STUDY GUIDE MAGNUS THEATRE 2014/2015 SEASON

Transcription

STUDY GUIDE
MAGNUS THEATRE 2014/2015 SEASON
Prepared by Danielle Chandler, OCT
©Magnus Theatre 2014
Stage Right Theatre in Education Sponsor
Magnus Theatre offers
STUDENT TICKET PRICES!
 $20 for any show (best seat available)
 Available in person at the box office on
the day of the show with valid student I.D.
MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario
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How To Use This Guide
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Theatre Etiquette &
F.A.Q.’s
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About Magnus Theatre
& Theatre in Education
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What is Theatre in
Education?
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Cast & Characters
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Creative Team
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About the Play
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About Norm Foster
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Glossary
Farming in Canada
Sibling Relationships:
Birth Order
Hockey Facts
Ontario Curriculum
Connections
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10
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Pre-Show Activities &
Discussions
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Post-Show Activities &
Discussions
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Lesson Plans:
- What’s in a Name?
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17
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- Passion and the Hockey 22
Sweater
- Siblings and Birth
Order
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References & Resources 24
Glossary of Theatrical
Terms
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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, its
suggested themes, topics for discussion and 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
to 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
Website: www.magnus.on.ca
By Norm Foster
School Matinees: Dec. 3 & Dec. 10th
By Alfred Uhry
School Matinees: Feb. 4 & Feb. 11
By John Patrick Shanley
School Matinees: Mar. 11 & Mar. 18
ByDina
Alfred
Uhry
By
Morrone
School
Matinees:
Feb.
Feb.22
School Matinees: Apr. 154&&Apr.
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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, etc.
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 it is 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 play with 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 the
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
community outreach
program initiated at Magnus
in 1987.
 Throughout the year,
Magnus operates a
THEATRE SCHOOL with
classes for all ages in the fall,
winter and spring. Drama
camps run during March
Break and the summer.
 The THEATRE FOR YOUNG
AUDIENCES SCHOOL TOUR
brings entertaining, socially
relevant productions to
elementary and secondary
schools throughout
Northern Ontario, to
communities that may not
have the opportunity to
experience live theatre
otherwise. Booking begins
in the fall for performances
in the spring.
 Magnus offers WORKSHOPS
for students, teachers, and
community groups in
Thunder Bay and across the
region. Workshops can be
designed to meet specific
needs, or can be selected
from various topics including
introduction to drama,
improvisation, character
creation and more.
 SCHOOL MATINEES are held
Wednesdays at 12 noon
during show runs. Tickets
are only $12 each, and
include a study guide
created by an Ontario
certified teacher and talkback session with the actors.
 In 2008 Magnus Theatre, in
partnership with the
Lakehead Social Planning
Council, held a new play
creation project, CLOSING
THE DISTANCE. With the
guidance of professional
theatre staff at Magnus
Theatre, a group of high
school students from across
the city created a play about
racism and building social
inclusion in our community.
Students were involved in all
aspects of the creation of
the play.
 In the past, Magnus Theatre
offered the Young
Playwright’s Challenge to all
students in Northwestern
Ontario; three finalists
experienced a week of
intensive workshops on their
plays with Magnus Theatre
professionals, culminating in
a public reading. We are
hoping to reinstate this
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
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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
performances.
 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, caters to different styles of learning and has 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 increase 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 U.K. 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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JORDAN CAMPBELL
as Young Martin
JERRY GETTY
as Ethan Claymore
WILLIAM MATTHEWS
as Young Ethan
VINCE METCALFE
as Douglas McLaren
DANIELLE NICOLE
as Teresa Pike
MARIO CRUDO
Director
BRUCE REPEI
Set Designer
TIMOTHY RODRIGUES
Lighting Designer
MERVI AGOMBAR
Costume Designer
GILLIAN JONES
Stage Manager
NORM FOSTER
Playwright
MARTIN SIMS
as Martin Claymore
SYNOPSIS
Ethan Claymore, a struggling egg farmer and would-be artist, is still mourning the loss of his wife
after five years. It's the week before Christmas and Ethan’s neighbour has decided this has to end.
There’s a new teacher in town and he is determined that she and Ethan will meet and fall in love.
Ethan’s farm is doomed; the hens aren’t producing and the bank is demanding repayment before
Christmas. Then Ethan receives a visit from his estranged - and recently deceased - older brother,
Martin. Through a series of childhood flashbacks, the reason for their alienation is revealed. Martin
has an assignment to complete before he can leave and has to figure out what it is. Christmas
miracles do happen and Ethan finds his world brightening in a way he hadn’t dreamed possible.
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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.
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."
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AMISH
The Amish are a group of traditionalist Christian church fellowships, known for
simple living, plain dress, and reluctance to adopt many conveniences of
modern technology.
BIERSTADT
Albert Bierstadt (January 7, 1830 – February 18, 1902) was a German-American
painter best known for his lavish, sweeping landscapes of the American West.
CASPER
Casper the Friendly Ghost is the protagonist of the Famous Studios animated
cartoon series, created in the late 1930s. As his name indicates, he is a ghost, yet
he is quite personable.
DAVID COPPERFIELD
David Copperfield (born David Seth Kotkin; September 16, 1956) is an American
illusionist, who has been described by Forbes as the most commercially
successful magician in history.
DESOTO
The DeSoto was an American automobile marque, manufactured and marketed
by the now-defunct DeSoto Division of the Chrysler Corporation from 1928 to
1961.
FINA STATION
A chain of petrol stations that opened in North America in 1959.
GRADING STATION
In Canada, eggs are graded, sized and packed at an egg grading station. At the
grading station, eggs are washed and sanitized in a high-speed washer that
gently scrubs the shells. Their quality is then examined based on the condition
of the shell, the size of the air cell and whether the yolk is well-centered.
LIEN
In law, a lien is a form of security interest granted over an item of property to
secure the payment of a debt or performance of some other obligation.
LI’L ABNER
Li'l Abner is a satirical American comic strip that appeared in many newspapers
in the United States, Canada and Europe, featuring a fictional clan of hillbillies.
POTASSIUM
Potassium is a mineral found in foods. It is also an electrolyte, which conducts
electrical impulses throughout the body. Potassium assists in a range of
essential body functions.
RIVIERA
The Riviera by Buick is an automobile produced by Buick from the 1963 to 1999
model years.
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Photo credit : http://www.ats-sea.agr.gc.ca/exp/5489-eng.htm
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Canada is the 5th largest agricultural exporter in the world
The agriculture and agri-food industry employs 2.1 million Canadians
The agriculture and agri-food industry contributes $100 billion annually to
Canada's gross domestic product (GDP). (That's more than the national GDP
of 2/3 of the world's countries).
In 2012, there were 1,016 registered egg farms in Canada, generating $880.1
million in total farm cash receipts.
The average Canadian flock size was 20,241 hens, but Canadian egg farms
can range from a few hundred to more than 400,000 hens. The average
laying hen produces about 300 eggs per year (25 dozens).
Because of changing dietary habits, annual total egg consumption in
Canada has dropped from 21.96 dozen per person in 1980 to 17.06 dozen in
1995. Since 1995, egg consumption has increased and in 2012, it reached
20.51 dozen per person.
We produce about 85% of the world's maple syrup, and we're the world's
largest producer and exporter of flax seed, canola, pulses and durum wheat.
Canada exports maple syrup to 53 countries around the world.
Canada is the world's number one producer and exporter of fresh and
frozen wild blueberries, with exports valued at $196 million in 2013.
Think agriculture only produces things that you eat? Think again! Did you
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know the airbag in your car contains cornstarch? That diabetic test strips
contain an enzyme found in horseradish? Or that some shampoo and skin
care products contain oats?
Canola was developed by Canadian scientists and planted by Canadian
farmers. Today, Canada contributes nearly 40% to global canola imports.
Nearly 70 percent of the wheat grown in Canada is exported abroad, making
it a major economic driver for the country. In fact, it's our top agricultural
export, with $6.7 billion worth of wheat shipped around the world in 2013.
There are 1 403 500 dairy cows and dairy heifers in Canada in 2014.
In 1931, one in three Canadians lived on a farm. Today, it’s just one in 46.
There are 8,483 beekeepers in Canada keeping 600,000 colonies
A farmer in 1900 produced enough food for 10 people. Today’s farmer feeds
over 120 people.
Farms in Canada
Newfoundland
Prince Edward Island
Nova Scotia
New Brunswick
Quebec
Ontario
Manitoba
Saskatchewan
Alberta
British Columbia
Canada
2011
510
1,495
3,905
2,611
29,437
51,950
15,877
36,952
43,234
19,759
205,730
Sources: http://www.agr.gc.ca , http://www.dairyinfo.gc.ca, http://www.omafra.gov.on.ca/english/stats/census/number.htm,
http://www.croplife.ca/just-the-facts
Did You Know…?
Canada has an aging agriculture sector. The 2011 Statistics Canada Census of Agriculture
revealed that the average age of farm operators in this country—those running Canadian
farms day-to-day—is 54. Their numbers have dropped by 10 per cent since 2006. Statistics
Canada reports only 8.2 per cent of farm operators are under 35.
Source: http://thelinknewspaper.ca/article/3735
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Birth order is the theory that the rank of siblings by age has a profound and lasting effect on
psychological development. Alfred Adler (1870–1937), an Austrian psychiatrist and a contemporary
of Sigmund Freud and Carl Jung, was one of the first theorists to suggest that birth order influences
personality. He argued that birth order can leave an indelible impression on an individual's style of
life, which is one's habitual way of dealing with the tasks of friendship, love and work.
The validity of Adler's theory has been repeatedly challenged by researchers, yet birth order
continues to have a strong presence in pop psychology and popular culture, with many adamant
devotees.
Strengths:
The firstborn is often used to being the center of attention; they have Mom and Dad to themselves
before siblings arrive (and oldest children enjoy about 3,000 more hours of quality time with their
parents between ages 4 and 13 than the next sibling will get, found a study from Brigham Young
University, in Provo, Utah). In addition to usually scoring higher on IQ tests and generally getting
more education than their brothers and sisters, firstborns tend to out-earn their siblings, according
to a recent CareerBuilder.com survey.
Challenges:
Firstborns tend to be type A personalities who never cut themselves any slack. "They often have an
intense fear of failure, so nothing they accomplish feels good enough," says Michelle P. Maidenberg,
Ph.D., a child and family therapist in White Plains, New York. And because they dread making a
misstep, oldest kids tend to stick to the straight and narrow: "They're typically inflexible -- they don't
like change and are hesitant to step out of their comfort zone," she explains.
In addition, because firstborns are often given a lot of responsibility at home -- whether it's helping
with chores or watching over younger siblings -- they can be quick to take charge (and can be bossy
when they do). That burden can lead to excess stress for a child who already feels pressure to be
perfect.
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Strengths:
You've probably heard that "lonely onlies" grow up selfish and socially inept. Not true, says Dr.
Frank Sulloway: "Only kids learn people skills from their parents and peers." In fact, most only
children turn out to be movers and shakers with similar traits to firstborns: They're ambitious and
articulate. And since they spend so much time with their parents, they're comfortable interacting
with adults.
Challenges:
Only children may have difficulty relating to kids their own age.
Strengths:
Middleborns are go-with-the-flow types; once a younger sibling arrives, they must learn how to
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constantly negotiate and compromise in order to "fit in" with everyone. Not surprisingly, Dr.
Sulloway notes, mid kids score higher in agreeableness than both their older and younger sibs.
Because they receive less attention at home, middle siblings tend to forge stronger bonds with
friends and be less tethered to their family than their brothers and sisters.
Challenges:
Middle kids once lived as the baby of the family, until they were dethroned by a new sibling.
Unfortunately, they're often acutely aware that they don't get as much parental attention as their
"trailblazing" older sibling or the beloved youngest, and they feel like their needs and wants are
ignored. And there is some validity to their complaint: A survey by TheBabyWebsite.com, a British
parenting resource, found that a third of parents with three children admit to giving their middle
child far less attention than they give the other two.
Strenghts:
Lastborns generally aren't the strongest or the smartest in the room, so they develop their own
ways of winning attention. They're natural charmers with an outgoing, social personality; no
surprise then that many famous actors and comedians are the baby of the family (Stephen Colbert is
the youngest of 11!), or that they score higher in "agreeableness" on personality tests than
firstborns, according to research. Youngests also make a play for the spotlight with their
adventurousness. Free-spirited lastborns are more open to unconventional experiences and taking
physical risks than their siblings (research has shown that they're more likely to play sports like
football and soccer than their older siblings, who preferred activities like track and tennis).
Challenges:
Youngests are known for feeling that "nothing I do is important," Dr. Kevin Leman notes. "None of
their accomplishments seem original. Their siblings have already learned to talk, read, and ride a
bike. So parents react with less spontaneous joy at their accomplishments and may even wonder,
'Why can't he catch on faster?'" Lastborns also learn to use their role as the baby to manipulate
others in order to get their way. Parents often coddle the littlest when it comes to chores and rules,
failing to hold them to the same standards as their sibs. The long-term result of too much babying
could be an adult who is dependent on others and unprepared for the world.
Photo credits: http://www.rappler.com/move-ph/ispeak/35606-birth-order-personality
Source: http://www.parents.com/kids/development/social/the-power-of-birth-order/?page=3
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1.
The origins of ice hockey are murky. While some say a version of the game was played by
the French and Irish as far back as the 1700s, others claim it was invented in the mid-1800s
when Canadians with homemade sticks would skate on frozen ponds in Ontario.
2.
The National Hockey League (NHL) was founded on November 22, 1917.
3.
The Montreal Canadiens have won the most Stanley Cups in league history, with 23. The
most recent came in 1993.
4.
The fastest slapshot on record is Bobby Hull’s, which registered 190 kilometers per hour.
5.
Since 1914, the Stanley Cup has been awarded in every year but two. In 1919, it was not
awarded after members of the Montreal Canadiens were stricken with sickness during the
Spanish flu pandemic, and in 2005, it was not handed out after the season was cancelled
due to a lockout/work stoppage.
6.
Wayne Gretzky holds 61 NHL records, the most by far of any player.
7.
The Stanley Cup has had many adventures since its creation in 1893. Through the years, it
has been used as a cereal bowl, accidentally left by the side of the road, tossed into a
swimming pool and even lost, like luggage, on a 2010 flight from New Jersey to Vancouver.
8.
Before 1914, referees used to place the puck on the ice between the players’ sticks for
faceoffs. This led to many cuts, bruises and even broken hands for the referees. Starting in
1914, the referees were allowed to drop the puck between the players’ sticks.
9.
Before games, hockey pucks are frozen to prevent them from bouncing during play.
10. The first hockey puck, used during outdoor pickup games in the 1800s, was reportedly
made of frozen cow dung.
11. In Detroit, fans often throw octopi on the ice during the playoffs, when the Red Wings
score. The tradition dates back to the Original Six era, when it only took eight wins — one
for every octopus tentacle — to capture the Stanley Cup.
12. In 1992, goalie Manon Rhéaume became the first woman to play in the NHL, suiting up for
the Tampa Bay Lightning during an exhibition game.
13. The Anaheim Ducks — originally called the Anaheim Mighty Ducks — were named after the
team in the Disney movie, The Mighty Ducks.
14. Twelve women have their names engraved on the Stanley Cup, either as owners or team
executives.
15. The original Stanley Cup was only seven inches high. The names of every player from each
winning team are etched on the base of the Cup. The cup and base now stands more than
15
35 inches high.
16. If a regular season NHL game is tied after three periods (20 minutes each), the two teams
play a sudden-death five minute overtime period to try to break the tie. In the playoffs,
however, the game keeps going until someone scores. The longest overtime game in
playoff history was in 1936, when the Detroit Red Wings finally beat the Montreal Maroons
in the sixth overtime period. They basically played almost three full games in one night.
17. The first goaltender to regularly wear a face mask during a game was Montreal's Jacques
Plante. A shot broke his nose in 1959 and he decided to wear one ever since. He was made
fun of at first, but now every goaltender wears a mask. Thanks to him, many broken bones
and stitches have been avoided.
18. In 1930 World Ice Hockey Championship, the Canadian team was considered so dominant
that it did not participate in the knock-out tournament. Canada was automatically put into
the final game and the tournament was played to determine an opponent. Canada won.
19. Jarome Iginla donates $2,000 to the children’s charity Kidsport for every goal he scores.
Since 2000, he has added more than $700,000.
20. The decision to install higher Plexiglas panels in hockey arenas was taken after a playerspectator brawl in 1979. Mike Milbury of the Boston Bruins jumped over the glass, tore off a
boisterous spectator’s shoe and beat him with it. His actions resulted in a six-game
suspension.
21. An average professional hockey player can lose as much as 8 pounds (mostly water) during
a game.
22. In USSR, bears were trained and forced to play ice hockey as part of circus performances.
23. During the 1987 Junior Hockey Championship, a brawl broke between Canada and the
USSR. It lasted so long the officials had to turn off the lights in an attempt to quell the fight.
They were unsuccessful.
24. Doctors in British Columbia are banned from talking about hockey during surgery.
25. Due to their maturational advantage in development, ice hockey players born in the first
quarter of the year enjoy a more easy passage into the NHL. They go more than 40 slots
earlier in the draft compared to those born in the third and fourth quarters of the year.
26. There is a team of hockey-playing Roman Catholic priests called the Flying Fathers. They
only play exhibition games to raise money for charities.
27. If both NHL goalies are injured, the team can literally choose any available goalie to suit up
and play and this includes fans.
28. There are two dozen engraving errors on the Stanley Cup including misspelling Boston as
“Bqstqn”, the Toronto Maple Leafs as “Maple Leaes,” and the New York Islanders as
“Ilanders.” Only one of the errors is not a spelling error. When the Oilers won the cup in 8384, owner Peter Pocklington had his dad’s name snuck onto the team roster. The NHL
caught the error later and had Basil Pocklington’s name crossed out with X’s.
Sources: http://onthefly.onemillionskates.com/on-the-fly/40-fun-hockey-facts/ and http://kickassfacts.com/30kickass-interesting-facts-about-ice-hockey/
16
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. Many activities and discussion questions are cross-disciplinary, so teachers are
encouraged to read through the study guide thoroughly before planning lessons.
This Study Guide fulfills the following strands of the Ontario Ministry of Education’s Curriculum
Expectations:
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. Implementing Change
C. Research and Inquiry Skills
D. The Concept of Culture
E. Influences on Clothing Choices
F. Healthy Relationships
G. Religious and Spiritual Impulse
The Business Studies Curriculum:
A. Fundamentals of Accounting for Business
B. Financial Analysis and Decision Making
C. Ethical Issues, Budgets, and Business Expansion
The Guidance and Career Education Curriculum:
A. Exploration of Opportunities
B. Personal Management
The Heathy and Physical Education Curriculum:
A. Physical Activity and Sports in Society
17
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?
Have students attended theatre performances before? Why attend live theatre?
Discuss the elements that go into producing a live performance: casting, directing, rehearsals,
designing (lights, sets, props and 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.
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?
Ethan Claymore is a poultry farmer. What are the students’ aspirations? What careers would
they like to have when they’re finished school?
One of the themes in ETHAN CLAYMORE is sibling relationships. Do the students have
siblings? How many? What do they think of them?
Discuss: do you believe in ghosts?
Many stories written about the holiday season involve the themes of forgiveness,
redemption and renewal. Can the students think of any movies/books/plays/etc. that involve
those themes?
DURING THE SHOW AND INTERMISSION
1.
2.
3.
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?
Read the program. Ask students what, if anything, they would change if they were the
designer? What would they add?
Throughout your visit to the theatre, encourage students to take note of the various people
working and volunteering. Who is responsible for the different tasks? How do they work
together to produce a show? Compare observations regarding staff and personnel to the
information listed in the program. Were there positions or job tasks that they did not think
of?
18
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.
STUDENTS’ 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 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.
5.
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 a series of sketches depicting an alternate set or costumes for one (or all!)
of the actors.
Were the flashbacks hard to follow? What technical things happened to show the audience
they were going back in time and to another place?
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 ETHAN CLAYMORE, 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 explore
19
4.
5.
6.
levels (high, low, depth, etc.)
In groups, ask students to create an alternate ending for ETHAN CLAYMORE. Allow the
groups time to rehearse and then have them perform for the class.
In groups, create a scene from something mentioned in the play but not shown onstage.
The children in the play were portrayed by adults. What do you suppose some of the
challenges are of playing a young person when you’re an adult? What are some of the
advantages?
ENGLISH & LANGUAGE ARTS
1.
2.
How would you describe the genre of ETHAN CLAYMORE?
Turning points are key moments that change the characters’ lives. Write two paragraphs
detailing the key turning points for each character in ETHAN CLAYMORE.
3. What do you think the topic, purpose and intended audience for ETHAN CLAYMORE is? Why?
Think-pair-share with a partner to discuss.
4. In the play, Ethan’s Dad says "Family and friends, Ethan. They're the most important things in
life." Write a response. Is this true for you? Why?
5. You never know when your life might end. What regrets would you have if you died
tomorrow? Respond and then create your ‘bucket list’.
6. There is a considerable amount of dramatic irony in Ethan Claymore. Identify the instances in
which the audience knew something that all or some of the characters did not.
7. Martin teaches us an important lesson in this play – that you never know when your life might
end. What regrets does he show and how does he try to fix things?
8. ETHAN CLAYMORE includes a series of flashbacks. Why are they used?
9. Read or watch Charles Dickens’ A Christmas Carol. Can you find any parallels between A
Christmas Carol and ETHAN CLAYMORE?
10. Write an eHarmony profile for Ethan.
11. Write a letter from young Ethan to Martin, apologizing for the ice skating incident, or write a
diary entry as Martin on the day he found out that he’d never play hockey again.
SOCIAL SCIENCES AND HUMANITIES
1. Research agriculture in Canada. What are the different types of farming? What tasks does a
farmer perform?
2. Teresa is the only female character in ETHAN CLAYMORE. How is she represented? What
qualities does she possess? Reference gender norms.
3. Teaching elementary school is a profession now often associated with women, like Teresa.
Why do you think that is? Remembering your own schooling, is the assumption that most
elementary school teachers are female correct or incorrect?
4. What elements of Canadian culture are displayed in ETHAN CLAYMORE?
5. Douglas places a lot of emphasis on Ethan getting a new wardrobe. What does clothing say
about a person's values or personality? Does clothing affect a person's interactions with
others?
6. What are the characteristics of healthy sibling relationships? Do Martin and Ethan
demonstrate these?
7. What religious views are explored in ETHAN CLAYMORE, specifically in regards to an
afterlife?
8. Martin burns his brother’s painting out of spite. Have you ever done anything like this out of
spite, or had someone do something to you?
BUSINESS STUDIES
1.
2.
3.
What are the different types of business ownership? Which of these do you think applies to
Ethan’s farm?
What are the sources of finance available to a business? Which did Ethan rely on?
Research and then create a budget for a small farm, like Ethan’s.
20
Subject: English, Social Sciences and Humanities, Art.
Grade: GRADES 3+
Prepared by Danielle Chandler, OCT
OBJECTIVE
Students will explore naming conventions, analyze the underlying meanings of names and reflect on their
own names.
MATERIALS NEEDED
 Access to the internet or baby name books
 Markers
 Pencil crayons
 Paper
 Paints
INTRODUCTION
Explain that authors often select fitting names for their characters. The name Ethan is Hebrew for “solid
and enduring”. How can Ethan be described as each of these? What is clay used for? Why is this good
surname for Ethan?
PROCEDURE
LESSON ONE
1.
2.
3.
4.
Have students write down whatever they know about their own names. This could include
why their name was chosen, who made the decision on their name, their nicknames, etc.
Choose students to share something about their name with the class.
Using the internet or books, have students look up the meanings of their names. Does it suit
them? Why? Ask them to add to their journals.
For homework, have students interview family members to find out additional details about
their names. They can ask why they were given their name, who picked out the name and if
any other names were considered.
LESSON TWO
1.
2.
3.
4.
Have volunteers share what they learned in the last lesson and through their homework with
the class.
Ask students to write a written reflection about their names. They should write about how
they feel about their name, how others respond to it and what name(s) they would choose
for themselves if they were going to pick a new one, and why.
Using the art materials of your choice, have students visually represent their names on a
cover for their reflections. You may choose to have them use a visual alphabet (e.g. using an
apple for the letter ‘a’, a bat for ‘b’ etc.) instead of the Roman alphabet.
As a class, create self-assessment criteria and then have students assess their work.
ASSESSMENT AND EVALUATION
 Written reflection
 Self-assessment
EXTENSION
 Students may choose a character that they know from a book, tv show, movie or video game and
research the meaning of their name. Does it suit them? Why or why not?
21
Subject: Canadian and World Studies, English.
Grade: 5+
Adapted from: http://resource2.rockyview.ab.ca/ela201/units/passions/1_hockey_sweater.html
OBJECTIVE
To explore ruling passion (an interest or concern that occupies a large part of someone's time and
effort) and its place in both The Hockey Sweater and ETHAN CLAYMORE.
MATERIALS NEEDED



The Hockey Sweater or a projector and computer
Paper
Writing utensil
INTRODUCTION
Much of literature explores the diversity of ruling passions that influence people's lives and
relationships. Discuss what a ruling passion is.
PROCEDURE
1.
2.
P
a
s
s
3.
4.
Read Roch Carrier’s The Hockey Sweater or watch the animated version
(http://www.nfb.ca/film/sweater/).
Think about the significance hockey had for the narrator and for French Canadians in
general as expressed by Roch Carrier. What significance does hockey have for you or
for the community in which you live?
Now think about ETHAN CLAYMORE. What were Martin and Ethan’s ruling passions
as children? Compare and contrast them with Roch Carrier’s in The Hockey Sweater.
In a multi-cultural country like Canada, with its immense size and varied geography,
there is little that ties us together. Hockey, whether we watch it or play it, tends to
be the ruling passion that unites Canadians. Write a response, explaining how you
think hockey unites our nation. Is hockey Canada’s ruling passion?

Written assignment
EXTENSION
Write a personal response about your own ruling passion(s).
Did You Know…?
When Prince Charles and Princess Diana of Wales visited Toronto in 1991, the official gifts
from the government of Ontario included a selection of children's books. Among them
was The Hockey Sweater for Prince William, then aged nine.
22
Subject: Social Sciences and Humanities, English.
Grade: 8+
Adapted from: http://www.uen.org/Lessonplan/preview.cgi?LPid=30943 and
http://familyconsumersciences.com/2013/12/family-birth-order/
OBJECTIVE
Discuss sibling relationships and how they affect the family. Discuss birth order theory and analyze
how it may influence sibling relationships.
MATERIALS NEEDED
 Poster paper
 Writing utensil
 Information about the birth order of other teachers in your school
 Pages 11-13 of this study guide
INTRODUCTION
Have students write an answer to the question “what do you love best about your brother or
sister? If you do not have a sibling, what would you want in a brother or sister?”
PROCEDURE
ACTIVITY ONE
1. Define what a sibling is. Discuss how siblings can become friends or enemies.
2. Define what sibling rivalry is. How is it created?
3. Discuss supportive sibling behaviour. How can it be implemented into sibling
relationships at home?
ACTIVITY TWO
1. Conduct a birth order quiz with the students. Using the information on pages 11 – 13 of
this study guide, list off the four sets of characteristics and have students guess which
best describes them. At the end, show the results on which birth order they fall into oldest, middle, youngest or only.
2. Survey students to find out what birth order position they are and group them
accordingly. Give each group a large piece of paper and ask them to generate a list of
pros/cons to being in that position of their family. Encourage them to think about
parental expectations, rules, chores, discipline and treatment of siblings when
generating this list.
3. Have groups share their findings with the class.
4. Discuss the characteristics of each birth order. Once these characteristics have been
discussed, have the students guess what birth order their teacher is. Have them also
guess what birth order other teachers you surveyed are.
5. Discuss with the students how to make their birth order work for them. Share with the
students the strengths and challenges listed on pages 11 - 13.
ACTIVITY THREE
1. Answer the following prompt: Based on what you’ve learned and your own experiences
and observations, do you agree or disagree with the characteristics described for your birth
order position? Provide at least two examples of evidence to thoroughly explain and
support your response.
 Class participation
 Written assignment
EXTENSION
Read about birth order in Disney’s Frozen (http://blogs.wsj.com/briefly/2014/11/04/5-frozencharacters-and-what-birth-order-says-about-their-personalities/). Have students analyze another
movie/book/etc. to see if the characters fit the birth order profile.
23
ABOUT FARMING
Chicken Farmers of Canada
http://www.chickenfarmers.ca
Farm Start
http://www.farmstart.ca
Food and Farming Canada
http://www.foodandfarmingcanada.com
ABOUT HOCKEY
Hockey Northwestern Ontario
http://hockeyhno.com
The Official Website of Hockey Canada
http://www.hockeycanada.ca
Thunder Bay Minor Hockey Association
http://www.tbmha.com
Thunder Bay Women’s Hockey Association
http://www.tbwha.ca
ABOUT BIRTH ORDER
Birth Order
http://birthorders.com
The Birth Order Effect (Info Graphic)
http://www.bestpsychologydegrees.com/birth-order
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
24
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 on
stage, usually determined by the director
Box Office - where ticket sales are handled
Cast - to choose the actors for 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; can be internal (within one
character) or external (between two or more
characters)
Costume - any clothing an actor wears on stage
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 intention
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 on
stage; 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 on stage 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
25

STUDY GUIDE MAGNUS THEATRE 2014/2015 SEASON

Transcription

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