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TRANSCRIPT
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31,
THE THEATRICAL DIRECTOR'S APPLICATION OF
THE VALUE SYSTEMS ANALYSIS TO THE
CHARACTERIZATION OF ROLES
THESIS
Presented to the Graduate Council of the
North Texas State University in Partial
Fulfillment of the Requirements
For the Degree of
MASTER OF SCIENCE
By
Janice R. Schronk, B. F. A.
Denton, Texas
December, 1977
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Schronk, Janice R., The Theatrical Director's Application of theValue Systems Analysis to the Characterization of Roles. Master of
Science (Speech Communication and Drama), December, 1977, 143 pp., 24illustrations, bibliography, 14 titles.
The purpose of this thesis was to determine if the Value Systems(Tribalistic, Egocentric, Absolutistic, Achievist, Sociocentric, andIndividualistic) based on the "Levels of Psychological Existence"
developed by Clare W. Graves, could be applied to analysis of a role ina play script.
Characters in four scripts were analyzed: The -Rainmaker, by N.Richard Nash; The Lark, by Jean Anouilh, adapted by Lillian Hellman;
Fiddler on the Roof, book by Joseph Stein, music by Jerry Bock, lyricsby Sheldon Harnick; and The Taming off the Shrew, by Shakespeare.
The results showed that the system could be applied practically
and effectively.
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TABLE OF CONTENTS
Page
LIST OF ILLUSTRATIONS..--.-.-.-.-.-.-...-.-.-.-.-..iv
Chapter
I. INTRODUCTION0.0......... -.-...-.......-.-...1
Statement of ProblemStatement of PurposeStatement of Procedure
II. BASIS FOR VALUE SYSTEMS THEORY ..............9
The Value Levels
III. THE RAINMAKER ............-....-.-..-....-...18
IV. THE LARK.............-.-..-.-.........-.-..... 41
V. FIDDLERQNT.ROOF..............-.-.-..-.....
VI. THE TAMING OF THE SHREW....... -.-..-.-..-.-110
VII. SUMMARY AND CONCLUSIONS......-...-.... -....-.-. 138
Implications for Further Research
APPENDIX..................-.-.-...............-.-..-. 141
BIBLIOGRAPHY..-.......-.-.-.-.-.-... -.-.-.-........ 142
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LIST OF ILLUSTRATIONS
Figure Page
1. Value Analysis of H. C. Curry fromThe Rainmaker..-.-.-.-..................20
2. Value Analysis of Noah Curry fromThe Rainmaker...-.-.-.-...................22
3. Value Analysis of Jim Curry fromThe Rainmaker..-...--...................26
4. Value Analysis of Lizzie Curry and BillStarbuck from The Rainmaker................30
5. Value Analysis of Joan from The Lark ..*.. . .. 43
6. Value Analysis of Charles from The Lark . . . . 55
7. Value Analysis of Joan and Charles fromThe Lark......-...-.-.-....-..... . . . . 58
8. Value Analysis of Warwick from The Lark . . . . 65
9. Value Analysis of Cauchon from The Lark . . . . 69
10. Value Analysis of "Tradition" fromFiddler on the Roof ...- ......... ... 75
11. Value Analysis of "Anatevka " fromFiddler on the Roof ................... 78
12. Value Analysis of Tevye from Fiddleron the Roof.....-.-...-.....-.......... . 82
13. Value Analysis of "If I Were A Rich Man"from Fiddler on the Roof.-.-.-.-.-....... 88
14. Value Analysis of "L'Chaim" from Fiddleron the Roof .. *.......................... 91
15. Value Analysis of "Tevye's Monologue"from Fiddler on the Roof............... 94
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Figure
16. Value Analysis of "Tevye's Rebuttal"from Fiddler on the Roof.95
17. Value Analysis of Golde f rom Fiddleron the Roof . . . .
- - - - - . .-. . . . 97
18. Value Analysis of "Do You Love Me?"from Fiddler on the Roof .0 .0.0.0.0.0.0*0 99- -- -- - --..- .--... --... 919. Value Analysis of Tzeitel fromFiddler on the Roof 0 0 0 . . . * . 0 . . 10120. Value Analysis of Hodel from Fiddler
on the Roof .* . .0.0.0 . . * . .*.0 .102
21. Value Analysis of "Far from the Home ILove" from Fiddler on the Roof 0 . * . . 10322. Value Analysis of Perchik from Fiddler
on the Roof 0 . - - - . - - - - - - - 10523. Value Analysis of "Now I Have Everything"from Fiddler on the Roof 00...0 10824. Value Analysis for Petruchio and Katharinafrom The Taming of the Shrew -0. S 0 0.0.112
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CHAPTER I
INTRODUCTION
Each human being is unique; each person reacts and
interacts according to his own emotional, mental, and
psychological makeup; each individual creates a personality
belonging to no one else. An actor has the responsibility
to create on stage a unique character in each role under-
taken.
The actor creates the whole length of a human soul'slife on stage everytime he creates a part. This humansoul must be visible in all aspects, physical, mentaland emotional. Besides, it must be unique. It mustbe the soul. The same soul the author thought of, theone the director explained to you, the one you broughtto the surface from the depths of your being, Noother but that one (1, p. 77).
Each actor creates the soul of each role according to his
individual style.
When approaching a role, the actor brings to the
development of the character past experiences and individual
techniques and methods of achieving characterization. It
is the director who guides the actor in this quest for
characterization. The methods utilized by actor and direc-
tor may be any one or a combination of several methods: the
technical method, Stanislavski's "The Method," the Actor's
Studio system, or the eclectic approach.
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A director must analyze each script of the theatrical
season before he holds auditions. "The dramatist has
written the play for a specific purpose and he has given the
characters some pattern of behavior" (3, p. 115). First,
the director does an in-depth study of the script to dis-
cover its thesis. He then determines systematically what
each line means to and about each character. Although he
must have a definite idea of the character's growth, this
direction might change during the rehearsal period. Finally,
the director divides the play into units of action or beats,
as seen in the Stanislavski method (3, p. 115).
In order for the actor to translate the director's
interpretation, he must make use of his inner resources.
What the actor has experienced, the accumulation of all that
he has done, seen, thought, or imagined, can be termed
inner resources. The actor is limited by what he under-
stands about life, and by his experiences or lack of them.
The voice and the body are the instruments by which the
actor physically utilizes his inner resources to portray the
action of the role.
Although his own life experiences are important, they
are not the only way an actor develops a role. He also
vicariously derives characterization from a variety of
sources. One major source is the observation of those
around him, their reactions to life, and the observation of
other actors, their performance on the stage. Another
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source includes all reading experiences, such as fiction,
non-fiction, drama, and technical writing. In addition, the
actor must pursue a knowledge of the events, the art, the
music, and the literature of the period of the play which he
is studying. Furthermore, an actor can draw upon any method
in order to deepen and stretch the imagination.
Both the director and the actor work within short time
spans, producing a play script in two weeks in professional
regional theatres or six weeks in educational and community
theatres. Since the traditional method of character develop-
ment is time-consuming, perhaps a more effective method
utilizing the Value Systems Analysis (see Appendix) could
be developed, freeing the director to polish the production
to a higher degree of perfection and freeing the actor to
create a more truthful characterization.
In this study, the emphasis will be on gaining an
understanding of a character's behavior in terms of the
Value Systems Analysis.
In the course of a play a principal character does notchange as a character, but his attitudes toward theenvironmental world of the play change under pressuresfrom forces outside his control--the other characterswho serve as instruments to his change (2, p. 25).
Statement of Problem
Failure of communication between actor and director can
cause a tremendous waste of time and energy. The director
and the actor must communicate quickly and correctly,
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permitting the play to develop to its full potential.
Through the use of the Value Systems Analysis the director
can increase his awareness of characterization and his per-
ception of his actor's personalities. The individual modes
of adjustment of both the director and the actor will deter-
mine their ability to use the Value Systems Analysis.
An actor's stating that he does not understand what the
director wants in a scene is not unusual. He, the actor, is
attempting to portray the role with expertise, but the ap-
proach the director is attempting is beyond his scope of
understanding. Communication between actor and director is
interrupted, and time is wasted. Communication between
actor and director and between actor and fellow actor is a
major factor in the success or failure of a play's communica-
tion to an audience.
A more successful prediction that the actor will be
capable of understanding the Value Systems of the character
whom he is interested in portraying is made possible by the
director who can determine the levels of existence possessed
by the auditioning actor. A director occasionally casts a
person who reads beautifully in auditions and discovers in
rehearsals that the actor is incapable of understanding the
psychology of that character. At the risk of losing spon-
taneity, the actor can portray the character by mimicking
the line reading, movement, and gestures of the director.
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Value levels tend to cluster in most people, with one
level being predominant. A person, or character, will be
able to progress or regress from one level to another de-
pending upon his reaction to the situation in which he is
placed. The playwright, through behavioral patterns, gives
his characters value clusters. In this study behavior of a
character, as suggested by value statements in the dialogue
of the play, will be analyzed, not value systems of actors
or directors. An actor skilled in recognizing value clus-
ters owns a more complete basis for building a believable
character. Once the clusters are established, details of
characterization can then become the area of concentration,
giving the role a unique rather than a stereotyped quality.
Definitions of these levels of existence are discussed in
Chapter II.
Statement of Purpose
For the purpose of this study the Value Systems Analysis,
as developed by Clare W. Graves of Union College, Schenectady,
New York, and adapted by Don" E. Beck with the National Center
for Values Research, Denton, Texas, will be applied to the
analyzation of major characters in specific plays. In this
study investigation will involve three questions: is the
system applicable to diverse styles of plays; is it a prac-
tical means of character analysis; and would it benefit
director, actor, and audience?
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Characterization is a growth process which, unfortunate-
ly, is often not completed until after the production has
closed. Both the actor and the director must understand the
characters in the play, the director in order to lead his
actors in a predetermined or evolving direction and the
actor in order to bring his role to life and to react honest-
ly to and with other players. If a new system can be applied
to theatre that will aid in a more complete, believable
production, then director, actor, and audience will benefit.
Statement of Procedure
This study will utilize four scripts and their major
characters. A value cluster will be established for each of
the characters selected for study, and selected lines will
be charted according to the Value Systems Analysis in order
that clusters can readily be seen.
The four scripts to be evaluated will be of distinctly
different styles. The first will be a realistic modern
script, The Rainmaker, by N. Richard Nash; the second, a
historical script done in presentational style, The Lark,
by Jean Anouilh, adapted by Lillian Hellman; the third, a
musical, Fiddler on the Roof, book by Joseph Stein, music by
Jerry Bock, lyrics by Sheldon Harnick; and the fourth, a
classic, The Taming of the Shrew, by William Shakespeare.
Character analysis will be developed for Lizzie, Star-
buck, H. C., Noah, and Jimmy in The Rainmaker; Joan, Charles,
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Warwick, and Cauchon in The Lark; Tevye, Golde, Tzeitel,
Hodel, and Perchik in Fiddler on the Roof; and Katharina
and Petruchio in The Taming of the Shrew.
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CHAPTER BIBLIOGRAPHY
1. Boleslavsky, Richard, Acting, the First Six Lessons,New York, Theatre Arts Books, 1949.
2. Hodge, Francis, Play Directing, Analysis, Communicationand Style, Englewood Cliffs, New Jersey, Prentice-Hall,1971.
3. McGaw, Charles, Acting Is Believing, New York, HoltRinehart and Winston, 1975.
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CHAPTER II
BASIS FOR VALUE SYSTEMS THEORY
Over twenty years ago research began on what was then
termed as "The Levels of Human Existence" by Graves (3,
p. 85). The purpose of Graves' pursuit was to develop a new
concept of human behavior and to adapt the concept for use
in management, leadership, law enforcement, education, and
many other fields. This study will apply this concept as a
humanistic approach to characterization of a role in a play.
Different people have different modes of adjustments,
or levels of values. The purpose of Value Systems Analysis
is not necessarily to change people's values but may be
useful to alter their behaviors so they can deal with values
different from their own. In play scripts, characters must
react and interact with other characters whose values or
modes of adjustments may or may not be different from their
own. These interactions within the play must evolve to a
legitimate or acceptable conclusion.
Graves' theory states that man is an open system, able
to move from one existence to another through a hierarchy of
ordered systems. Much of Graves' work is an extension of
many of Abraham H. Maslow's views of the physiological and
psychological needs of man.
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According to Graves' research, human modes of adjust-
ments are a combination of their values, attitudes, andbehaviors. His theory is based on the following three-part
premise that
1. Man's nature is not fixed; there is no set of humanvalues by which he should live, but it is an open,moving system and not a closed one.
2. Man moves from one level or system to another bysporadic movements.
3. Man's values change as the situation changes, witheach mode oftadjustment beingastate people passthrough on the way to a new mode of existence (3,p. 72).
As a person moves from one state to another, the old systemis subordinated to the new mode of adjustment. "When aperson is centralized in one state of existence, he has atotal psychology which is particular to that state" (3,p. 72). In other words, when a character in a play or aperson (actor) expresses a particular mode of adjustment, orlevel of existence, he will have the appropriate feelings,motivations, and ideas on politics, health care, educationalneeds, belief systems, and concepts of economic theory andpractice that are peculiar to that state.
Man will move through modes of adjustments up the psy-chological levels of the Value Systems as he becomes awareof life's problems and seeks to solve them. It is notnecessarily true that all men or characters in a play wouldprogress from level to level. It is quite possible for aman to stabilize and live his entire life at one level or a
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combination of levels within the system. Graves states,
In some cases, a person may not be genetically orconstitutionally equipped to change in the normalupward direction when the conditions of his existencechange. Instead, he pmay stabilize and live out hislife at any one level or a combination of levels inthe hierarchy. Again, he may show the behavior of alevel in a predominantly positive or negative manner,or he may, under the circumstances regress to abehavior system lower in the hierarchy. Thus, an adultlives in a potentially open system of needs, valuesand aspirations, but he often settles into what appearsto be a closed system (3, p. 72).
In summary, a person or a character in a play will have
the potential for an open system of values or modes of ad-
justments. The behavior of that person or character is
influenced by the set of value clusters or levels in which
he exists.
The Value Levels
Graves' theory of psychological existence has been
further developed by Scott and Susan Meyers, Charles Hughes,
Vincent Flowers, Linda Ann Davis, Don Edward Beck, et al. (5,
p. 13). They have described it in terms of management,
education, public safety, society, and communication. In
each case each level or mode of adjustment is an acceptable
level of behavior, one not being better than another, but
allowing for differences. These differences are what make
each person unique.
An individual's values and attitudes are in direct
relationship to how that person behaves or is capable of
perceiving behavior. If a director's Value System allows
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for an understanding of his actors' Value Systems, then he
is able to effectively use their talents to achieve a be-
lievable production. The actor whose Value System is higher
in the psychological levels of existence will maintain a
greater facility for playing a larger variety of roles.
The modes of adjustment must be thought of as open
systems allowing behavior to move from one level to another,
either progressing or regressing within the seven levels of
psychological existence discussed in this study. The Na-
tional Center for Values Research and Beck have defined
seven levels of existence. (See Appendix A.) The terms
and definitions are simplified for convenience of descrip-
tion.
Level 1, Reactive--The functions of a man at this level
of existence respond to basic needs such as hunger, pain,
cold, warmth, and sleep. At the lowest level of existence,
the reactive is only concerned with survival. Examples of
this state are the embryonic stage, a baby; the structual in
which the brain cells are under-developed, as in the profound-
ly retarded or severe stroke victims; the situational reac-
tive, caused by disappointments in life; the regressive or
senile elderly person. This level can be a temporary or a
permanent state.
Level 2, Tribalistic--Man at this level responds to and
seeks safety and security. He is highly dependent on chief-
tains, clans, rituals, superstition, and those in power.
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His reliance on chieftains can be to one chief, many chiefs,
or to a clan or tribe. At the lowest level of this existence
man is vulnerable to restricting taboos and rituals. He is
naive and a captive of the chieftain. At the other extreme,
man derives his inspiration from a heroic figure and gets
strength and security from a caring chief, exemplified in
family ties. Man needs to find some way to explain the
unexplainable and depends on the mystical forces inherent
in life.
Level 3, Egocentric--At this level, man is self-centered
and assertive. His aggressiveness takes many forms in rebell-
ing against authority figures, rules, regulations, mores,
and standards. He can be submissive, embittered, rebellious,
unruly, fiesty, risk-taking, flamboyant, colorful, competi-
tive, and can fight just for the fun of fighting. Often he
is brash, abrasive, and may appear to be "paranoid," feeling
that the world is hostile and alien. At the positive end of
this level, he is willing to break from tradition and is
energetic and innovative.
Level 4, Absolutistic--The Level Four mode of adjustment
must find structure, a directive design or master play, secu-
rity and order. The Absolutistic man is strongly committed towhat he considers to be right or wrong and adheres to rigidly
assigned roles. He will obey the rules, is neat, tidy, on
time, a true believer in religious causes and strongly be-
lieves that the wrong doer should be punished by law. He
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tends to impose his system on others and places a premium
on sacrifice, discipline, and adherence to the established
norms of society.
Level 5, Achievist--Man at this level may appear un-
principled, for he is achievement oriented, self-serving and
aggressive--but within the constraints of society. Life is
a game, and he enjoys wheeling and dealing, competing and
demonstrating his ability to get ahead in life and to attain
his goals. He can be constructive in his ambition, energetic
or conniving, as well as swindling and purely selfish in his
motives.
Level 6, Sociocentric--At this level of existence, man
is accepting. He is people oriented, self-protective, and
interested in self-discovery. He values human dignity, the
unique quality of each person and the worth of people as a
whole. The emphasis is on feeling and happiness, but an
unbalanced idealism can formulate. Level Six is the helping
level in which the individual spends his time and energy
working in behalf of a social cause. Here, too, man opposes
the manipulative use of people as well as rigid conformity.
Level 7, Individualistic--Man at this level is a personal
activist who lives within society's constraints while enjoying
his maximum individual freedom. An Individualist will be
inner-directed and self-motivating. He is willing to accept
differences in peoples' values. While tolerant of most be-
havior,he also expects high levels of performance and will
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respond to reasons, not to rules. Management through compe-
tence and not status or power is found in this level. He
may drop out of society to pursue individualistic interest
and alternative life-styles. He also may have a selfish
avoidance of the problems of the real world.
If an actor 's mode of adjustment is basically Tribalis-
tic, (a Two level), then that actor would have difficulty
understanding the psychological makeup of an Achievist (a
Five level); but the reverse is not true. The Achievist
would be able to portray a role that expresses the behavior
of a Tribalistic level of existence. If the director's mode
of adjustment was that of an Achievist, he would be able to
communicate within the level of existence of the Tribalistic,
the Egocentric, the Absolutistic, and his own level. Since
he is capable of "wheeling and dealing," the Achievist could
communicate with a Sociocentric or an Individualistic. The
Achievist would be able to manipulate the actor into the
behavior pattern he desires for the character and the play.
A director working from a high-level Individualistic mode of
adjustment would be flexible, allowing the actor who needs
freedom to create a role to work in this manner. The Indi-
vidualistic director will also be able to give the specific
direction needed by the Tribalistic or the Absolutistic
actor.
The following chapters will concern the application of
the Value Systems Analysis to selected characters from
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specific plays. By analyzing behavior of the characters
through value statements found in the dialogue and by
interpreting information given by the authors about the
characters, a mode of adjustment or a cluster of values will
be assigned to each character. A character may maintain one
level of existence throughout the entire play script. Move-
ment from one level of existence to another, either remaining
at the new level or returning to a previous mode of adjust-
ment is also a possibility. This chapter has briefly ex-
plained the theory and the terms to be used. For the
simplification of the thesis, numbers will be used to
designate the level of existence expressed by dialogue.
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CHAPTER BIBLIOGRAPHY
1. Beck, Don Edward and Christopher C. Cowan, "ValueSystems Analysis," Denton, Texas, National Center forValues Research, 1977.
2. Graves, Clare W., "Levels of Existence: An Open SystemTheory of Values," Journal of Humanistic Psychology, X(Fall, 1970).
3 _ _, "Human Nature Prepares for a MomentousLeap," The Futurist, VIII (April, 1974).
4. Hall, Rich, "Individual's Value Sets Affect Job Per-formance," Wichita Journal, Vol. 94.
5. Rieke, Reint Neal, "A Descriptive Study of Value Systemswithin Law Enforcement Organization in Texas," unpub-lished master's thesis, Department of Speech Communica-tion and Drama, North Texas State University, Denton,Texas, 1976.
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CHAPTER III
THE RAINMAKER
The Rainmaker, by N. Richard Nash is a romantic comedy
set in"the drought-ridden West. The prevailing theme, drought,
brings desperation, no promise of remedy, poverty, and a
loss of substance. With the drought comes the desperate
need for hope, however small or ridiculous it might seem.
The plot concerns a girl, Lizzie Curry, whose father,
H. C., and two brothers, Noah and Jim, are overly concerned
with her becoming an old maid. Lizzie is plain to look at,and Noah and Jim scheme unsuccessfully to marry her off. Asif on a gust of wind, a stranger, Bill Starbuck, appears
with grandiose ideas and the promise to make it rain--all
for $100. The idea is ridiculous, but Starbuck is so re-freshing that the family finally agrees to allow him to try
to work his miracles. Then begins the banging of bass drums,the painting of whitewash arrows on the ground, the tying ofa mule's hind legs, and the magic of the rainmaker. Star-
buck convinces Lizzie that she has a very real beauty of her
own. She believes, just as her father believes that rain
will come. Rain does come and so does love, for this is afamily bursting with love.
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The characters to be explored in this chapter are H. C.
Curry, father; Noah Curry, older brother; Jim Curry, younger
brother; Lizzie Curry, daughter; and Bill Starbuck, rain-maker.
Strong value statements are expressed in the dialogue of The
Rainmaker.
By analyzing the value statements in the dialogue of
H. C. Curry a Six-Seven-Two cluster emerges. H. C. is heavi-
ly Tribalistic in his concern for his family, as seen in
Figure 1. He is strongly Individualistic, the only character
in the play with a solid Seven, which is revealed in his lines
by his flexibility and his acceptance of others' ideas and
behaviors. His Sociocentric quality is displayed by his con-
cern for the well being of the people involved in his life.
Noah Curry's Three and Four combination hinders him
from understanding anything but what is written in black and
white on paper. He has control of the family until Starbuck
enters, and suddenly his world is beyond his comprehension.
Noah's dialogue expresses a strong authoritarian behavioral
pattern plus a need for family affiliation, giving him the
Four-Two-Three cluster as revealed in Figure 2.
The most enthusiastic member of the Curry family, Jim,
reflects levels Two and Four modes of adjustments. The
possibility of a Seven developing in Jim also exists. Jim's
Seven is subordinated by Noah's Four. Jim needs a chieftain
and Noah is adamant about being the head of the household
and making all decisions. If any member of the family has
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25
the possibility of becoming a Seven, Jim is the one, al-
though he may not have the brain cell capacity to understand
and move up the levels of existence. Jim's value cluster
is plotted in Figure 3.
Lizzie Curry and Bill Starbuck are analyzed in one
unit, seen in Figure 4. Their scenes together express in
detail the value systems from which they react. The inter-
action of Starbuck and Lizzie to and with each other is an
important illustration of conflicting value systems and a
person's movement from one system to another as the situa-
tion changes. Lizzie moves from a Four-Two cluster toward
a Seven and returns to her original system at the conclusion
of the play. With Starbuck's help, Lizzie begins to know
and to accept herself. Her regression to the Four-Two is
caused by her accepting File's proposal rather than Star-
buck's. She is comfortable in the Four-Two position.
Starbuck has come from a Three position, has the pos-
sibility of moving into a Seven, but his Five is much too
strong for him to ever become an authentic Seven. He enjoys
the games he plays, believes in the con artist he is and
loves to play the angles of a situation.
The figures are constructed with value numbers assigned
to the dialogue of the character analyzed. Not all dialogue
in the play is used, only that dialogue which clearly makes
a value statement. Since not every line requires a value
assignment, only selected lines will be found in each
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character's chart in each play analyzed. This is not to
bias the information but to clarify it. Not everything a
character says expresses a value system.
-
CHAPTER IV
THE LARK
The Lark, by Jean Anouilh is the story of Joan the Maid'sstruggle with God. She is a simple country girl who hearsvoices of the Saints telling her that she is the salvationof her country. At first she refuses to obey the voices, butbecause of her strong belief in God and faith that one mustdo what one is told to do by God, she relinquishes allrights to a normal farm girl's life. Joan asks for and re-ceives the French army, is arrested and put on trial, and isfinally burned at the stake.
The play is produced in presentational style. The plotevolves around the trial of Joan,with flashback scenes de-picting the incidents of her trial and of her path to theburning stake. The characters are historical but fiction-alized for dramatic purposes. The behavior of the charac-ters in the play script, not the actual persons, are
described in the following pages.
The characters to be analyzed are Joan, Charles, theDauphin, Warwick, and Cauchon. The Dauphin Charles is thepuppet ruler of France, the bastard son who has not beencrowned King until Joan maneuvers the coronation. Warwickis an English Earl representing all Englishmen at the
41
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trial. Cauchon is the priest who questions brutally andcomforts warmly the small girl on trial for heresy.
Joan's basic cluster, as seen in Figure 5 and Figure 7,is a Four-Two-Six. She is an example of a character whomoves into a higher mode of adjustment, the Five level, whenthe situation requires it, and then returns to her formerlevel of existence, the Four-Two. When asking for the armyor support Joan moves into the Five level or mode of adjust-ment. Figure 7 reveals Joan's movement into the Five posi-tion in the scene between Charles and her. She regresses toa Four-Two at the conclusion of the script, accepting theburning at the stake as right in the eyes of God. A personin the Four position would sacrifice life if it were thoughtto be morally right. Her strong belief in God places her inthe Four and also the Two position. God is her chief; herSaints are her chiefs and she will follow their instructions
implicitly.
Charles' lines and value assignments can be found inFigure 6 and Figure 7. He is a low level Five using aFour-Two position to avoid responsibilities. He is fright-ened, uses games to avoid making decisions and sometimesgives the impression of the reactive level. The Dauphinplays at cards, sex, and childish ways. In the scene betweenCharles and Joan, the uncrowned king exists on a Five levelin his reaction to Joan's Five approach.
42
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