DRAMA SCHOOL

New Zealand Herald, Volume LXXIV, Issue 22901, 2 December 1937, Page 19

DRAMA SCHOOL

START IN AUCKLAND ; FIRST IN THE DOMINION: ;'-'V _ 1 . fa AUTHORITY FROM DEPARTMENT * i THE TRAINING OF YOUTH Authority has been obtained from the Education Department for a Schpbl of Drama to be started next year in conjunction with the Elam School of Art. It will be the first school of its type in Now Zealand, and it represents an ideal of the training of youth in the art of the theatre, which enthusiasts consider must form a necessary preludo to the creation of a national theatre.

Actually the intended school represents a development from classes relating to the theatre which have been conducted at the Elatn School of Art by Arnold Goodwin, who will now be associated with the School of Drama, failure of Repertory Movement It was explained by Mr. Goodwin that when the repertory movement first started much more was expected of it than waa actually achieved. In instances it was merely a social institution or very little else. It was becoming realised that the art of the 'theatre was really a lifetime job and that amateurs, tired perhaps after their duties in earning a livelihood, could not be expected to ngaster the technical and inspirational side .of the drama. Mr. Goodwin felt that the movement toward re-establishing the theatre in New Zealand must come from the young, whose imaginative gifts could be kindled and developed by training. When it was realised that many of the younger generation in New Zealand had never seen a stage performance, it would be realised to what condition the drama had fallen.' I. Class in Stage Design

A class in stage design was started at tho school last year, and the manner in which the imaginative side of students was developed was remarkable. Naturally these students knew nothing of the manner in which their designs could be practically applied to the stage. A further institution was a class in the art of puppetry, puppets being made with the idea of giving students the three dimensional sense, over and above the drawing.

It would be realised that it -was impossible to run a theatre until one could get an audience, and it was impossible to get an audience until it could be given something worth while. If ever a theatre was realised, it would have to ■ be on a national basis, and Mr. Goodwin was satisfied it would have to come through the Education .'Department. Details of Proposals In the School of Drama, students would be drawn from thqse who camo into the El am School of Art-by tho ordinary processes. The Education Department insisted on a minimum of 20 students, and a maximum would be imposed, while it was hoped to get an even balance of "the sexes. There would be a "class in eurhythmies movements, dancing and other physical training under an accredited teacher. .In this there was no idoti of creating a ballet, but such training was regarded as essential to proper stage movement. Courses in practical acting would follow largely the lines laid down by Stanistavsky, of tho Moscow Theatre. Students would take from the Elam School of Art certain other subjects, as modelling, design and drawing. Within two years it was hoped that a team would be established, each member understanding the other, that would be able to show that the theatro was not only very important, but the most important of the arts. If it could do that, Mr. Goodwin thought the chances of getting a national theatre would be very much brighter than at present.