Download By Dina Morrone - Magnus Theatre

By Dina Morrone
STUDY GUIDE
MAGNUS THEATRE 2014/2015 SEASON
Prepared by Danielle Chandler, OCT
Magnus Theatre 2015
STAGE RIGHT THEATRE IN EDUCATION SPONSOR
Past tour stops have included Thunder Bay, Geraldton, Longlac, Atikokan, Dryden, Ear Falls, Fort
Frances, Grassy Narrows, Kenora, Sioux Lookout, Marathon, Nipigon, Red Rock, Moosonee, Moose
Factory, Pickle Lake, Nepean, Renfrew, Mississauga, Burlington, Chapleau, Wawa, Marathon and
many more!
(Suitable for Grades K-6)
In times past, the Blue people and the Red people lived in harmony, joined by a bridge to travel from one land to the other. One
day a fight broke out between the two lands and the bridge was replaced by a wall. From then on, the Reds and the Blues have
lived on either side of the wall in suspicion and mistrust of each other, until the day that a young Red and young Blue meet…
PEACEMAKER is a charming parable of our culturally diverse society, designed to show the possibility of co-operation
overcoming conflict. The show addresses antiracism, respect, tolerance, conflict resolution and problem solving.
(Suitable for Grades 7-12)
Skin focused on contemporary race relations as seen through the eyes of four teenagers experiencing racial prejudice at their
high school. The Magnus Theatre production of SKIN will be adapted to reflect regional demographics. SKIN received the
Chalmers Play Award for Outstanding Canadian Children’s Play and the Jessie Richardson Award for Outstanding Production for
Young Audiences.
The 2014/2015 Theatre for Young Audiences Tour will tour from May 4th, 2015 to June 7th, 2015. Each
play runs approximately 45 minutes and will be followed by a talk back session with the cast.
For more information, please visit http://magnus.on.ca/school-touring or contact
Danielle Chandler at 807-345-8033 ext. 231 or by emailing [email protected].
MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario
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How to Use This Guide
Theatre Etiquette &
F.A.Q.’s
About Magnus Theatre
& Theatre in Education
What is Theatre in
Education?
Cast & Characters
Creative Team
About the Play
About Dina Morrone
Glossary
Italian to English
Translations
Italian Immigration to
Canada
What’s an Expat,
Anyway?
About the Moose
Ontario Curriculum
Connections
Pre-Show Activities &
Discussions
Post-Show Activities &
Discussions
Lesson Plans:
- Video Introduction to
Canada
- Moving People
- Create a Family Tree
References & Resources
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.
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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: [email protected]
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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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.
MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario
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 Magnus Theatre is a professional
theatre company, which
operates under the terms of the
Canadian Theatre Agreement,
engaging professional artists
who are members of the
Canadian Actor’s Equity
Association.
 Magnus Theatre was founded in
1971 by British director Burton
Lancaster in conjunction with a
citizens’ committee, and was
incorporated June 15, 1972.
 Mario Crudo, the current Artistic
Director, joined Magnus in 1992.
 In 1998, Magnus received the
Lieutenant Governor’s Award for
the Arts from Ontario Arts
Council Foundation.
 Magnus in the Park! opened in
September, 2001 after a
successful $5.5 million campaign.
 Magnus services reach over 40
000 adults, students and seniors
in Thunder Bay and Northern
Ontario each year.
 STUDENT TICKETS cost $20 and
are available for any show.
Simply come to the theatre on
the day of the show and present
valid student I.D.
 Theatre in Education is a
 SCHOOL MATINEES are held
community outreach program
Wednesdays at 12 noon during
initiated at Magnus in 1987.
show runs. Tickets are only $12
each, and include a study guide
 Throughout the year, Magnus
created by an Ontario certified
operate a THEATRE SCHOOL with
teacher and talk back session
classes for all ages in the fall,
with the actors.
winter and spring. Drama camps
run during March Break and the
 In 2008 Magnus Theatre, in
summer.
partnership with Lakehead
Social Planning Council, held a
 The THEATRE FOR YOUNG
new play creation project,
AUDIENCES SCHOOL TOUR
CLOSING THE DISTANCE. With
brings entertaining, socially
the guidance of professional
relevant productions to
theatre staff at Magnus Theatre,
elementary and secondary
a group of high school students
schools throughout Northern
from across the city created a
Ontario, to communities that
play about racism and building
may not have the opportunity to
social inclusion in our
experience live theatre
community. Students were
otherwise. Booking begins in the
involved in all aspects of the
fall for performances in the
creation of the play.
spring.
 Magnus offers WORKSHOPS for  In the past, Magnus Theatre
offered the YOUNG
students, teachers and
PLAYWRIGHT’S CHALLENGE to
community groups in Thunder
all students in Northwestern
Bay and across the region.
Ontario; three finalists
Workshops can be designed to
experienced a week of intensive
meet specific needs, or can be
workshops on their plays with
selected from various topics
Magnus Theatre professionals,
including introduction to drama,
culminating in a public reading.
improvisation, anti-bullying and
We are hoping to reinstate this
more.
program – please let us know if
you are interested.
Magnus Theatre can make learning dynamic,
interactive, enriching and –above all – fun!
Whether you are interested in bringing your
school to the theatre, or prefer having us
come to yo0u, 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
[email protected]
Photo
Jean Paul
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Theatre in Education refers to theatre that is used as a tool for educational purposes, with the goal of changing
attitudes and/or behaviours of audience members.
Using the art form of drama as an educational pedagogy at any grade level, drama can reinforce the rest of the
school curriculum, and has been proven to improve overall academic performance.
It is a multisensory mode of learning, designed to:
o Increase awareness of self (mind, body, voice) and others (collaboration, empathy)
o Improve clarity and creativity in communication of verbal and nonverbal ideas
o Deepen understanding of human behaviours, motivation, diversity, culture and history
It incorporates elements of actor training to facilitate students’ physical, social, emotional and cognitive
development.
It also employs the elements of theatre (costumes, props, scenery, lighting, music, sound) to enrich the learning
experience, reenact stories and mount productions.
Theatre students are able to take responsibility for their own learning and skill development as they explore the
various aspects involved in theatre such as acting, directing, playwriting, producing, designing, building,
painting, leading etc.
It is a powerful tool for social change as emotional and psychological responses can be more intense as it is a live
event, giving audiences an opportunity to connect with performers.
Theatre can provide a believable, entertaining and interesting way to explore sensitive issues that are not
typically discussed in public, such as racism, suicide, bullying and substance abuse. It is particularly effective with
young audiences.
By engaging audiences and capturing their attention, theatre can influence positive behaviour and healthy
lifestyles, particularly if it is delivered with a message that audiences can understand. Hence, Theatre in
Education performances are typically accompanied by study guides, activities, support material and/or
workshops. The more interactive and participatory the event, the more successful it is.
The arts, including drama, cater to different styles of learning and have positive effects on at-risk youth and
students with learning disabilities.
Involvement in the arts increases students’ engagement, encourages consistent attendance, and decreases
drop-out rates in schools.
Drama allows students to experiment with personal choices and solutions to real problems in a safe
environment where actions and consequences can be examined, discussed and experienced without “real
world” dangers.
Drama makes learning fun and its engaging and interactive nature makes learning more memorable.
Drama increases language development as students express themselves by using a range of emotions and
vocabulary they may not normally use.
As students realize their potential, they gain confidence which extends to other areas of learning and their lives.
Did You Know…?
Theatre in Education emerged in the UK at the Belgrade Theatre in 1965. A group of actors, teachers and
social workers created a project which successfully merged theatre and education for the first time. A
group of children were presented with a scene featuring two actors, one of which was holding the other
captive. The children were given information on both characters and their situations and had the choice of
whether or not to free the captive character. From this project, Theatre in education spread across Britain
and the rest of the world.
MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario
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PAUL AMATO
as Giuseppe Tappino
MARIO CRUDO
Director
NICK BABATSIKOS
as Bruno
DOUG ROBSINSON
Set Designer
AMANDA BARKER TIMPANO
as Gina
ADAM PARBOOSINGH
Lighting Designer
ROBERT BELLISSIMO
as Joseph
MERVI AGOMBAR
Costume Designer
LINDA GORANSON
as Pina Pupi
ANU FIDDLER
Props Coordinator and Scenic
Painter
WESLEY GRAHAM
as Timothy
DANNY JOHNSON
as Darryl
GILLIAN JONES
Stage Manager
DINA MORRONE
Playwright
SCOTT MAUDSLEY
as Moose & Chief of Police
SAM MOSES
as Rodolfo Pupi
DANIELLE NICOLE
as Carmela
ALICE OMBASH
as Honabigi
VIVIANA ZARRILLO
as Maria Tappino
SYNOPSIS
Pull up a chair at the Tappino family dinner table with this family friendly, uproariously funny comedy written
by Thunder Bay’s own Dina Morrone. MOOSE ON THE LOOSE is a semi-autobiographical play about a family
from Italy who have set up home in Way Up Bay, Ontario. A moose has wandered into town and acts as our
narrator and guide as we meet the Tappino family - a chaotic but loving family trying to come to terms with the
issues of joblessness, a daughter with a secret and a son who won’t get his lazy bum off the sofa.
MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario
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Dina Morrone was born in Thunder
Bay to Italian Immigrant parents who
came over from Calabria. Her first
time on stage was at the age of four,
when she and her sister sang in
Calabrese and English at the Italian
Hall Annual Christmas Party (some of
you may have even been there!)
Dina’s come a long way since that
memorable Sunday. She graduated
from Ryerson University and went on
to work in Toronto, Italy and the US,
as an Actress/TV-Host/Voice-Over
Artist and Writer. While working in
Rome, Dina had many memorable
moments. The highlight, besides
being in the homeland, was her
meeting with Federico Fellini, which
subsequently became the inspiration
for her Solo show, The Italian In Me.
For her performance in that show,
she was selected as one of the TOP
TEN ACTRESSES by reviewplays.com
and was also presented with the
Inspiring Solo Performance Award by
the LAWTF (Los Angeles Women’s
Theatre Festival). Besides writing &
acting, her credits are varied and
include Hosting TV shows for RAI
Television in Italy, Announcer for
Awards shows including the ACE
Awards, MPSE, CAS & HPA Awards,
Voice Over on feature films such as
Penguins of Madagascar, Twilight-New Moon, EMPIRE (TV), Avatar, NINE, TED & Spiderman, to name a select
few, MC at numerous special events including the Orchestra Italiana Del Cinema concert at Royce Hall UCLA,
and Keynote speaker for the 26th Annual FBI Memorial. Dina’s full-length play ‘Moose on the Loose,’ a comedy
about an Italian family and a Canadian moose, had its world premiere in Los Angeles at Theatre West. It gave
Dina great pleasure to introduce “Californians” to Moose, Northern Ontario, and the term “Wind Chill.” One of
the most exciting LA “Moose” moments happened when the legendary Mel Brooks saw the show and offered
to give a quote. “I cannot tell a lie, Moose on the Loose is very funny and surprisingly moving.” Dina is thrilled
beyond words and emotion to have her play making its Canadian debut in her hometown of Thunder Bay, at
Magnus Theatre. She would like thank Mario Crudo and Magnus Theatre for this great opportunity and to wish
Mario and everyone involved in the production to Break a Leg and enjoy the ride. And lastly, she would like to
thank her family for their love and support, oh and of course to the Moose, wherever he may be… she’d like to
also say, thank you for the inspiration.
http://www.dinamorrone.com
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ATIVAN
Ativan is a benzodiazepine used to treat anxiety disorders or anxiety associated with
depression.
ANEMIA
A condition in which you don’t have enough healthy red blood cells to carry adequate
oxygen to your tissues.
BACCALA
Dried and salted cod, a white fish. It is used as an insinuation towards Darryl, Carmela’s
Caucasian husband.
CALABRIA
A region in southern Italy, forming the “toe” of the Italian Peninsula.
FIUMICINO
Abbreviated form for Leonardo da Vinci-Fiumicino Airport, located outside of Rome, which
is the busiest airport in Italy and the sixth busiest in Europe.
GRAPPA
An alcoholic beverage that is a fragrant, grape-based pomace brandy of Italian origin,
containing 35%-60% alcohol by volume (70 to 120 US proof).
INFERNO DI DANTE
Inferno (Italian for “Hell”) is the first part of Dante Alighieri’s 14 th-century epic poem
Divine comedy. It is an allegory telling of the journey of Dante through Hell, guided by the
Roman poet Virgil. In the poem, Hell is depicted as nine circles of suffering located within
the Earth.
MANITOU
Manitou is the spiritual and fundamental life force understood by Algonquian groups of
Native Americans. It is omnipresent and manifests everywhere: organisms, the
environment, events, etc.
MISHAABOOZ
The rabbit form of Nanabozho (Mishaabooz means “great rabbit” or “hare”).
NANABOZHO/NANNABUSH
In Anishinaabe mythology, particularly among the Ojibwa, Nanabozho is a spirit, and
figures prominently in their storytelling, including the story of the world’s creation.
Nanabozho is the Ojibwe trickster figure and culture hero (these two archetypes are
often combined into a single figure in First Nations mythologies).
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ADESSO BASTA – Enough is enough.
BEL E’NANNOOZZU – Honey; Nonno’s sweet girl.
CHE BRUTTA COME UN PIPPISTRELLO - Ugly like a bat.
CHE SCHIFO – That’s disgusting.
CIAO – Hello; hi; goodbye.
CORNA – Antlers.
CREDEMI – Believe me.
DIO MIO – Oh my god.
GHIACCIOLI – Icicles.
MA CHE VUOI SAPERE – Why do you need to know?
MANNAGGIA L’AMERICA – Damn America.
MEZZA – Half.
NON TI VERGOGNI – Aren’t you ashamed?
PADRONE – Master.
PER FAVORE – Please.
POLIZIA – Police.
SCHIFO – Disgusting; filthy; loathesome; dreadful.
STUTTEE CHEETU – Keep quiet.
VAFFANCULO – An Italian curse word.
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The mass immigrations of Italians to Canada from 1870-1914, 1920-1930 and
1950-1970 are part of the broader history of the Italian Diaspora, a migratory
movement prompted by poor economic conditions in Italy that arose in the
1860s and lasted for over a century. While the first Italian immigrants came
to Canada in the 1830s and 1840s, mass Italian immigration did not begin
until the 1870s, continuing relatively uninterrupted until the outbreak of the
First World War in 1914. The second wave of migration occurred between
1920 and 1930 before the Great Depression stopped almost all immigration
to Canada. Between 1950 and the early 1970s, the third and largest wave of
Italian immigrants arrived in Canada. Despite classification in Canadian
immigration policy of the late 19th and early 20th century, as undesirable,
hundreds of thousands of Italian citizens immigrated to Canada using
kinship networks and Canadian labour shortages. Although Italian
immigrants were met with a number of challenges upon arrival in Canada, a
vibrant Italian-Canadian community gradually emerged, significantly
contributing to the building of the nation.
The first Italian immigrants to Canada primarily settled in Toronto, Montreal, and to a lesser extent Vancouver,
but also established homes in mining and industrial towns across
the country. The Canadian government did not actively encourage
Italian immigration because Italians were considered ill-suited to the
pioneering lifestyle. Official immigration policy was aimed at settling
farmland on the Canadian prairies and the government favoured
British and northern European immigrants to settle the West.
Nevertheless, over 60,000 Italian immigrants came to Canada
between 1900 and 1913 in response to the need for inexpensive
labour in Canadian industries. The railways required a constant
supply of labour for construction, maintenance, and work in
subsidiary mining companies, and while Italians were not
considered desirable settlers, young Italian males came in the
thousands as seasonal labourers for the railways. Many of these
sojourning labourers came with the intention of working for one
season and making money to send home to their families. Labour
agents assisted those coming for work by arranging transportation
and finding jobs for a fee. Some agents were dishonest and brought
over more men than there were jobs available, leaving many Italian
labourers stranded in Canada with no money to buy return passage
to Italy. During the winter months, the seasonal labourers would go
to Toronto and Montreal, finding work in construction and manufacturing. Many of the men who migrated
seasonally returned to Italy, but some remained in Canada either because they were unable to make enough
money for the passage or they found opportunities in Canadian cities. The labourers that remained formed the
basis of Italian communities in Canada, giving rise to ethnic enclaves known as “Little Italys” in the major urban
centres.
The outbreak of the First World War in 1914 significantly slowed immigration to Canada. While the conclusion of
hostilities in 1918 brought an increase in immigration, the number of immigrants was substantially lower than it
had been in the pre-war period. Approximately 40,000 Italians came to Canada during the interwar period,
predominantly from southern Italy where an economic depression and overpopulation had left many families
in poverty. Prior to the war, Italian immigrants were primarily young male sojourners, but as urban labour
replaced railway work, more Italian men chose to permanently settle in Canadian cities. This led to an increase
in the migration of Italian families in the interwar period as women and children joined their husbands and
fathers in Canada.
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By 1930 it became clear that economic conditions were worsening and the Canadian government imposed
strict regulations to reduce the number of prospective immigrants. The restrictions on immigration were
further strengthened during the Second World War, specifically against individuals from enemy nations such as
Italy. Under the War Measures Act, approximately 31,000 Italians living in Canada were officially classified as
enemy aliens. Italians and other “enemy aliens” in Canada faced persecution and internment based on the
perceived threat they posed to national security. Italian-Canadians were targets of ethnic slurs and many began
speaking English amongst themselves in an effort to prove loyalty to their new country. Between 1940 and
1943, approximately 600 Italian-Canadian men were arrested and sent to internment camps as potentially
dangerous enemy aliens with alleged fascist connections. While many Italian Canadians had initially supported
fascism and Mussolini’s regime for its role in enhancing Italy’s presence on the world stage, most Italians in
Canada did not harbour any ill will against Canada and few remained committed followers of the fascist
ideology.
In the immediate aftermath of the Second World War, Canadian immigration policy remained highly restrictive,
preventing the migration of displaced persons, refugees, and other immigrants. In the late 1940s, Italians were
removed from the enemy alien list, prompting the largest wave of Italian immigration to Canada. Between the
early 1950s and the mid1960s, approximately
20,000-30,000 Italians
immigrated to Canada
each year. Many Italians
came to Canada on
government-sponsored
one-year contracts to
work in industries with
labour shortages,
however, the majority of
Italian immigrants during
this period arrived
through the process of
chain-migration in which
family members already in
Canada sponsored their
relatives from abroad.
The number of Italian
immigrants decreased
significantly in the late
1960s as the Italian
economy experienced a period of growth and recovery, removing one of the primary incentives for emigration.
After arriving in Canada, Italian immigrants faced many difficulties and challenges as they learned the language
and adjusted to the rhythm of life in their new country. The majority of the Italian immigrants travelled to
Canada by ocean liner, landing at Pier 21 in Halifax, Nova Scotia. The feelings of unfamiliarity associated with
immigration often began during the voyage. Rosa Ritorto (née Gareffa) recalls trying sliced white bread for the
first time on the ship: “The food that impressed me the most was the sliced bread, and it was so soft! We
weren’t used to this type of bread and I remember my mother crying and saying that if there was only this type
of bread in Canada she wanted to go back to Italy. She would not even try a piece.” Some Italian immigrants
had brought food with them from Italy, such as homemade cheeses, salami, and sausages, only to have them
confiscated by immigration officials. Once immigrants landed in Canada and were processed by immigration
officials, they boarded trains to take them to their final destinations, arriving at locations with unfamiliar
climates and landscapes. In addition to the culture shock and language barrier, Italian immigrants also endured
discrimination. Common prejudices held that Italians were prone to violence and that they introduced fascism
and organized crime in Canada, seemingly undermining the moral fabric of Canadian society. Italian immigrants
MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario
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were also accused of taking jobs away from Canadians and living in overcrowded and unhealthy conditions
since they often lived in multiple-family homes.
To ease the transition to life in Canada, Italian immigrants found
support amongst their fellow Italian-Canadians, leading to the
formation of enduring communities and organizations across the
country. As more Italians arrived in Canada, the Little Italy districts
of urban centres expanded and thrived. Italian immigrants also
organized many voluntary societies and clubs. During the Second
World War, many of these organizations were disbanded either due
to alleged fascist connections or in an effort to avoid drawing
attention to the community. With increased Italian immigration in
the postwar period, some of the former associations were reformed
and many new ones were created. For example, in 1952, ItalianCanadians formed the Italian Immigrant Aid Society to assist new
Italian immigrants in their transition to Canada, and in the 1960s, the
pan-Canadian National Congress of Italian Canadians was
established. Italian-Canadians also developed various political,
cultural, religious, and labour associations in addition to
community media in the form of newspapers, radio, and television
programs.
The Italian-Canadian community significantly influenced the social,
cultural, and economic fabric of Canada. One of their most
important contributions was in the area of labour reform in
Ontario. As more Italians permanently migrated to Canadian
cities, they came to dominate the construction industry in certain
urban centres. By the 1960s, more than 15,000 Italian men worked
in Toronto’s construction industry, representing one third of all
construction workers in the city. Workplace safety and labour
relations during this time lacked regulation, often leading to the
mistreatment of Italian workers. This issue was brought to public
attention after the Hogg’s Hollow Disaster in 1960 when five
Italian workers were killed after becoming trapped in a tunnel
while laying a water main. This event sparked an inquiry that
pointed to the failure of Ontario’s workplace safety legislation
and the lax enforcement of these laws by the Department of
Labour. A Royal Commission was called to investigate workplace safety legislation, recommending a number of
updates to the law, specifically in the construction industry. The Hogg’s Hollow Disaster additionally motivated
Italians in the construction industry to take on an advocacy role, prompting two illegal strikes over better pay,
union recognition, and safer working conditions.
Hundreds of thousands of Italians chose to make Canada their new home, in an effort to improve their
economic welfare. Restrictive immigration policies classifying them as undesirable immigrants did not deter
Italians from seeking out opportunities in Canada, relying on family networks and Canada’s need for labourers
as means to emigrate. Culture shock, discrimination, internment, and poor working conditions made adapting
to life in Canada difficult, but the Italian immigrants persisted to establish enduring communities and make
valuable cultural and economic contributions, specifically through their participation in labour reforms. Italian
immigration to Canada gradually led to the establishment of a thriving Italian-Canadian community that
continues to be an important part of Canadian society.
Source: http://www.pier21.ca/culture-trunks/italy/history
Photo source: http://www.pier21.ca/culture-trunks/italy/photographs-life-in-canada
MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario
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From career opportunities and wanderlust to dreams of a better life at your new destination: There are lots of
reasons to become an expat. It takes a lot of determination and perseverance to leave your old life behind,
though.
There are numerous reasons for wanting to go abroad: a career decision, a thirst for adventure, to find love, to
follow a spouse or partner, or simply for a change of pace. Expatriates themselves are as diverse as their
reasons for wanting a change of scenery.
Reasons for Venturing Abroad
Some expats will be moving to foreign lands only reluctantly to spend a few months or a couple of years
abroad. For them, the sole reason for this move is to boost their career by completing an international
assignment, and they are eagerly awaiting for it to end in order to quickly return home.
Others who decide to journey overseas just pack their bags, board a plane and never look back. For them, this
move is nothing but an extravagant adventure, a dream come true in the sun-drenched lanes of a Tuscan
village or amidst the skyline of an Asian boomtown. They often don’t move back to their native country for a
long, long time, if ever.
Nowadays, more and more young people between 20 and 39 years of age, rather than senior managers or wellto-do retirees, are considering living in a foreign country as a serious option. The fluctuating, flexible globalized
world economy changes the way they think about going abroad.
Moving to a foreign country is not something for everyone. Without the right personal qualities and
professional qualifications, leaving your old life behind and starting a new one can quickly turn into a complete
disaster. Instead of savoring tarte tartin in a snug Parisian café, your dream of moving to France may end in a
run-down, overpriced Parisian flat where you’ll be frantically trying to brush up your business French in order
to finally land a job.
Photo source: http://www.washingtonpost.com/blogs/worldviews/wp/2013/11/05/want-to-move-abroad-this-map-shows-the-best-andworst-countries-to-be-an-expatriate/
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Defining the Expat
The term “expat” derives from the Latin prefix ex (out of) and the noun patria (home country, native country,
or fatherland). In today’s globalized world, as the reasons for going abroad become more diverse, it’s no
longer easy to find a concrete definition for this term. That said, the word “expat” is generally used to refer to
people who temporarily or permanently live in a different country than the one they were born in or whose
nationality they have. Expats usually choose to leave their native country for a career boost, or to fulfill a
personal dream or goal, rather than as a result of dire economic necessity.
Although the term “expat” is often used to describe highly-qualified employees who take up a foreign
assignment or work at a foreign branch office of their company for several months or years, this is not the full
picture. There are also so-called serial expats, who move from one country to another on a series of
international assignments. And not all expats are employees; some people move abroad to work as freelancers
or open up a business in a foreign country.
Common Expat Attributes
Although the individual situation of one expat can seldom be compared to that of another, there are some
characteristics most expats have in common. They are usually highly educated and enjoy a higher than average
income. In many cases they receive lucrative expat allowances which cover relocation costs and plane tickets,
tuition fees for their children’s education at international schools and other perks. However, expats often face
specific challenges, too.
For instance, many expats do not speak the local language(s) very well and have to deal with the language
barrier. They may also be dealing with culture shock and their own cultural, social, and racial prejudice, or
struggle with the local standards of living, for example, when relocating from an industrial nation to a
developing country.
Did You Know…?
According to the HSBC Expat Explorer Survey in 2014, 88% of expats feel a strong connection
with Canada. 76% found it easy to integrate into the local community, and 85% intend to stay
in Canada permanently.
33% of expats living in Canada are from the UK, 13% are from the U.S., 5% are from Hong Kong
and 49% are from other countries.
55% of expats in Canada are male, while 45% are female. 6% are 18 – 34 years of age, 36% are
35-54 and 58% are 55+.
Source: http://finance.yahoo.com/news/hsbc-global-survey-switzerland-top-100000827.html
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Source: http://www.thunderbay.ca/Living/About_Thunder_Bay/Photo_Galleries/Panoramas_and_Backgrounds_Hi_Lo_Res_Gallery/Panoramas_Moose_Hi_Res.htm
Fast Facts
Scientific Name: Alces alces
Average weight: Female – 350 kg; Male – 400 kg
Average length: 2.4 to 3.2 m
Life expectancy: 8 to 12 years on average
Physiology
The moose is the largest member of the deer family, and stands taller at the shoulder than the largest saddle
horse. It has long, slim legs with divided, or cloven, hooves that are often more than 18 centimetres long. The
moose gets its humped appearance from its deep and incredibly muscled shoulders. It is also low-rumped, has
slender hindquarters and a stubby tail. The moose's head is heavy and long, with an overhanging, flexible
upper lip. Its ears are slightly smaller than those of a mule. Most moose have something called a bell—a piece
of fur-covered skin about 30 centimetres long that hangs from their throats.
A moose's antlers are pale in colour, sometimes almost white. They are used for fighting in the mating season.
It is in the late summer and autumn that a mature bull carries its rack of antlers, which normally span between
120 and 150 centimetres. They begin growing in midsummer and are soft and spongy during that period of
growth, with blood vessels running through them. By late August or early September the antlers are fully
developed, hard and bony. The formerly soft velvet dries and the bulls rub it off against tree trunks. Adult bulls
normally shed their antlers in November, but younger bulls can carry them through until April. Moose can be a
variety of colours, ranging from dark brown, almost black, to reddish or greyish brown, with grey or white leg
markings, called stockings.
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Habitats/Behaviours
Moose are powerful swimmers, sometimes diving 5.5 metres or more
for plants at the bottom of a lake. Swimming in the water is also a way
for them to cool off in the summer, as moose suffer from the heat.
They do, however, tolerate cold well. Moose can also travel through
practically any terrain. Their long, stilt-like legs make it easy for them to
travel over deadfall trees and deep snow. Their large hooves provide
support to wade through soft muskeg and snow. Despite the moose's
large size and broad antlers, it can travel silently through the forest. The
moose's eyesight is poor, but they compensate for it with a good sense
of smell and hearing.
Range
Moose live on the margins of lakes, muskegs and streams of the boreal forest, on the rocky, wooded hillsides
of the western mountain ranges and
now even northward through the
transition forest that extends to the
open tundra. Moose can be found in
Canadian forests from the eastern tip
of Newfoundland and Labrador to
the border of Alaska. In the
wintertime, they occupy forests that
have reduced snow levels. Moose
are also moving into areas where
they were not previously found, like
north-central Ontario and the
southern part of British Columbia. In
the early 1900s, a few pairs of moose
were put on the island of
Newfoundland and the populations
are now quite large.
Source: http://www.canadiangeographic.ca/kids/animal-facts/moose.asp
Did You Know…?
In Skellefteå Sweden, you can go on a Moose Safari via snowmobile. Svansele Wilderness
Exhibition will even issue a Moose Guarantee when the area has enough snow, which means that
guests need not pay for their stay in the event that they cannot find and show you a moose in the
wild.
Source: http://www.nordicdiscovery.se/main-menu/guided-adventures/moose-safari/
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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. Implementing Change
C. Research and Inquiry Skills
D. The Concept of Culture
E. Healthy Relationships
F. Equity, Social Justice and Change
The Canadian and World Studies Curriculum:
A. Geography
o Changing Populations
B. History
o Communities: Local, National and Global
C. Civics
o Criminal Law and Procedures
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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.
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?
MOOSE ON THE LOOSE touches on the theme of living in a new place and adapting to a new
culture. Have any of the students ever moved? How has it affected them? If students have
only moved within Canada, how might it affect them to move to an entirely new country
where many things could be different from ours?
What do they students know about Italy and Italian heritage?
One of the benefits of living in northern Ontario is that we are close to nature. Many
Thunder Bay residents have stories about wildlife in their backyards, on their streets, etc.
What stories do your students have? Are the stories unique to northern Ontario, or could
you experience them in a city like Toronto?
5.
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?
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While watching a live performance, audiences are engaged physically, emotionally, and intellectually.
After the performance, discussions and activities allow students to ask questions, express their
emotions and reactions, and further explore the experience. The questions and activities below are
listed by topic and can be utilized in many different courses. Please review the entire list and adapt
questions and activities to fit your classroom needs.
STUDENT’S REACTIONS
1.
2.
3.
4.
5.
6.
What was your overall reaction to the performance? Explain.
What did you like best about the play? What did you dislike?
Are you satisfied with the way the story was told? Explain.
What, if anything, would you have done differently if you were the director of the play? An
actor? The set designer? The costume designer? The lighting designer? The playwright?
Would you recommend this show to your friends and/or family? Why or why not?
What can you learn from these characters? Did watching the play offer any insight into your
own life?
ACTORS & CHARACTERS
1.
2.
3.
4.
5.
6.
Make a list of the details of the main characters in the play. How did you learn this
information – from dialogue, interaction with other characters, costumes, etc.?
Did the characters change or grow during the play? Identify specific moments of change.
How does their age, status, gender, religion, ethnicity, etc. affect each character?
How did the actors use their voices and bodies to portray the characters? Were the actors
successful or unsuccessful at doing so? Justify your answer using specific examples from the
production.
Create a physical description of one of the characters from the play including weight,
height, body type, hair colour, etc. Share and compare descriptions with those of their
classmates.
Do you think the characters were well cast? Justify your answer.
DESIGN – Costumes, Lighting and Setting
1.
2.
3.
4.
Describe the use of colour, staging, lighting, costumes and/or other elements used within
the production and how it worked (or failed to work) with the play content.
Did each character’s costumes seem appropriate for his/her character (personality, social
status, age, occupation, etc.)? Why or why not?
A realistic setting tries to recreate a specific location. It generally consists of a painted
backdrop, flats and furniture or freestanding set pieces. An abstract set, on the other hand,
does not depict any specific time or place. Rather, it typically consists of platforms, steps,
drapes, panels, ramps and/or other nonspecific elements and is used in productions where
location changes frequently and/or quickly. Is this set realistic or abstract? How was the set
used during the show?
Create a sketch or series of sketches depicting an alternate set or costumes for one, or all,
of the actors.
DRAMATIC ARTS
1.
2.
3.
Blocking is a theatre term which refers to the precise movement and positioning of actors
on a stage in order to facilitate the performance. In contemporary theatre, the director
usually determines blocking during rehearsal, telling actors where they should move for the
proper dramatic effect and to ensure sight lines for the audience. Describe the blocking
used in the production. Were there any moments when you felt that such movement was
particularly effective or ineffective? Describe them.
Who would you cast in each role of MOOSE ON THE LOOSE, 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
MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario
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explore levels (high, low, depth, etc.)
In groups, ask students to create an alternate ending for MOOSE ON THE LOOSE. Allow the
groups time to rehearse and then have them perform for the class.
5. Read “Italian Immigration to Canada” on page 11. Have students create tableaus depicting
different parts of the journey from Italy to Canada, and then perform them in chronological
order to represent the actual process.
6. How does viewing drama based on another culture, like that of Italian-Canadians, help you
better understand that culture?
ENGLISH & LANGUAGE ARTS
4.
1. How would you describe the genre of MOOSE ON THE LOOSE?
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 [email protected] or via mail to:
Magnus Theatre
10 S. Algoma Street
Thunder Bay, ON
P7B 3A7
3.
4.
5.
6.
7.
8.
9.
What do you think the topic, purpose and intended audience for MOOSE ON THE LOOSE is?
Why? Think-pair-share with a partner to discuss.
Write a guide for expats (see page 14: “What is an Expat, Anyway?”) who are planning to
move to Canada. Include the cost of living, languages spoken, climate, job and career
opportunities, and anything else that you think is relevant.
What does the moose represent in this play? What other symbols did you notice?
The script for MOOSE ON THE LOOSE is written in dialect – a variety of a language that is a
characteristic of a particular group of the language’s speakers. As an example, Maria’s line
when asking Gina to fix the dryer is written as “Dryer she no work again. I tell you papa so
many time to fix but he no do.” Why might the playwright, Dina Morrone, have chosen to
write this play in dialect? Can you think of any other literary works that have characters that
speak in dialect?
Create a new poster for MOOSE ON THE LOOSE that encourages students to go see it. What
could you include in your play promotion poster that would get your classmates’ attention?
Adapt the play to suit a new audience by creating a children’s book based on MOOSE ON
THE LOOSE.
Do the characters in MOOSE ON THE LOOSE conform to stereotypes that you may have
heard about Italians in Thunder Bay? Why or why not?
SOCIAL SCIENCES AND HUMANITIES
1.
2.
3.
4.
5.
6.
What elements of Canadian culture are displayed in MOOSE ON THE LOOSE? How are they
presented?
What elements of Italian culture are displayed in MOOSE ON THE LOOSE? How are they
presented?
Giuseppe, the father of the family, says “Joseph… he want to be a nurse. A man who want
to be a nurse. That’s a job for a woman… my daughter, she work in a market. That’s a job
for a man.” In what ways do norms and expectations typically differ for males and females
regarding career choices? Do you believe that certain careers are more acceptable in some
cultures than others? Why or why not?
What are the characteristics of healthy sibling relationships? Do the Tappino siblings display
these?
How are gender roles today similar to and different from those in your parents’ or
grandparents’ generation? How is this demonstrated in MOOSE ON THE LOOSE?
What unique challenges do immigrant communities face in Canada?
MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario
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7.
What are the main ethnocultural groups in Thunder Bay? Is this accurately represented in
MOOSE ON THE LOOSE? In what ways has ethnocultural diversity contributed to Canadian
national identity and our local identity in Thunder Bay?
8. Historically, which groups have been encouraged to immigrate to Canada? Which groups
have been discouraged or barred? Are either of these groups evident in Thunder Bay?
9. Why is language such an important element of culture? Is this significance portrayed in the
play?
10. What are the benefits of belonging to a cultural group?
CANADIAN AND WORLD STUDIES
1.
Why do immigrants settle in a certain location? Why might Italian immigrants have chosen
to settle in Thunder Bay?
2. Are there any predominantly Italian neighbourhoods in Thunder Bay? What cities have
Italian neighbourhoods, and what, if anything, have those neighbourhoods been
nicknamed?
3. What affect have Italian immigrants had on the culture of Thunder Bay?
4. What are the costs and benefits, for immigrants and for Canada, of admitting immigrants?
5. Would it have been a criminal offense if Giuseppe Tappino had shot the moose? Why or why
not? If so, what type of an offense would it have been (e.g. summary conviction, indictable
and hybrid offence, etc.)?
6. The Tappinos are originally from Calabria. Where is that? Plot it on a map and research the
area.
Did You Know…?
Moose were imported from Saskatchewan to the South Island of New Zealand by the New Zealand
Acclimatisation Society as sporting animals in the early 20th century. The initial introduction occurred in
1900 when four animals from Canada were released in Hokotika. The initial release was supposed to have
been fourteen animals but ten died on the voyage from Canada. Out of these four animals only one was a
cow, and was said to wander the streets of a local settlement until 1914 when she was no longer seen.
It was believed these animals died out due to the competition for food, however a small number must
have persisted as reports of physical traces and sightings continued. These sightings became quite
prevalent between 1929 and 1952, then nothing more was heard of the moose apart from rumour and
speculation until 1971, when a possible sighting sparked a hunt for a possible surviving population of
moose. In 1972 an antler, definitely from a moose, was found. A hair sample was found in 2000 and
subjected to DNA testing. The test confirmed that it was definitely moose hair.
Though no actual sightings have occurred since 1971, there is plenty of physical evidence for the
existence of these animals.
Source: http://nzcryptozoologist0.tripod.com/id18.html
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Subject: Media Studies, ICT, English, Social Sciences and
Humanities, Canadian and World Studies.
Grade: GRADES 8+
Prepared by Danielle Chandler, OCT
OBJECTIVE
Students will research Canada and the qualities that attract others to it, and then create a video
explaining these.
MATERIALS NEEDED



Access to the internet
Computers
Video editing software, such as iMovie or Windows Movie Maker
INTRODUCTION
As a class, brainstorm factors that could make someone decide to move to a new country. Show
students Tom Brokaw Explains Canada to Americans
(https://www.youtube.com/watch?v=lrA4V6YF6SA); which of the possible elements that they identified
can they find in it?
PROCEDURE
LESSON ONE
1.
2.
In partners or small groups, have students create criteria for why someone would want to
move to Canada, such as job opportunities, safety, amenities (publically funded education,
health care, etc.). Explain that they are going to be creating a 2-3 minute video introducing
potential expatriates to Canada.
Ask students to research their criteria, supporting their reasons.
LESSON TWO
1. As a class, create a rubric to evaluate the finished product.
2. Instruct students to use their research to write voice-over material explaining why Canada is an
excellent choice for expats. They can also use photos or videos from other sources,
remembering to cite them.
3. Allow students the time necessary to create and edit their video.
ASSESSMENT AND EVALUATION
 Research
 Video
EXTENSIONS

Have students share their work with the class and justify their choices.
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Subject: Canadian and World Studies, Social Sciences
and Humanities.
Grade: GRADES 5+
Adapted from: http://www.movingpeoplechangingplaces.org/uploads/Full%20Lesson%20Plans%20FINAL.pdf
OBJECTIVE
To understand why people move from one country to another and to be aware of the contributions
migrants make to society.
MATERIALS NEEDED

Role sheet (see next page)
INTRODUCTION
1.
2.
3.
Select eight students from the class to be the characters on the Roles sheet. Try and speak to
them in advance of the lesson, or briefly as they come in. They shouldn’t tell other students
that they have a role and should sit spread out around the classroom.
Tell the rest of the class that there are eight people in the room who have migrated from one
country to another. They need to find them and write down their names, where they moved
from, where they moved to and why they moved.
Feedback as a class, drawing out the key reasons that people migrate and the fact that this may
or may not be a choice.
PROCEDURE
1.
Have students research to identify groups that have migrated to Canada, when and why they
moved and how they have contributed to society. They should record this information, which
could be in a table, on a mind map or a timeline.
2. Depending on time and the ability of the class, you might want to give them specific websites
to look at. This activity can be completed in pairs or small groups.
3. Students feedback their findings, which are used to compile a class list of the key contributions
migrants can make to a society. Ask: are you surprised at some of the contributions migrants
have made to Canada?
ASSESSMENT AND EVALUATION


Research
Participation
EXTENSION
Students identify examples of people who are part of their own lives/communities who have migrated
to Canada and the contributions they have made. They could interview these people to find out more
about why they moved here.
MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario
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Roles
Your name is Amit. You moved from Canada to Japan because
the company you work for asked you to transfer from the
Toronto to the Tokyo office.
Your name is Kazia. You moved from Poland to Canada to find a
better paid job.
Your name is Sasha. You moved from Australia to Canada to be
with your boyfriend.
Your name is Xiang. You moved from China to Canada to study at
university.
Your name is Hamed. You fled Afghanistan after members of
your family were killed in the war. You settled in Canada.
Your name is Jayden. You left the USA to live in Canada because
you felt you would have a better quality of life there.
Your name is Sarah. You left Canada for the UK to accept a
teaching job.
Adapted from: http://www.movingpeoplechangingplaces.org/uploads/Full%20Lesson%20Plans%20FINAL.pdf
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Subject: Social Sciences and Humanities, English.
Grade: GRADES 8+
Adapted from: http://www.brighthubeducation.com/elementary-school-activities/104321-mapping-out-your-genealogy-lesson/
OBJECTIVE
To explain and demonstrate the purpose of a family tree chart and the usefulness of doing family
interviews.
MATERIALS NEEDED
 Paper
 Writing utensil
 Dictionaries
INTRODUCTION
Provide students with the following terms to look up in a dictionary: genealogy, ancestor, descendant,
generation, and family tree. Discuss the meaning of each word afterwards.
PROCEDURE
ACTIVITY ONE
1. Fill out a family tree together as a class. Draw an outline of a family tree on the chalkboard or
white board to demonstrate to the students how to fill in the lines with knowledge they
possess about their families.
2. After discussing how a family tree diagram is completed, give the students a chance to fill one
out for their own family line.
ACTIVITY TWO
1. Ask the students for something important that they would want their grandchildren to know
about them. Do they think their grandparents have important stories, too? Discuss how
historians get their information, emphasizing that it is best to get it directly from the source (by
taking notes)
2. As a class, brainstorm a list of possible family interview questions. Suggestions include:
 What are some of your favourite memories from your childhood?
3.

What were your parents like?

Do you recall any memorable family vacations?

How did you and Grandpa (or Grandma, or Dad, etc.) meet? Further questions may be
helpful as they may trigger great stories, such as do you recall a best date or what movies
did you go see or what kind of car did Grandpa drive?

Did you have any family pets that you recall?

Did you live through any big historical event(s)? If so, what do you recall from those days?
Ask students to interview a relative, and then compile the information in a report, to be handed
in or presented to the class.
ASSESSMENT AND EVALUATION
 Written or oral assignment
 Class participation
EXTENSION
Students may record their interviews and edit them to show to the class.
ABOUT ITALY
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Culture of Italy
http://www.everyculture.com/Ge-It/Italy.html
Italy: National Geographic
http://travel.nationalgeographic.com/travel/countries/italy-guide
The World Fact Book: Italy
https://www.cia.gov/library/publications/the-world-factbook/geos/it.html
EXPATS IN CANADA
Cost of Living in Canada
http://www.numbeo.com/cost-of-living/country_result.jsp?country=Canada
Expat Guide for Living and Working in Canada
http://www.internations.org/canada-expats/guide
Living in Canada: A Guide to Moving to Canada as an Expat, Expat Info Desk
http://www.expatinfodesk.com/expat-guide/deciding-on-the-right-country/top-expatriatedestinations/canada/
Moving to Canada, Expat Arrivals
http://www.expatarrivals.com/canada/moving-to-canada
The Canadian Expat Network
http://www.canadianexpatnetwork.com/
ABOUT MOOSE
Hinterland’s Who’s Who – Moose
http://www.hww.ca/en/species/mammals/moose.html
Moose: National Geographic
http://animals.nationalgeographic.com/animals/mammals/moose/
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
Act - to perform or play a role, or a section of a
Lighting Designer - the person who develops and
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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
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
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