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peoples’ struggle for justice, developed through nationalism, economic exploitation of workers, unemployment, color prejudice, land hunger, lost faith, and cultural breakdown.","Answer",{"name":65,"@type":60,"acceptedAnswer":66},"How are the Chorus and Interpreters expected to be staged?",{"text":67,"@type":63},"The Chorus should be positioned with blue light, and the Interpreters should step out into a clear spot to introduce the Chorus’s mood before each change in thought.",{"name":69,"@type":60,"acceptedAnswer":70},"What does the document say about permission to produce the drama?",{"text":71,"@type":63},"It states the play is published with full protection of the copyright law, with no royalty charged for permission to produce it in whole or in part, while expecting a purchased copy of the pamphlet for each cast member and requiring special permission for radio or television 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SAMPLERSample copy only  \nx176。s0024  \nPRODUCTION NOTES  \nCharacters  \nA TowN CRIER,dressed in the traditional costume of colonial America.  \nJoE,an American student.  \nCHAND,a student from India,Joe's roommate.  \nTHE CHORUS,representing the darker races and European refugees,dressed assimple peasants.  \n# THE INTERPRETERS.\n\nSetting and Arrangement  \nThe theme of this drama is today's struggle of peoples for justice and fulf11-ment.The various aspects of the struggle,developed by the Chorus and Inter-preters,are:nationalism;economic exploitation of workers;unemployment;color prejudice;land hunger;lost faith;cultural breakdown.  \nIt would be well for the Chorus to be in back stage,with blue light.SinceSouth Africa and Kenya inspired the last chorus in particular,it_would beadvisable to have Negro members of the Chorus in the front ranks.The Inter-preters,who introduce the mood of the Chorus just before each change inthought,should come out of the group into a clear spot.  \nThe members of the Chorus should have dark books about the width of hands,with lines firmly pinned on the inside so that the free movement of the choruscan help interpret the desperation,intense fierceness,and group pathos thelines suggest.The solo parts should be assigned to various individuals,so thatthey can be memorized.Each soloist should step out of the ranks into the spot tocry out his accusation.  \nThe scene on stage left far front is the furniture of a student room:a deskchair that stands before a table desk with books and a study light;a loungechair,with a floor lamp on one side of it and a small table holding a framed pic-ture of a girl on the other.Additional atmosphere could be added with pictures,pennants,and prints,some of them Indian.This section of the stage should bebrightly lighted as the drama begins,but may be left in shadow after the studentsand Crier have left the room.Groups wishing to stage the drama more simplymay use a minimum of furnishings or omit them altogether.  \nThis play is published with full protection of the copyright law,but noroyalty is charged for permission to produce it in whole or in part.It isexpected,however,that a copy of this pamphlet will be purchased forthe use of each member of the cast.Groups wishing to give radio ortelevision productions of the drama should apply for special permissionto Friendship Press.  \nThe author wishes to thank Miss Margaret Shannon for valu-able help in adapting this drama for the use of student groups.  \nCOPYRIGHT,1956,BY FRIENDSHIP PRESS,INC.PRINTED IN THE UNITED STATES OF AMERICA  \nS  \nThe CRIER CALLS  \n3569  \n26  \nC75  \nTIME:The present  \n1556  \nAs the curtain rises,Chand is arranging books at the desk,preparingto study.As he sits down before it,he places a large“Do not Disturb”sign on the back of the chair.Joe enters with several books,a box ofcrackers,packages of popcorn,and some apples.He places these on thetable beside the lounge chair,steps off stage for a moment and returnspulling on a lounge coat.Chand glances over his shoulder to see hisroommate,but merely sighs,puts his hands over his ears,and burieshimself in his books.Joe,settling into his chair and biting his apple,sees the“Do not Disturb”sign and grins.  \nJoE:Stuffin'for the trigonometry payoff tomorrow?Happy landing.  \nChand does not answer.He merely reaches into the drazwer and getssome cotton,stufing it into his ears.Joe picks up the picture from thetable and gazes fondly at it,then dramatically replaces it face down.  \nJoE:Gotta job myself tonight...so am sacrificing an evening with mybeautiful babe!(sighs in resignation as he picks up a book)InsteadI'm boning up on all the things that are wrong with our little oldworld.Why didn't somebody tell me when I got to be president of the“Y”that I'd have to read a pile of books?How'd I know I'd have tohelp plan programs on injustice,world stress,and all the rest?We","cbCainwBmDH9BGb6","https://ap.wps.com/l/cbCainwBmDH9BGb6","pdf",1611241,"English","# Characters\n## Setting and Arrangement\n## Copyright and Permissions\n# Time and Opening Scene","[{\"question\":\"What themes does the drama “The Crier Calls” focus on?\",\"answer\":\"It focuses on peoples’ struggle for justice, developed through nationalism, economic exploitation of workers, unemployment, color prejudice, land hunger, lost faith, and cultural breakdown.\"},{\"question\":\"How are the Chorus and Interpreters expected to be staged?\",\"answer\":\"The Chorus should be positioned with blue light, and the Interpreters should step out into a clear spot to introduce the Chorus’s mood before each change in thought.\"},{\"question\":\"What does the document say about permission to produce the drama?\",\"answer\":\"It states the play is published with full protection of the copyright law, with no royalty charged for permission to produce it in whole or in part, while expecting a purchased copy of the pamphlet for each cast member and requiring special permission for radio or television productions.\"}]","The Crier Calls - Production Notes | PDF",1790591038,31]