Outdoor Activities

Thus, the whole form will study a novel related to the term's theme— with certain passages selected for close scrutiny—and various supporting novels will be suggested as additional reading for individuals. Poetry and drama will both be brought into play as the theme is more widely explored —the learning of poetry by heart is never set without an alternative, and extracts from novels will often be dramatised by the form. Small groups of two or three boys then set to work on various topics, and after these have been seen by the master, each boy draws on the material which he has collected for individual work.

In this way, the boys are encouraged to read literature of a higher standard than the second-rate reading matter of the common rooms—the war comics and the smutty paperbacks—and in so doing, they develop a wider vocabulary, a sense of dramatic and poetic concepts, and a critical sense, all of which will be reflected in their own writing. Reading of vividly descriptive writing will be benefit at "0" Level, where two compositions are still required, and the story, pure and simple, is no longer acceptable. Work for the other langauge paper will have been incorporated into the theme work, except for the skill of précis writing, which is still developed separately, although the seeds are sown when the techniques of note-making are considered in the Fourth 'Form.

Thus, by the time "0" Level is passed, each boy should have a varied background of literature behind him. The intention is that the Transitus year should be used to broaden this still further, although always with an eye on the "A" Level set texts—useful contrasts, as well as purely background material, may be provided at this stage. The "A" Level examiners still require a detailed textual knowledge and it is essential that an interest in literature be kindled before the textual grind is given the opportunity to kill it completely and utterly. "A" Level syllabuses seem to be moving towards a concern for enthusiasms, a welcome move, and one which is a logical development of the innovations recently made in the "0" Level English Literature syllabus, although further progress here is still to be desired.

English is no longer a matter of mechanical learning: it is becoming more and more a matter of discovery, and of stimulation into worthwhile creativity. Further moves in this direction must be zealously sought after, but will be restricted as long as G.C.E. syllabuses remain as cramped as they are today.

I.M.M.

The last four years at St. Peter's have seen an increase in the interest shown towards out-of-school activities. This is perhaps due to the fact that since the C.C.F. and Scouts became truly voluntary organisations and since the embarkation on the Duke of Edinburgh's Award Scheme, personal interest has been necessary for success. This has in turn resulted in a further awareness of what can be attempted in time not devoted directly to the school curriculum. Within the three groups such activities as canoeing, climbing, walking, sailing, shooting, gliding are prominent; yet these are only a few of the pursuits followed.

Further, there are boys who would like perhaps to climb, but who would not like to feel themselves tied by the other activities of the Scouts, C.C.F. or Duke's. It has been suggested that climbing, canoeing, sailing clubs should be formed without their being directly under the auspices of these organisations. Of course, the clubs would be open to the groups to send their members along for instruction and proficiency tests.

Since the inclusion of the Award Scheme, there has been an added incentive to progress within the School itself and also nationally. In the last eighteen months the Scout Movement has changed its outlook—this move being made on a national scale; it has now very much the same basis as that of the Award Scheme. Both major awards consist of different standards to be reached over a certain time; the one being the Gold Award, the other being the Queen's Scout Award. To attain these, it is necessary to spend a certain amount of time in social service, personal initiative and responsibility training and participate in an accepted outdoor pursuit.

On the other hand it is not a requirement to attain any set standards in these activities for those in the C.C.F. Its members canoe and sail as a pastime. Before either the C.C.F. or the Scouts were able to participate in canoeing, boats had to be built. It is hoped by the Scouts that in the near future and on acquiring enough canoes they will be able to enter for whitewater canoeing events. This will, of course, necessitate the availability of time to practise and contest.

It is from this time-factor that all three groups suffer. To form a well- I organised climbing team or a dinghy crew, it has been found that one day a week is not sufficient. Sundays, however, present opportunities for specialised outdoor activities, and it is hoped that in the near future more time can be devoted to them.

Another problem encountered is that of acquiring expert instruction in these activities. We are lucky in so far as there is a river nearby and also use of the swimming baths for canoe practice. These are, however, only appropriate for novices, and since it is imperative that experience is gained it will be necessary to find water and the experts. Whereas the canoeists have a difficulty in finding the fast flowing water they require, the climbers have a much easier task in finding a practice ground. The rock faces at Shepherd's crag and the Cow and Calf near Ilkley and Almscliffe Crag near Leeds being within easy reach for Sunday expeditions. The novel idea of building a brick wall with projections which form numerous and different climbs—there are often as many as fifty climbs on one of these walls—has greatly thrilled the keen climbers in the School. It would mean that technique could be practised any time.

These are by no means all the activities undertaken by boys at St. Peter's. The Duke's have regular weekend expedition camps during the Summer term, while the Scouts and C.C.F. have expeditions at Easter. This year the Scouts spent a week in the Lake District, while the C.C.F. succeeded in doing the Lyke Wake Walk and also spent some time in the Lake District.

All the keen outdoor types in the School are advocating more time for their activities, but it is difficult for them to understand where the time is coming from. The over-riding factor is that the boys keen on such activities are also keen on sport and represent the School. To put a team

on the field it is necessary to have the allocated five games days a week to train the boys. For them it would be impossible to dedicate long afternoons to outdoor pursuits. Perhaps this is a field which might best be exploited by those who are uninterested playing games as a major activity; only they would have to show a real interest. A.G.S.

HOUSE PLAYS

This term has seen a marked revival of interest in house plays. Some of us thought that the millenium had come when we heard of Temple's plan to produce a play, their first in living memory. Rise introduced a bevy of young ladies in their play and Manor commemorated J. W. P. Fairclough's debut into playwriting.

Queen's play, though, was in the grand tradition of house plays, a light comedy with an all-male cast. The production showed the fruits of R. W. J. Dingwall's hard work and excellent performances were turned in all round. Notable, perhaps, were D. Dickinson's petite Fiona, A. W. Hodgson's harassed Ronnie and E. R. Walker's lively Robin.

Grove ventured into the realms of Bernard Shaw. Having draped Queen's set with Union Jacks they installed P. J. G. C. Bleach behind a table from which he could read his lines and produced hordes of Suffragettes dashing round the Hall. One critic remarked that the programme was the best thing about it, but it was not quite that bad. Bleach's acting was nearly as good.

Rise committed themselves to "Rhinoceros" by Ionesco. This play is hardly the most suitable choice for an amateur production, even when it has been emasculated by cutting. P. N. Shepherd appeared to have overstretched himself by producing as well as taking a leading part. The ladies performed creditably if inaudibly and individual actors turned in performances which would have been adequate in an easier play.

School House brought off a brilliant coup. The play was exceedingly light, demanding a very high standard from the performers. M. P. Baby was first-rate as the flabby Mexican peasant and P. D. Wilson a suitably effete Ramon. The technicians worked miracles to transform the Rise set in half an hour (the performances being on the same evening).

Considering their total lack of experience in such matters, Temple made a capable attempt at Brecht's "Good Woman of Setzuan". The cast knew their words and were generally audible. A. Scaife performed well in the dual title role of the prostitute and her evil cousin. Particular mention should be made of the very efficient scene changing, so necessary in a play with so many scene changes.

Manor produced a home-grown product by J. W. P. Fairclough, "The Inflationary Cycle". Despite some promising ideas, notably in the character of the second cyclist, Sam, the play showed that crudity and cliché is no substitute for genuine comic invention. The cast, with the exceptions of Stewart and Les, was inaudible, and incapable of remembering their lines. The set was good and the technical side of affairs went well. Fairclough obviously has talent as a dramatist but he deserves a better cast and must cultivate a more subtle approach.

From our English correspondent. The following two reviews will serve as a measure of the interest aroused by this term's productions.

"MASTER OF ARTS" (DOUGLAS HOME)—QUEEN'S

The House Producer who chooses to present a "farcial comedy" set in a school broadly similar to our own is batting on a fairly safe wicket. However, Queen's achieved more than any bare minimum of success with this production—as indeed their past dramatic record would lead us to expect. There is no depth to the play—it is purely for entertainment and does not provoke the questioning thought that drama of more depth may do—and perhaps for this reason it went down very well with its audience. There is something fascinating in seeing an environment like one's own represented on stage, even if the resemblance was, one hopes, a little farfetched.

The acting was, on the whole, of a high standard, and lines had, with the inevitable exception, been learnt well. Perhaps A. W. Hodgson, as the Housemaster, was a little to casual, and G. Hodgson, as the Head of the House, a little too young to be entirely convincing, but these are minor points. D. Dickinson's role was a superb piece of casting, but one wonders what sort of role will be produced for him in two or three years. M. j. Black seems to be becoming a little typecastbut once again, he is obviously well suited to the type of role in which he continually finds himself. The supporting roles were all competent, and E. R. Walker as the "hero" inspired much confidence for future productions.

If we had been able to hear the Orchestra, perhaps we would be more qualified to comment upon it, but we could not, and must therefore refrain. The background work all seemed to go smoothly, and mention should be made of the thought-provoking advertisements which appeared— very discreetly, one might add—in the school.

There seems, judging by this altogether competent production, to be every hope that Queen's will continue to be a source of dramatic talent for some years to come. Perhaps we might urge that a future production should move away from the rut of melodrama/farce which seems ominously near: to fall into •this might well stifle the enthusiasm which so obviously is present in this particular House's productions. I.M.M.

"RHINOCEROS" (IONESCO)—THE RISE

It is difficult to give a frank assessment of the Rise production of this most entertaining play without seeming too harshly critical of those who clearly devoted much time and effort towards it. One cannot say that the production was faultless, for indeed it was not, but it was nevertheless not without its highlights—the set, for example, continued admirably the high standard attained in previous Rise productions, and it is difficult to forget the dramatic appearance of the Rhinoceros itself.

Unfortunately, the faults were all too obvious—lines had not been properly learnt, the sound effects were clumsy and largely ineffective, and the stage management lacked much in the way of efficiency. It was inevitable that cuts had to be made, as a second play had to be performed on the same night, but it was unfortunate that the cuts were ineptly made, destroying much of the point of the play, and at the same time disposing of much dramatically promising material.