THE DRAMATIZATION OF _DANIEL IN THE LIONS' DEN_
The story of _Daniel in the Lions' Den_ was dramatized by the members
of the club according to the same methods as those which were used in
connection with the story of _Abraham and the Three Guests._
This play is given here in order to show how a story which deals with a
miraculous event may be treated. When Daniel was thrust into the den of
lions, he was in reality put out of the door which opens at the side of
the stage. The children readily came to the decision that it was
unnecessary to show Daniel actually in the den of lions on the stage.
In telling the story no explanation was made or asked for concerning
the miracle which happened. The children accepted it and enjoyed it as
they would any other good story.
The final play which follows represents entirely the children's
interpretation; the product is their own.
DANIEL IN THE LIONS' DEN
SCENE I
PLACE: The court room of King Darius.
CHARACTERS: King Darius, Daniel, Four Conspirators,
Soldiers, Servants.
[KING DARIUS _is seated on his throne. Soldiers and
attendants stand nearby. The conspirators are talking
together at one side._ DANIEL, _followed by two
soldiers, comes in and kneels before the_ KING.]
_Daniel:_ King Darius, live forever!
_King Darius:_ Good Daniel, I have sent for thee that thou
mayest know my will. It has pleased me to set over my
kingdom one hundred and twenty princes, and over these
princes have I set three rulers. Thou hast been so faithful
and true that I wish to make thee the first of these three
rulers. Thou shalt have great responsibility, and thou shalt
report to me when thou thinkest it well to do so.
_Daniel:_ Thou art kind and gracious unto me, O King! May
the Lord, Jehovah, help me to do this.
_King Darius:_ Come unto the feast, Daniel, and have the
royal robe placed on thee.
[DANIEL _bows to the_ KING _and they both go out,
followed by the soldiers and servants._]
[_The conspirators are left alone in the room. They
show great anger and begin talking to each other._]
_First Conspirator:_ See how this Daniel has found favor in
the King's sight! He is not of our country, he belongs to
the Hebrew people; but the King has appointed him over us
all! We must destroy this Daniel.
_Second Conspirator:_ Yea, thou art right. What can we do?
[_They all walk back and forth in deep thought._]
_Third Conspirator:_ I can think of nothing against him!
_Fourth Conspirator:_ Thou sayest the truth; he hath no
fault. He is faithful and doth nothing wrong.
_First Conspirator:_ I can think of nothing, save that we
find it against him concerning his God.
_Fourth Conspirator:_ Ah, that is true; Daniel worshipeth a
different God; I have seen him praying thrice in one day.
_Second Conspirator:_ Let us influence the King to make a
firm decree that whosoever shall worship any God or man,
save the King, for thirty days, he shall be cast into the
den of lions.
_Third Conspirator:_ That soundeth well! If Daniel be
faithful to his God, he will surely disobey this decree; and
if the King once signeth it, the law of the Medes and the
Persians saith that it cannot be altered.
_First Conspirator:_ Ah, this will surely be Daniel's ruin
now!
_Fourth Conspirator:_ Come, let us hasten to the King and
have him establish and sign this decree. He will be pleased;
he will not think of Daniel.
_Third Conspirator:_ Yea, we will hasten before the setting
of the sun.
SCENE II
PLACE: The same as in scene i.
CHARACTERS: The same as in scene i.
TIME: Several days after the events in scene i.
[_The_ KING _is seated on his throne. The four
conspirators come before the_ KING _and kneel._]
_The Conspirators:_ Great King Darius, live forever!
_King Darius:_ Arise, my friends!
_First Conspirator:_ O King, hast thou not signed a decree
that he who shall pray to any God or man within thirty days,
save to thee, shall be cast into the den of lions?
_King Darius:_ This thing is true, according to the law of
the Medes and Persians, which altereth not.
_Second Conspirator:_ A man in thy kingdom regardeth not
this law, and doth pray to his God three times a day--we
have seen him!
_King_ [_with anger_]: Who is this man that breaketh my
laws?
_First Conspirator:_ He is Daniel, whom thou hast favored
and made ruler!
_King Darius_ [_with surprise and sadness_]: Daniel! It
cannot be! Daniel must not die, for I love him.
_Third Conspirator:_ Thou knowest, O King, that the law of
the Medes and Persians is that no decree which the King
establisheth may be changed.
_King_ [_sadly_]: Thou sayest truly; the King's word may not
be broken. Bring Daniel hither.
[_Soldiers go for_ DANIEL. _The_ KING _walks back and
forth in great distress._]
_King_ [_talking to himself_]: Oh, I would that this had not
happened!
[DANIEL _appears and bows before the_ KING.]
_King:_ Why hast thou disobeyed my law, Daniel? Wherefore
didst thou pray to thy God when thou knewest of my decree?
_Daniel:_ Great King Darius, my God, the God to whom I pray,
is the true God, and I shall worship no other. Do with me
what thou wilt.
_King:_ Daniel, I would that thou hadst not done this thing,
for I love thee. Thou art a brave and bold man! Thy God whom
thou servest continually, he will deliver thee! [_To the
soldiers_]: Take this man from me; cast him into the den of
lions.
[_Soldiers take_ DANIEL _and thrust him into the den.
The door is closed, and the_ KING _seals it with his
signet. The_ KING _and attendants withdraw. The
conspirators are alone._]
_First Conspirator:_ Daniel has fallen at last! No longer
will he be the King's favorite!
_Fourth Conspirator:_ We, instead, will be the favored ones!
[_They leave the room in high spirits._]
SCENE III
PLACE: The same as in scene i.
CHARACTERS: The same as in scene i.
TIME: The next morning after the events in scene ii.
[_The_ KING _hastens to the door of the lions' den._]
_King_ [_calling eagerly_]: O Daniel, servant of the living
God, is thy God, whom thou servest continually, able to
deliver thee from the lions?
_Daniel_ [_from within_]: O King, live forever! My God hath
sent his angel and hath shut the lions' mouths, and they
have not hurt me, for the Lord knoweth that I have done no
wrong, either before him or thee, O King!
_King_ [_to servants who have followed him into the room_]:
Come hither, servants! Quickly bring Daniel out that I may
see him!
[_The door is opened, and_ DANIEL _comes out. The_ KING
_shows great joy in greeting him._]
_King:_ Thy God is truly the living God! Bring forth the men
that have done Daniel this wrong. Cast them into the lions'
den.
[_The conspirators are standing in the room, looking
at_ DANIEL _in astonishment. The soldiers seize them
and push them down into the den. As they go they cry
to the_ KING.]
_Conspirators:_ O King, spare us!
_King:_ I will now sign a decree that in every dominion of
my kingdom men shall bow before the God of Daniel, for he is
the only true God. He delivereth and rescueth and worketh
great wonders; he hath saved Daniel from the power of the
lions.
_Daniel:_ The Lord God will surely bless thee for this good
thing!
END
CHAPTER X
THE DRAMATIZATION OF NEW TESTAMENT PARABLES
Many of the New Testament parables present interesting problems for
dramatization. The selection should be limited to those which involve
dramatic situations and unity of structure. The simplicity and
conciseness of words and actions in many of the parables are qualities
which call forth a ready and free response from children.
Among the parables which have been worked out by the dramatic club are
_The Good Samaritan_, _The Wise and Foolish Virgins_, _The Great
Supper_, _The Talents_, _The Prodigal Son._
In the case of these short parables the story was not told first, but
the parable was read to the children directly from the Bible. There was
no discussion as to the truths supposed to be taught, the emphasis
being placed entirely upon the story element involved. The customs of
the times and the division of the story into scenes were discussed as
fully as was done with other stories. Usually one or two meetings were
all that were necessary for working one of these parables into dramatic
form. When it was completed, the result was not a finished product, as
the words and action had been interpreted with slight variations each
time. The children learned the story by heart, as it is given in the
Bible. This influenced their words when they were dramatizing.
Several parables were given together at the meeting when parents and
friends were invited. One child recited the Bible version just before
the play was given. This feature added interest and dignity to the
occasion.
The parables were given in the following order:
THE WISE AND FOOLISH VIRGINS
[_Ten virgins with their lamps are waiting for the
bridegroom._]
_First Virgin:_ The bridegroom tarries; let us rest here
awhile.
_Other Virgins:_ Yea, let us rest.
[_They all sit down and go to sleep._]
_A Cry Without:_ Behold, the bridegroom cometh! Go ye out to
meet him!
[_All the virgins get up hurriedly. The five wise ones,
with oil in their lamps, stand in readiness. The five
foolish ones are in great confusion._]
_First Foolish Virgin:_ We have no oil! Our lamps are gone
out!
_Second Foolish Virgin_ [_speaking to the five wise
virgins_]: Give us of your oil--we have none.
_First Wise Virgin:_ Not so, lest there be not enough for
ourselves and for you. But go ye rather to them that sell,
and buy for yourselves.
[_The foolish virgins hasten away._]
_A Cry Without:_ Behold, the bridegroom cometh! Go ye out to
meet him!
[_The_ BRIDEGROOM _comes in, followed by a few
attendants. He walks by, and the five wise virgins
follow him. They go in a door which is closed after
them. The foolish virgins come hurriedly back and rush
to the door. They beat on it and call out several
times._]
_Foolish Virgins:_ Lord, Lord, open unto us!
[_The door opens and the_ BRIDEGROOM _stands there._]
_Bridegroom:_ Depart, I know you not!
END
During the work on this play the question arose as to the kind of lamps
that were used at the time of the story. The children looked up
pictures and descriptions, and from these they made themselves lamps
out of plasticene or clay. Fig. 8 is a photograph of one of the scenes
taken out of doors. The lamps can be seen, also the simple costumes
which the children worked out.
THE GREAT SUPPER
[_The_ MASTER _of the feast stands in his door and
speaks to his servant._]
_The Master:_ Go, bid my friends come to the supper, for all
things are now ready!
[_The servant bows; the_ MASTER _goes into the house.
The servant walks down the street, and as he meets
people he delivers his_ MASTER'S _message._]
_Servant_ [_to the men as they come by_]: My Master bids
thee come to his feast, for all things are now ready!
[Illustration: FIG. 8.--The wise and foolish virgins]
_First Man:_ Say to thy Master that I have bought a piece of
land and must needs go and see it. I pray thee have me
excused.
[_The servant bows and the man passes on. The servant
delivers the message to the second man._]
_Second Man:_ I have bought five yoke of oxen; I must go to
prove them. I pray thee have me excused.
_Third Man:_ I have married a wife, and therefore I cannot
come.
[_The servant goes back to his_ MASTER'S _house; the_
MASTER _comes out to meet him._]
_Servant_ [_falls on his knees before his_ MASTER]: O sir, I
did as thou commandedst, but one by one they made excuse,
and would not come to thy supper. One man had just bought a
piece of land and must go to see it; another had bought five
yoke of oxen, and was on his way to prove them; and another
had just married a wife. All begged that thou excuse them.
_Master_ [_shows great anger_]: What! They that are bidden
refuse to come to my feast! Go out quickly into the streets
and lanes of the city, and bring in hither the maimed, and
the halt, and the blind!
[_The_ MASTER _goes into his house, and the servant
again walks down the street._]
_Servant_ [_as he meets the lame, the halt, and the blind_]:
Come! My Master invites you to a great supper, which is now
prepared at his house!
[_Each person, or group of persons, bows and thanks him
with such remarks as_]--
_Maimed, Halt, Blind:_ We thank thee; we will be there. We
gladly accept this invitation.
[_The_ MASTER _stands in the door to receive his guests
as they come. When they are all in, the servant comes
back to his_ MASTER.]
_Servant:_ Lord, it is done as thou hast commanded, and yet
there is room.
_Master:_ Go out into the highways and hedges, and compel
them to come in, that my house may be filled. For I say unto
you that none of those men that were bidden shall taste of
my supper!
[_The servant bows_; _the_ MASTER _goes in._]
END
THE GOOD SAMARITAN
SCENE I
PLACE: The road from Jerusalem to Jericho.
CHARACTERS: A Traveler, Thieves, a Priest, a Levite, a
Samaritan.
[_A man comes along the road carrying his bundle over
his back. Many thieves rush out from ambush and attack
him. Some knock him down and rob him, while others are
looking anxiously up and down the road. After beating
and cutting the man they go off, thinking that he is
dead._
_As the traveler lies groaning and begging for water, a
priest comes along the road, but when he sees the man he
passes by on the other side of the road. Also a Levite
comes along, and after looking at the man passes by on
the other side of the road._
_Then a Samaritan comes along, and as soon as he hears
the groans he hastens over to the man. He kneels down
and looks at him and speaks._]
_Good Samaritan:_ What is this--a man! Hast thou been hurt,
my friend?
_Man:_ Oh, help me! Thieves fell upon me and took all I had,
and have left me here to die.
[Illustration: FIG. 9.--The Good Samaritan]
_Good Samaritan:_ I will help thee, my good friend; thy
wounds shall be bound. Drink this wine. It may help thee.
Art thou able to get on this beast of mine? I will take thee
to the inn where thou wilt be cared for. [_He helps the man
to rise and supports him as he hobbles off. They both go
out._]
SCENE II
PLACE: The Inn.
CHARACTERS: The Samaritan, the Traveler, the Innkeeper.
[_The_ GOOD SAMARITAN _brings the man to the door of
the inn and knocks. The_ INNKEEPER, _appears._]
_Innkeeper:_ Good day, sir.
_Good Samaritan:_ Here is a wounded man. Take care of him.
Here is money, and whatsoever thou spendest more, when I
come again I will repay thee. [_He gives the_ INNKEEPER
_some money. The_ INNKEEPER _takes the man._]
_Traveler_ [_to_ GOOD SAMARITAN]: God bless you, my friend!
END
THE PRODIGAL SON
ACT I
PLACE: In the father's home.
CHARACTERS: The Younger Brother, the Father, the Elder
Brother, Servants.
[_The_ FATHER _and_ ELDER SON _come into the room
together. The_ YOUNGER SON _comes in from another door._]
_Younger Son:_ Father, give me the portion of goods that
falleth unto me. I am weary of living at home. I will go
into some far country and make my fortune.
_Father:_ My son, why is it that thou desirest this? Hast
thou not everything at home?
_Younger Son:_ Yea, father, but I beg of thee to divide thy
living between us. I must have my share.
_Father:_ Thou art very foolish; nevertheless I will do as
thou askest. [_To servant_]: Bring my money bags. [_To_
ELDER SON]: And dost thou intend to take thy living also,
and leave thy father?
_Elder Son:_ Nay, father, I am fully content to live with
thee; I do not want my portion.
[_Servant returns with money bags._ FATHER _gives money
to his younger son._]
_Father:_ This is thy share--use it wisely.
_Younger Son:_ I thank thee, father. I shall become a rich
man with this; but now I must leave thee; I can stay here no
longer.
_Father:_ This grieves me, my son, for I know that thou art
foolish--but go and learn thy lesson.
[_He stretches out his hands toward his son as if
blessing him._]
ACT II
SCENE I
PLACE: Along the roadside in a distant country.
CHARACTERS: The Prodigal Son, a Farmer.
[_The_ PRODIGAL SON _comes down the road, tired and
hungry. He sits on a rock and talks._]
_Prodigal Son:_ Would that I had something to eat! My money
is all spent, and there is famine in the land. What shall I
do? I am sick, and feel that I may soon die. If I could but
find something to do that I might get a little food.
[_A man comes along. The_ PRODIGAL SON _goes toward him
and falls down before him._]
_Prodigal Son:_ O sir, I am starving unto death. Wilt thou
give me any task to do that I may make enough to keep me
alive?
_Man:_ I have no work to be done--unless it be to take care
of my swine. Thou wilt find them in yon field; they need a
keeper.
_Prodigal Son:_ I will gladly do this.
[_He goes off joyfully._]
SCENE II
PLACE: In the field with the swine.
CHARACTER: The Prodigal Son.
[_The_ PRODIGAL SON _comes in driving the pigs. He sits
down._]
_Prodigal Son:_ How horrible is this life; I am dying of
hunger. No man will give me anything--all I get to eat is
the food that I give the pigs. Oh, I wish that I had never
left home! How many hired servants of my father's have bread
enough and to spare, and I perish with hunger! I will arise
and go to my father, and will say unto him, "Father, I have
sinned against heaven and before thee, and am no more worthy
to be called thy son; make me as one of thy hired servants."
[_He rises and goes away hurriedly._]
ACT III
SCENE I
PLACE: In front of the father's home.
CHARACTERS: The Father, the Prodigal Son, the Servants.
[_The_ FATHER _stands looking for his son._]
_Father:_ It seemeth to me that I see my son coming home! I
knew that he would come! I will go to meet him! [_He meets
him._] It is my son! [_The_ FATHER _shows great joy. The_
SON _falls on his knees before his father._]
_Prodigal Son:_ Father, I have sinned against heaven and
before thee, and am no more worthy to be called thy son.
_Father:_ Bring forth the best robe and put it on him; and
put a ring on his hand, and shoes on his feet; and bring
hither the fatted calf, and kill it, and let us eat and be
merry, for this my son was dead and is alive again; he was
lost and is found!
SCENE II
PLACE: In the field, near the father's house.
CHARACTERS: Elder Son, Servant, the Father.
[_The_ ELDER SON _is hoeing in the field. A servant
comes out. The_ ELDER SON _calls to him._]
_Elder Son:_ I hear music and dancing in the house; what do
these things mean?
_Servant:_ Thy brother is come; thy father hath killed the
fatted calf, because he hath received him safe and sound.
Thy father sendeth for thee to come in. [_The_ ELDER BROTHER
_shows anger._]
_Elder Brother:_ I will not go in. Why should he make merry
over my brother who has wasted his living?
[_The_ FATHER _comes out._]
_Father:_ My son, wilt thou come unto the feast? Thy lost
brother hath returned!
_Elder Son:_ Lo, these many years do I serve thee; neither
have I at any time disobeyed thee, yet thou never gavest me
a kid that I might make merry with my friends. But as soon
as thy son was come, which hath wasted thy living, thou hast
killed for him the fatted calf.
_Father:_ Son, thou art ever with me, and all that I have is
thine. It was meet that we should make merry and be glad,
for this thy brother was dead and is alive again; he was
lost and is found. Come thou in to greet thy brother!
[_They both go in._]
END
CHAPTER XI
THE DRAMATIC QUALITIES IN A GOOD STORY
The stories in the Bible, if taken just as they are given, present a
body of material which is complicated by a historical background and a
religious symbolism that is remote from the young child's experience.
They embody the historical incidents as well as the myths and folklore
of ancient Hebrew life, and for the most part they express the highest
idealism of the Hebrew people. There is no reason, however, why good
stories and appropriate incidents may not be given to children from
this body of material through selecting from and simplifying the
biblical version. A great deal of what is in the Bible should not be
used, but there is much that is highly dramatic and becomes valuable
for dramatization.
It is possible to adapt an incident by simplifying, and in a measure
reorganizing, the parts, and yet to keep the dignity and integrity of
the story as it is given in the Bible. The attitude of the children,
created by contact with this type of story, should be one of reverence
and dignity, coupled with a consciousness of the high ideals of the
people they are impersonating.
Before any attempt is made to select parts of the Bible narrative for
dramatization the leader, or director of the children, should have well
in mind standards which will help in making the part that is chosen a
well-organized story. When any good story is analyzed it is found to be
built upon an underlying basic structure. There is always a beginning
or setting; a middle part, where the incidents rise to a climax; and an
end, where the events of the story are satisfactorily worked out. There
should be a feeling of movement straight through the story; the
incidents should develop; there should be action that leads to some
end. A unity must underlie the whole story--there must be no part which
is not essential to the working out of the plan. The end of the story
should give a sense of completeness, of satisfaction.
It is often the case that the three essential parts of the story call
for three acts when the story is dramatized. In some of our modern
dramas five acts, but in many only three acts, are required in order to
complete the structure. Sometimes, however, all three parts of a story
may be given in a one-act dramatization. Before a story is dramatized
it is very necessary that it be told so clearly that the children are
conscious of these parts; otherwise the resulting drama will lack in
organization. No matter how elaborate or simple the story, the children
should have a feeling for the basic structure, which should guide the
form of the dramatization.
The leader in charge of a dramatic club in which Bible stories are used
must take the responsibility of changing the Bible version so as to
make an organic unit of the story and yet keep the spirit and big
meaning. There are many parts of the Bible narrative which already
embody this simple organization--or division into related elements--if
all of the heavy, unnecessary incidents are omitted.[1]
Although the main purpose of these dramatizations is not that an
artistic result be secured, yet that is an important factor, and should
be recognized by both the leader and the children. The product many
times will be necessarily crude and lacking in the aesthetic element,
but nevertheless there should be an attempt, even though gradually, to
train the children toward a recognition and an appreciation of the
artistic qualities of the literary production they put forth, as well
as of the stage groupings and effects.
Care must be taken that the stories chosen are ethically sound. The
story of Jacob is one that may well be omitted. Jacob deceives, and yet
all the good things in life come to him--he takes them away from those
who rightfully have earned them. This injustice in the story always
raises a question in the minds of the children, and for this reason it
is not a good story. The stories of Samson, Jephthah, Jael, and others
on this order should be eliminated for similar reasons. They are each
based upon attitudes toward society and standards of friendship which
are now outgrown. There are so many simple episodes in the Bible that
can easily be readjusted into well-constructed stories, about which
there can be no question of the moral value, that no time need be
wasted in considering any story about which there is the least
suggestion of an unethical quality when judged by our present-day
standards.
FOOTNOTES:
[Footnote 1: As a matter of fact, it is often the later editorial
additions to the simple old stories that have produced the cumbrous
effect. When the original story is recovered, it lends itself much
better to the purpose here discussed. Such a reorganization of the
stories with a preservation of the biblical language has been made in
Soares' _Heroes of Israel_ (The University of Chicago Press), where
also there is much illustrative material interpretative of the
situations.]
CHAPTER XII
BIBLE STORIES SUITABLE FOR DRAMATIZATION
The stories which have been taken for dramatization in the previous
chapters were not chosen because they are the best ones for that
purpose, but because they represent different kinds of stories and
illustrate the opportunity for various methods of presentation. There
are many other stories and incidents in the Bible which are equal to,
or better than, those described.
A list of some of these stories is given below, together with a few of
the most essential points which should be considered in dramatizing
each. No attempt is made to give the story in full or to elaborate the
dramatization; the plan for each is merely suggestive.
I. SAMUEL
I SAMUEL, CHAPTERS 2 AND 3
The story of Samuel may be worked into a short play of one or two
scenes. The most interesting and dramatic incident is the familiar one
of the Voice Calling Samuel at Night. The first part of the story,
however, is beautiful, and may be used along with this incident.
In scene i Hannah brings little Samuel to the temple and dedicates him
to the Lord. Eli, the old priest, takes the child to live with him in
the temple so that he may train him to serve the Lord.
Scene ii takes place several years later. It is night time, and the
child Samuel is sleeping near the old priest, Eli. He thinks he hears a
voice calling him, and he runs to Eli to ask what he wants. Eli has not
called him and tells him to lie down again. Three times he runs to Eli,
thinking that he hears him calling. Then the priest tells him that it
must be the Lord who has spoken and tells Samuel what to say the next
time he is called. Samuel hears the message from the Lord and, upon
Eli's request, tells him what he has heard. Eli realizes that the Lord
has spoken truly, and accepts his fate as just. He praises Samuel and
tells him that he will soon leave the care of the temple and of the
people of Israel to him.
Neither in this play, nor in any other play, should there be an attempt
to represent the Lord's voice. The child may listen as if he were
hearing someone speaking, and from what he says and does the audience
will be aware of what is happening. For the sake of the result, from an
artistic point of view, such parts as this should always be left to the
imagination, no attempt being made to interpret them literally.
2. THE QUEEN OF SHEBA'S VISIT TO SOLOMON
I KINGS, CHAPTER 10
The visit of the Queen of Sheba to Solomon furnishes a unit of work for
a short one-act dramatization. There is no plot or complicated
situation involved and there is very little activity suggested. The
attention of the children may well be directed, however, to the
description of Solomon's court and of the rich gifts which were
exchanged. This is an excellent opportunity to have the children do
construction work. They should make many things which will help to give
the impression of richness to the court. They may also make their own
costumes richer by adding jewels and bright-colored sashes and
headdresses.
This little dramatization will include many children. A number will be
needed to come in with the Queen of Sheba, and there should be many
attendants upon King Solomon. The conversation will be for the most
part between Solomon and the Queen, heralds and servants making
announcements.
The play opens with the Queen of Sheba's arrival at the court of
Solomon. Messengers announce her to the King. Solomon talks with the
Queen and she tells him that she admires his great wisdom and his
wealth. Then Solomon commands that the feast be served, and while they
eat the Queen presents her gifts to Solomon. When the Queen takes her
leave Solomon gives her wonderful presents. The play will end with the
exit of the Queen and her attendants.
Unless the children put much thought upon the stage setting and the
conversation, this incident may prove uninteresting. It has, however,
great possibilities for the working out of a beautiful picture.
3. JOSHUA AND THE GIBEONITES
JOSHUA, CHAPTER 9
The story of Joshua and the Gibeonites is so simply told in the Bible
that children of nine or ten years of age can read it as it is given
and dramatize it directly from that version.
The dramatization of this narrative calls for many characters. The
older children may take the parts of Joshua and the leaders of the
Gibeonites, while the younger ones are needed for Israelite soldiers
and citizens of Gibeon. All the characters in the play will need to do
much acting even though they do not enter into the conversation.
Although the dramatization should be a product of the children's work,
yet the leader should have well in mind the three main divisions of the
story that she may guide the children by her questions. This story may
be worked into one of the more elaborate productions. The Bible
language should Be used and the result should be full of dignity and
spirit. For detail in the method of presentation compare that employed
in the story of Joseph (chapter iii).
The story may be given so that the following divisions or scenes are
emphasized:
SCENE I
PLACE: At Gibeon. Street scene.
The inhabitants are discussing the victories of the
Israelites. They are afraid of Joshua, the leader.
Messengers report that he is advancing toward Gibeon. The
Gibeonites plan to make a league with him so that he will
not destroy their city. They decide to deceive Joshua by
dressing as strangers from a far country, wearing old
garments and taking moldy bread and wine.
SCENE II
PLACE: Joshua's tent at the camp of Gilgal.
The men from Gibeon come to Joshua and tell him that they
are from a far country. They say that they have heard of his
great victories and wish to make a league with him. The
conversation between Joshua and these strangers is
interestingly given in the Bible and may be quoted almost
exactly. Joshua makes the treaty with them.
SCENE III
PLACE: At Gibeon.
The Israelite soldiers rush into Gibeon to take it, but find
that the inhabitants are the same ragged strangers with whom
they made the league. The Israelites reproach them, but
cannot go back on their word, so spare their lives. In
order to punish the Gibeonites for their deception, Joshua
makes them slaves of the Israelites.
There is much opportunity for construction work in the dramatizing of
this story. Costumes, pieces of armor, and weapons may be made in a
simple manner by the children.
4. ISAAC AND REBEKAH
GENESIS, CHAPTER 24
The story of Isaac and Rebekah is unusually valuable for dramatization.
It involves a well-worked-out plot which is beautifully and simply told
in the Bible, and which brings the children in contact with many
interesting customs among the shepherd people. The story needs little
changing; it may be given almost as it is written.
The following outline for the divisions of the story is merely
suggestive:
ACT I
SCENE I
PLACE: Abraham's tent in Canaan.
Abraham is lying down in his tent. He is talking to Isaac,
his son, about the wife he wishes him to have. He calls a
servant and bids him go to Mesopotamia, his old home, and
bring a wife for Isaac from his own kinsfolk. Abraham makes
the servant swear that he will do as he has been told.
Perhaps Abraham has his hand on Isaac while he is talking,
and Isaac will take some small part in the conversation.
ACT II
SCENE I
PLACE: Mesopotamia.
The messenger, with his servants, comes to the well just
outside of the city walls, where the women draw water. There
should be no attempt to represent the camels. These may be
indicated by the conversation and left to the imagination.
The messenger, through praying to God, decides how he shall
know which young woman to choose for Isaac. When Rebekah
comes with her pitcher she offers to give water to him and
to his camels also. The man is sure then that Rebekah is
sent by God, and therefore he arranges to go to her father's
house for the night.
This scene should be made very picturesque as well as interesting. The
children may look up pictures of the wells of those times and then
construct something that will serve the purpose. Pieces of pottery may
be brought in on the shoulders of the women to represent water jugs.
(Compare with the street scene described in the story of Ruth, chapter
vi.)
SCENE II
PLACE: Rebekah's home.
In this scene comes the discussion of Rebekah's leaving home
to become the wife of Isaac. The messenger makes known to
the family that it is Abraham, their kinsman, who is sending
for Rebekah. He gives Rebekah the gifts which his master has
sent--earrings, bracelets, and the like. The family finally
decide that Rebekah may go back to Canaan, but they ask the
servant to let her stay with them for ten days longer. He
is unwilling to wait, and the question is therefore put to
Rebekah. She answers that she will go with him now.
ACT III
SCENE I
PLACE: Canaan. A field near Isaac's home.
Isaac walks alone in the field at sunset. He is constantly
looking into the distance, and he is wondering when the
messenger will return with a wife for him. At length he sees
the camels approaching and hastens to meet them. This is all
indicated by his soliloquy--no camels must be shown. The
servant and Rebekah have dismounted and come to meet Isaac.
The servant gives Rebekah to Isaac who embraces her and
shows his joy at receiving such a beautiful wife. The play
should end where Isaac turns toward his father's tent with
Rebekah.
While the children are playing this story there should be much detailed
discussion which will give them an adequate background for
understanding the customs upon which the story is based; and there
should be shown many illustrations which will insure correct mental
pictures.
5. ELIJAH AND THE WIDOW'S MEAL
I KINGS, CHAPTER 17
This may be used as a very simple incident of two scenes, or it may be
elaborated into a longer play.
The first scene is placed by the gate of the city of Zarephath. As
Elijah comes toward the gate he asks a woman, who is gathering sticks,
for a drink of water. She gives him the water and he asks for bread.
The conversation between them brings out the facts that there is famine
in the land, and that the widow has hardly enough meal left in the
house to make bread for herself and for her son. She agrees to divide
with Elijah, however, and takes him into her house. The wording for
this scene may be taken almost directly as it is given in the Bible.
The second scene is placed in the house of the widow. The woman and her
son are eating with Elijah. From what they say to each other it is
apparent that the meal and oil have lasted for many days, and the three
people have had plenty to eat during the famine. The widow is convinced
that a miracle has been wrought by her guest. She begs him to tell her
who he is. The stranger answers that he is Elijah, the prophet of the
Lord, and that it is through the Lord's care of them that they have had
food enough. The play may well end here with the final speech from the
widow as it is given in the Bible: "Now by this I know that thou art a
man of God, and that the word of the Lord in thy mouth is truth."
In case the part of the story which gives the raising of the widow's
son is used, a third scene may be added, and the widow's speech would
come at the end of that scene.
6. ELISHA AND THE SHUNAMMITE
II KINGS, CHAPTER 4
This incident is similar to the story of Elijah and the widow's meal,
and may be dealt with in the same manner. It should be simplified by
selecting certain parts for dramatization. The emphasis throughout
falls upon the generous qualities of the two characters--Elisha, ever
ready to help others, and the woman, who always kept a room for the
prophet because she admired his goodness.
7. DANIEL INTERPRETS THE KING'S DREAM
DANIEL, CHAPTERS 1 AND 2
The stories about Daniel have unusually interesting possibilities for
dramatization. They need very little explanation. They are so vividly
and beautifully told in the Bible that the children will understand
them readily and have no difficulty in interpreting them. A few
historical facts may be given to make the setting clear. The following
divisions are suggested for the first story:
SCENE I
King Nebuchadnezzar brings four Israelites into his court in
order to have them trained as councilors. He appoints them a
daily provision of the king's meat and wine.
SCENE II
The King dreams a dream and forgets it. He calls all of his
wise men and demands that they tell him what his dream was
and also interpret it. The wise men declare that this is an
impossibility and refuse to obey. Nebuchadnezzar is furious
and orders that they all be put to death.
Daniel then comes before the King and asks that the King
give him time that he may interpret the dream. The King
grants this.
SCENE III
Daniel appears before the King again. The King asks if he is
able to tell what the dream was and to interpret it. Daniel
answers that he is able to tell him, not, however, by his
own power, but by the power of God in heaven who revealeth
secrets. Then Daniel gives in detail the dream and tells
King Nebuchadnezzar the meaning thereof. The King is so
affected that he falls on his face and worships Daniel. He
recognizes the God of Daniel, and commands that Daniel be
made governor of Babylon. At Daniel's request he also makes
the three other Israelites rulers of certain provinces.
This story may be treated in the same manner as the story of Joseph
(chapter iii).
8. SHADRACH, MESHACH, AND ABED-NEGO IN THE BURNING FIERY FURNACE
DANIEL, CHAPTER 3
This story may be read to children directly from the Bible. After they
have worked it over several times the final product will include three
scenes of the following character:
SCENE I
The heralds come through the streets crying aloud that King
Nebuchadnezzar commands all people to bow down when they
shall hear the musical instruments and worship the image of
gold which he has set up. Those who do not obey will be put
into a burning fiery furnace. The instruments of music sound
and all the people fall to the ground to worship except the
three Israelites, Shadrach, Meshach, and Abed-nego. Some of
the men notice that the Jews do not obey, and go off
immediately to tell the King.
SCENE II
The men come before the King and begin their story by
saying, "O King, live forever!" The Bible language may be
used directly here in the conversation which follows. The
King is very angry at what these men tell him. He orders
that the three Jews be brought before him. They are brought
in and the King tells them that they will have to be put
into the fiery furnace if they do not obey. The Jews are not
afraid and reply that their God will take care of them. The
King then orders them to be bound and to be taken out to the
furnace, which has been heated seven times hotter than
usual. Men come running back to the King to tell him that
the servants which thrust the Jews into the furnace were
burnt up by the heat, but that the Jews were not harmed.
Another man runs in and tells the King that a fourth person
is in the furnace, and that he resembles the Son of God.
Nebuchadnezzar commands that the three men be brought out
from the furnace. They come before him, with no mark of the
fire on them. The King is so greatly impressed that he makes
a decree that no one shall speak against the God of
Shadrach, Meshach, and Abed-nego. He then appoints these
three men to positions of greater trust than ever before.
9. BELSHAZZAR AND THE HANDWRITING ON THE WALL
DANIEL, CHAPTER 5
This story, like the others from Daniel, is so dramatically told in the
Bible that it may be taken almost exactly as it is given. It should be
worked into a one-act play. Much attention should be given to the
setting, and the children may make many things which will give some
idea of the richness of the banquet hall.
The play opens with the feast of Belshazzar. The people are making
merry in the midst of all the pomp and luxury of the court. Suddenly
the handwriting appears on the wall. The King and the people see it and
are terrified. The children should not attempt to show the handwriting,
but from the words and actions of the King and the people the audience
must be made aware of what is happening. None of the wise men present
is able to interpret the handwriting. The Queen comes before the King
and begs that he send for Daniel, the Jew. Daniel is brought in, and
after a little thought gives the interpretation. The scene should end
with the recognition of Daniel's power. The scarlet robe is placed on
him and the golden chain is put around his neck, and the King
proclaims that Daniel shall be the third ruler in the land.
10. THE STORY OF JOB
THE BOOK OF JOB
The most majestic piece of literature in the Bible, and one of the
world's masterpieces, is the Book of Job. The Prologue and Epilogue are
in the prose epic style, which characterizes the best narrative
portions of the Bible. The main part of the book is actually dramatic
in form, and the deep problem of human suffering is discussed in the
loftiest poetic language. The theme is so profound and the imagery so
elevated that it is quite beyond the ability of small children.
High-school students might well present the drama. Many of the speeches
may be abbreviated, while the Prologue can easily be dramatized. Job
has been so presented with great success by children of high-school age
at All Souls' Church, Chicago. It may be noted that the voice of the
Lord was given in an elevated monotone by a person unseen.
11. THE PROPHETS
For the older children many of the Prophets make interesting characters
for dramatization. The great value of a study of the Prophets lies in
their appeal as beautiful pieces of literature and expressions of the
deepest spiritual feeling, rather than in the dramatic situations
presented. If a study is made of the life of the Prophets, and of the
times in which they lived, ample material will be discovered which may
serve as a background for the dramatization of these characters. This
material is not entirely available from the Bible, but should be
reinforced by outside references, such as _The Prophets of Israel_ by
C. H. Cornill, _The Modern Reader's Bible_ by R. G. Moulton, _The
Hebrew Prophets_ by Chamberlin.
The prophet Amos may be taken as an example of what can be done with
this material. The Children of Israel are celebrating their autumn
festival with great joy and abandon. As the mirth is at its highest an
unknown man makes his way through the crowd. He silences the festivity
by chanting his dirgelike reproof to the merrymakers. The astonishment
of the people at this sensational interruption is great. The high
priest hurries toward him and demands an explanation for this unusual
disturbance. He orders Amos to cease speaking and to go back to the
hills and mind his sheep. Amos answers that he is sent by the Lord to
reprove the people of Israel, and he continues to intone his
lamentations. The most beautiful and vivid selections for use in
dramatization are found in chapters 8 and 9. While the final beautiful
words of the prophecy are regarded as an editorial appendix, there can
be no impropriety in using them as a dramatic climax. The people may
then be represented as subdued in spirit, accepting the upbraiding as
being the word of God.
Isaiah, Jeremiah, and other Prophets may be worked out in like manner.
The result in each case, however, should insure the utmost dignity and
beauty; otherwise the dramatization should never be attempted.
The many Prophets with their various messages suggest the possibility
of their use in a pageant. This form of dramatization may be given to
advantage by a group of children as a climax to their detailed study of
the Prophets.
* * * * *
From each of the following subjects several dramatizations may be
taken. They suggest many short one-act plays, and also some excellent
long ones.
Saul Chosen and Anointed King of Israel. I Sam., chaps. 9
and 10.
Samuel Anoints David. I Sam., chap. 16.
David and Jonathan. I Sam., chaps. 18-20.
David Spares Saul's Life. I Sam., chap. 24.
Moses Begs Pharaoh to Allow the Children of Israel to Leave
Egypt. Exod., chaps. 5-13.
It may be well to state, in connection with the selection of stories
from the Bible for dramatization, that other stories outside of the
Bible may be dramatized by these same methods and will accomplish the
same results. It is not best to allow children to dramatize in
succession too many of the heavier type of stories, such as the Bible
stories represent. They may become tired if they work too long at the
same kind of dramatization. Children need stories which will lighten
and relieve the extreme seriousness and dignity which they necessarily
have to express in playing the Bible stories. There is a host of fairy
tales, folk-tales, and historical incidents that may well be adapted
for this purpose.
_The Children's Educational Theatre_, by Alice Minnie Herts, describes
dramatic work with children older than those who made the plays in this
book. It is an interesting experiment in education which uses
dramatization as a means for accomplishing certain aims.
CHAPTER XIII
STAGE SETTING AND PROPERTIES
The point has been emphasized in the preceding chapters that very
little stage setting and only a few properties are used in connection
with these dramatizations. It is always best that as much as possible
should be left to the imagination, and that only such setting and
properties be used as the children themselves can construct and as are
needed to produce the atmosphere of the play. This point of view
influences any consideration of these matters.
It is frequently true that, after the children have made the articles
they find a need for, the results are very crude, and there is yet much
opportunity for free play of the imagination. Great benefit is derived,
however, through the construction of these objects. The children gain a
clearer understanding and a keener appreciation of them after they have
had the experience of trying to express the shape or form through some
medium, such as clay-modeling, paper-cutting, drawing.
Care should be taken that children make nothing in the nature of stage
scenery, such as trees, grass, bulrushes, and other bits of landscape.
The only stage setting which seems at all necessary for them to make
involves very simple designs which show the characteristic
ornamentation of the times, for example, the lotus and papyrus designs
in Pharaoh's court.
Drawings and descriptions of a few of the most essential stage
properties and settings are given below, with suggestions as to where
and how each may be used.
_Water jugs and dishes._--In the earlier stages of Hebrew history--as
is found to be the case with all primitive shepherd people--skins and
wooden bowls were used for holding water, milk, and food. Clay vessels
were probably not in general use during the nomadic period. When
dramatizing the stories of Abraham and Isaac, and others of that
period, this fact should be taken into account, and only vessels of
wood and skin should be used.
Most of the clay utensils, which are mentioned in the stories of a
later time, were shaped like those shown in Fig. 10. Many of the water
jugs had small handles, though some were without handles. Fig. 11 shows
the position in which a Hebrew woman usually carried her water jug.
The Hebrews had little interest in the aesthetic except in the realm of
literature, and the lack is very evident in their pottery. The water
jugs are far from having the beauty of line and proportion which is
found in Greek pottery. Whenever any of these vessels are needed for
use in a dramatization, it is well to have the children bring jars and
bowls from home which conform as nearly as possible to the shapes here
given. Earthenware bowls and jars may be used effectively.
[Illustration: FIG. 10.--WATER JUGS, DRINKING BOTTLE, MILK JUG,
COOKING POT, DISH, WATER JUG]
_Wells._--The importance of wells in the life of the early Hebrews
cannot be overemphasized. The scarcity of water in the desert made the
digging of wells a necessity for the survival of people and of flocks.
As much of the land was rocky, wells could be dug only at certain
places. These favorable places were the means of determining where the
tents were to be pitched. In most of the stories of the nomadic life
wells play a conspicuous part.
[Illustration: FIG. 11.--WOMAN CARRYING WATER JUG]
Children should have correct mental pictures of those ancient wells, so
that they do not confuse them with the modern wells. The wells of
Palestine usually had low stone walls around them, and often big flat
stones for covers. The rocks were piled high enough to keep animals
from falling in. In some of the wells the water was so low in the
ground that people had to go down steps on the inside in order to get
it. In other wells the vessels were let down by means of ropes. The
women of the land were always required to draw and carry the water.
The simplest way for children to represent a well on the stage is by
piling up rocks to resemble the outside or by using something that will
look like a great stone. Fig. 12 shows two kinds of wells in Palestine.
[Illustration: FIG. 12.--ANCIENT WELLS IN PALESTINE]
_Staff and rod._--The shepherd boy always had with him a rod and a
staff (Fig. 13). The rod was about two and a half feet long and was
used for protection. The thick knob at the end was cut out of the tree
from which the limb came, and was frequently covered with knots or
nails to make it more terrible as a weapon. The children may find
pieces of wood which will serve the purpose, or if they live near a
forest they may make their own rods.
The staff was usually about five feet long. The shepherd used it to
help him climb hills and mountains and also to keep the sheep from
straying. Some staffs were nothing more than the straight limbs of
trees; others had a fork or crook at the end so that they could more
easily catch into the wool of the sheep when they needed guiding.
Children may use long sticks or branches from trees when they represent
staffs.
[Illustration: FIG. 13.--SPEARS, SWORDS, STAFF, ROD, ARROWS, BOW]
_Sling._--The sling which was used in David's time was frequently woven
of rushes, hair, or sinews; sometimes it was made from soft leather.
From Fig. 14 it will be seen that the shape of the woven part is wider
in the middle and comes to a point at the end. A string was tied to
each end and the stone was placed in the wide part. The sling was
whirled around over the head, and as one string was let loose the stone
flew out. When the sling is used in a dramatization, the stone may be
left to the imagination.
[Illustration: FIG. 14.--A SHEPHERD'S SLING, A SIMPLE LOOM--MADE FROM
CARDBOARD]
Children take great pleasure in trying to weave this sling. A diagram
of a simple cardboard loom is given in Fig. 14. The shape should be
drawn on the cardboard, then holes made for the thread which strings up
the loom. Coarse woolen yarn may be used for the weaving.
_Shepherd bag._--The shepherd bag which was used by David was carried
by every shepherd boy along with the staff, rod, and sling. It was
made from a piece of skin with a cord at each end. The cords were
fastened to the girdle so that the skin formed a kind of bag. Pebbles
for the sling were carried in it, and often supplies of food. A piece
of leather or of brown cloth may be easily made into one of these bags
for the children to use.
_Sickles._--Sickles were of two kinds--those made of metal and those
made of wood. The wooden ones were toothed with sharp pieces of flint.
Fig. 15 gives the characteristic shapes.
[Illustration: FIG. 15.--SICKLES]
Children may represent these sickles by cutting the shapes from stiff
cardboard and coloring them some dark color to make them look as if
they were wood or metal. Some of the boys may be interested in cutting
sickles directly out of wood.
_Scepter._--The scepter was used by kings in the later history of the
Hebrews. It was nothing more than a development of the rod used in the
shepherd period. As a rod it was a means of protection and power over
enemies, and as a scepter it was a symbol of the same power. Scepters
were sometimes short, with much ornamentation; others were long,
probably five feet in length. They were all characterized by a ball at
the end, and in many cases the kings had them made from gold, or
richly ornamented with gold. The Persian kings used the long scepter,
which therefore is the kind most appropriate for the play of Esther
(see Fig. 16).
_Tents._--The ancient Hebrew tent was much like the modern Bedouin
tent. It was low and spread out over the ground, and was made of black
goat's hair cloth. This cloth was usually stretched over nine poles,
arranged in rows of three and from six to seven feet in height. The
inside of the tent was divided into two parts by a long curtain which
hung across the middle.
[Illustration: FIG. 16.--SCEPTER]
A tent may be represented on the stage by placing a big thick cloth (a
blanket or canvas or dark curtain) over poles or screens.
_Shields._--There were two kinds of shields found among the Hebrews.
One was very large and covered a man from head to foot; it was usually
carried by a shield-bearer. The other was small and was sometimes
called a buckler. Many different shapes were found in both kinds of
shields; some were like the Egyptian--long, broad, and straight at the
bottom; others were round and oblong. All shields were convex with
handles on the inside to hold them by. The kings had shields covered
with gold, or decorated with gold and precious stones; but the common
soldier had a shield of wood or stiff leather. Leather formed the basis
of the shields that were decorated. Fig. 17 will show drawings of some
of the typical shapes. Children can easily make shields out of
cardboard; some may be covered with gold paper or with dark-brown
paper. A handle may be glued or sewed in the inside so that the shield
may be held without trouble.
[Illustration: FIG. 17.--SHIELDS, FRONT AND SIDE VIEWS]
_Swords._--The sword was always hung from the left side of the
sword-belt. It was made from bronze or iron, and was about seventeen
inches long. Fig. 13 shows some of the usual shapes. Many swords were
two-edged and had leather sheaths in which they were carried. Children
may make these out of stiff cardboard, or out of thin wood. They should
be colored a dark color, and the hilts may be decorated with bright
colors to represent jewels.
[Illustration: FIG. 18.--TRUMPETS]
_Spears._--Spears averaged about five feet in length. The javelin was a
long, heavy spear used for casting; the lance was a lighter spear used
for defense. All spears had a shaft of wood and a metal or stone point.
Fig. 13 gives several of the characteristic shapes of spear-points.
Spears may be made by fastening cardboard points to long sticks, or by
cutting the point directly out of the wood.
_Bows and arrows._--The bows and arrows of the Hebrews were very much
like those of all other primitive peoples. The bows were often four or
five feet long and the arrows were pointed with sharp flint or metal.
Illustrations of the shapes are found in Fig. 13. Children need little
direction in the making of these weapons, a string and some pliable
wood being all that is necessary.
_Trumpets._--Fig. 18 illustrates the kinds of trumpets used. The small
ram's-horn trumpet was associated with the feasts and other public
celebrations, while the long metal horn was used for the most part by
the priests. These metal trumpets were frequently made from hammered
silver. Children can make them out of stiff paper or thin cardboard and
cover them with silver paper.
[Illustration: FIG. 19.--SIGNET RING]
[Illustration: FIG. 20.--LAMP]
_Signet ring._--A signet ring is something that the kings were never
without. In the earlier times it was worn on a chain which hung from
the neck; later it was worn on the finger. Fig. 19 gives a drawing of a
signet ring. The design was raised so that it left an imprint. The king
used this imprint as his royal signature instead of signing his name.
When a signet ring is needed in a dramatization, as is the case in
_Daniel in the Lions' Den_, any large ring may be used, or the
children may be interested in making a ring from paper or cardboard.
_Lamps._--Fig. 20 shows one of the simpler types of lamps used at the
time of Christ. This was probably the kind referred to in the parable
of the Wise and Foolish Virgins. The lamps were terra cotta and held a
very little oil. Children will be interested in making these lamps out
of clay or plasticene. They are almost in the shape of a shallow bowl
with a handle.
[Illustration: FIG. 21.--EGYPTIAN DESIGN]
_Egyptian design._--In the scenes placed in Pharaoh's court a few
decorations suggestive of the Egyptian will add interest. Fig. 21 gives
some of the simpler designs which the children may use for
ornamentation. The servants may carry the large fan-shaped designs,
which they make on stiff paper. These designs were made from the lotus
and the papyrus plants; the leaves were usually a blue-green, and red,
blue, yellow, white, and black were used in many designs. Fig. 21 shows
some of these designs that were made by the children and used in
representing Pharaoh's court.
[Illustration: FIG. 22.--HELMETS, CROWNS, ASSYRIAN, EGYPTIAN, EGYPTIAN]
As it may be of interest to those who have access to a library to know
where more definite and detailed information may be secured concerning
the articles that are but briefly described here, the following works
are recommended: The _New Schaff-Herzog Encyclopedia of Religious
Knowledge_; Hastings' _Dictionary of the Bible_; the _Jewish
Encyclopedia_; Kitto, _Cyclopedia of Biblical Literature_; three books
by W. M. Thomson--_Central Palestine and Phoenicia_, _Southern
Palestine and Jerusalem_, _Lebanon, Damascus, and beyond Jordan_;
Elmendorf, _A Camera Crusade through the Holy Land._
CHAPTER XIV
COSTUMING
The question of costuming may be dealt with in much the same manner as
that of stage setting and properties. Costumes are unnecessary in many
of the simpler plays, and even where they are used they should be so
treated that they are of minor importance in the minds of the children.
It is nearly always the case that the very smallest suggestion of a
costume--a sash or a cloth around the head--is satisfying and
sufficient to produce the proper atmosphere of the play. There is
danger of placing so much emphasis upon this phase of the work that the
children attach undue importance to it and thus lose the real spirit of
the dramatization.
If costumes are used they should not be saved for the final
performance, but the children should have the pleasure of wearing them
at each practice where they are actually living over and over the lives
of other people. Children should get their ideas of the dress of the
times from pictures and descriptions and then in very simple ways try
to represent what they have observed. The simplicity of the costumes
among the Hebrew people makes the problem comparatively simple.
[Illustration: FIG. 23.--A group of children, showing costumes and a
trumpet]
There is very little definite knowledge about the exact costume of the
ancient Israelites, for they have left no records. The only sources of
information on the subject are the few references to dress in the Old
Testament and the few Jewish figures found among the Egyptian,
Assyro-Babylonian, and Persian carvings. The conclusion has been
reached, however, that the ancient Hebrew costume was in general
similar to that of the modern Arab.
It is fairly certain that among the earliest tribes a simple slip or
short tunic, with close-fitting sleeves, was worn. Later a big loose
mantle was usually thrown over this slip. The little under-garment was
white, woven from wool, or sometimes made out of skins; the outer
garment was frequently striped, a bright color with white. Among the
old patriarchs the outside cloak reached to the ground. It was often in
the shape of a blanket, and was draped by throwing one end over the
left shoulder, then passing it across the front of the body and under
the right arm, then across the back, and to the left shoulder again.
At a still later period there was the long gown, which reached to the
ankles and was belted in at the waist by a girdle. This was sometimes
covered by an outside robe which was like a cape. Frequently these
garments were brought over the heads in order to protect their wearers
from the sun.
As a rule the servants and lower class of people wore only the one
garment--a short tunic, with or without a girdle. The richer men wore
the outside cloaks. Kings and nobles had many kinds of cloaks which
were very elaborately decorated. They had silk girdles, while the
poorer men wore leather girdles. See Figs. 23-27 for costumes made by
the children.
[Illustration: FIG. 24.--The costume of Abraham]
The women's dress was very much the same as that worn by the men. All
garments may have been a little longer, but the draping and the kinds
of garments were the same. Great ladies had beautiful veils and shawls.
[Illustration: FIG. 25.--Two kinds of costumes--the Rich Shepherd and
the Servant.]
Both men and women wore sandals. The soles were made of leather or
thick woven cords. They were fastened to the feet by means of strings
of leather, linen, or of papyrus. Two straps were usually attached to
the back of the sandal, then crossing from the back over the instep
they were tied to a third strap which was fastened at the front and
came between the great and second toe. Fig. 26 shows sandals which were
made by the children.
[Illustration: FIG. 26.--Costumes, showing sandals made by the
children]
The headdress in the earlier days was nothing more than a piece of
square cloth, folded diagonally and placed over the head with the long
point at the back; the two ends were then crossed under the chin and
thrown back over the shoulders. A cord was tied around the head to keep
the cloth on. Later a kind of turban was worn which had no loose ends,
but which projected over the face enough to protect one from the sun.
Figs. 23-25 give examples of different kinds of headdress made by the
children.
[Illustration: FIG. 27.--Costumes]
The crowns which the kings wore were frequently of gold, studded with
jewels, although the Persian king had a stiff cap of felt or cloth,
encircled by a blue and white band. Fig. 22 gives a few of the typical
shapes for crowns.
The helmets which were worn by the soldiers were varied. The shapes
employed by the Assyrians and the Egyptians were probably used among
the Hebrews. See Fig. 22 for drawings of some of the best-known
helmets. Children may make these easily by using cardboard and gilt
paper.
The Hebrew men and women had many personal ornaments, such as
necklaces, armlets, bracelets, rings. Children delight in making all
kinds of bracelets and chains from gold and silver paper. They may
bring all the bright-colored beads that they can get for the enrichment
of the costume.
CHAPTER XV
THE ORGANIZATION OF A CHURCH DRAMATIC CLUB
The kind of dramatics described in this book may be undertaken with
success in connection with any Sunday school. The most necessary
element is a leader in charge who is wide awake to the aims and
purposes of such work and who has the ability to deal with little
children. A trained teacher is preferable.
This dramatization can be most effectively presented to children
between the ages of six and thirteen. In case the Sunday school is very
large and more children join than can be easily managed by one leader,
it would be best to divide the members into two or three smaller
groups, each with a competent leader in charge. One person should be
able to handle well from twenty to twenty-five children.[2]
This training ought not to stop with younger children, but may well be
carried on with pupils of high-school age. This would involve problems
slightly different from those here presented, but on the whole the
same aims may be achieved.
It is sometimes the case that a few of the children outgrow the club.
They begin to realize that they are much larger than the others, and
they decide that they do not care to take part in the acting, yet they
are still interested enough to come to the meetings. If there is no
other dramatic club into which they may go, then they may be used as
assistants in the younger club and made to feel that they are a
necessary part of it. There are many ways in which they can be of
valuable help to the leader, at the same time experiencing a
development through the training.
During one year in the history of the dramatic club here described
three girls of fourteen came regularly to the meetings. They could not
be persuaded to take part in the dramatizations, but they expressed an
eagerness to help in the direction. They entered into the discussion
and criticism of the plays that were being acted each Sunday, and their
suggestions were always very much to the point. They had the ability of
explaining what they meant to the children so that it was easily
understood. These girls would write out the scenes, sometimes while the
children were actually giving them; or, again, they would write them at
home and bring them for discussion at the next meeting. They took
entire charge of the costuming, and would meet outside at sewing-bees,
where they mended, pieced, or made over the costumes on hand. Then at
the plays they always took the responsibility of dressing the little
children, putting on their headdresses, tying their sashes, and seeing
that their costumes were draped in the right way.
When a dramatic club is first started, it is advisable to dignify the
organization by electing a president and secretary from among the
children. The president may take charge of the meetings and then turn
them over to the director, and may help in many ways to keep the club
together. The secretary may call the roll and be responsible for
sending notices to the members. Children always delight in this amount
of formality, and through it each one becomes a much more vital part of
the group; the responsibility as far as possible is placed upon the
children, and they usually rise to meet it.
It is hardly practical in most cases to attempt to hold more than one
meeting a week. The time should be set according to the convenience of
the majority of the members. Sunday afternoon was found to be the best
time for this little club to meet, but any week day will do as well.
Occasionally, just before a play is to be given, a few call meetings
may be necessary.
It is desirable that the club own the simple costumes which the members
wear. A costume box is a convenient place for keeping them. The same
garments may be used over and over again, and should be kept where they
may be easily obtained at each meeting. The older girls in the group
will be glad to take charge of the costume box, and they should see
that all of the garments are kept in order. The supply of costumes will
grow, for children will be constantly bringing new things to add to it.
There are various methods of getting a number of costumes on hand. The
children may bring from home old sheets and bright-colored shawls and
ribbons, which may be used to advantage. Often the Sunday school will
appropriate a small sum in order to help buy materials. A very small
amount of money need be spent, for the costumes must be extremely
simple and they should be planned and made by the children.
The construction work which the children do in connection with the
dramatization is an important part in the working out of a play. As
already noted, the greatest value of it lies in the fact that it
represents the efforts of the children. There is hardly time at one of
the regular meetings to have the construction work done. A discussion
of the articles needed may be necessary, after which the children
should be encouraged to make them at home. The older ones are able to
look up pictures and descriptions which will help, while the younger
ones need to have the matter frequently talked over in order to give
them the correct mental pictures of what they are to make. It is always
surprising to see how readily children take hold of this kind of work.
They bring in very many interesting things which they have made--often
things which they have thought out for themselves and which they had
not been asked to make. There are times when all the members are
working on the same problem, such as lamps for the Wise and Foolish
Virgins. It may be best under these circumstances to have a meeting
outside where they all work together. (Descriptions of these
constructed articles may be found in a previous chapter.)
A word of warning may be in place at this point. Parents of the
children are usually anxious and eager to help in making costumes and
the constructed objects. The very best aid that they can give is to see
that the children have the opportunity for making these things
themselves; they may encourage and guide wisely, but the finished
product must be the child's, not the mother's. Some mothers have
thought that they were doing the right thing to have a carpenter make
the spears and other weapons for the soldier. The boy derives more
benefit if he looks around for some sticks which will serve his
purpose, no matter how crude they may be.
The order in which plays are given in this book should not be taken as
the proper sequence for a dramatic club. The story of _Joseph_ is
described in detail first because the method used there may be followed
with any of the shorter or longer stories. This particular story,
however, should not be the first one presented to children who have
never had such work before. Such stories as _David and Goliath_,
_Abraham and the Three Guests_, or any of the parables should come
first. _Joseph_, _Ruth_, and _Esther_ are well worked out by children
after they have had a little experience with dramatization.
As a final summary, let it be ever kept in mind that this dramatization
functions as a factor in religious education only when the highest
development of the children is the aim. It should be so conducted that
it forms an essential part of the religious training of the Sunday
school, and also one of the valuable activities of the church.
FOOTNOTES:
[Footnote 2: In church schools which are organizing on the most
approved methods of the correlation of all educational activities the
dramatic club may be a regular part of the junior department, similar
clubs being integral parts of the other departments.]
INDEX
INDEX
Aaron, 55
_Abraham_, the dramatization of, 84-92, 118
Ahasuerus, king of Media and Persia, 70-83
Aims of dramatization, 5, 9-10
Amos, the prophet, 127
Angels, 85, 90
Armor and weapons, 50, 138-140, 151
Bag, shepherd, 136
Banquet, Queen Esther's, 69, 80
Belshazzar, 125
Boaz, 64-66
Bow and arrow, 140
Cardboard, use of, 45, 60, 151
Citizens of Bethlehem, 65
Clay, use of, 100, 131, 142
Cloak, outer garment, 146
Conspirators, 94-97
Construction work, 45, 60, 130-143
Costumes, 45;
the making of, 144-151;
the method of obtaining, 155
Crowns, 150
_Daniel_, the dramatization of, 93-97, 122, 125
Darius, 93-95
_David_, 44;
the dramatization of, 46-51, 128
Design, Egyptian, 142
Diagram of loom, 45, 136
Dishes, 131
Education, religious, 6-8, 157
Elijah, 120-121
Elisha, 122
_Esther_, the dramatization of, 68-83
Feast, 80, 115-116
Fiery furnace, 123-124
Gibeonites, 116-117
Girdle, 146
Gleaners, 63
Goliath, 44, 48, 51
Haman, 71-74
Harvest, 59, 61
Headdress, 69, 144, 150
Helmet, 143, 151
Innkeeper, 105
Isaac, 118-120
Isaiah, 128
Jacob, 18, 112
Jael, 112
Jephthah, 112
Jeremiah, 128
Jericho, 103
Jerusalem, 103
Job, 126
Jonathan, 128
_Joseph_, the story of, 17-25;
the dramatization of, 34-43
Joshua, 116
Lamps, 99-100, 142
Lions, den of, 93, 96-97
Loom, 45, 136
Method of presenting dramatization, formal, 9;
informal, 10-16
Miriam, 55
Moab, the land of, 63
Mordecai, 72-74
_Moses_, the dramatization of, 52-56, 128
Naomi, 62-63, 66-67
Nebuchadnezzar, 122-123
Organization, of dramatic club, 7, 8, 152-157;
of stories, 110-111
Ornaments, personal, 151
Papyrus, 142, 149
Parables, the dramatization of, 98-108
Performance, public, 14, 33, 90
Pharaoh, 21, 39, 54, 57-58
Pharaoh's daughter, 55-58
Pictures, the use of, 45, 84
Plasticene, 100, 142
President of the club, 154
_Prodigal Son, The_, dramatization of, 105-108
Prophets, the, 126-127
Queen of Sheba, 115-116
Reapers, 63-64
Rebekah, 118-120
Ring, signet, 141
_Ruth_, the dramatization of, 59-67
_Samaritan, The Good_, the dramatization of, 103-104
Samson, 112
Samuel, 113-114, 128
Sandals, 62, 148-149
Sarah, 85
Saul, 48, 128
Scepter, 69, 78, 137
Secretary of the club, 154
Servant, 100, 108
Shepherd customs, 84
Shield, 45, 138
Sickles, 60, 137
Sling, 45, 51, 135-136
Soldier, 49, 96
Solomon, 115-116
Spears, 45, 140
Staff, 45, 134
Stage setting, 84, 130
Supper, The Great, 100
Swords, 45, 139
Tents, 84, 138
Trumpets, 141
Tunic, 146-147
Turban, 150
_Virgins, The Wise and Foolish_, the dramatization of, 99-100
Water jugs, 131-132
Wells, 133
PRINTED IN THE U.S.A.
PRINCIPLES AND METHODS OF RELIGIOUS EDUCATION
_Edited by_ W. C. BOWER, EDWIN E. AUBREY, and W. C. GRAHAM
_A Survey of Religious Education in the Local Church._ By William C.
Bower.
_The Junior: Life-Situations of Children Nine to Eleven Years of Age._
(Revised edition, 1932.) By Ernest J. Chave.
_Out of Doors with Youth._ By J. W. F. Davies.
_The Sunday-School Building and Its Equipment._ By Herbert F. Evans.
_Recreation and the Church._ By Herbert W. Gates.
_Character Building through Recreation._ By Kenneth L. Heaton.
_Graded Social Service for the Sunday School._ By William N. Hutchins.
_A Summer Program for the Church School._ By Miles H. Krumbine.
_World-Friendship through the Church School._ By John Leslie Lobingier.
_Projects in World-Friendship._ By John Leslie Lobingier.
_The Dramatization of Bible Stories._ By Elizabeth Erwin Miller
(Elizabeth Miller Lobingier).
_Dramatization in the Church School._ By Elizabeth Erwin Miller
(Elizabeth Miller Lobingier).
_Far Peoples._ By Grace D. Phillips.
_Church School Projects._ By Erwin L. Shaver.
_The Project Principle in Religious Education._ By Erwin L. Shaver.
_A Project Curriculum for Young People._ By Erwin L. Shaver.
_Handwork in Religious Education._ By Addie Grace Wardle.
THE UNIVERSITY OF CHICAGO PRESS
* * * * *
Transcriber's Notes
Made minor punctuation and formatting changes, e.g., indentations.