their minds on spiritual themes just avoid this—they
may even go overboard on it. (community viewer)
For
a person who has been into drama, even a good production can produce all kinds
of FANTASIES
in the thinking. (community viewer)
PRODUCERS
POSITIVE
FACTORS:
Possibly
mission stories, where you have God’s deliverance—perhaps many ASPECTS OF
GOD’S WORK COULD BE DRAMATIZED. (teacher)
Producing
a play can be part of A MINISTRY. For instance, Christmas Carol was
produced at the Gate, and the participants felt they got a spiritual lift from
doing this. A great deal apparently depends on the director, the environment,
and the motivation—sense of ministry. (producer)
A
director can GIVE AN EXPERIENCE WITH GOOD LITERATURE to people, both
participants and viewers—a thing of beauty, fun, and interest, of pathos and
understanding. (producer)
A
play can be a tool to IMPRESS THE MIND—some people remember a play they have
seen and the lesson it taught for many years. (producer)
At
its best play production is an art form of RE-CREATION. (Compare what the
college choir director or orchestra or band leader does, making a music score
come alive.) It is in many ways a stimulating experience to work with a piece
of great literature, interpreting it, finding new nuances of meaning right up
to the dress rehearsals! (producer)
NEGATIVE
FACTORS:
Sometimes
one is faced with PROBLEMS with which one simply cannot cope, under the
circumstances given. For instance, producing a play in an auditorium that
seats 2,000 [and] no way to handle the sound problems except to convert to
pantomime.
Working
in a building in which one is not allowed to erect a set and leave it standing
even for one week!
Personnel
mainly interested in acting rather than technical aspects of production.
Problems in equipment and personnel for sound combined can mean a delayed
sound effect that destroys the effect of a crucial climax. (producer)
The
tremendous investment of TIME. Is it worth it? I don’t know. If it were part
of my work load, it might be different—but over and above it...
(producer)
The
investment of TIME is a critical factor, not only in amount, but also in the
context of other worthy projects with which the drama production comes in
conflict. This was especially true with me in the case of Mission 72, and I
made up my mind that Mission 73 would not find me tied up three nights a week
during that event. (producer)
The
director of the play needs to be aware that he is dealing with explosive and
critical HUMAN RELATIONS when he brings together a drama cast. There is a
tendency for cast members to idolize and fall in love with other cast members,
even ones that are ineligible (engaged, etc.). A wise director can do much to
avert this hazard; but it does exist. (producer)
PARTICIPANTS,
VIEWERS, AND PRODUCERS
POSITIVE
FACTORS:
With
careful selection of theme, drama can be AN ELEVATING EXPERIENCE. (teacher)
It’s
no question...anything
dealing with language and metaphor, making us more able to use these tools by
which God communicates with us, is MAKING THE MIND EXPAND IN A METAPHORICAL
SENSE. God, you know, is portrayed as a Shepherd. The dramas chosen should
make one feel closer to his fellow man. There are standards of love, beauty,
and ethics. (teacher)
It’s
so interesting how as a church we use this form in M.V. and Sabbath School,
but put it on a Saturday night, and then people ask questions. The Mormons
have a summer musical which tells the history of their church. It’s amusing,
enjoyable, yet learning takes place. We could use drama to TEACH ABOUT OUR
CHURCH. People are so accustomed to having everything presented visually on TV
that they like to have things dramatized.
What
you think about drama depends on how you define the term. THE BIBLE CONTAINS
COME OF THE BEST DRAMA in the world: for example, the stories of Esther and
Joseph. (community viewer)
NEGATIVE
FACTORS:
One
needs to consider the moral implications—drama in terms of FICTION. Is this
the same airy artificiality Ellen White speaks against? There can be harm in
material that is not true-to-life. Does the drama have a negative or neutral
effect upon act and audience, rather than uplifting? If this is the case, then
it is probably out of place. (teacher)
MAKING
THE DECISION
It
is the impression of this former play producer that there cannot be a single
and simple answer to the question, “Do positive results of dramatic
productions outweigh the negative results?” However, that does not mean that
no answer is possible! It may mean that, as one of my interviewees said,
“you have to treat each instance separately.”
The
important decision concerning whether or not drama should be produced any
given year on a particular campus can be made by the department to which the
responsibility of production would fall, with especial attention to the
thinking of the person or persons who would carry most of the responsibility,
and in consultation with the school administration.
Factors
to be considered would ordinarily include the following, it seems, and any
others pertinent to the particular situation:
1.
Review of the Biblical and Spirit of Prophecy instruction on the
subject. Comparison of the proposed production with the guidelines there: i.e., is the production
“theatrical,” or is it relatively simple, with stress on
meaning rather than spectacle?
2.
Listing of the practical elements which need to be considered. These
are exemplified in the main body of the paper, although by no means treated exhaustively.
Sample items could be the following:
a.
Do we have personnel who are willing and able to produce this play, do
the acting, and handle the technical aspects?
b.
What block of time will be involved? Does this seem the best use of
this amount of time by these people at this period? Should any restrictions be placed on
participation in terms of previously-demonstrated ability to
maintain other obligations under a period of strain (as,
grades; health)?
c.
What benefits can we reasonably expect to come from this
production—to the participants,
viewers, department, and institution? What harm, if any?
d.
What is the quality of the play itself? Mention its assets and
liabilities. Consider it in terms of a continuity of productions if plays are produced
periodically. Is there language, theology, or any other element which is likely to offend? Can or should
this be changed; or
should the play be abandoned on this account; or is the material so completely
acceptable to those taking responsibility for the production that they
will risk the disapproval
and consider this a matter of educating their public?
3.
Prayerful and wise weighing of the factors, positive and negative. Some
elements are
absolute, so that a person simply would not produce some plays, no matter
what the positive factors (as literary skill) involved.
Others require a weighing and judgment which is of necessity somewhat subjective. For instance, one potential play director
will decide that his time can be better spent with small spiritual groups on campus, and will
pass up the option to produce a play. Another person will decide that the joy of a creative
production outweighs, for him, all the negatives in sacrifice of time and comfort. Moreover,
the writer has found that the decision can even vary from year to
year, for the same person, because when people cannot do everything they enjoy doing in a single day, or year, or
decade, they must space these activities out within their lifetimes.
This
small paper ends as it began, without a pretense at supplying all the answers.
But the author breathes a prayer that every person involved in decision-making
about drama will above all desire to bring honor to his loving Father, from whom
he inherited the enjoyment of creating, and from whom he must receive wisdom
best to use the ability he has been given.
RETURN
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