Assignment - Test Grade

POST an original answer to one of the following:

1. What have you have learned about the Blitz? You MAY NOT cut and paste, but you can look this up.

2. What have you discovered about war from the lectures of the veterans?

3. How have you related to the theme of the play or the situation?

4. How can you compare the play's situation to what is going on in the world today?

Character Study Due January 11th

Character Study

1.     What would completely break your character?

2.     What was the best thing in your character’s life?

3.     What was the worst thing?

4.     What seemingly insignificant memories stuck with your character?

5.     Does your character work so that they can support their hobbies or use their hobbies as a way of filling up time they aren’t working?

6.     What is your character reluctant to tell people?

7.     How does your character feel about romance?

8.     How many friends does your character have?

9.     How many friends does your character want to have?

10.What would your character make a scene in public about?

11.What would your character give their life for?

12.What are your character’s major flaws?

13.What does your character pretend or try to care about?

14.How does the image your character tries to project different from the image they actually project?

15.What is your character afraid of?

Elaborate on the following:

1.     Age

2.     Parentage, siblings, family

3.     Place of Birth

4.     Level of education

5.     Job

6.     Religion

7.     Favorite color

8.     Favorite food

9.     Favorite drink

10.Attitude about life. 

Questions to ask Mr. Caisley - Try to think of original ones

1. What literary pilgrimages have you gone on?
2. What is the first play that made you cry?
3. What is the most unethical practice in the publishing industry?
4. Does writing energize or exhaust you?
5. What are common traps for aspiring writers?
6. Does a big ego help or hurt writers?
7. What is your writing Kryptonite?
8. Have you ever gotten reader’s block?
9. Did you ever consider writing under a pseudonym?
10. Do you try more to be original or to deliver to readers what they want?
11. Do you think someone could be a playwright if they don’t feel emotions strongly?
12. What other playwrights are you friends with, and how do they help you become a better writer?
13. If you could tell your younger writing self anything, what would it be?
14. How did publishing your first play change your process of writing?
15. What was the best money you ever spent as a playwright?
16. What playwrights did you dislike at first but grew into?
17. What did you do with your first advance?
18. What was an early experience where you learned that language had power?
19. What are the most important magazines for playwrights to subscribe to?
20. What’s your favorite under-appreciated play?
21. How do you balance making demands on the reader with taking care of the reader?
22. What do you owe the real people upon whom you base your characters?
23. How many unpublished and half-finished plays do you have?
24. What does literary success look like to you?
25. What’s the best way to market your plays?
26. What kind of research do you do, and how long do you spend researching before beginning a play?
27. Do you view writing as a kind of spiritual practice?
28. What’s the most difficult thing about writing characters from the opposite sex?
29. How long were you a part-time writer before you became a full-time one?
30. How many hours a day do you write?
31. What period of your life do you find you write about most often? (child, teenager, young adult)
32. What did you edit out of this play?”
33. Have you read anything that made you think differently about fiction?
34. What are the ethics of writing about historical figures?
35. How do you select the names of your characters?
36. If you didn’t write, what would you do for work?
37. Do you read your  reviews? How do you deal with bad or good ones?
38. Do you hide any secrets  that only a few people will find?
39. What was your hardest scene to write?
40. Do you Google yourself?
41. What one thing would you give up to become a better writer?
42. What is the most difficult part of your artistic process?
43. Does your family support your career as a writer?
44. If you had to do something differently as a child or teenager to become a better writer as an adult, what would you do?
45. How long on average does it take you to write a play?
46. Do you believe in writer’s block? (DO NOT ask whether they’ve had writer’s block).

CHANGES TO YOUR WORKING SCRIPT

Watch LandGirls on Netflix.  It begins later than our play; however, many of the women/girls go to farms because their homes were destroyed during the Blitz.  They work to raise food for the troops. It chronicles the struggles of everyone, the fear of being a traitor, the constant wariness of enemy aircraft, the constant arrival of soldiers.  Watch the first three episodes of the series at least.

Judith	They’ve stopped.
Frank	Maybe they ran out of imaginary enemies.
Angie	No they haven’t.  I can still hear it.	Angie moves downstage by her brother. Frank moves upstage by Judith.  They exchange a look. They don’t hear anything. Judith begins to pack belongings.  They look at each other. A moment of silence then the lights begin to fade. Gently family freezes.
Frank	I can’t hear a thing	This is when everyone should run		Sound Cue 5 gunshots and sirens seguing into Prime minister.  This is after THING

MORE CHANGES TO OUR REHEARSAL - NOTE HIGHLIGHTED MATERIAL

Judith	Tom!	They huddle together on the floor. Tom cries		Sound Cue 21 STILL SOFTER Alert sounds. Red, blue & white lights flash.
Tom	She’s real and she’s my friend.	Judith tries to calm him, holding him. She still has the knife. She lays it down beside her absent-mindedly.		Sound Cue 22 STILL SOFTER  Alert sounds. Red, blue & white lights flash.
Judith	I’m sorry, Tom.  .  She’s just lovely.	Judith accidentally cuts her hand. Judith screams when Angie screams as the men are shot simultaneously.
	The two screams with the one shot and the soldier lowering his flag puppet must be simultaneous and Tom Shouting MUM	As the soldier lowers the flag with the puppet head (War Machine) , pointing it at Frank’s back, we hear the crack of a single shot; Frank’s body crumbles to the ground. Angie screams as the soldier (he falls when Frank falls) still on top of her. Judith & Tom are frozen. Angie tries to stand, but the soldier on top of her has been killed by shrapnel. She struggles to stand rolling him off.  There is a spot of blood on her dress. She kneels beside him.  The soldier at the front begins to wave the puppet flag again.  Judith and Tom unfreeze with the puppet flag. Tom runs out into the area between the home and the debris.The body of the young girl enters..		Sound Cue 23 gunshot Women hum from the shot until the body speaks. “Land of Hope and Glory”

1940s fashion

1940s couples with men in uniform

Since the stock market crash of 1929 and the severe economic depression that followed for most of the 1930s, fashion had been an escape. Looking to the movies, women and men, escaped their difficult daily lives and imagined a care free and very glamorous life in Hollywood. Fashion followed movie stars apparel both on and off the set. Bias cut dresses were modest but feminine. Men's wide shouldered suits mimicked the masculine physique underneath. Rich furs, white paste jewelry, coordinated accessories looked like a million bucks. Fashion did not reflect real life in the 1930s.



The tables turned in the 1940s. WW2 begin in july of 1939 and fashion took on a new role. Men's fashion stopped progressing until after the war- a reflection that most men were serving in uniforms instead of enjoying life at home. Women's fashion echoed men's traditional clothing with man-tailored dresses, coats and hats. These new serious looks were not about an idealized life but about supporting the war effort through fashion.  A woman's duty was to take care of the homefront both her household and in jobs previously held by men.  He clothing reflected this practical and conservative time where materials were limited, even after the war ended in September, 1945. It took until the end of the decade for woman to adopt Dior's New Look that returned women to an ultra feminine silhouette and for men to adopt a relaxed fit in their clothing.

Let's begin the 1940s Style Guide series with a more detailed summery of fashion history. First for women:

1940s Fashion for Women

 The 1940s were defined by a clean and slim silhouette with a somewhat military feel. Jackets, blouses, sweaters and skirts were short and close-fitting, all unadorned and with the requisite sharp shoulder pads. Long sleeves were out, dresses were casual, and pants and 'playsuits' became everyday attire.




Before World War II, Paris was the epicenter of fashion. All of the new styles originated there. Anonymous American designers simply copied the looks coming from France for their wealthy clientele or for stores. The 1930's will be remembered for their glamour, despite the Depression. Hollywood starlets were clothed in long, draped and flowing gowns made of satin, crepe, silk and velvet. Dresses and gowns began to be bias cut, meaning the fabric was cut diagonally, allowing it to cling to curves. Coco Chanel brought the day suit into fashion, with a fitted jacket and a long skirt. Fur was the most wanted luxury item.

But after Germany took over Paris in 1940, many of the designers closed their fashion houses, some fleeing the country. Those that did stay didn't see their styles leave the country. The rest of the world was left to come up with their own styles. New York took over, creating a look that was dominated by the war going on across the ocean. A lot of the materials normally used for clothing became scarce during the war. Wool was used to make uniforms and coats for the soldiers. Leather was needed for their boots. Silk, normally used to make dresses, undergarments and stockings, was turned into parachutes and waterproof maps. Metal and various chemicals were needed to make just about everything for the war effort.
1942, a woman donates her silk stockings to be made into parachutes. She wears socks instead.

 Civilian clothing had to resort to using new materials. Nylon, created by DuPont and introduced in 1938, replaced silk for women's items until it began to be used for the same purposes as silk for the war. American cotton began to take over as a casual fabric of choice. Wool blends were introduced to save wool for military uses, and the synthetic fabric rayon became the most widely used fabric of the time. A softer, silkier version was used for day dresses, and a thick version replaced wool for suits and coats. 'Vinylite' could be used instead of leather, and other forms of plastic were used for all kinds of applications.

Aside from breakthroughs in man-made materials, fashions of the day were most affected by the governmental clothing restrictions put in place for the duration of the war. The very silhouette that dominated the '40's was a casualty of war. In Britain and elsewhere in Europe, ration coupons for clothing were given out on top of the restrictions, and they didn't go far. The United States avoided the coupons by putting strict rules in place for manufacturers. The only clothing item that was rationed were leather shoes starting in 1943, and they were only available in black, white, navy and brown.

March 1943. New Orleans, Louisiana. Line at rationing board

The United States Production Board put into place 'Limitation Orders,' order L-85 governing women's clothes, which were in effect until 1946. These restrictions were much less severe than in Europe, but still greatly limited what clothing was to look like. The length and width of blouses, skirts and dresses was restricted, as was sleeve length and hip width. The amount of pockets, buttons, pleats and seams was dictated, and most decorations were not allowed. This came to be known as the 'no fabric on fabric' rule. The colors of fabrics were set each season to conserve chemicals, so only a handful of patriotically named hues were available. The heels on shoes could only be 1 ½ inches high.


All of this interference resulted in a slim, uncluttered look. Skirts were shorter and tighter than anyone was used to, and shirts and jackets were plain and practical. As the prices of clothes soared due to the shortages, they had to last longer and go further. Pieces were extremely well-tailored and the styles started to work for a multitude of occasions. Although evening-wear was still made and worn, people began to dress more casually in restaurants and theaters. Versatile separates and sportswear took over, and women began to wear pants as a safety precaution in the factories they were working in.

Home sewing became popular. In Europe fabric could be had for fewer coupons than a ready-made garment. In the United States, pattern sales skyrocketed. Citizens were encouraged to mend old clothes, recycle old fabrics into new garments and combine dresses to make new ones. Pamphlets with titles like 'Make and Mend,' and 'Make It Do Until Victory' showed women how to fix and care for their clothes to make them last, and to make them from other household items like blankets and curtains. Here is a book on Make-overs from Coats and Suits.

The plain and functional styles lasted throughout the war. When U.S. restrictions were lifted in 1945 and '46, women continued to wear their war-time garb. Colors did return to wardrobes, softer and brighter, and skirts got a little bit longer and flouncy. In 1947, Paris designer Christian Dior showed his debut collection, soon to be dubbed the 'New Look,' which was the total opposite of the severe styles of the war. The silhouette was soft, an extreme hourglass figure achieved with a corset and bust and hip padding, and the skirts were enormous confections of fabric.

The New Look didn't take off in the United States. Women felt that Parisian designers had acted as though no war had taken place, while they sacrificed their wardrobes for the war effort. However, most were also ready for a change. As soldiers came back, women stopped working and returned to new homes and cars in the suburbs. The economy prospered, and clothing manufacture became cheaper and easier thanks to new methods devised for the war. New York and California remained in the fashion game, and American designers started to be known by name. Eventually women adopted the New Look that would become the style of the '50s.

1940s Men’s Fashion History

1937 men's suits

1930s men's clothing, either for day, sport, or evening were styled to make a man feel "larger than life." During the 1941-1945 WWII fabric rations limited cloth to make suits but not style.  The Zoot Suit with its bright colors, baggy legs and long jackets was a complete deviation from the norm. However, that trend was only popular with the young, urban men during the war years. Most men chose basic men's suits that haven’t changed dramatically since the beginning of the century. There were, however, a few features that made a suit style unique to the 1940s.


 The war board placed restrictions on men’s clothing just as they did for women. The restrictions were not as dramatic as they were for women. Suit pockets could not have flaps, trousers could not be more the 19 inches around or be cuffed, and suits were sold without vests (waistcoats.) The cuffed look was so popular that men quickly figured out you could purchase longer length pants and cuff them at home.  The double breasted suits were forbidden during the war except for formal occasions such as weddings. Most men’s kept their clothing from the 1930s and wore them through the early '40s war years. Tailors became skilled at repairing or repurposing double breasted suit jackets from the 1930s into single breasted jackets or sport coats. It was a sign of support for the war to be seen in your pre-war suits.

In Britain the clothing restrictions were harsher. Jackets could not have pleated backs, metal zippers or buttons, feature raglan sleeves or have half belts. Zippers in flys, called front fly fasteners, were allowed although button flys were preferred and easier to obtain materials. War time clothing influenced men’s fashion design after the war by coping or modifying uniforms into civilian clothes. Trench coats, bomber jackets, knit undershirts, pea coats, chino pants and aviator glasses all have roots in WW2 military clothing. With so much military surplus available after the war civilians would buy and wear military clothing for several more years. The improvement in machinery, textiles and manufacturing of military clothing made post war ready to wear civilian clothing a booming industry. The quality and eventually affordability of ready made clothing gradually put local tailors and seamstresses out of business.


1948 Men's Semi Casual Fashion

The biggest influence war time restrictions had on men was the further introduction of casualness. After the war the need for suits to be worn at all times were replaced by more causal sporting attire. Collarless knit tee shirts, open collar dress shirts, ascot ties, slip on loafers and sandals in summer became the everyday man’s dress code. Men were tired of scratchy uniforms and confining suits. The freedom casual clothes brought to men were a big sigh of relief.


1948 Men's Suits Inspired by the Zoot Suit

Ironically the very clothing that caused such turmoil during the war years, the zoot suit, was the single piece of fashion that influenced men’s post war clothing. Longer, looser jackets, double pleated pants, big hats, and even wide ties made their way into late '40s men’s fashions. Men were eager to put the war behind them and embrace the clothing they were previously forbidden to wear.

Fashion History Resources

Research for the 1940s Style Guide series involved years of gathering information from books, magazines, catalogs and online sources. Here are a few of the most useful ones:

BOOKS
Forties Fashion: From Siren Suits to the New Look by Jonathan Walford

Esquire’s Encyclopedia of 20th Century Men’s Fashions Hardcover by O.E. Schoeffler

History of Men’s Fashion by Farid Chenoune

Reminisce Life in the Fantastic '40s

Fashions of a Decade: The 1940's  1992, Facts on File, Inc. by Patricia Baker
 Vintage Fashion: Collecting and Wearing Designer Classics  by Emma Baxter-Wright
20th Century Fashion  by Valerie Mendes and Amy De la Haye
 Everyday Fashions of the Forties As Pictured in Sears Catalogs  JoAnne Olian
  Decades of Fashion  Tandem Verlag by  Harriet Worsley
More books in this list of Vintage Fashion History Books

WEBSITES
http://www.centuryinshoes.com/decades/1940/1940.html - A brief illustrated history of 1940s shoes
http://www.headoverheelshistory.com/1940.html  - A Research project turned history lesson on shoes
http://www.1940s-fashions.co.uk/ (UK) A very nice collection of fashion plates and advertisements feature fashion from the 1940’s
www.thepeoplehistory.com/40sclothes.html - An interesting look at fashion and how much clothing really cost
www.womeninwwii.com  - A site all about women who served during WW2 in the 1940’s
Vintage Fashion on Facebook- Where to learn, shop and connect with others

Even more resources can be found in this article: How to Research Fashion History

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Read ahead or catch up with all the 1940s fashion history articles online. 
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Debbie & Oscar Sessions
VintageDancer.com/1940s

 

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Mandatory Watching

Check this at: http://ww2days.com/blitz.html?gs_ref=kZlt8A=KBQ-Email

Watch BEFORE December 11