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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 2 How to Use This Guide Theatre Etiquette & F.A.Q.’s About Magnus Theatre & Theatre in Education What is Theatre in Education? Cast & Characters Creative Team About the Play 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 3 4 5 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. 6 7 7 7 8 9 10 11 15 17 19 20 21 23 24 26 27 28 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 3 PLEASE REVIEW THE FOLLOWING WITH YOUR CLASS PRIOR TO ATTENDING THE PERFORMANCE. THANK YOU. We want your students, and everyone who attends a Magnus Theatre performance, to thoroughly enjoy it. In a live theatre environment, the performers and other audience members are affected by the students’ behaviour (both positively and negatively). Our actors, technicians, and staff have worked hard to create an enjoyable and entertaining experience for you and your students. Below are a few items that, if followed, will greatly enhance the experience for all concerned. WHEN SHOULD WE ARRIVE? We recommend that you arrive at the theatre at least 30 minutes prior to the performance (doors open approximately one hour before show time.) School matinees begin promptly at 12 noon – we cannot hold the curtain for latecomers. Please be in your seat approximately 15 minutes before the performance begins. Latecomers are not guaranteed seating. WHERE DO WE SIT? Magnus Theatre has assigned seating and therefore it is important for teachers/chaperones to pick up the tickets before arriving to the theatre, or to arrive early to allow time for distribution of tickets. Students must sit in their assigned seats. We ask that teachers/chaperones disperse themselves among the students to provide sufficient supervision. Ushers and/or Magnus Theatre staff will be happy to assist you, if needed. WHAT CAN WE BRING WITH US? Food and drink (including gum, candy and water) are not permitted in the Margaret Westlake Magnus Theatre Auditorium. We have a limited number of concession items for sale in the lounge before the show and during intermission. Please note that beverages and food from outside the theatre are not allowed. Please turn off – do not place on vibrate or silent – all electronic devices before entering the theatre. The lights as well as the sounds are very distracting. We do not have storage space for backpacks and ask that these items are left at school or on the bus. Please refrain from applying perfume or aftershave before coming to the theatre as a consideration for those who may have sensitivities to scents. WHAT DO WE DO DURING THE PERFORMANCE? We encourage students to let the performers know that they appreciate their work with applause and laughter, when appropriate. Please do not talk during the performance. It is disruptive to the other patrons and the actors on stage. Please do not text or use your phone during the performance. Please do not leave your seat during the performance. If it is absolutely necessary to leave your seat, you will be seated in the back row upon your return and may return to your original seat at intermission. Younger students needing to leave must be accompanied by an adult. We ask that students refrain from taking notes during the performance as it can be distracting to the actors and audience members. If note taking is required, please do so before or after the show or during intermission. Please do not put your feet on the seats. Please do not go on the stage at any point. WHAT DO WE DO AFTER THE SHOW? Applaud! If you particularly enjoyed the performance, it is customary to give a standing ovation at the end as well. Please stay in your seat until the performance ends and the auditorium lights come on. If your group is NOT attending the talk back session, please collect your personal belongings and promptly exit the auditorium. If your group IS attending the talk back session, please remain in your seats. A member of the Magnus Theatre staff will invite the actors back to the stage to begin the talk back session. Students should take advantage of this opportunity by asking questions. CAN WE TAKE PICTURES? Photography, audio or video recording are not allowed during the performance. This is a copyright infringement. MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario 4 Magnus Theatre is a professional theatre company, which operates under the terms of the Canadian Theatre Agreement, engaging professional artists who are members of the Canadian Actor’s Equity Association. Magnus Theatre was founded in 1971 by British director Burton Lancaster in conjunction with a citizens’ committee, and was incorporated June 15, 1972. Mario Crudo, the current Artistic Director, joined Magnus in 1992. In 1998, Magnus received the Lieutenant Governor’s Award for the Arts from Ontario Arts Council Foundation. Magnus in the Park! opened in September, 2001 after a successful $5.5 million campaign. Magnus services reach over 40 000 adults, students and seniors in Thunder Bay and Northern Ontario each year. STUDENT TICKETS cost $20 and are available for any show. Simply come to the theatre on the day of the show and present valid student I.D. Theatre in Education is a SCHOOL MATINEES are held community outreach program Wednesdays at 12 noon during initiated at Magnus in 1987. show runs. Tickets are only $12 each, and include a study guide Throughout the year, Magnus created by an Ontario certified operate a THEATRE SCHOOL with teacher and talk back session classes for all ages in the fall, with the actors. winter and spring. Drama camps run during March Break and the In 2008 Magnus Theatre, in summer. partnership with Lakehead Social Planning Council, held a The THEATRE FOR YOUNG new play creation project, AUDIENCES SCHOOL TOUR CLOSING THE DISTANCE. With brings entertaining, socially the guidance of professional relevant productions to theatre staff at Magnus Theatre, elementary and secondary a group of high school students schools throughout Northern from across the city created a Ontario, to communities that play about racism and building may not have the opportunity to social inclusion in our experience live theatre community. Students were otherwise. Booking begins in the involved in all aspects of the fall for performances in the creation of the play. spring. Magnus offers WORKSHOPS for In the past, Magnus Theatre offered the YOUNG students, teachers and PLAYWRIGHT’S CHALLENGE to community groups in Thunder all students in Northwestern Bay and across the region. Ontario; three finalists Workshops can be designed to experienced a week of intensive meet specific needs, or can be workshops on their plays with selected from various topics Magnus Theatre professionals, including introduction to drama, culminating in a public reading. improvisation, anti-bullying and We are hoping to reinstate this more. program – please let us know if you are interested. Magnus Theatre can make learning dynamic, interactive, enriching and –above all – fun! Whether you are interested in bringing your school to the theatre, or prefer having us come to 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 MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario 5 Theatre in Education refers to theatre that is used as a tool for educational purposes, with the goal of changing attitudes and/or behaviours of audience members. Using the art form of drama as an educational pedagogy at any grade level, drama can reinforce the rest of the school curriculum, and has been proven to improve overall academic performance. It is a multisensory mode of learning, designed to: o Increase awareness of self (mind, body, voice) and others (collaboration, empathy) o Improve clarity and creativity in communication of verbal and nonverbal ideas o Deepen understanding of human behaviours, motivation, diversity, culture and history It incorporates elements of actor training to facilitate students’ physical, social, emotional and cognitive development. It also employs the elements of theatre (costumes, props, scenery, lighting, music, sound) to enrich the learning experience, reenact stories and mount productions. Theatre students are able to take responsibility for their own learning and skill development as they explore the various aspects involved in theatre such as acting, directing, playwriting, producing, designing, building, painting, leading etc. It is a powerful tool for social change as emotional and psychological responses can be more intense as it is a live event, giving audiences an opportunity to connect with performers. Theatre can provide a believable, entertaining and interesting way to explore sensitive issues that are not typically discussed in public, such as racism, suicide, bullying and substance abuse. It is particularly effective with young audiences. By engaging audiences and capturing their attention, theatre can influence positive behaviour and healthy lifestyles, particularly if it is delivered with a message that audiences can understand. Hence, Theatre in Education performances are typically accompanied by study guides, activities, support material and/or workshops. The more interactive and participatory the event, the more successful it is. The arts, including drama, cater to different styles of learning and have positive effects on at-risk youth and students with learning disabilities. Involvement in the arts increases students’ engagement, encourages consistent attendance, and decreases drop-out rates in schools. Drama allows students to experiment with personal choices and solutions to real problems in a safe environment where actions and consequences can be examined, discussed and experienced without “real world” dangers. Drama makes learning fun and its engaging and interactive nature makes learning more memorable. Drama increases language development as students express themselves by using a range of emotions and vocabulary they may not normally use. As students realize their potential, they gain confidence which extends to other areas of learning and their lives. Did You Know…? Theatre in Education emerged in the UK at the Belgrade Theatre in 1965. A group of actors, teachers and social workers created a project which successfully merged theatre and education for the first time. A group of children were presented with a scene featuring two actors, one of which was holding the other captive. The children were given information on both characters and their situations and had the choice of whether or not to free the captive character. From this project, Theatre in education spread across Britain and the rest of the world. MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario 6 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 7 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 MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario 8 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). MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario 9 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. MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario 10 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. MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario 11 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 12 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 13 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/ MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario 14 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 MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario 15 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. MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario 16 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/ MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario 17 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 MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario 18 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? MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario 19 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 20 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 21 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 MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario 22 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. MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario 23 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 24 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 MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario 25 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 MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario 26 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 MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario 27 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 MAGNUS THEATRE – The Professional Theatre of Northwestern Ontario 28