Adapted by Richard Tulloch from the novel by Guus Kuijer

Transcription

Adapted by Richard Tulloch from the
novel by Guus Kuijer
STUDY GUIDE
MAGNUS THEATRE 2015/2016 SEASON
Prepared by Danielle Chandler, OCT
Magnus Theatre 2015
Magnus Theatre Offers
STUDENT TICKET PRICES!
 $20 for any show (best seat available)
 Available in person at the box office
on show day, with valid student I.D.
Photo source: http://www.bbc.co.uk/worldservice/learningenglish/communicate/blog/student/archive/2006/08.shtml
MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario
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How to Use This Guide
Theatre Etiquette &
F.A.Q.’s
About Magnus Theatre
& Theatre in Education
What is Theatre in
Education?
Cast & Characters
Creative Team
About the Play
About Guus Kuijer
About Richard Tulloch
Glossary
Life in 1951
Liberation of the
Netherlands in WWII
The Changing World of
the 1950s
Reading in Canada
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Why Does Jesus
Appear in Food?
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Helping Children Exposed
to Domestic Violence
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Ontario Curriculum
Connections
Pre-Show Activities &
Discussions
Post-Show Activities &
Discussions
Lesson Plans:
- The Changing World
of Words
- Journal Writing
- The Dutch Resistance
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References &
Resources
Glossary of Theatrical
Terms
Magnus Theatre is committed to presenting top quality, passionate
theatre to enrich, inform, empower and educate people of all ages. It is
our goal that the performance not only be entertaining but also a
valuable educational experience.
This guide is intended to assist with preparing for the performance and
following up with your students. It provides comprehensive
background information on the play as well as suggested themes,
topics for discussion, curriculum-based activities and lesson plans which
will make the content and experience of attending Magnus Theatre
more relevant and rewarding for your students.
Using this guide, teachers can encourage students to conduct historical
research, utilize critical analysis, think creatively, and apply personal
reflection in relation to the play and its themes, which often crosses
over into other subjects or areas of the curriculum.
Please use this guide in whatever manner best suits you. All activities
and lesson plans may be modified to meet your classroom needs in
order to make it accessible and applicable for your students.
We hope that this study guide provides stimulating and challenging
ideas that will provide your students with a greater appreciation of the
performance and live theatre.
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If you would like further information about the production, Magnus
Theatre, the various programs we offer, or to share your thoughts and
suggestions, please contact:
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Danielle Chandler, Theatre in Education Animateur
Magnus Theatre
10 S. Algoma Street, Thunder Bay, ON P7B 3A7
Tel: (807) 345-8033 ext. 231 Fax: (807) 345-0291
Email: education@magnus.on.ca
Adapted by Richard Tulloch
School matinees: Dec. 2 & Dec. 9
By Tara Beagan
School Matinees: Jan. 27 & Feb. 6
By David Ives
School Matinees: Mar. 2& Mar. 9
By Norm Foster
School Matinees: Apr. 6 & Apr. 13
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PLEASE REVIEW THE FOLLOWING WITH YOUR CLASS PRIOR TO ATTENDING THE
PERFORMANCE. THANK YOU.
We want your students, and everyone who attends a Magnus Theatre performance, to thoroughly enjoy it. In a
live theatre environment, the performers and other audience members are affected by the students’ behaviour
(both positively and negatively). Our actors, technicians, and staff have worked hard to create an enjoyable
and entertaining experience for you and your students. Below are a few items that, if followed, will greatly
enhance the experience for all concerned.
WHEN SHOULD WE ARRIVE?
 We recommend that you arrive at the theatre at
least 30 minutes prior to the performance (doors
open approximately one hour before show time.)
 School matinees begin promptly at 12 noon – we
cannot hold the curtain for latecomers.
 Please be in your seat approximately 15 minutes
before the performance begins. Latecomers are
not guaranteed seating.
WHERE DO WE SIT?
 Magnus Theatre has assigned seating and therefore
it is important for teachers/chaperones to pick up
the tickets before arriving to the theatre, or to
arrive early to allow time for distribution of tickets.
 Students must sit in their assigned seats. We ask
that teachers/chaperones disperse themselves
among the students to provide sufficient
supervision.
 Ushers and/or Magnus Theatre staff will be happy
to assist you, if needed.
WHAT CAN WE BRING WITH US?
 Food and drink (including gum, candy and water)
are not permitted in the Margaret Westlake
Magnus Theatre Auditorium. We have a limited
number of concession items for sale in the lounge
before the show and during intermission. Please
note that beverages and food from outside the
theatre are not allowed.
 Please turn off – do not place on vibrate or silent –
all electronic devices before entering the theatre.
The lights as well as the sounds are very distracting.
 We do not have storage space for backpacks and
ask that these items are left at school or on the bus.
 Please refrain from applying perfume or aftershave
before coming to the theatre as a consideration for
those who may have sensitivities to scents.
WHAT DO WE DO DURING THE PERFORMANCE?
 We encourage students to let the performers
know that they appreciate their work with
applause and laughter, when appropriate.
 Please do not talk during the performance. It is
disruptive to the other patrons and the actors on
stage.
 Please do not text or use your phone during the
performance.
 Please do not leave your seat during the
performance. If it is absolutely necessary to leave
your seat, you will be seated in the back row upon
your return and may return to your original seat at
intermission. Younger students needing to leave
must be accompanied by an adult.
 We ask that students refrain from taking notes
during the performance as it can be distracting to
the actors and audience members. If note taking is
required, please do so before or after the show or
during intermission.
 Please do not put your feet on the seats.
 Please do not go on the stage at any point.
WHAT DO WE DO AFTER THE SHOW?
 Applaud! If you particularly enjoyed the
performance, it is customary to give a standing
ovation at the end as well.
 Please stay in your seat until the performance ends
and the auditorium lights come on.
 If your group is NOT attending the talk back
session, please collect your personal belongings
and promptly exit the auditorium.
 If your group IS attending the talk back session,
please remain in your seats. A member of the
Magnus Theatre staff will invite the actors back to
the stage to begin the talk back session. Students
should take advantage of this opportunity by
asking questions.
CAN WE TAKE PICTURES?
 Photography, audio or video recording are not
allowed during the performance. This is a copyright
infringement.
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 Magnus Theatre is a professional
theatre company, which
operates under the terms of the
Canadian Theatre Agreement,
engaging professional artists
who are members of the
Canadian Actor’s Equity
Association.
 Magnus Theatre was founded in
1971 by British director Burton
Lancaster in conjunction with a
citizens’ committee, and was
incorporated June 15, 1972.
 Mario Crudo, the current Artistic
Director, joined Magnus in 1992.
 In 1998, Magnus received the
Lieutenant Governor’s Award for
the Arts from Ontario Arts
Council Foundation.
 Magnus in the Park! opened in
September, 2001 after a
successful $5.5 million campaign.
 Magnus services reach over 40
000 adults, students and seniors
in Thunder Bay and Northern
Ontario each year.
 STUDENT TICKETS cost $20 and
are available for any show.
Simply come to the theatre on
the day of the show and present
valid student I.D.
 Theatre in Education is a
 SCHOOL MATINEES are held
community outreach program
Wednesdays at 12 noon during
initiated at Magnus in 1987.
show runs. Tickets are only $12
each, and include a study guide
 Throughout the year, Magnus
created by an Ontario certified
operate a THEATRE SCHOOL with
teacher and talk back session
classes for all ages in the fall,
with the actors.
winter and spring. Drama camps
run during March Break and the
 In 2008 Magnus Theatre, in
summer.
partnership with Lakehead
Social Planning Council, held a
 The THEATRE FOR YOUNG
new play creation project,
AUDIENCES SCHOOL TOUR
CLOSING THE DISTANCE. With
brings entertaining, socially
the guidance of professional
relevant productions to
theatre staff at Magnus Theatre,
elementary and secondary
a group of high school students
schools throughout Northern
from across the city created a
Ontario, to communities that
play about racism and building
may not have the opportunity to
social inclusion in our
experience live theatre
community. Students were
otherwise. Booking begins in the
involved in all aspects of the
fall for performances in the
creation of the play.
spring.
 Magnus offers WORKSHOPS for  In the past, Magnus Theatre
offered the YOUNG
students, teachers and
PLAYWRIGHT’S CHALLENGE to
community groups in Thunder
all students in Northwestern
Bay and across the region.
Ontario; three finalists
Workshops can be designed to
experienced a week of intensive
meet specific needs, or can be
workshops on their plays with
selected from various topics
Magnus Theatre professionals,
including introduction to drama,
culminating in a public reading.
improvisation, anti-bullying and
We are hoping to reinstate this
more.
program – please let us know if
you are interested.
Magnus Theatre can make learning dynamic,
interactive, enriching and –above all – fun!
Whether you are interested in bringing your
school to the theatre, or prefer having us
come to y0u, there are a variety of
educational and entertaining programs that
will benefit your students. For more
information, please contact:
Danielle Chandler, Theatre in Education
Animateur at (807) 345-8033 ext. 231 or
education@magnus.on.ca
Photo
Jean Paul
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Theatre in Education refers to theatre that is used as a tool for educational purposes, with the goal of changing
attitudes and/or behaviours of audience members.
Using the art form of drama as an educational pedagogy at any grade level, drama can reinforce the rest of the
school curriculum, and has been proven to improve overall academic performance.
It is a multisensory mode of learning, designed to:
o Increase awareness of self (mind, body, voice) and others (collaboration, empathy)
o Improve clarity and creativity in communication of verbal and nonverbal ideas
o Deepen understanding of human behaviours, motivation, diversity, culture and history
It incorporates elements of actor training to facilitate students’ physical, social, emotional and cognitive
development.
It also employs the elements of theatre (costumes, props, scenery, lighting, music, sound) to enrich the learning
experience, reenact stories and mount productions.
Theatre students are able to take responsibility for their own learning and skill development as they explore the
various aspects involved in theatre such as acting, directing, playwriting, producing, designing, building,
painting, leading etc.
It is a powerful tool for social change as emotional and psychological responses can be more intense as it is a live
event, giving audiences an opportunity to connect with performers.
Theatre can provide a believable, entertaining and interesting way to explore sensitive issues that are not
typically discussed in public, such as racism, suicide, bullying and substance abuse. It is particularly effective with
young audiences.
By engaging audiences and capturing their attention, theatre can influence positive behaviour and healthy
lifestyles, particularly if it is delivered with a message that audiences can understand. Hence, Theatre in
Education performances are typically accompanied by study guides, activities, support material and/or
workshops. The more interactive and participatory the event, the more successful it is.
The arts, including drama, cater to different styles of learning and have positive effects on at-risk youth and
students with learning disabilities.
Involvement in the arts increases students’ engagement, encourages consistent attendance, and decreases
drop-out rates in schools.
Drama allows students to experiment with personal choices and solutions to real problems in a safe
environment where actions and consequences can be examined, discussed and experienced without “real
world” dangers.
Drama makes learning fun and its engaging and interactive nature makes learning more memorable.
Drama increases language development as students express themselves by using a range of emotions and
vocabulary they may not normally use.
As students realize their potential, they gain confidence which extends to other areas of learning and their lives.
Did You Know…?
Theatre in Education emerged in the UK at the Belgrade Theatre in 1965. A group of actors, teachers and
social workers created a project which successfully merged theatre and education for the first time. A
group of children were presented with a scene featuring two actors, one of which was holding the other
captive. The children were given information on both characters and their situations and had the choice of
whether or not to free the captive character. From this project, Theatre in education spread across Britain
and the rest of the world.
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LILA CANO
as Auntie Pie
MARIO CRUDO
Director
MEGAN CARTY
as Eliza
BRUCE REPEI
Set Designer
LAWRENCE COTTON
as Mr. Klopper
ADAM PARBOOSINGH
Lighting Designer
DANNY JOHNSON
as Jesus
MERVI AGOMBAR
Costume Designer
JOSHUA STODART
as Thomas Klopper
STEFANI CELINE
Props Coordinator and Scenic Painter
JO-ANN WAYTOWICH
as Mrs. Van Amersfoort
GILLIAN JONES
Stage Manager
JENNY WEISZ
as Margot Klopper
RICHARD TULLOCH
Playwright
VIVIANA ZARRILLO
as Mrs. Klopper
GUUS KUIJER
Novelist
SYNOPSIS
Thomas Klopper, who is “nine…almost ten”, lives with his father, mother and sister in the Netherlands in 1951.
He is an imaginative boy who sees things no one else does: tropical fish in the Amsterdam canals, hailstorms in
summer and a chatty Lord Jesus who visits him regularly. He records events from his life in a journal – his ‘Book
of Everything’. His father, a Christian Fundamentalist, regularly beats him for his imaginative oddities but
cannot put a damper on Thomas’ compassion. It leads him to make friends with the old witch next door, who
turns out to be a survivor of the resistance against the Nazis, and to develop a crush on Eliza, a girl with a
prosthetic leg. The Book of Everything is an exemplary piece of children’s theatre that pits love and imagination
against ignorance, oppression and fear.
Photo credit: http://gt1588.com/the-future-is-now/kids-drawings1/
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Guus Kuijer, born
1942, grew up in a
strictly religious
home in
Amsterdam. He did
not enjoy school but
nevertheless
decided to train as a
primary teacher. He
taught for six years
until 1973, when he
published his first
novel and became a
full-time writer. Two
years later, he made
his debut as a
children’s author
with Met de poppen
gooien (1975, Daisy’s
New Head). Kuijer
has published over 30 books for children and young adults, mostly for readers in their early teens. Several of his
works have been adapted for film or stage.
Early in his career, Guus Kuijer became active in the public debate. In the early 1980s he published a collection
of essays dealing with how children are perceived by society, Het geminachte kind (1980, The Despised Child).
In recent years, some of his writings have covered issues relating to intolerance and fundamentalism – hot
topics in today’s Netherlands.
Respect for the child as an individual permeates Kuijer’s entire literary production. He addresses children with
the same degree of seriousness and openness as if they were adults, and does not avoid difficult subjects. The
consistent message of his books is one of tolerance, understanding and broad-mindedness.
His commitment extends to social and religious issues alike. Kuijer strongly repudiates religious dogmatism but
leaves the door open to private experiences of a transcendental, existential nature. The characters he creates
sometimes enter imaginary worlds of equal importance to the real world. He combines openness and sharp
intellect with great understanding of the importance of the imagination.
In his debut work, Met de poppen gooien, we catch glimpses of what would later become typical features of
Kuijer’s writing: a strong female protagonist who speaks her mind, and a keen eye for social issues. The book
was the first in a series of five about nine-year-old Madelief, published between 1975 and 1979. The fourth title,
Krassen in het tafelblad (1978, Scratches on the Tabletop), in which Madelief tries to find out why nobody liked
her late grandmother, attracted particular attention. The picture that emerges is one of a woman who was
never able to fit in with convention and the traditional role of wife and mother. The Madelief series enjoyed
great success.
Kuijer’s next work, the satirical Hoe Mieke Mom haar maffe moeder vindt (1978, How Mieke Mom Finds Her
Wacky Mother), provoked a certain amount of discussion. Mieke Mom is a completely different kind of
children’s book – one that many people found provocative, not only because of its absurd style, but especially
because of its ruthless criticism of the way the adult world relates to children.
Guus Kuijer’s major breakthrough came with the five books about the girl Polleke, published between 1999 and
2001. In the first book, Voor altijd samen, amen (1999, Together Forever, Amen), the 11-year-old Polleke herself
is the narrator. Here Kuijer widens the social perspective to take in some of the challenges of modern society:
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ethnic tensions, drug abuse and new family structures. All this and more is part of Polleke’s world. Without
ever moralizing, Kuijer lets Polleke observe the world through clear eyes, enabling the reader to do likewise.
Like so many of Guus Kuijer’s other works, the Polleke series is aimed at readers on the cusp of their teenage
years. The protagonists are confronted both with current social issues and with life’s big questions. In Kuijer’s
works, children are individuals with their own opinions and thoughts that deserve to be taken seriously.
Kuijer’s two most recent children’s books, Het boek van alle dingen (2004, The Book of Everything) and Florian
Knol (2006), are more fanciful in character. The former is set in 1951 and tells the story of nine-year-old Thomas,
born the same year as Kuijer. Thomas has a strictly religious father, who abuses both his wife and his son.
Abhorrence of tyranny and religious dogmatism permeates the book, but there is also room for humour and
warmth. Even in this story of autocratic power, the underlying perspective is optimistic. Thomas’ only wish is to
be happy when he grows up, and he discovers that the route to happiness is to stop being afraid.
Het boek van alle dingen is, like the Polleke series, firmly rooted in the era in which it is set, but in this case there
is also a transformation of reality that allows for surreal imagery and visionary flights of fancy. While Thomas
moves seamlessly between reality and fantasy, his father has lost all notion of what it is like to be a child and
the difference between right and wrong. Het boek van alle dingen is about what happens when one loses
oneself and one’s capacity for independent thought. As is typical in Kuijer’s works, the dialogue carries the
story and contributes to the subtle and sensitive characterization.
The mixture of reality and fantasy recurs in Florian Knol. Florian is a philosophical young man of about 10 who
discovers that what is normal for one person may seem strange to another. A sparrow takes up residence one
day in Florian’s red hair, but it soon turns out that the sparrow actually lives in the hair of an old lady, also a
redhead. The old lady has dementia, as Florian and his classmate Katja soon realize. But how can they help her?
And is it really any stranger to refer to keys as forks than to drink beer for breakfast like Katja’s father? Florian
realizes that there are some problems that adults have to fix for themselves, but that friendship across the
generational divide is both possible and rewarding.
The uncompromising perspective of the child is a consistent feature in Guus Kuijer’s works, but at the same
time, through his young protagonists, he paints a perceptive picture of the adult world. With humanity and
warmth he portrays a complex world in unpretentious yet subtle language.
Source: http://www.alma.se/en/award-winners/guus_kuijer/More-about-Guus-Kuijer/
Photo credit: http://gt1588.com/the-future-is-now/kids-drawings1/
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Richard Tulloch is one of Australia's leading
writers of books, plays and television for
young audiences. He has been the principal
writer of the phenomenally successful TV
series Bananas in Pyjamas, now screened
around the world. Other screen writing
includes the TV series Magic Mountain and
the animated series PETALS, of which he was
also the script editor.
He wrote the screenplay for the animated
feature film, FernGully II: The Magical Rescue,
and was nominated by ASIFA Hollywood for
an ANNIE award in the Best Film and Best
Script categories. He recently wrote for
Beyond’s children series Hoopla Doopla and
is currently adapting Randolph Stow’s
Midnite for film.
He has written over thirty plays which have
been performed by professional companies
throughout Australia and around the world.
He has been nominated for Australian
Writers' Guild awards seven times and has
four times won the award for the best play
for children - with Hating Alison Ashley, Talking to Grandma While the World Goes By, Body And Soul
and in 2006 with Stella and the Moon Man for Kim Carpenter’s Theatre of Image. His puppet theatre
piece Twinkle, Twinkle Little Fish was part of the 2003 Sydney Festival before opening on Broadway,
New York.
Richard has adapted Guus Kuijer’s The Book of Everything for the stage, which premiered to rave
reviews at Belvoir Street Theatre in 2010, directed by Neil Armfield. The play won the Sydney Theatre
Award for Best Production for Children, was nominated for a Sydney Theatre Award for Best New
Australian Work, nominated for 2010 AWGIE and 2010 Helpmann Award for Best Play as well as
nominated for a Green Room Award. The Book of Everything and was later transferred to the New
Victory Theatre in New York to rave reviews. Richard has published over thirty-five children's books
in Australia and overseas, many of which have been chosen by the Children's Book Council of
Australia for their prestigious Notable Books list. He has directed plays for young people all over
Australia and in the USA, UK, Canada, New Zealand, Thailand, France and the Netherlands.
Source: http://playsforyoungaudiences.org/playwrights/richard-tulloch
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AMSTERDAM
The capital city of the Netherlands.
BOOK OF EXODUS
The Book of Exodus or, simply, Exodus, is the second book of the Torah and the Hebrew
Bible (the Old Testament).
HOLLAND
Holland is a region and former province on the western coast of the Netherlands. The
name Holland is also frequently used to informally refer to the whole of the country of
the Netherlands. This usage is commonly accepted in other countries, but in the
Netherlands and particularly in other regions of the country it could be found undesirable
or even insulting.
HOO-ROO
A distinctively Australian way of saying “goodbye”.
JACKDAW
The western jackdaw (Corvus monedula), also known as the Eurasian jackdaw, European
jackdaw, or simply jackdaw, is a passerine bird in the crow family.
OGDEN NASH
Frederic Ogden Nash (August 19, 1902 – May 19, 1971) was an American poet well known
for his light verse. At the time of his death in 1971, The New York Times said his "droll verse
with its unconventional rhymes made him the country's best-known producer of
humorous poetry".
PHARAOH
The pharaoh was the political and religious leader of the Egyptian people.
PLAGUES OF EGYPT
The Plagues of Egypt, also called the ten plagues or the biblical plagues, were ten
calamities that, according to the biblical Book of Exodus, the God of Israel inflicted upon
Egypt to persuade the Pharaoh to release the ill-treated Israelites from slavery. Pharaoh
capitulated after the tenth plague, triggering the Exodus of the Hebrew people.
TICKETY-BOO
Slang that means ‘in good order’ or ‘fine’.
ZANDVOORT BEACH
Zandvoort is one of the major beach resorts of the Netherlands; it has a long sandy
beach, bordered by coastal dunes.
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BIRTHS
Comic actress Kirstie Alley was
born January 12th.
POP CULTURE
The term Rock N Roll is coined
by Cleveland Disc Jockey Alan
Freed.
British musician Phil Collins was
born on January 30th.
The Dennis the Menace comic
strip appears in newspapers
across the U.S. for the first
time.
British actress Jane Seymour
was born February 15th.
Colour television was
introduced in the U.S.
American actor and comedian
Robin Williams was born on July
21st.
J. D. Salinger’s The Catcher in
the Rye was released.
British musician Sting was born
on October 2nd.
The Toronto Maple Leafs
won the Stanley Cup.
AROUND THE WORLD
WHAT THINGS COST (U.S. dollars)
The first jet passenger trip is
made.
Average cost of a new house:
$9000
600,000 people march for peace
and freedom in Germany.
Average cost of a new car:
$1500
The first colour telecast of a
sporting event, a horse race,
airs.
Average annual salary:
$3510
Professor Youngblood
demonstrates the artificial heart
in Paris.
Average cost of a gallon of gas:
19 cents
Winston Churchill is re-elected
British Prime Minister at the age
of 86.
Average cost of a loaf of bread:
16 cents
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In the final months of the Second World War,
Canadian forces were given the important and
deadly task of liberating the Netherlands from Nazi
occupation. From September 1944 to April 1945,
the First Canadian Army fought German forces on
the Scheldt estuary — opening the port of
Antwerp for Allied use — and then cleared
northern and western Netherlands of Germans,
allowing food and other relief to reach millions of
desperate people. Today, Canada is fondly
remembered by the Dutch for ending their
oppression under the Nazis.
Antwerp
British and American troops first entered the southern Netherlands in early September, 1944, three months
after the D-Day landings in Normandy. In mid-September, the Allies launched Operation Market Garden, a
massive airborne assault on the Dutch town of Arnhem, hoping this would allow them a quick route into
Germany, via a crossing of the Rhine River at Arnhem. The Arnhem attack failed, slowing the Allied advance
and keeping most of the Netherlands under German control.
As the Allies sought another way into Germany, they needed a large harbour through which to ship supplies to
their advancing armies. The Belgian city of Antwerp, one of Europe's biggest ports, had already been liberated,
but the 70-kilometre long estuary of the Scheldt River, which connected Antwerp to the sea, was still held by
the Germans. The task of clearing the estuary of enemy forces was assigned to the First Canadian Army.
Battle of the Scheldt
The First Canadian Army was Canada's principal fighting arm in northwest Europe during the war. A powerful
strike force under the command of Canadian General Harry Crerar, it included the 2nd Canadian Corps, as well
as large contingents of British, Polish, American and Dutch infantry and armoured troops. Since the Battle of
Normandy in the summer of 1944, the Army had formed the left flank of the Allied advance towards Germany
— with the First Canadians liberating ports and cities along the Channel Coast of France and Belgium.
Upon reaching the Netherlands, the First Canadian Army was ordered to clear the banks of the wide, multichannelled Scheldt River between the North Sea the port of Antwerp. It was a treacherous landscape for
attacking troops to operate in — flat, soggy, sometimes-flooded land, situated below sea level and enclosed by
a series of dykes.
Under the leadership of Canadian Lieutenant-General Guy Simonds (who had temporarily replaced Crerar),
Canadian and British soldiers fought a series of fierce battles through October and early November, including
amphibious assaults from small boats against German defences along the estuary. Aside from the use of boats,
the movement of men, tanks and other equipment was often restricted to narrow roadways along the top of
dykes, under frequent German fire.
The First Canadian Army lost nearly 13,000 men killed, wounded or missing during the Scheldt fighting,
including more than 6,300 Canadians. However, by 8 November the estuary and its large islands had been
secured. The river was then cleared of mines, and on 28 November the first convoy of Allied cargo ships
entered the port of Antwerp.
Battle of the Rhineland
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The First Canadian Army spent the winter patrolling its portion of the front line in the Netherlands and France
— skirmishing occasionally with the enemy — while American forces in Belgium fought back against Germany's
surprise attack in the Ardennes Forest. In February 1945, the Allied advance in northwest Europe resumed, with
a huge offensive to drive the enemy across the Rhine River. It fell to the First Canadian Army to clear the area
between the Maas and Rhine Rivers, pushing German forces eastward over the Rhine.
In March the First Canadian Army was reinforced by various Allied units,
including the 1st Canadian Corps, and transferred north from the
battlegrounds of Italy. For the first time in history, two Canadian army corps
were fighting together. And with an international strength now of more than
450,000 men, the First Canadians became the largest army ever commanded
by a Canadian officer.
Food and Relief
In late March, as other Allied armies crossed the Rhine into Germany, the First
Canadian Army began rooting out German forces in the remainder of the
Netherlands. The Canadians faced stiff fighting in places, and were also
hampered by the broken roads, bridges and other infrastructure destroyed by
the fleeing Germans, who blew up some of the dykes in the western
Netherlands, flooding parts of the countryside.
The Canadians were greeted as heroes as they liberated small towns and major cities, including Amsterdam,
Rotterdam and The Hague. Millions of Dutch had suffered terribly during the harsh "hunger winter" of 1945,
and Canadian troops facilitated the arrival of food, fuel and other aid supplies to a population in the midst of
starvation.
General Charles Foulkes, commander of the 1st Canadian
Corps, accepted the surrender of German forces in the
Netherlands on 5 May. Two days later, Germany formally
surrendered and the war in Europe came to an end.
Remembrance
More than 7,600 Canadian soldiers, sailors and airmen
died fighting in the Netherlands. They are buried today in
official war cemeteries across the country. The largest,
Groesbeek Canadian War Cemetery near the city of
Nijmegen, holds the graves of more than 2,300 Canadians.
Canadians are fondly remembered by the Dutch as both liberators and saviors who rescued millions from
sickness and starvation in 1945. The joyous "Canadian summer" that followed forged deep and long-lasting
bonds of friendship between the two countries.
Every year since the war, the Netherlands has sent thousands of tulips to Ottawa, in appreciation for Canada's
sacrifice and for providing safe harbour to the Dutch royal family, which lived in exile in Canada during the war.
The Canadian-Dutch bond is also celebrated every summer during the Nijmegen Marches — an annual,
international military marching competition — at which the Netherlands' liberation by Canadian soldiers is
warmly and gratefully remembered.
Source: http://www.thecanadianencyclopedia.ca/en/article/liberation-of-holland/
Additional Photo sources: http://www.cnfa.ca/
http://www3.nfb.ca/ww2/many-voices-many-stories/personal-stories.htm?subtype=archives&view=725453
14

1946 – 1964 marked the “baby boom”, when there was a marked
increase in the birth rate across countries that had been affected
by World War II.

During the Second World War, women started to work outside the
home as many men were off to war. As a result of this, more women
began to wear pants and some cut their hair short for convenience.

People had access to more money than they did in war times and car
sales grew. Cars became common place and were no longer only for the
wealthy.

Technology became accessible to the average
person, and many households were able to
own telephones and televisions.

Frozen TV dinners were introduced, resulting in
fewer traditional family dinners around the table for some families.

More women began to seek higher education. Popular fields of
study for men included Engineering and Agricultural Sciences, while
women studied Teaching, Nursing, Secretarial Skills and Home
Economics.

24% of married women in the United States held a job outside the
home in 1950, and this figure rose to 36% by 1959.

Air travel technology improved and became more
available, allowing people to travel by air for recreation.

Music of the decade both reflected the cultural changes that were
happening and held on to the societal norms of the past. Popular artists
were Elvis Presley, Chuck Berry, Little Richard, Buddy Holly, Ella Fitzgerald,
Johnny Cash, Patsy Cline and Frank Sinatra.
Sources: http://vintagedancer.com/1950s/womens-1950s-pants-history/
http://www.history.com/topics/baby-boomers
http://www.thepeoplehistory.com/1950s.html
http://nostalgiacafe.proboards.com/thread/263/1950s-everyday-life
15
What does reading do for us?
• Reading has an impact on every part of Canadian life.
Our democracy, our economy, and the quality of our
daily lives are all enhanced by reading well and
critically.
• Reading is essential to the well-being of society and
to our functioning as a democracy.
• Reading is a lifelong source of pleasure for
individuals.
• Reading empowers the critical thinking skills of every
individual.
• Reading can enhance empathy and lead to greater
understanding of people who are different from
ourselves. It increases our emotional intelligence and
helps us to appreciate other points of view.
• Reading is essential to being able to function. It
reduces barriers to access. It helps people to make
meaning of their world.
• Reading lays the foundation for future learning. It
increases our self-worth. It gives us the capacity for
critical thinking.
• Reading inspires. It is a trigger for the imagination.
• Reading increases individuals’ health and economic
well-being.
• Reading preserves the culture for the next generation. It creates a shared connection to the community.
• It is important for society to have a large portion of the population engaged as readers so they can exercise
power over their lives and understand how to make effective changes. It allows them to be active citizens.
Really? Reading does all that? Prove it!
Reading Cultivates Civic Participation
• the percentage of book readers volunteering for a non-profit organization (42%) is much higher than the
percentage of non-readers (25%)
• the percentage of book readers donating money or goods to a non-profit organization (82%) is much higher
than the percentage of non-readers (66%).
• 71% of book readers (compared with 65% of non-readers) indicated that they had done a favour for a
neighbour in the past month.
• 49% of book readers have a very strong sense of belonging to Canada, compared with 42% of non-readers."
Reading increases Empathy
"Reading fiction predicts empathic accuracy."
Reading Enhances Relationships
"Engaging in the simulative experiences of fiction literature can facilitate the understanding of others who are
different from ourselves and can augment our capacity for empathy and social inference."
"A person with improved literacy ... is ...
... more likely to own their own home
... less likely to experience divorce."
Reading Deepens our Understanding of Ourselves
"In their pleasure reading, teens gain significant insights into mature relationships, personal values, cultural
identity, physical safety and security, aesthetic preferences, and understanding of the physical world."
Reading & Health & Well-being
16
"Reading books is associated with better health, volunteering, and strong satisfaction with life."
"Compared with those who did not read a book in 2010, book readers:
• Are more likely to report that they have very good or excellent health (54% vs. 44%).
• Are more likely to report that they have very good or excellent mental health (63% vs. 56%).
• Are much more likely to volunteer (42% vs. 26%).
• Are less likely to feel trapped in a daily routine (33% vs. 39%).
• Are somewhat more likely to report very strong satisfaction with life (61% vs. 57%)."
"Bibliotherapy can improve communication, attitude and reduce aggression for children with social
disabilities."
"Reading books to your kids can help them deal with social struggles."
Reading Reduces Stress
"Reading was proved:
• 68% better at reducing stress levels than listening to music;
• 100% more effective than drinking a cup of tea;
• 300% better than going for a walk and
• 700% more than playing video games.
• Reading for as little as 6 minutes is sufficient to reduce stress levels by 60%, slowing heartbeat, easing muscle
tension and altering the state of mind."
Reading provides Cognitive Benefits
“Reading has cognitive consequences that extend beyond its immediate task of lifting meaning from a
particular passage..... vocabulary, verbal intelligence, general and declarative knowledge ..."
Reading is a Key to Future Success
"Improving students’ reading ... has a strong impact on their opportunities in later life... Levels of interest in
and attitudes toward reading, the amount of time students spend on reading in their free time and the
diversity of materials they read are closely associated with performance in reading literacy. Furthermore ... 15year-olds whose parents have the lowest occupational status but who are highly engaged in reading
obtain higher average reading scores in PISA than students whose parents have high or medium occupational
status but who report to be poorly engaged in reading. This suggests that finding ways to engage students in
reading may be one of the most effective ways to leverage social change."
Readers have Higher Incomes
"Individuals demonstrating higher levels of literacy were more likely to be employed, work more weeks in a
year, and earn higher wages than individuals demonstrating lower proficiencies."
READING IN CANADA: Where we are now
"The percentage of Ontario students in grade 3 who report they “like to read” dropped from 76% in 1998/99 to
50% in 2010/11. The number of students in grade 6 who “like to read” fell from 65% to 50% in the same time
period."
"Just over half of the Canadian households surveyed spent no money on books."
"Those [Canadians] who responded that they had read a Canadian book have decreased from 41% in 2002 to
24% in 2012."
"A snapshot of ... library use in Canada for the last available reporting year of 2010 reveals the following patters
of usage:
• 360 million visits were made in person to libraries across Canada;
• 590 million publications were borrowed;
• 61% of all Canadians have a public library membership."
"Libraries in Canada run on 28 cents per day per Canadian, or $104 per year per Canadian."
17
"The sad fact is that almost one in two Canadian adults falls short of the desired proficiency level in English or
French."
“Slightly more than 60% of Aboriginal Canadians do not have the literacy skills necessary to participate fully in
the current knowledge-based economy. The threshold, Level 3, is equivalent to high school completion. In
other words, 60% of the Aboriginal population are unable to understand and use the information around them
to create a better life for themselves and their families. Discouragingly, this share is ten percentage points
higher than registered by Canadian adults.”
"Students who say they like to read score 54 points higher [on PIRLS standardized reading tests] than students
who do not like reading.”
"Children of parents who say they like to read, scored 36 points higher [on PIRLS standardized reading tests]
than those whose parents do not "
What works?
"Our findings showed that third-grade students who participated in summer reading programs scored higher
on reading tests at the beginning of fourth grade and didn’t experience summer learning loss. They also scored
higher on the post-tests than students who did not participate.... Students who participated in summer reading
programs entered the following school year with a positive attitude about reading, were more confident in the
classroom, read beyond what was required, and perceived reading as important."
"Canadians love their Public Libraries. Ontario public libraries have more cardholders than VISA, handle more
items than FedEx, and have more outlets than McDonald’s. Each year, 72.3 million visits are made in person to
Ontario public libraries, which is 3 times the annual attendance at all North American NHL hockey games."
"Only 37% of Ontario’s First Nation communities have public libraries, which are open 29 hours per week on
average, and are staffed by a single (typically part-time) librarian in 97% of cases."
"School libraries are a doorway for children and youth to learn about the world. By design, they are sites for
students to explore and develop their own interests, and to foster a love of reading, along with their inquiry
and research skills... In Ontario, there appears to be declining support for the role of school libraries. This year,
only 56% of elementary schools have a teacher-librarian (eighty percent of them part-time), a number that has
fallen steadily from 80% in 1997/98. In high schools, where students do more independent work, the number is
higher—66%—but is down from 78% ten years ago. Students in smaller communities and in smaller schools are
much less likely to attend schools that have teacher-librarians. Only 19% of elementary schools in Eastern
Ontario and10% of elementary schools in Northern Ontario have teacher-librarians."
"A home environment that is supportive of reading is one of the factors that numerous studies identify as
being important for the development of leisure reading. Furthermore, many of the patterns of reading
established in childhood very commonly persist across the lifespan."
"The research shows that choice, control, and the implementation of reading as a social activity are key to
building a nation of those who love to read versus a nation of those who can read." (p 46)
"Even though reading is typically thought of as a solitary activity, reading and being a member of a group that
reads a particular author or collection of books has direct social benefits through social interaction." (p. 17)
"Teens in particular identify the importance of working in groups as a key component of fostering reading."
(p. 19)
Source: http://www.nationalreadingcampaign.ca/wp-content/uploads/2013/09/ReadingFacts1.pdf
18
An Ohio woman’s over the moon after seeing what she describes as Jesus’ face in her pistachio nut.
Meanwhile, elsewhere in Ohio, a man claims Jesus and his mother Mary both revealed themselves in a piece of
candy. Why do people keep seeing Jesus in their food, and what would he want us to do about it?
Jesus and his famous family have a habit of
“materializing” in human food. From Christ’s 1977 cameo
in a tortilla to Mary’s miraculous 2005 appearance in a
pizza pan, there’s a long litany of modern instances in
which the holy brood “revealed” themselves in our
edibles. To the devout, these cases are nothing less than
divine intervention. To others they’re nothing more than
optical illusions.
Scientists refer to this phenomenon as pareidolia, in
which banal images are given great significance. Whether
it’s transforming a cloud into a lamb, or a piece of dry
bread into Jesus, pareidolia’s considered nothing more
than a mental projection.
When cloaked in the sacred, pareidolia can be called
“simulacra,” or similarity, in which the viewer exports
spiritual meaning onto something that, from a more
secular person’s perspective, could be seen as something else entirely. The aforementioned Ohio woman’s coworkers, for example, didn’t see Jesus. One thinks the “Jesus face” resembles George Washington, while
another likened it to Freddy Krueger.
In all cases, however, people saw a face, because, as scientists contend, we humans are programmed to
organize patterns into an image, most often a face. The abundance of religion in our various societies,
meanwhile, often translates those “faces” into sacred celebrities. And of course Christians aren’t the only
devout people who project prophets onto their edibles: Allah has also been seen in fish, bread and animals’ fur.
University of North Carolina Professor Gregory Price Grieve explains that this habit arose from an
overabundance of religious imagery in our various cultures: “What you see is not always what you get. Instead,
what we see depends on mediation,” he wrote in a paper called “One and Three Bhairavas: The Hypocrisy of
Iconographic Mediation.”
“Because our descriptions of religious images are culturally located, our ‘naïve’ descriptions are neither
innocent nor objective. Rather, all social objects are mediated by intervening socially grounded, culturally
generated, and historically particular mechanisms.”
The harsh light of science explains away holy sightings like those seen in Ohio, yes, but let’s assume for a
moment that Jesus and Mary have indeed presented themselves on
toast, tortilla and other perishables. What then? What would Jesus
want people to do?
James Burrows, the man who found Jesus in his sweets, says he’ll
first try to sell the sacred sweet, and if that fails, he’ll donate it to a
church. Capitalism above salvation, he thinks. Either way, that
confection won’t be ingested. It’s been elevated to the ranks of
culinary saint.
19
Rarely
do
people
consum
e their
“holy
snacks.”
If you’re
devout
enough
to see
Jesus in
everythi
ng,
you’re
surely
not
going to
eat him
when he
shows
his face.
But is
that the
right method? Surely Jesus, Mary and the rest wouldn’t want one to waste food, particularly when there are so
many poor, a population Jesus championed, who would benefit from the miraculous morsel.
And then there’s the Catholic Church’s “body of Christ” imagery. While other Christian denominations define
the term more loosely, such as the Protestant belief that “body of Christ” refers to the congregation, the
Catholic Church uses their Eucharist sacrament to claim that the body of Christ encompasses not only the
Church as an institution, but also their messiah.
The communion wafer, then, represents his holiness, and must be ingested. In taking the wafer, you are
absorbing Christ’s wonder and power. “Transubstantiation” turn the physical bread into spiritual fulfillment
and wisdom. If that idea’s to be believed, then, Christ’s scrumptious likenesses should be consumed. Perhaps
with a bit of wine?
There’s likely to be no end to reports of “Jesus’ face found in X,” and as oddball as they seem to some, to
others they’re reminders of religion’s miraculous nature. Regardless of where you stand, these stories, rumors
and legends point to a larger cultural debate: whether science and pareidolia have the answers, or whether
there are less comprehensible forces at work.
The ongoing debate over “reason versus religion” remains so universal, not even our refrigerators are off
limits.
Source: http://www.deathandtaxesmag.com/41878/why-does-jesus-appear-in-food-religion-and-science-face-off/
Photo source: http://www.buzzfeed.com/arielknutson/people-who-found-jesus-in-their-food#.gk5OBZaJz
20
As many as ten million children and adolescents witness violence between their caregivers each year. This kind of
violence is called domestic violence or intimate partner violence. The US Department of Justice defines domestic
violence as "a pattern of abusive behavior in any relationship that is used by one partner to gain or maintain power
and control over another intimate partner." Domestic violence can be verbal, physical, sexual, or psychological.
Domestic violence can occur between heterosexual or same sex couples.
Parents or caregivers involved in a violent relationship may think that the fighting does not affect their children. Even
children who do not see domestic violence are affected by the conflict in the family. Children may develop serious
emotional and behavioral problems. These problems are not always recognized by their parents or caregivers. As a
result, children do not always get the help they need.
When there is domestic violence between partners, there is often child abuse as well. Sometimes children get hurt
accidentally. Children need to be assessed for their health and safety when domestic violence occurs.
Symptoms to watch out for in young children include:










Anxiety or increased fear
Depression
Loss of interest in school, friends or other things they enjoyed in the past
Sleep problems including nightmares or bedwetting
Increased aggression
Anger
Spending more time alone
Fighting at home or at school
Bullying or being bullied
Changes in appetite
Symptoms to watch out for in adolescents include:








Drug or alcohol abuse
Skipping school
Changes in peer groups
New rebellious or oppositional behavior
Declining grades
Social withdrawal
Depression or anxiety
Loss of interest in school, friends or other things they enjoyed in the past
Children and adolescents exposed to domestic violence should be evaluated by a trained mental health professional.
There are good treatments for the emotional and behavioral problems caused by domestic violence. Treatment can
include individual, group or family therapy, and in some cases, medication may also be helpful. It is critical for the
child/children and victimized parent to receive treatment in a setting where they feel safe.
It is important to remember that the non-abusive parent needs support as well. There is no typical victim; domestic
violence can happen to anyone. Shame or embarrassment often gets in the way of victims getting help.
If domestic violence happens once, it usually happens again. It is important to put a crisis plan in place, both for the
caregiver and the child. A crisis plan should include a safe place to stay, friends or relatives who can help with
childcare, transportation and financial support.
Source: http://www.aacap.org/AACAP/Families_and_Youth/Facts_for_Families/FFF-Guide/Helping-Children-Exposed-to-Domestic-Violence109.aspx
21
The following lesson plans and activities are intended to be used as preparation for and/or follow-up of the
performance. It is our hope that the materials will provide students with a better understanding and
appreciation of the production. Teachers may use and adapt the lesson plans as required to suit their
classroom needs. Please note that many lesson plans are cross-disciplinary and are based on the Ontario
Curriculum.
This Study Guide fulfills the Ontario Ministry of Education’s Curriculum Expectations in the following
categories:
The Arts Curriculum:
A. Creating and Presenting or Creating and Performing or Creating, Presenting and Performing
B. Reflecting, Responding and Analyzing
C. Foundations
D. Exploring Forms and Cultural Contexts
The English Curriculum:
A. Oral Communication
B. Writing
C. Media Studies
D. Reading and Literature Studies
The Social Sciences and Humanities Curriculum:
A. Foundations
B. Research and Inquiry Skills
C. Healthy Relationships
D. Gender Issues and Gender-Related Policy in Context
E. Understanding Social
Construction
F. Personal Growth and
Development
The Canadian and World Studies
Curriculum:
A. Geography
o Changing Populations
o Spatial Organization:
Regional Similarities
and Differences
B. History
o Canada: 1945 – 1982
o Historical Inquiry and
Skill Development
o The World Since 1900
C. Civics
o Civic Engagement and
Action
22
It is important for all students (especially those in younger grades) to know what to expect when
they arrive at the theatre. Preparing students for a live performance through discussions and
activities enhances their overall experience and creates a more focused audience. Encouraging
students to pay attention to certain aspects of the production and/or posing one or two specific
questions to the class further enhances their experience as they are actively listening and watching.
As well, pre-show discussion provides teachers with an understanding of their students’ prior
knowledge on the themes/subjects, thus allowing lesson plans to be tailored accordingly.
ATTENDING THE THEATRE
1.
2.
3.
4.
5.
6.
Please review the Theatre Etiquette guidelines with your class (page 4).
How is live theatre different than a movie? How is the role of the audience different?
Why attend live theatre? What is the value of attending?
Discuss the elements that go into producing a live performance: casting, directing,
rehearsals, designing (lights, sets, props, costumes), etc. Ask students to guess how many
different administrative, managerial, technical, backstage, on-stage, and volunteer positions
are required to put on a production (keep in mind the size of the theatre and the scale of
the show). What do they think these various positions entail? In small groups, compare your
definitions and discuss how each position contributes to the success of the production.
After attending the performance, compare their guesses to what they observed while at the
theatre and/or from the information provided in the show program.
Ask students to pay attention to the following during the performance:
a. Staging/blocking: how the actors move on stage, where they move to and from,
etc.
b. Costumes: colours, styles, what they say about the characters, costume changes,
how they work with the set, the props and the lighting, etc.
c. Lighting: lighting cues, colours, spotlights, special effects, etc.
d. Music/sound effects: songs, background music, sound cues, etc.
If your group is attending the Talk-Back session after the performance, brainstorm possible
topics as a class and ask each student to prepare one question to ask.
INTRODUCTION TO THE PLAY
1.
2.
3.
4.
5.
Read the play’s synopsis on page 7 to students. Based on what they already know about the
show, what do they think the play will be about? What do they expect the theme(s) and/or
message(s) to be?
Do your students keep a journal? What sort of things do they write in it? If they don’t keep a
journal now, have they ever kept one before?
What do your students know about the Netherlands?
What do your students know about World War II? Can they speculate on what life after it
might have been like in Europe, specifically the Netherlands? (You may choose to reference
Anne Frank, a resident of Amsterdam, in this discussion).
THE BOOK OF EVERYTHING contains scenes showing domestic violence. Remembering that
this is a play written for young audiences, how do your students think domestic violence
might be portrayed?
DURING THE SHOW AND INTERMISSION
1. Have students examine the artwork located in the lounge. How does this artwork reflect the
production? Does it help establish the tone for the show? If so, how? If not, why not?
2. Read the program. Ask students what, if anything, they would change if they were the
designer. What would they add?
3. Throughout your visit to the theatre, encourage students to take note of the various people
working. Who is responsible for different tasks? How do they work together to produce a
show?
23
While watching a live performance, audiences are engaged physically, emotionally, and intellectually.
After the performance, discussions and activities allow students to ask questions, express their
emotions and reactions, and further explore the experience. The questions and activities below are
listed by topic and can be utilized in many different courses. Please review the entire list and adapt
questions and activities to fit your classroom needs.
STUDENT’S REACTIONS
1.
2.
3.
4.
5.
6.
What was your overall reaction to the performance? Explain.
What did you like best about the play? What did you dislike?
Are you satisfied with the way the story was told? Explain.
What, if anything, would you have done differently if you were the director of the play? An
actor? The set designer? The costume designer? The lighting designer? The playwright?
Would you recommend this show to your friends and/or family? Why or why not?
What can you learn from these characters? Did watching the play offer any insight into your
own life?
ACTORS & CHARACTERS
1.
2.
3.
4.
5.
6.
Make a list of the details of the main characters in the play. How did you learn this
information – from dialogue, interaction with other characters, costumes, etc.?
Did the characters change or grow during the play? Identify specific moments of change.
How does their age, status, gender, religion, ethnicity, etc. affect each character?
How did the actors use their voices and bodies to portray the characters? Were the actors
successful or unsuccessful at doing so? Justify your answer using specific examples from the
production.
Create a physical description of one of the characters from the play including weight,
height, body type, hair colour, etc. Share and compare descriptions with those of their
classmates.
Do you think the characters were well cast? Justify your answer.
DESIGN – Costumes, Lighting and Setting
1.
2.
3.
4.
Describe the use of colour, staging, lighting, costumes and/or other elements used within
the production and how it worked (or failed to work) with the play content.
Did each character’s costumes seem appropriate for his/her character (personality, social
status, age, occupation, etc.)? Why or why not?
A realistic setting tries to recreate a specific location. It generally consists of a painted
backdrop, flats and furniture or freestanding set pieces. An abstract set, on the other hand,
does not depict any specific time or place. Rather, it typically consists of platforms, steps,
drapes, panels, ramps and/or other nonspecific elements and is used in productions where
location changes frequently and/or quickly. Is this set realistic or abstract? How was the set
used during the show?
Create a sketch or series of sketches depicting an alternate set or costumes for one, or all,
of the actors.
DRAMATIC ARTS
1.
2.
3.
Blocking is a theatre term which refers to the precise movement and positioning of actors
on a stage in order to facilitate the performance. In contemporary theatre, the director
usually determines blocking during rehearsal, telling actors where they should move for the
proper dramatic effect and to ensure sight lines for the audience. Describe the blocking
used in the production. Were there any moments when you felt that such movement was
particularly effective or ineffective? Describe them.
Who would you cast in each role of THE BOOK OF EVERYTHING, the film?
A tableau is a theatrical technique that requires participants to freeze their bodies in poses
that capture a moment in time. Divide into groups of at least four and ask each group to
create a tableau depicting the most memorable part of the play. Encourage them to
24
4.
5.
6.
7.
explore levels (high, low, depth, etc.)
In groups, ask students to create an alternate ending for THE BOOK OF EVERYTHING. Allow
the groups time to rehearse and then have them perform for the class.
Research: what was theatre like in the 1950s?
Identify some of the themes found in the play. In small groups, create a skit based on one or
more of these themes.
Research slang used in the 1950s and create a scene using at least five of the terms you’ve
discovered.
ENGLISH & LANGUAGE ARTS
1. How would you describe the genre of THE BOOK OF EVERYTHING?
2. Write a review of the play. Consider the purpose of your review – is it to encourage others
to see the play or to warn them about some aspect they may not like? Optionally, send the
review to Magnus Theatre by emailing education@magnus.on.ca or via mail to:
Magnus Theatre
10 S. Algoma Street
Thunder Bay, ON
P7B 3A7
3.
What do you think the topic, purpose and intended audience for THE BOOK OF EVERYTHING
is? Why? Think-pair-share with a partner to discuss.
4. Describe Thomas’ father. What values does he hold, what does he think of books and music,
and what does he think of people?
5. The boundaries between reality and imagination are crossed on several occasions. Can you
give some examples?
6. In the first act, Thomas says that he saw a hailstorm that blew all the leaves off the trees.
What is the symbolic importance of this vision?
7. Jesus appears at various points throughout the play. What prompts his visits? What function
do Thomas’ conversations with him serve?
8. Describe Jesus, as depicted in THE BOOK OF EVERYTHING.
9. What impression does the play give us of God?
10. Which books does Mrs. Van Amersfoort give Thomas? Why does she think that he would like
them and what role do the books then play for him?
11. Thomas is interested in words. Give examples of this.
12. What role does “The Book of Everything” play? Why does the playwright have Thomas write
in it at various times?
13. The playwright repeats phrases, varying them as they reappear. Give examples of some of
these repetitions. What is it that is repeated and to what effect?
14. Father and Bumbiter are played by the same actor. Is this symbolic? If so, of what?
15. Turning points are key moments that change the characters’ lives. Write three paragraphs
detailing the key turning points for Thomas, Margot and mother in THE BOOK OF
EVERYTHING.
SOCIAL SCIENCES AND HUMANITIES
1.
2.
3.
4.
What are the characteristics of healthy sibling relationships? Do the Klopper siblings display
these?
Do Thomas and Margot conform to their expected gender roles in this play? Why or why
not?
In what ways are gender roles today similar to and different from those in the 1950s, when
this play took place?
Why might some people choose to challenge gender roles while other people accept them?
What are some specific instances of characters challenging gender expectations and norms?
25
Reference Father, Mother and Auntie Pie from THE BOOK OF EVERYTHING.
Research domestic violence in Canada.
In your opinion, are there any social institutions or systems (legal, social service, etc.) that
can perpetuate or decrease gender-based violence? Why or why not?
7. What is feminism? Can any of the characters in THE BOOK OF EVERYTHING be considered
feminists?
8. Analyse the dynamics of power relations in THE BOOK OF EVERYTHING, paying specific
attention to Thomas' mother and father, as well as Auntie Pie and Uncle Ben.
9. How would you describe Thomas’ self-concept? How about mother’s? Do either change
throughout the course of the play?
10. Do you think the story would have progressed differently if it took place today? Why or why
not?
11. Describe indicators of possible abuse.
12. Using any of the characters in THE BOOK OF EVERYTHING, explain how clothing was
selected in the play to suit a character’s personality traits or to project a desired image.
5.
6.
CANADIAN AND WORLD STUDIES
1.
1. The play is set in 1951 and references are made to the Second World War. What role does the
war play in the story?
2. What was new about the teen subcultures that developed after World War II? In what ways
were the lives of youth in the 1950s and 1960s different from those who lived before them?
3. Analyse the ways in which religious beliefs and values are represented in THE BOOK OF
EVERYTHING.
4. Compare the literacy rate in the Netherlands to that of Canada.
5. What was Amsterdam like during World War II? What was the Dutch resistance?
6. Has violence against women in the Netherlands reduced since the 1950s? How has the role
and status of women changed?
7. THE BOOK OF EVERYTHING is set in Amsterdam. Research the city and compare and
contrast it to a metropolitan Canadian city.
Did You Know…?
Princess Margriet Francisca of the Netherlands (born 19 January 1943) was born in Ottawa Civic Hospital as
the royal family had been living in Canada since June 1940 after the occupation of the Netherlands by Nazi
Germany. The maternity ward of Ottawa Civic Hospital in which Princess Margriet was born was
temporarily declared to be extraterritorial by the Canadian government. Making the maternity ward
outside of the Canadian domain caused it to be unaffiliated with any jurisdiction and technically
international territory. This was done to ensure that the newborn would derive her citizenship from her
mother only, thus making her solely Dutch.
Source: https://todayinottawashistory.wordpress.com/2014/08/21/a-canadian-princess-2/
26
Subject: English, Canadian and World Studies.
Grade: GRADES 7+
Adapted from http://www.loti.com/fifties_history/changing_world_of_words.php
OBJECTIVE
Students will examine the changing world of words and reflect on those used in the 1950s compared to
contemporary society.
MATERIALS NEEDED


Access to the internet
Computers
INTRODUCTION
Choose two students to read the following dialogue:
Student one: Go fetch my slippers and get me something to drink from the icebox. I'll be sitting on the veranda with
my feet up on the ottoman.
Student two: But Dad, everyone is waiting for me in the vestibule. I want to play stickball and hang out on Jimmy's
stoop and listen to 45's on his new Victrola.
Student one: Oh yeah, Mom told me to tell you not to forget your galoshes.
Discuss: Can students imagine hearing that today? Ask the class to define fetch, icebox, veranda,
ottoman, vestibule, stickball, stoop, 45s and Victrola.
PROCEDURE
1.
Explain that as our world changes, so does our vocabulary. Each year new words are added to the
dictionary based on their popularity. These are referred to as neologisms. According to
Wikipedia.org, a neologism is a word, term, or phrase that has been recently created often to apply
to new concepts or to reshape older terms in newer language form. Neologisms are especially useful
in identifying inventions, new phenomena, or old ideas that have taken on a new cultural context.
2. In pairs, have students research the words that were added in the 1950s. Which of these words are
still in common usage?
3. With their partners, brainstorm a list of words that could be added to the list this year. Create a class
list on the board.
4. Introduce the concept of retronym. A retronym is a type of neologism coined for an old object or
concept whose original name has become used for something else or is no longer unique. The term
was coined by Frank Mankiewicz and popularized by William Safire in the 1980's in the New York
Times. In other words, these are terms that were forced to be invented after they were used to take
into account current history or newer inventions. Give the students a few examples and then ask if
they can think of more. Examples are: acoustic guitar (which was coined after the invention of the
electric guitar), analog watch (after digital watches), black and white television, desktop computer,
landline, manual/standard car, rotary telephone, snail mail, vinyl record, and World War I.
ASSESSMENT AND EVALUATION
 Research
EXTENSIONS

Have students share their lists with the class.
27
Subject: English.
Grade: GRADES 6+
Adapted from: https://www.teachervision.com/writing/lesson-plan/3514.html
OBJECTIVE
Students will write personal journal entries to explore their thoughts, feelings, and experiences; edit a
personal journal entry to sharpen their grammar and spelling skills; share their entry with peer editors
and edit the work of others to build collaboration skills.
MATERIALS NEEDED
 Personal spiral notebook
 Writing Utensil
 Writing prompts
 Internet access
 Copies of Anne Frank: The Diary of a Young Girl by Anne Frank
INTRODUCTION
1. Tell the class they are going to be listening to or reading excerpts from Anne Frank’s diary. The diary is
the real-life record of a young girl's thoughts, feelings, and experiences over a particular time period.
2. As you read to your students, or as they read to themselves, have them note the personal details that
the writer includes in the diary.
3. Next, have students discuss the following questions about the writer and her work:





Why are the writer's details important?
How do they help the reader?
What do they tell us about the writer?
What questions do you have about the writer?
What do you and the writer have in common?
PROCEDURE
1. Tell students they will be writing their own journals as a week-long (or year-long) project. (You
might provide class time for journal writing or assign it as homework.) Ask students to think of
these journals as a way to freely explore their thoughts and feelings while also creating a source of
ideas for their writing. Also, remind them that their journals should contain the details that may
seem unimportant at first, but which add to the reader's appreciation and understanding of the
writer. They should also date each journal entry.
2. To give students ideas for their first journal entries, present the following writing prompts and
tell students they will have five to ten minutes to write. Direct them to try to write nonstop and
avoid erasing. Most students will be comfortable beginning with short, sustained writing times,
building up to longer times as their fluency increases. Some good prompts for beginning journal
entries include:





What I did last weekend (or hope to do this weekend)
What really makes me frustrated or mad, and why
What really makes me laugh
How I spend my spare time
My best memory ever
28


Inside my head today
A typical day in my life at school
You might also have students suggest prompts for journal writing, especially after they find the
prompts that have worked well.
3. You can help motivate students to write in their journals by writing in your own journal and
sharing your writing.




After students have written at least five journal entries, allow them to pick their best entry, revise it,
and submit it for peer editing and grading. Allow for further revisions after grading and post the
work either on a class website or bulletin board.
In addition, ask students to devise a class journal-writing rubric – that is, establish the criteria for
good journal writing. They can use this rubric to assess one another's work or their own.
As you read students' journals, it is more meaningful for them if they receive personal rather than
corrective comments on their thoughts and ideas.
Ask for volunteers to read aloud from their journals and have students give feedback on the
writer's use of such devices as sensory details and imagery .
EXTENSION



Assign students to research different kinds of autobiographical writing and to share good examples
of published diaries, journals, letters, travel logs, oral histories, interviews, and autobiographies.
Have students work in pairs or small groups to write dialogue journals in which they carry on
written conversations about a common interest or a mutual problem they're trying to solve.
Suggest that students keep a specialized journal that focuses on a particular activity, such as
participating in basketball, or a learning log, which is a personal learning tool that focuses on their
coursework and their thoughts and feelings about what they are learning
Did You Know…?
In what British journalists have gamely nicknamed "the Bridget Jones effect," a UCLA psychology
professor has shown that working out negative emotions in a diary can actually trick your brain into
feeling better.
Writing about your feelings can help the brain overcome emotional upsets and leave you feeling
happier. Brain scans on volunteers showed that putting feelings down on paper reduces activity in a
part of the brain called the amygdala, which is responsible for controlling the intensity of our emotions.
Source: http://www.theguardian.com/science/2009/feb/15/psychology-usa
29
Subject: Canadian and World Studies, English.
Grade: GRADES 7+
Adapted from: http://ww2meth5.weebly.com/lesson-8-dutch-resistance-during-the-war.html
OBJECTIVE
Students will learn about the Dutch Resistance and form an opinion on whether or not they might have
joined it.
MATERIALS NEEDED


Writing utensil
Copy of the text at http://ww2meth5.weebly.com/lesson-8-dutch-resistance-during-thewar.html or access to a computer with internet
INTRODUCTION
Write down what you know about the Dutch Resistance – possibly including what you learned from THE
BOOK OF EVERYTHING. Add three things you want to learn about the Dutch Resistance during this
lesson.
PROCEDURE
ACTIVITY ONE
1. Read the text at http://ww2meth5.weebly.com/lesson-8-dutch-resistance-during-the-war.html
2. Answer the following comprehension questions:

What had Joseph Goebbels hoped for?

How did the Dutch Resistance come about?

Why was it easy for the Gestapo to enforce its authority?

Which area was protected with radar?

What happened in March 1942?

The Dutch Resistance can be described as nonviolent. Why?
ACTIVITY TWO
1. Write a short passage in which you tell a neighbour why you would or wouldn't join the Dutch
Resistance during world war II. Give at least three arguments to support your choice.
 Written work
EXTENSION
Research any unanswered questions that students have about the Dutch Resistance from this lesson’s
introduction.
Did You Know…?
Audrey Hepburn was a part of the Dutch Resistance. The country was occupied by the Germans in 1940.
By 1944, they had executed Hepburn’s uncle, one of her brothers was in a labor camp, and the other
had gone into hiding. Hepburn was still a young teenager when she began to help the Dutch resistance.
As an accomplished ballerina by age 14, she danced in secret productions to raise money for the
resistance. As she famously said, “The best audience I ever had made not a single sound at the end of
my performances.” Hepburn also occasionally ran messages for the resistance. Had she been
discovered doing either of these things, a swift execution would have followed.
Source: http://www.todayifoundout.com/index.php/2013/04/wwii-files-audrey-hepburn-and-the-dutch-resistance/
30
ABOUT THE NETHERLANDS
Amsterdam Travel Guide
http://www.amsterdam.info/
The Netherlands in the EU
http://europa.eu/about-eu/countries/member-countries/netherlands/index_en.htm
The World Fact Book
https://www.cia.gov/library/publications/the-world-factbook/geos/nl.html
THE BOOK OF EVERYTHING
Reading Guide for The Book of Everything
http://www.alma.se/en/award-winners/Teachers-Guides/The-Book-About-Everything/
The Book of Everything
https://en.wikipedia.org/wiki/The_Book_of_Everything
DOMESTIC VIOLENCE
Get Help With Family Violence
http://www.justice.gc.ca/eng/cj-jp/fv-vf/help-aide.html
Statistics: Domestic Violence
http://www.citizenship.gov.on.ca/owd/docs/domestic_violence.pdf
Stop Family Violence
http://www.phac-aspc.gc.ca/sfv-avf/index-eng.php
The Facts About Violence Against Women
http://www.canadianwomen.org/facts-about-violence
ABOUT THEATRE IN EDUCATION
‘Actup!’ Theatre as Education and its impact on Young People’s Learning by Nalita James, Centre for
Labour Market Studies, University of Leicester, 2005.
www.clms.le.ac.uk/publications/workingpapers/working_paper46.pdf
Performing together: The Arts and Education, jointly published by The American Association of School
Administrators, The Alliance for Education and The John F. Kennedy Center for the
Performing Arts in 1985.
The Effects of Theatre Education by the American Alliance for Theatre and Education
www.aate.com/content.asp?admin=Y&contentid=69
What Drama Education Can Teach Your Child by Kimberly Haynes
www.education.com/magazine/article/What_Drama_Education_Can_Teach
What is Theatre in Education by Act On Info, Theatre in Education Company
http://theatre-education.co.uk
31
Act - to perform or play a role, or a section of a
play that is often subdivided into scenes
Actor/Actress – a person who performs a role in a
play
Backstage - the areas that surround the stage
that the audience cannot see
Blackout - a lighting term in which the stage is in
complete darkness
Blocking - the pattern actors follow in moving
onstage, usually determined by the director
Box Office - where ticket sales are handled
Cast - to choose the actors to play roles in a play,
or the group of actors who perform the roles in a
play
Character - a role played by an actor
Choreographer - an artist who designs dances for
the stage
Climax - the turning point or decisive moment in a
plot
Conflict - struggle between opposing ideas,
interests or forces; conflict can be internal (within
one character) or external (between two or more
characters)
Costume - any clothing an actor wears onstage
Costume Designer - in accordance to the vision of
the director, he/she designs costumes to build,
rent, borrow, or buy for a production
Crew - the backstage team responsible for the
technical aspects, such as lighting, sound and
set/prop movement
Cue - a signal for an actor to begin their next
line/speech
Curtain call - when the actors acknowledge
applause and bow at the end of the performance
Dialogue - the lines of the play spoken by the
actors while in character
Director - the person who oversees the entire
production; she/he chooses the play, runs
rehearsals and develops the artistic vision for the
play
Dramatic conflict - the conflict in which the main
character in a play engages; can be person vs.
person, person vs. society, person vs. self, or
person vs. nature/fate
Exposition - the beginning of the plot that
provides important background information
Fourth wall - an imaginary wall between the
audience and actors in a play
Green Room – lounge area for actors when they
are not needed onstage
House - the auditorium or seating of a theatre
Improvise - to speak or to act without a script
Lighting Designer - the person who develops and
plots a lighting concept and design for a
production
Monologue - a story, speech, or scene performed
by one actor alone
Motivation - a character’s reason for doing/saying
things Musical Theatre - theatre that combines
music, songs, spoken dialogue and dance
Objective - a character’s goal or intension
Obstacle - something that stands between a
character and his/her ability to meet an objective
Pantomime - to act without words through facial
expression and gesture
Playwright - a person who writes plays
Plot - the sequence of events; the structure of a
play
Producer - the person or company who oversees
the business details of a theatrical production
Property/Prop - anything that an actor handles
onstage; furniture and other items used to
enhance the set
Protagonist - the main character of the play, who
the audience identifies with the most
Rehearsal - the time during which performers
develop their characters and learn lines and
blocking
Role - a character in a play that is written by the
playwright
Scene - the basic structural element of a play;
each scene deals with a significant crisis or
confrontation
Scenery - onstage decoration to help establish
the time and place of a play
Script - the text of a play
Set - the onstage physical space and its structures
in which the actors perform
Set Designer - the person who develops the
design and concept of the set
Stage Manager - the director’s technical liaison
backstage during rehearsals and performances,
responsible for the smooth running of a
performance
Strike - to remove something from the stage; or
to take down the set
Tableau - a silent and motionless depiction of a
scene; a frozen picture
Theatre - the imitation/representation of life,
performed for other people; or the place that is
the setting for dramatic performances
Theme - underlying meaning of a literary work
Tragedy - a play that ends in defeat or death of
the main character
32

Adapted by Richard Tulloch from the novel by Guus Kuijer

Transcription

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