By Norm Foster - Magnus Theatre

Transcription

By Norm Foster
STUDY GUIDE
MAGNUS THEATRE 2015/2016 SEASON
Prepared by Danielle Chandler, OCT
Magnus Theatre 2016
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.
MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario
2
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
Norm Foster
Glossary
Women in Golf
Golf Facts
Female Foursomes
on TV
Ontario Curriculum
Connections
Pre-Show Activities
& Discussions
Post-Show Activities
& Discussions
Lesson Plans:
- Playing Unfair
- Friendship Groups
- Gender Stereotypes
References &
Resources
Glossary of
Theatrical Terms
3
4
5
6
7
7
7
8
9
10
13
14
16
17
18
21
23
25
26
27
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.
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:
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
By Norm Foster
School Matinees: Apr. 6 & Apr. 13
3
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.
4
 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 you, 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
5















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.
6
LIZ GILROY
as Dory
MARIO CRUDO
Director
NICOLE ROBERT
as Connie
BRUCE REPEI
Set Designer
JO-ANN WAYTOWICH
as Margot
TIM RODRIGUES
Lighting Designer
VIVIANNA ZARILLO
as Tate
MERVI AGOMBAR
Costume Designer
GILLIAN JONES
Stage Manager
NORM FOSTER
Playwright
SYNOPSIS
It’s the day after the funeral of a friend and three women meet for a round of golf in memory of their recently
departed playing partner. They are joined by an old friend of the deceased that the other three didn’t know
existed. This fun-filled, fast paced, joyful celebration of friendship discusses life, love, men, sex, children and
careers… everything but golf!
CONTENT ADVISORIES: The Ladies Foursome contains mature subject matter, as follows:
 Strong language occurs at various points throughout the play
 Sexual references
Recommended for grade 9+.
7
Norm Foster has been the most produced playwright in Canada every year
for the past twenty years. His plays receive an average of one hundred and
fifty productions annually making him, by far, the most produced
playwright in the history of his country.
Born in Newmarket, Ontario on St. Valentine's Day and raised in Toronto,
Norm attended West Hill Collegiate Institute and then went on to study
Radio & Television Arts at Centennial College in Toronto and then
Confederation College in Thunder Bay. Upon completion of his studies, he
began a radio career that would span 25 years and which would take him
from Thunder Bay to Winnipeg to Kingston and finally to Fredericton, New
Brunswick. It was in Fredericton in 1980 that Norm was introduced to the world of theatre.
"A friend of mine was going to audition for a community theatre production of 'Harvey' and he asked me to go along. I
went, just to see what this theatre thing was all about, and I ended up getting the part of Elwood P. Dowd. I had never
even seen a play in my life before this."
Foster fell in love with the theatre right then and there, and two years later he penned his first professionally
produced play, Sinners. It was produced by Theatre New Brunswick and directed by Malcolm Black, who would also
direct Foster's next effort, the highly successful, The Melville Boys. The Melville Boys would go on to be produced
across Canada and in the United States, including a well-received run off-Broadway in New York. It would become
Foster's signature play, and the one which would bring his name to the forefront of Canadian theatre. Since then,
Norm Foster has produced an astonishing output of work. Over fifty plays in all, including The Affections of May, the
most produced play in Canada in 1991.
" One of the curses of being a playwright is that you're never ever completely satisfied with your finished product. There
is always that one line which you think you could improve. And when you improve that line, you find another. You must
know when to stop."
Foster's plays are known mainly for their comedic qualities, but they are not without their serious moments as well.
"I find it far more satisfying if I can make an audience laugh and feel a little heartache within the same story. The farces
(Sinners, Self-Help) are a lot of fun to write but it's the stories that touch an audience's heart as well as it's funnybone
that are the most rewarding."
Foster has had several plays published by Playwright's Union Press. They are; Sinners, The Melville Boys, The
Affections of May, The Motor Trade, Wrong For Each Other, Office Hours, Opening Night, The Long Weekend, Old
Love, Skin Flick, Mending Fences, The Foursome and Ethan Claymore. He has also had his work published in various
compilation volumes such as 'Vintage Foster', 'One Act-manship', 'Triple Play', and 'The Foster Season'. Looking and
The Love List are published by Samuel French.
Norm Foster does not limit his efforts to writing though. He currently tours with Patricia Vanstone in his play On A
First Name Basis.
"Acting is great fun, but writing is my first love. A lot of people out there like the 'idea' of being a writer. The romance of
it. The notion that we all sit around in cafes and talk about our writing with other writers. Personally, I would rather do it
than talk about it. The actual process of writing is what excites me. Creating a world from the ground up and populating
it with characters I've pulled out of my head. This is why I rarely set my plays in real cities with place names we recognize.
I want the audience to imagine these locations right along with me."
When asked to try and pin down a common theme that runs through his plays, Foster says, "I think for the most part,
they're about ordinary people just trying to get by in life. I never set out with a monumental purpose in mind. I'm not
trying to teach an audience a lesson or pass along some profound message, because I don't think I'm qualified. What I am
trying to do is make them feel a little better about this world, and that's not easy these days."
Source: http://www.normfoster.com
8
BIRDIE
Birdie is a golfing term meaning a score of one stroke under Par. It comes from the early
20th century American slang term "bird", meaning anything excellent.
CHIPPING
A "chip shot" in golf is a shot played from close to the green, usually within a few yards of
the putting surface that results in the ball popping into the air, then hitting the ground
and rolling forward.
GIDGET
Gidget is a fictional character created by author Frederick Kohner. The novel follows the
adventures of a teenage girl and her surfing friends on the beach in Malibu. The name
Gidget is a portmanteau of "girl" and "midget".
GREGORY PECK
Eldred Gregory Peck was an American actor who was one of the most popular film stars
from the 1940s to the 1960s. His performance as Atticus Finch in the 1962 film To Kill a
Mockingbird earned him the Academy Award for Best Actor.
HAWKEYE AND CHINGACHGOOK
Characters from The Last of the Mohicans. Hawkeye was a fur trader and Chingachgook
was his faithful companion and the last of the Mohican tribe.
LAWRENCE OF ARABIA
Lawrence of Arabia is a 1962 epic historical drama film based on the life of T. E. Lawrence.
The film depicts Lawrence's experiences in the Arabian Peninsula during World War I, in
particular his attacks on Aqaba and Damascus and his involvement in the Arab National
Council.
MAVERICK
Pete "Maverick" Mitchell is a US Navy Pilot in the fictional movie Top Gun. He is a troubled
character, and it’s hinted that the cause is due to his father's death in the Vietnam war.
We are led to believe that this incident shaped his life and flying style.
MR. BOJANGLES
"Mr. Bojangles" is a song originally written and recorded by American country music
artist Jerry Jeff Walker for his 1968 album of the same title. Since then, it has been
recorded by many other artists.
ROOSTER COGBURN
Reuben J. "Rooster" Cogburn is a fictional character who first appeared in the 1968
Charles Portis novel, True Grit.
WHITE RUSSIAN
A White Russian is a cocktail classically made with vodka, coffee liqueur (e.g., Kahlúa or
Tia Maria), and cream served with ice in an Old Fashioned glass.
9
Gentlemen Only, Ladies Forbidden?
By Emily Ritter
If your husband, boyfriend or even father ever tells you that Golf stands for "Gentlemen Only, Ladies
Forbidden", do us a favor. Kindly tell them it's not true. This is an old joke
that doesn't seem to want to die. Truth is, the word Golf comes from the
Dutch and Scottish words for "club".
That's not to say golf hasn't been a sport dominated by males, both
historically and in modern times. But all that is changing fast.
Just last week, the British golf club Royal St. George, which once posted
the sign "No Dogs, No Women", voted to allow female golfers. 90% of the
voters favored the decision which ended a 128-year male-only policy.
So when did things start changing for female golfers? And what is the
expected trend? We run the stats for this week's By the Numbers.
Statistics on the Growth of Women in Golf
25 - Number of golf clubs in the U.S. that limited memberships to men only in 2012, according to NBC. The
most well-known is Augusta in Georgia.
19% - Percentage of all American golfers who are women, according to the National Golf Foundation.
80 Million - Number of golfers worldwide, according to HSBC.
10
30 Million - Number of female participants the World Golf Foundation (WGF) is charged with having by
2017, according to Golf Week.
48% - Number of women who say they want to learn golf with other beginners, according to the National
Golf Foundation.
67% - Number of new golfers who were women in 2006, according to wsj.com
156 - The number of women golfers who will compete for the first major championship for women. The
KPMG Women's PGA Championship will be held this June.
Search Trends
An analysis of Google Searches for women's golf shows that while it has fallen from an '05-'06 spike, it
has been relatively flat for years.
Compared to searches about golf as a whole, which have declined dramatically.
Social Posts
11
A preview query of Channel Signal data estimates that there were over 522,000 English posts on
Facebook, Twitter, Tumblr and Wordpress in July alone about Women in Golf. A preview of related
keywords that are used in those posts gives you an idea of what people associate with women and golf:
The Times They are a Changing
The popularity of golf on the whole has been in decline over the past decade. The National Golf
Foundation stated in 2014 that "200,000 players ages 35 and younger abandoned the game over the past
year". It was golf's worst year since 1995.
Learning curve, cost and time commitment appear to be at the top of the list of reasons for the dip.
Americans are so busy these days that 18 holes is too heavy a commitment, especially if you're a noob.
A game deeply rooted in history and tradition, it seems golf is finally starting to see the light. More
women are playing golf leisurely. Women are being accepted at the professional level. And even the
oldest, most staunch of golf clubs seem to be changing their ways: promoting shorter rounds and family
friendly clubhouses.
When revenues and popularity are in decline, there's plenty of room for growth. So what do you do? You
let the other half in.
Source: http://www.channelsignal.com/fresh-signals/by-the-numbers-the-growth-of-female-golfers
Did You Know…?
Golf is the only sport played on the moon. On February 6, 1971, Alan Shepard hit two golf balls
while on the lunar surface.
Source: http://unbelievable.com/ten-interesting-golf-facts/#sthash.acVPzYPZ.dpuf
12
1. The word “caddy” comes from the French word for student, “cadet”, which is
pronounced cad-DAY
2. Tiger Woods has won 77 PGA tournaments already.
3. The chances of making two holes-in-one in a round of golf are one in 67 million
4. The term “birdie” comes from an American named Ab Smith. While playing a
round in 1899, he played what he described as a “bird of a shot”, which became “birdie” over time.
5. Jack Nicklaus won the Masters a record 6 times.
6. The world’s first ever golf tournament for women was held on New Year’s Day in 1811 at Musselburgh,
Scotland.
7. The highest golf course in the world is the Tactu Golf Club in Morococha, Peru, which sits 14,335 feet above
sea level at its lowest point
8. Phil Mickelson, who plays left-handed, is actually right handed. He learned to play golf by mirroring his
father’s golf swing, and he has used left handed golf clubs ever since.
9. 125,000 golf balls a year are hit into the water at the famous 17th hole of the Stadium Course at Sawgrass
10. The longest putt ever is a monstrous 375 feet
11. 3 shots under par on a hole is called an Albatross or Double Eagle.
12. Tiger Woods has won over $100million and counting in prize money – unreal!
13. 3 shots over par on a hole is called a Triple bogey.
14. One of the world’s most popular actors, Samuel L. Jackson, is also an avid golfer. In fact, the star of flicks
like “Pulp Fiction” and “Django Unchained,” has a contract clause to play golf twice a week whenever he films
movies.
15. To millions, she is beloved for her powerful voice, releasing hits like “The Power of Love.” But singer Celine
Dion is also a golf fanatic and owns a course, Terrebonne, Quebec’s Le Mirage Golf Club.
16. Northern Canadian territory Nunavut’s annual Toonik Tyme Festival includes a nine-hole golf tournament.
With temperatures well below freezing, golfers play on a sheet of ice, using fluorescent balls, in fear of losing
them in the snow.
17. China’s government placed a ban on all new golf courses several years ago. However, this hasn’t stopped
cities and local communities from building them. To get around the ban, developers conveniently avoid
mentioning the fact that they are building a golf course in the proposed plans.
Sources: http://lastwordonsports.com/2013/04/18/40-completely-random-yet-amazing-golf-facts/ and
http://blog.golfnow.com/did-you-know-25-golf-fun-facts/
13
After eight seasons of Desperate Housewives, the sun set on Wisteria Lane as the comedy/drama/mystery series
reached its finale. Desperate Housewives is part of a proud TV lineage of fearsome female foursomes. At the
heart of the formula's success is a precision-crafted dynamic that keeps the characters hugging, fighting, and
talking it out, while viewers toggle their empathies between archetypes that never wear out. A breakdown of
TV's finest queen-quads is below.
The Voice of Reason
Girls
2012-present
No expert on men
herself, Marnie still
tries to bring Hannah
to her senses about
her non-texting fake
boyfriend.
Marnie
Allison Williams
Hot In
Cleveland
2010-present
After escaping from
the Nazis, this Polish
widow isn't fazed by
anything, especially
three neurotic tenants.
Elka
Betty White
Desperate
Housewives
2004-2012
Trusty in an
emergency. Not only
did she hide her son's
hit-and-run, she also
helped Gaby bury her
stepfather.
Bree
Marcia Cross
The Bruised Idealist
"You know what I'm
gonna do from now on?
I'm gonna ask people if
they're gay before I have
sex with them."
Hannah
Lena Dunham
The Passionate
Diva
On contracting HPV:
"All adventurous
women do."
The Perpetual Innocent
"I'm like the least virginy
virgin ever."
Jessa
Jemima Kirke
Shoshanna
Zosia Mamet
Joy is a type-A
entrepreneur with little
to show for her life but a
long trail of plucked
celebrity eyebrows.
Her soap opera has
been canceled, but
she still thinks people
want her autograph.
Newly reintroduced to the
dating scene, Melanie was
the only one surprised to
discover her new love
interest was married.
Joy
Jane Leeves
Victoria
Wendie Malick
Melanie
Valerie Bertinelli
She raised her sisters
because her mom was an
alcoholic. Now she's
raising her own kids
while separated from her
husband.
"The only person more
self-centered than me
is Carlos; he's so selfcentered he doesn't
even know how selfcentered I am."
Lynette
Felicity Huffman
Gaby
Eva Longoria
She once locked herself
out of the house while
naked.
Susan
Teri Hatcher
14
Sex And The
City
1998-2004
Worked through a lot
of her problems -not to
mention her friends' in her column.
Carrie
Sarah Jessica Parker
Living Single
1993-1998
"Regine, you are an
embarrassment to
desperate women
everywhere."
Maxine
Erika Alexander
Designing
Women
1986-1993
The Golden
Girls
1985-1992
"Have you all just
completely lost your
minds?"
Julia
Dixie Carter
If there's a problem,
chances are she's got
an (almost) analogous
tale from Sicily.
Sophia
Estelle Getty
"Soul mates only exist in
the Hallmark aisle at
Duane Reade Drugs."
"I'm a tri-sexual. I'll
try anything once."
So prim, so proper, she
once asked the girls not to
cuss in Vera Wang.
Charlotte
Kristin Davis
Miranda
Cynthia Nixon
Samantha
Kim Cattrall
She couldn't get a firm
grip on boomerang beau
Scooter until the very
last episode.
"All I want is the best.
I mean, I want a man
that knows that fine
wine doesn't come
with a twist-off cap."
Khadijah
Queen Latifah
Regine
Kim Fields
Synclaire
Kim Coles
Whether dealing with
her awful ex-husband or
her on-again/off-again
boyfriend, Mary Jo can't
seem to catch a break.
"I got pulled over this
morning for having all
the mirrors in the
Mercedes turned so I
could see myself."
Poplar Bluff is to Charlene
as St. Olaf is to Rose
Nylund.
Mary jo
Annie Potts
Suzanne
Delta Burke
Charlene
Jean Smart
An exasperated roll of
her eyes could send Stan
running for the door.
Dorothy
Bea Arthur
"With God as my
witness, I’ll never pick
up another man! In a
library. On Saturday.
Unless he's cute. And
drives a nice car.”Blanche
Rue McClanahan
Khadijah: "Synclaire, I try
to be there for you, but
you take that fork in the
road and you lose me
every time!"
Rose: "Can I ask a dumb
question?" Dorothy: "Better
than anyone I know."
Rose
Betty White
Source: http://www.boston.com/ae/tv/packages/13housewives/
15
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. Equity, Social Justice and Change
D. Self and Others
E. Interpersonal Skills
The Canadian and World Studies Curriculum:
A. Geography
o Interactions in the Physical Environment
o Changing Populations
B. History
o Canada: 1982 to the Present
o Communities: Local, National and Global
o Historical Inquiry and Skill Development
Did You Know…?
Golf balls travel significantly farther in hot weather. The warmer the ball is, the more resilient the
rubber becomes. A warmer golf ball has more elasticity, which causes the ball to leave the club with
more force.
Source: https://southglenncc.com/10-fun-facts-about-golf-you-probably-didnt-know/
16
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.
6.
7.
8.
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 any of your students golf?
Discuss golf. What preconceived notions do your students have about the sport?
Can your students name any female golfers?
What qualities do you look for in your friends?
It has been said that a true friend is somebody who knows everything about you and still
likes you. What do you think that means?
In what ways does friendship change as you get older?
What are the benefits and challenges of having a close group of friends, rather than a singluar best
friend?
9.
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?
17
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.
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.
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
explore levels (high, low, depth, etc.)
18
3.
4.
5.
6.
7.
Who would you cast in each role if you were directing a film version of THE LADIES
FOURSOME?
In groups, create a scene from something mentioned in the play but not shown onstage.
Create and perform an alternate ending for THE LADIES FOURSOME.
Name one defining trait of each character in the play. How did the actors portray these
characteristics?
THE LADIES FOURSOME takes place while the women are playing golf. Reimagine the play
taking place during another activity (e.g. bowling, playing hockey, a Monopoly tournament,
a hot dog eating contest etc.) and recreate the play in groups as a series of defining
moments taking no longer than a few minutes.
ENGLISH & LANGUAGE ARTS
1. How would you describe the genre of THE LADIES FOURSOME?
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.
4.
5.
6.
7.
8.
9.
10.
11.
What do you think the topic, purpose and intended audience for THE LADIES FOURSOME is?
Why? Think-pair-share with a partner to discuss.
Turning points are key moments that change the characters’ lives. Detail the key turning
points for the characters in THE LADIES FOURSOME.
Write about the best friendship that you've ever had. What made (or makes) it so special to
you? Describe your friend. What are the qualities that you appreciate the most about this
person?
Examine the friendships of the characters in THE LADIES FOURSOME. Ultimately, are they
good friends to each other? Why or why not? Support your answer with examples from the
play.
The characters in THE LADIES FOURSOME have distinctly different personalities and goals.
What are the benefits of having friends who are different from us? Do you think there’s any
truth to the saying that opposites attract?
Why do you think that the playwright chose a golf course as the setting for the play? In what
way does the progress of the game reflect what is happening with the characters in the
play?
You never know when your life might end. Do you think that Catherine had any regrets?
What regrets would you have if you died tomorrow?
Write a letter to Connie, Tate and Margot from Catherine that is received posthumously.
What would she want to tell them?
In 1998, the playwright wrote a play called THE FOURSOME that consisted of four male
friends playing golf. Knowing this, why do you think that he chose to write THE LADIES
FOURSOME in 2014?
SOCIAL SCIENCES AND HUMANITIES
1.
2.
3.
Are female athletes portrayed differently in the media than male athletes? If so, how?
What effect might seeing female athletes in the public eye have on other females? On
males?
Do you think that gender might have an effect on the way a female golfer is received in the
golfing community? Why or why not?
19
4.
5.
6.
7.
Googling "famous female golfers" returns "Top 10 Sexiest Female Golfers”, “The 20 Hottest
Women of Golf” and “The 9 Most Stunning Female Golfers” on the first page of results.
Write a short paragraph expressing your opinion: what, if anything, does that say about the
way female athletes are viewed by society? Are they taken as seriously as male athletes are?
If not, what can we do as a society to change that?
Do the characters in THE LADIES FOURSOME have healthy or unhealthy friendships? Justify
your answer with evidence from the play.
What are the signs and symptoms of being an addict? According to those symptoms, are any
of the characters in THE LADIES FOURSOME addicts? If so, who are they and what are they
addicted to?
Catherine kept a big secret from her closest friends. Can you think of any behaviours or
other factors (judgements, rumours, personalities etc.) that may have prevented her from
telling Tate, Margot and Connie?
CANADIAN AND WORLD STUDIES
1. What environmental factors do you think should be considered when deciding where to
build a golf course?
2. What impact might building a golf course have on the natural environment?
3. Thunder Bay’s population is aging. How will an aging population affect the types of goods and
services available here? How might it affect the golf industry?
4. Who is Sandra Post and how is she historically significant?
5. Who was the first female golfer and when did she begin to play?
Did You Know…?
At the 14th tee of the Carbrook Golf Club in Brisbane Australia, a dozen 8 foot to 10 foot long bullsharks
live in the water hazard. The sharks got onto the Queensland golf course when it flooded some years
ago after a river broke its banks. They became stranded when the water receded, but now they are
thriving and even breeding.
Source: http://www.dailymail.co.uk/news/article-2047291/Killer-sharks-invade-golf-course-Australia-flooding.html
20
Subject: English, social sciences and humanities.
Grade: GRADES 9+
Adapted from:
https://www.mediaed.org/assets/products/208/studyguide_208.pdf
OBJECTIVE
To examine how female athletes are portrayed in the media.
MATERIALS NEEDED



Magazines
Internet connection
Projector and screen or smart board
INTRODUCTION
Discuss as a class:
 How does women’s sport challenge definitions of manhood and masculinity that require
restrictive and traditional views of femininity and women?

Are women who are strong, athletic, and physically competent “masculine”?

Is “feminine strength” an oxymoron?

Are there some sports that would be considered more stereotypically “masculine” or
“feminine” than others? More specifically, in your opinion, what’s the most “masculine” sport
in America? What is the most “feminine” sport? Why?

Do you feel that young people look to sports for role models? How does media coverage of
sports work to create such role models?
PROCEDURE
LESSON ONE
In women’s sports coverage, female athletes are far more likely to be depicted in sexualized terms, in
hyper-feminized terms, and outside the range of their actual athletic accomplishments. This persistent
tendency to sexualize, trivialize and marginalize physically strong, athletic women has the effect of
undermining the power of female athletes, and works to contain the threat this power poses to
traditional equations of manhood and masculinity with sport. These inherent biases in media coverage
of women’s sports reflect profound cultural anxieties about changing definitions of femininity and
masculinity.
1. Watch Playing Unfair at https://www.youtube.com/watch?v=PZTCUEZXrSo
2. Discuss: Why do you think more attention is paid to men’s sports than women’s sports in major
media coverage? Why do you think women tend to be represented in stereotypically
“feminine” ways in sports coverage? Do you think this is deliberate? Do you think the reasons
are more subtle? Explain. What might be some of the effects of “trivializing” female athletes?
Specifically, how might this affect how boys and men view girls and women; themselves as
boys and men; differences between masculinity and femininity; the sports world in general?
3. Research, compare and contrast coverage of men’s and women’s sports in a major sports
magazine (Sports Illustrated, ESPN Magazine, etc.).
4. Analyze how the coverage differs, paying particular attention to the following: the amount of
coverage (the amount of space given to each); the placement of coverage (how prominently
it’s featured); the way female and male athletes are presented visually (on the field or off; with
or without others, etc.); differences in language use – in the very way these athletes, or these
events, are described and represented in language.
5. Once you have described any and all differences you have found, think about these differences
in light of gender. Specifically, how do differences in coverage draw from or reinforce any of the
gender stereotypes (of masculinity and femininity) discussed in the video?
LESSON TWO
21
While media have continually represented women athletes in sexualized or other trivializing ways that
have little or nothing to do with their athletic ability or accomplishments, the fact is that a number of
women athletes have willingly chosen to be represented in these ways. A number of female athletes
have argued that such representations have less to do with their disempowerment as athletes than
their empowerment as individuals: that they gain power by expressing their individuality as women,
their femininity, their sexuality, at the same time winning both publicity for their sport and economic
power through promotional deals.
1.
2.
Discuss: Do you agree with women athletes who argue that posing in sexualized ways can be
an expression of their strength and power, and of pride in their bodies? Are sexual
representations always disempowering to women in our culture? When are they? When are
they not? And how can we tell the difference? What ideas, and values, do highly sexualized
images of female athletes create and reinforce? How might these ideas and values be
consumed differently by males and females? What might be some of the larger cultural effects
of these differences in consumption? Whose interests are served when women athletes are
presented in hyper-feminized or hyper-sexualized ways? Is there more than one set of interests
at work and at stake here? Is one or another served more powerfully?
Find an image in a magazine that shows a female athlete doing something other than playing
her sport. Analyze the image with the video’s arguments in mind. How does the image make
use of or challenge stereotypes of femininity? How do you think this image works to reinforce
or challenge the traditional image of female athletes and women’s sports?
LESSON THREE
The traditional association of physical strength, power and athleticism with masculinity causes many
people to question the sexuality of women athletes. Because female athletes challenge traditional
notions of femininity, because their abilities are seen as traditionally and stereotypically “masculine,”
female athletes and women’s athletics must contend always with homophobia. Women’s sports
organizations and women athletes have been forced to consciously present themselves as heterosexual
and as unthreatening to family values in order to remain socially acceptable and economically viable.
1.
2.
Discuss: According to the video, how does homophobia affect women’s sports? Do you agree?
According to the video, how does homophobia function in women’s sports? How does it affect
how women’s sports are promoted, how heterosexual female athletes think about and present
themselves and how lesbian athletes think about and present themselves? What is the
relationship between “family values” and women’s sports? Why, according to the film, does
there seem to be such an anxious relationship between the two? How does anxiety about
women’s sexuality play out in media coverage of women’s sports? Do you feel homophobia
plays a powerful role in men’s sports as well? In how men’s sports are talked about, covered,
presented in media? If so, how? Give specific examples. And think about how homophobia in
coverage of male sports might work differently than homophobia in coverage of female sports.
Analyze and compare coverage of a number of female athletes in a magazine in the context of
this argument that homophobia is a persistent problem in women’s sports. Talk about any
patterns you see in how these women are presented. Specifically, are there “markers” or
signals in how they are presented that tell you something about their sexuality?
ASSESSMENT AND EVALUATION
 Participation
EXTENSIONS
Write a letter to the editor of a sports magazine expressing your views on the coverage of female
athletes in media.
22
Subject: Drama, Social Sciences and Humanities,
English.
Grade: GRADES 9+
Adapted from: http://www.pbs.org/inthemix/educators/lessons/schoolviol2/
OBJECTIVE
To recognize how students let people into their social group or block them out and view other social
groups.
MATERIALS NEEDED




In the Mix School Violence Segment at https://vimeo.com/31694989
Internet access, a projector and a screen
Newspaper
Masking tape
INTRODUCTION

PROCEDURE








Introduce the concept of "Boxes" by explaining that we all are social beings and we enjoy
being with others who share our interests. However, sometimes it's difficult to understand
what keeps us isolated from others that aren't in our social group-- or "Box." Suggest that
students close their eyes and envision all the people that they're close to, limiting at this
time to friends, not family. Ask them to draw a mental "Box" around themselves and their
friends, giving them a few minutes to really get a picture of their "Box."
Ask the students to now reflect on the qualities or characteristics that draw them to
someone. Have them each share only one characteristic with the group.
Ask students to look in their "Box" again and think about the characteristics they've heard
from everyone. Have them reflect on which ones had meaning for them, which ones
weren't so important, and whether or not their "Box" contain people who meet their
desired characteristics.
Ask students to now visualize themselves holding off people from coming in their "Box".
Students should share with the group the attributes or characteristics of people who turn
them off and who they want to push away. There will most likely be a lot of opposite
statements to the characteristics stated before, but also their personal styles or comfort
zones will now come out. Examples might be "someone who's loud," "someone who's
snotty," etc.
Have the students reflect on how other groups judge their "Box." Warn them that they are
going to be asked to share this with the group. This part of the activity is usually an eyeopener to many. When you're on the outside of a group, you never really know that even
being in the so-called "popular" group can be a painful place.
Ask students then to share whether they feel judged because of others in the group. (At
this point it doesn't have to be each member sharing, but rather volunteers.) Examples:
"someone got caught smoking pot, so now everyone thinks we all smoke pot," "someone
in the Box is super-smart, and I really have to work really hard to get good grades, but
everyone thinks it's so easy for me," etc.
Show students the clip above and discuss it.
Review with students the reasons for this exercise. First, see if students can tell you why
you've been asking them to share these various ideas and how talking about these things
impacts on the programs they're going to participate in. Usually, you'll get even more
answers than you could come up with yourself. If not, be prepared with your own reasons.
Go back to things that they've said about both hurt feelings and secure feelings.
23

Wrap up the lesson with an activity that shows students that there really is tremendous
overlap between groups:
 Ask students divide themselves up spontaneously into groups that reflect the
type of music they listen to.
 Instruct them to talk and mingle, and that they should take note of someone who
likes the same type of music as they do, who they assumed was totally different
than themselves.
 You can play more with this concept by going from group to group and
demanding the names of various groups and seeing who likes which individual
music groups and make them move from group to group. Someone who likes rap
may also like a particular jazz musician or someone they perceive, as the classical
music aficionado may also adore punk. There are lots of surprises in this activity.
 Finish by asking the music groups to participate in a "Paper Boxes" activity.
Rearrange the groups as you see necessary, but the key is to have the friendship
groups mixed up.
 Give each group a stack of newspaper and roll of masking tape.
 Instruct them that they will be given 10 minutes to plan a paper box without a
floor, that can house them all. Each "Paper Box" must be free-standing; students
can't hold it up or even touch the materials. The goal is for the box to stand for at
least one minute with the students inside it.
 After the 10 minutes of planning, students then have 10 minutes to build their
"Paper Box" in silence.
 Time all the groups for one minute to see which boxes stay up. Hopefully, this
activity will give students a sense of accomplishment and the understanding that
they can have fun with a new "Box" of people.

Participation
EXTENSION




Design a collage with students not in their "Box" that would show what they mutually like in
people. Aim for the positive.
Divide the group into the elementary schools that they came from or the neighborhoods. How did
they judge each other then? Jumble them then up into the music groups and proceed with a
discussion that shows how they've come together around a single topic.
Translate this into a topic on Intolerance or Prejudice. If your school is having an issue around race
or ethnicity, modify the plan carefully to include these areas.
Have the group discuss what is the most important value that has been passed down through their
family. They'll see a lot of similarities in each other.
Did You Know…?
Friendship not only makes us happier but contributes to our health. The renowned Harvard Medical School
Nurses’ Health Study found out that, a woman with more friends was less likely to develop physical
impairments as she grew old and was more likely to live a joyful life. The results by the researchers were very
significant that their conclusion was that, not having close confidants or friends was as detrimental to your
health as being overweight or smoking.
Source: http://www.unbelievable-facts.com/2014/03/here-are-some-fascinating-facts-on.html
24
Subject: Social Sciences and Humanities, English.
Grade: GRADES 9+
Adapted from: http://www.theadvocatesforhumanrights.org/uploads/women_s_rights_lesson_plan_elementary_2.pdf
OBJECTIVE
To identify gender stereotypes and examine their effects.
MATERIALS NEEDED

Various forms of media (books, magazines, articles, movies, commercials, etc.)
INTRODUCTION
Discuss the female characters in THE LADIES FOURSOME. Did they conform to gender stereotypes?
Why or why not?
PROCEDURE
1. Research. Explain to students that their mission will be to research gender stereotypes in the media.
Based on available resources, any of the following forms of media could be used: textbooks, children’s
books, anthologies of fables and fairy tales, magazine articles, movies, cartoons, commercials, or
television clips.
2. Analyze. Ask students to consider the following questions for the material they are working with:
• Did you notice any stereotypes about women and men/boys and girls?
• Are female characters shown as brave decision-makers, physically capable, adventurous, creative and
interested in a wide range of careers?
• Are male characters shown as humane, caring people, who can be helpful, who express their
emotions, who are free of the fear that others might not think them “manly”?
• Do the men and women respect each other as equals?
• Do the men take an active part in parenting and housekeeping tasks?
• Do the women take an active role outside the home and, if so, in other than traditionally female
occupations (e.g. teachers, nurses, secretaries) or unpaid or poorly paid jobs?
3. Create. Ask the students to select one of the stories or media pieces they read or saw and rewrite it
to make it more gender-equal. This activity may be done with individuals or small groups. Students may
choose to switch the gender roles of the characters involved or they may choose to change the
professions and activities that the characters engage in throughout the story.
4. Share. Give the students the opportunity to share their stories in pairs or small groups.
 Participation
Did You Know…?
Female characters are outnumbered by males three-to-one in children's entertainment. That’s the same ratio that
has existed since the end of World War II. For decades, male characters have dominated nearly three-quarters of
speaking parts in children’s entertainment, and 83% of film and TV narrators are male. In some group scenes, only
17% of the characters are female. These absences are unquestionably felt by audiences, and children learn to accept
the stereotypes represented. What they see affects their attitudes toward male and female values in our society,
and the tendency for repeated viewing results in negative gender stereotypes imprinting over and over.
Source: http://www.unbelievable-facts.com/2014/03/here-are-some-fascinating-facts-on.html
25
GOLF
Canadian Women’s Tour
http://golfcanada.ca/competitions/canadian-womens-tour/
Golf Magazine
http://www.golf.com/
Golf Thunder Bay
http://www.thunderbay.ca/Living/recreation_and_parks/Facilities/Golf_Thunder_Bay.htm
Ladies Professional Golf Association
http://www.lpga.com/
FRIENDSHIP
Friendship – Psychology Today
https://www.psychologytoday.com/basics/friends
Women Friendships
http://www.huffingtonpost.com/news/women-friendships/
UCLA Study on Friendship Among Women
http://www.anapsid.org/cnd/gender/tendfend.html
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
Arts Edge
http://artsedge.kennedy-center.org
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
Theatre-Based Techniques for Youth Peer Education: A Training Manual by United Nations Population
Fund, 2005
www.fhi.org/NR/rdonlyres/ephz233yvpsqhohjn67zfovu5wzgk65q3ozwwgq3vkuvcqmkntap
gzwy64jahjkorb2vpgwh4rhlaa/theatrefull1enyt.pdf
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
26
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
27

By Norm Foster - Magnus Theatre

Transcription

Similar documents

STEVEN SATER Music by DUNCAN SHEIK

Culture

1167096_1182921-centerstage jacket.indd

Touch

Zootopia-City Lights

Fall 2014 power2give update – one year later

View Sample PDF - IRMA

corporate hire

Mary Kate Zihar: Design and Illustration

FRIDAY, JUNE 10 World at One O`Clock