BUTTERFLIES ARE FREE STUDY GUIDE
Bonnie Franklin’s Classic and Contemporary American Plays
Butterflies are Free by Leonard Gershe
“A charming play... humorous, winning and quietly moving.” —New York Post
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EDUCATION AND COMMUNITY PROGRAMS STAFF Mitch Heskel, Director Amy Kirkland, General Manager Carolyn Palmer, Director of Programming and Education Alisa De Los Santos, Manager of Education and Community Programs Jonathan Redding, Dramaturg Klarissa Leuterio, Education and Community Programs Associate EDUCATION & COMMUNITY PROGRAMS Phone 310.434.3560 education @thebroadstage.com thebroadstage.com/education
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Education and Community at The Broad Stage is supported in part by Austin and Virginia Beutner, Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission, City of Santa Monica and the Santa Monica Arts Commission, Herb Alpert Foundation, John W. Carson Foundation, The Rosalinde and Arthur Gilbert Foundation, The Green Foundation, SMC Associates, Matthewson Charitable Trusts, The Roth Family Foundation, Bank of the West, the Ralph M. Parsons Foundation, the Dwight Stuart Youth Fund, Leonard M. Lipman Charitable Fund, Colburn Foundation, and the City of Santa Monica Department of Cultural Affairs.
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BUTTERFLIES ARE FREE STUDY GUIDE
Greetings from The Broad Stage! Dear Students and Teachers, We are so happy to continue our wonderful partnership with Bonnie Franklin’s Classic & Contemporary American Plays. This year, we are excited to share Leonard Gershe’s Butterflies are Free, with you and your students!
This comedy is deceptively simple, but upon examination we notice so many subtle nuances and themes to explore. Not only does the story help us see blindness and handicap in a new light, but it is also set against the backdrop of 1969 America, a time where movements were abound in the United States: Anti-War sentiments were strong, and Martin Luther King had just left his legacy and mark in the fight for Civil Rights. Butterflies are Free also explores themes that are timeless: mother-son relationships, freedom, love, and independence. We hope that this staged reading of Butterflies are Free will serve as a launching point for great conversations and debates amongst your students. Without the burden of elaborate and expensive sets, costumes, lighting, and sound design, CCAP strips down every barrier between the actor and audience… and what you are left with is the words...the beautiful, indelible words of a great American Play. Enjoy!
Sincerely, Alisa De Los Santos Manager of Education & Community Programs delossantos_alisa@smc.edu
Klarissa Leuterio Education & Community Programs Associate leuterio_klarissa@smc.edu
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CCAP’s goal is to keep American playwrights alive in high school curriculums. American playwrights have all but been erased in high school curriculum. In most English classrooms, you might read Shakespeare and Greek Tragedy, but would probably never come across great American playwrights who reflect the beauty and complexities of our diverse and vibrant American culture.
CONTENTS
Bonnie Franklin’s Classic and Contemporary American Plays: Committed to changing lives through live performance and language, CCAP strives to challenge today’s youth with great plays of the American Theatre.
Note to Educators: This guide has been created in service of Classic and Contemporary Plays’ production of Butterflies Are Free. The lessons have been designed with the understanding that students will read the play in its entirety before completing each activity. We ask that you ensure that your students read the play. As educators who have been specially selected for this unique and meaningful program, please feel free to contact us with any questions you may have.
Contents Lesson One: A Case for Freedom Lesson Two: Blindness and Perception Lesson Three: The Year Was 1969…
Appendix Family Map Sample Butterflies are Free Character Quotes The Vietnam War Butterflies are Free Glossary Interview with the Director Play Review Theatre Glossary Standards Addressed
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This guide is designed primarily for 11-12th grade Advanced Placement English classes, places priority on the investigation of language and thematic elements in the piece, and is aligned with Common Core Standards. If you teach subjects other than AP English, please feel free to adapt the lessons to your needs, keeping in mind that CCAP’s primary concern is that the students become well-versed in the language in the play prior to attending the performance.
BUTTERFLIES ARE FREE STUDY GUIDE
Lesson One: A Case for Freedom Lesson at a Glance Aim: Thematic analysis and characterization Materials: Butterflies Are Free text, Character Quotation Handout, writing utensils, lined paper, whiteboard, whiteboard markers, Webster’s dictionary Summary: Students will explore the themes of Freedom and Independence, as discussed in Butterflies are Free, and use the script to explore the characterization of the main characters in the plot Standards Addressed: CCSS:ELA-LITERACY.RL.11-12.1, CCSS:ELA-LITERACY.RL.11-12.3, CCSS:ELA-LITERACY.W.11-12.1 CCSS:ELA-LITERACY.L.11-12.1 CCSS:ELA-LITERACY.RL.11-12.10
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Have students read the script as a class or for a homework assignment. Discuss the script: What is your initial reaction? What did you find interesting? What do you think of the characters? What was confusing? Ask your students: How do we learn about the characters we read about? How have we learned about Don, Jill, and Mrs. Baker? How do we know what kind of people they are? Explain that the language a character uses in dialogue, (as well as, such as in Don’s case, uses in a song,) can tell readers a lot about the character. Distribute the Character Quotations Handout to the students. Review the quotes as a class. Discuss: What do we know about the characters based on what they say in these quotes? Throughout the whole play? Have students cite quotes within the script to support their answers.
PART 2: ACTIVITY Have students break into groups of 3-4. Task them with drawing a character map. Under each name, have students write what each character wants for his/herself. In addition to these wants and the basic relationships, include arrows labeled with each character’s wants from the other two characters. Use the arrows to show how these wants flow from one character to another. Ask your students: What do these characters want for themselves? What is their objective? [continued]
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PART 1: ENGAGEMENT
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Lesson One: A Case for Freedom (continued) PART 2: ACTIVITY [CONTINUED] Each of the main characters have their own wants and objectives: 1. Don wants to be independent 2. Jill wants to be free 3. Mrs. Baker wants to give her son his best chance Discuss: How do these three different desires come in conflict with one another? What do these characters want from each other? How do these desires come in conflict with one another?
PART 3: REFLECTION
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1.
Are Freedom and Independence the same thing? What does it mean to be Free? To be Independent? What do these words mean? What would they mean in 1969?
2. How do you know when you are ready to be independent of your parents? If you were a parent, how do you know when your child is ready to be independent of you? 3. Is what we want always what’s best for us? Are we the best judge of what we need? Discuss and Debate these questions as a class.
CREATIVE EXTENSION Ask for 3 volunteers. Assign each one of them a character: Don, Jill, and Mrs. Baker. Have the three of them answer these questions in character in front of the class. Have classmates ask questions, and have the volunteers answer in character to the questions, and in response to one another.
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Instruct students to free-write one of the following prompt for 30 minutes. Have students write non-stop for 20 minutes, and use the last 10 minutes to edit and revise. Encourage them to use the script as evidence for their responses.
BUTTERFLIES ARE FREE STUDY GUIDE
Lesson Two: Blindness & Perception Lesson at a Glance Aim: Thematic examination of Butterflies are Free Materials: Pieces of cardstock or construction paper, scissors, Butterflies are Free script, drawing/writing utensils. Summary: Students will explore and discuss the notions of blindness and handicap Standards Addressed: CCSS:ELA-LITERACY.SL.11-12.1, CCSS:ELA-LITERACY.RL.11-12.1, CCSS:ELA-LITERACY.L.11-12.1., CCSS:ELA-LITERACY.RL.11-12.10, CCSS:ELA-LITERACY.L.11-12.1
PART 1: ACTIVITY (GROUP PUZZLE)
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1. One who can speak but cannot touch or use their hands 2. One who can touch but cannot speak Important: There must be two students assigned to each role (or approximately half of the group if you have larger/odd-numbered groups). Ask 1 student from each group to cut the paper into “puzzle pieces”—approximately 10 pieces. Once they’re done cutting, have them hand their set of puzzle pieces to another group—each group should end up with a different set of pieces. Task the group to solve the puzzle while maintaining their roles—half of the group unable to speak, and the other half of the group unable to touch the puzzle pieces. Discuss the experience once the groups have finished their puzzles. What experience did they have in their respective roles? How did your group work together?
PART 2: DISCUSSION Read or perform pages 14-16 of the script as a class. Discuss the scene (as well as the whole play) as a class or in small groups. A few discussion points: 1.
What do you think of Jill’s reaction when she finds out he’s blind? How does she treat him beforehand? How does she treat him differently afterward? How does Jill change based on the experience?
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Have students split into groups of 4. Distribute 1 piece of cardstock or construction paper to each group. Have each student assigned to one of two roles:
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Lesson Two: Blindness & Perception (continued) PART 2: DISCUSSION [CONTINUED] 2. With whom do you identify during this scene? Why? Have your assumptions/beliefs ever been challenged by someone who experiences the world differently than you do? Conversely, has anyone ever made assumptions about you or your abilities based on a physical characteristics? How did that make you feel How did you deal with it? 3. On Page 17, Don says, “The thin I find hard to live with is other people’s reaction to my blindness.” 4. Think about the play as a whole. Blindness is a recurring theme; not only is Don literally blind, but each of the main characters have their own figurative “blindness.” How are they “blind?”
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b. Jill: She is blind to the needs of others, to how her actions might affect others (Don) and to Don’s love and affection towards her. c. Mrs. Baker: She is blind to her son’s maturity, abilities, and skills. She is also blind to her own flaws 5. Do the characters see themselves clearly? Why or why not? Support your answers with examples from the text. (This can be an in-class debate, writing assignment, or general discussion). 6. Do we perceive our loved ones and our relationships with them accurately? What can get in the way? (This can be a written reflection on their own personal familial relationships).
PART 3: CREATIVE EXTENSION Discuss Mrs. Baker’s story about Donny Dark. Do you agree with Mrs. Baker or Don about the stories? Do they encourage Don, or do they hinder him? Task students with creating their own version of Donny Dark. Have each student create a Superhero graphic novel that is inspired by someone else in his/her life. Have students share these stories with the class, and have the class guess how the story might connect to real life. Do the stories help to inspire? How might they do the opposite? Discussion Point: After writing these stories, have students think about stories they read or heard as a child. Do any of these stories have a second meaning now that they are older? Share their thoughts with the class. THE BROAD STAGE AT THE SANTA MONICA ARTS CENTER 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560
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Sample Responses: a. Don: He is blind to what Mrs. Baker and Jill feel about him. He is blind to the sacrifices his mother has made for him, as well as Jill’s inability to commit.
BUTTERFLIES ARE FREE STUDY GUIDE
Lesson Three: The Year Was 1969 Lesson at a Glance Aim: Active analysis of the cultural implications of the time period. Materials: Butterflies are Free Script, Vietnam War History Worksheet Summary: Students will use context clues within the script to deduce the time period of Butterflies are Free, and will learn how it affects, deepens, and informs many factors within the plotline. Standards Addressed: CCSS:ELA-LITERACY.RL.11-12.1, CCSS:ELA-LITERACY.RL.11-12.10, CCSS:ELA-LITERACY.SL.11-12.1, CCSS:ELA-LITERACY.L.11-12.1
PART 1: CLUES AND CONTEXT
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Ask: How do we figure out the time period in which a play takes place? What are the clues that tell us? 1. 2. 3. 4.
Language/Slang used in the dialogue Current/World Events Costumes/Set dressings Casting Choices/Character Status
Examine Butterflies are Free. What clues do we have available? Cite these clues within the text. Using these clues, what time period is the story set in? (1969.) What was happening in the United States during that time?
PART 2: THE VIETNAM WAR Explain to the class that in 1969, America was heavily involved in the Vietnam War which indirectly affects the plot of Butterflies are Free. Distribute the Vietnam War Worksheet. Read it together as a class or for homework. In small groups, examine these factors and how they might affect some of the plot points within the story. Find quotes within the script that might have deeper meanings when viewed through the context of the Vietnam War. For example: “… the whole bit. I just did it because everyone was doing it. Then I stopped because everyone was doing it. I felt I was losing my individuality—what ever that is.” —Jill, regarding the Hippie Movement. P.34 [continued] THE BROAD STAGE AT THE SANTA MONICA ARTS CENTER 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560
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Discuss: What is a period play? Is Butterflies are Free a period play? Why or why not?
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Lesson Three: The Year Was 1969 (continued) PART 2: THE VIETNAM WAR [CONTINUED] Jill: “Hey, don’t you think I should be able to vote?” Mrs. Baker: “ I think you should be able to run.” —Jill and Mrs. Baker, regarding Voting Age, P. 43
PART 3: DISCUSSION Point out that the playwright, Leonard Gershe, never directly mentions the Vietnam War. Discuss this artistic choice. Discussion Points: 1.
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2. Both Jill and Don have privileged upbringings. What separates them? 3. If asked, what do you think these characters would think about the War? Why isn’t Don drafted? Are they affected by it? Support your answer with examples from the text. 4. Imagine that you are writing a play set in the current time period. Would you mention the War on Terror? What considerations would go into making that artistic decision?
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Why would Gershe decide not to address the war directly? What is he saying or not saying about these characters in the world they live in? Do you think his choice is effective?
BUTTERFLIES ARE FREE STUDY GUIDE
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BUTTERFLIES ARE FREE STUDY GUIDE
Butterflies Are Free Character Quotes “I knew the day the you met me I could love you if you let me Though you touched my check And said how easy you’d forget me You said Butterflies are free And so are we.” —Don, Act 1 Scene 1, Butterflies Are Free “I only ask to be free. The butterflies are free. Mankind will surely not deny to Harold Skimpole what it concedes to butterflies.”
“I don’t know…Well, I think just because you love someone that doesn’t necessarily mean that you want to spend the rest of your life with him. But Jack loved me. I mean he really, really loved me and I hurt him and that’s what I can’t stand. I just never want to hurt anybody…I mean, marriage is a commitment, isn’t it? I just can’t be committed or involved. Can you understand?” —Jill, Act 1 Scene 1, Butterflies Are Free “You were five years old. We were spending the summer on Lake Winnipesaukee. Dad took you into the lake. It was the first time you’d been in any water deeper than a bathtub. You were terrified. They could hear you screaming all over New Hampshire. Dad brought you in and I put you to bed, you trembled for hours, That night I told you a story about a little blind boy who could swim the seven seas and could talk to dolphins…The next day you learned to swim! I didn’t write those stories hoping for a Pulitzer Prize in Literature. I wrote them because I found a way to help you. Whenever you felt discouraged or defeated, I told you a little Donny Dark story…and you tried a little harder and you did a little better. Shall I make one up now or are you man enough to handle this situation yourself?” —Mrs. Baker, Act 2, Scene 2, Butterflies Are Free “Donny is 12 years old and born blind like me only it’ no handicap for little Donny Dark. He always says, ‘There are none so blind as those who will not see.’” —Don, Act 1, Scene 1
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—Jill, Act 1 Scene 1, Butterflies Are Free (Harold Skimpole, Bleak House by Charles Dickens)
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AMERICAN PUBLIC’S RESPONSE The Vietnam War was one of longest and most costly wars to date. The U.S. became involved in the war in an effort to thwart the growth of Communism. As involvement went on, Americans grew more and more dissatisfied with the nation’s policy on war.
The Tet Offensive, a surprise attack on South Vietnam, made 1968 the bloodiest year for American Military Forces, which caused an increasingly heightened dissatisfaction amongst Americans back home, and thus, sparked more protest. Soon after this, President Johnson decided against seeking reelection and was succeeded by Richard Nixon. The Draft (see below) was instituted in late 1969, and inspired even more protest, demonstration, and official violence.
In 1971, government documents were leaked to the public regarding war conduct. The documents raised more questions and discontent, and pressure from the American Citizens grows. The tensions continued to rise until Nixon ended American involvement in 1973. (Source: http://history.howstuffworks.com/vietnam-war/vietnam-war2.htm) (Source: http://www.history.com/topics/vietnam-war/vietnam-war-protests)
HIPPIE MOVEMENT The Hippie Movement was a countercultural movement that became popular in the U.S. during the Vietnam War. Though initially driven by the opposition to U.S. involvement in the Vietnam War, Hippies were generally not directly connected to the politics of the time. The movement, derived from the Beatniks of the 1950s, grew exponentially throughout the war. It initially started off as a small group of leftist intellectuals, and grew into prominence throughout the country by the mid 1960s.
Hippies rejected the notions of normal American Life–which, they argued, was driven by materialism and repression. Instead, they lived a very opposite lifestyle—they dressed alternatively, avoided normal employment, often adopted vegetarian diets, lived communally, had open sexual relationships, and took illicit drugs. Soon, this alternative lifestyle became mainstream, and was further boosted by popular culture, including musicians, such as Bob Dylan, the Rolling Stones, and The Beatles, films like Easy Rider, theatre productions including Hair, and festivals such as Woodstock. (Source: http://www.britannica.com/EBchecked/topic/266600/hippie)
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The American Anti-War sentiment plays a large part in the history of the Vietnam War. Many Anti-War protesters felt that American attacks was too random, too large, and caused too many casualties. Anti-War sentiments initially developed in college campuses, particularly with the group Students for a Democratic Society. By 1967, this dissatisfaction was widespread throughout the country. On October 21st of that year, one of the biggest demonstrations took place. The protest involved 100,000 protesters at Lincoln Center, and culminated in a brutal confrontation at the Pentagon.
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DRAFT During the Vietnam War, the U.S. began to draft eligible men to fight in the war. Approximately 80% of Military men were volunteers, while the 20% were drafted. In 1965, 1,977,000 men were eligible for the draft. Anti-Draft sentiments were high, and it soon became a culture—almost a sport—for young men to share tips and tricks on how to avoid the draft. Many men faked illnesses, caused self-injury, pretended to be homosexual, and fled to Canada to avoid the draft. Some men were taught how to successfully become a Conscientious Objector, in order to be assigned to Civil Service or desk work instead of combat. Because of the high number of Draft-Dodgers, the military became more desperate for men—drafting students (who initially are deferred from the draft) if they had low GPAs or took part in protests.
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The penalty for Draft-Dodging was a 10-year prison sentence, along with a $10,000 fine. In 1974, President Ford offered Clemency to Draft Dodgers, as long as they signed an “Oath of Allegiance” to prove their loyalty to the country. This oath is usually signed by immigrants wishing to become U.S. Citizens. The last Draft lottery was conducted in December 1972
Before World War II, the legal voting age and draft age was 21. During World War II, President Franklin Roosevelt lowered the draft age to 18. Young men soon began to rally for a lowered voting age, claiming, “Old enough to fight, old enough to vote.” Georgia was the first state to lower voting ages to 18 in state and local elections. The fight for the Federal Election followed suit.
Congressman Jennings Randolph first introduced legislation lowering the voting age to Congress in 1942. He does so a total of 11 times, due to his “faith in the American Youth.” His thoughts are soon echoed by President Dwight D. Eisenhower. The youth soon began marches, protests, and rallies, supporting a lower voting age. Despite countless pieces of legislation regarding the issue, no action was taken. Finally, President Johnson signed the Voting Rights Act of 1965, but stated, “I believe–along with most of the Nation’s leading constitutional scholars–that Congress has no power to enact it by simple statute, but rather it requires a constitutional amendment.”
(Source: http://www.history.com/topics/the-26th-amendment) Timeline - http://www.english.illinois.edu/maps/vietnam/timeline.htm
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In 1970, the Act was brought to the Supreme Court. It was deemed unconstitutional—Federal Law can only regulate Federal Elections, not State and Local Elections. Therefore, voters aged 18-20 could only vote for President and Vice President, but not State and Local officials. Support was still strong for the cause, and it soon passed through Senate, and The House of Represenatives. The 26th Amendment, which lowers the legal voting age to 18 in Federal, State, and Local elections, was ratified in just 2 months—the shortest amount of time it has ever taken to ratify an Amendment.
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(Source: http://www.history.com/topics/vietnam-war/vietnam-war-history/videos/dodging-the-draft) (Source: http://en.wikipedia.org/wiki/Conscription_in_the_United_States#Vietnam_War)
BUTTERFLIES ARE FREE STUDY GUIDE
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Butterflies are Free Glossary
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Giddy: playful and silly Morbid: grisly, gruesome Pogo stick: a toy that children use for bouncing up and down which consists of a pole with handles at the top, a strong spring at the bottom, and two pieces near the bottom to stand on. Gunga Din: a character in a Rudyard Kiplin Poem. Gunga Din sacrifices his life to save another soldier. Scarsdale: a suburb north of New York City, whose residents are mostly affluent white families. Dylan Thomas: a poet who lived from 1914–1953. Do not go gentle into that good night is one of his most popular poems. Mikado: a comedic opera by Arthur Sullivan. One of the characters is named Yum Yum.
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Far Out: strange or unusual, generally used positively. Saks Fifth Avenue (Saks): a high-end department store, founded in New York City Salvador Dali: a Spanish surrealist painter who lived 1904–1989. The Persistence of Memory is one of his most popular works. Groovy: very good and enjoyable. The Beatles: a quartet from Liverpool, England. They rose to fame in the 1960s, and were influenced by the Hippie Movement. The Beatles disbanded in 1970. Rolling Stones: an English Rock Band formed in 1962, and rose to fame later that decade. The Rolling Stones are still active today. Simon and Garfunkel: an American folk rock duo active in the 50’s and 60’s. The duo consisted of Paul Simon and Art Garfunkel. Vienna Boys Choir: one of the most well-known boys choir, consisting of about 100 boys ranging from 10-14 years of age. It is based in Vienna, Austria. The Doors: a rock band formed in 1965. Jim Morrison, the lead singer, was known for his controversial, poetic lyrics, as well as his unique stage personality. They disbanded in 1973, two years after Morrison’s death. Sidney Poitier: an actor, director, author, and diplomat, born in 1927. In the 1960s, Sidney Poitier was the first African-American to win an Academy Award. He is currently the Ambassador of the Bahamas to Japan. Andre Prévin: a musician, conductor, and composer, born in 1929. He is known as one of the most versatile musicians, and has won several Academy Awards and Grammys.
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Lake Winnipesaukee: the largest lake in New Hampshire.
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Butterflies are Free Glossary (continued)
Leonard Bernstein: a composer and musician born in 1918. He became famous during his time with the New York Philharmonic, which spanned from the 50s to the 70s. He also composed West Side Story. Donovan: a Scottish singer, songwriter, and guitarist. He is famous for his distinct, eclectic sound. Jimi Hendrix: an African-American musician, singer, and songwriter. He is considered to be one of the most influential guitarists of our time. Despite his short career, he is one of the most popular rock and roll artists. Kicky: excitingly fashionable Young Republicans for Ronald Reagan: a group of conservative college-aged students supporting Ronald Reagan, an actor-turned-politician. He was Governor of California from
http://en.wikipedia.org/wiki/Gunga_Din http://en.wikipedia.org/wiki/Scarsdale,_New_York http://www.poets.org/poetsorg/poem/do-not-go-gentle-good-night http://en.wikipedia.org/wiki/The_Mikado e Th
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1967–1975 and eventually became president.
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Interview with the Director ERNEST A. FIGUEROA has been involved as a director, producer, actor and playwright in theatre, film and television throughout the country. For the past fifteen years, Mr. Figueroa has served on the Steering Committee and is a founding member of the Directors Lab West national Directors Conference which takes place in Los Angeles. As a Drama League Directing Fellow, he worked at the Roundabout Theatre on the new show Blue starring Phylicia Rashad and went on to be the Associate Director of the Blue national tour starring Leslie Uggams. He has directed several shows for CCAP including All My Sons with Pat Harrington, Death of a Salesman with Michael Gross, Broadway Bound with Bonnie Franklin, Toys in the Attic with Susan Clark, Miss Reardon Drinks a Little with Marsha Kramer, Redwood Curtain with Matt Letscher and Anna in the Tropics with Arianna Ortiz. He currently serves as the Producer at The Broad Stage. He is a member of the Society of Stage Directors and Choreographers. How/when did you discover you wanted to be a director?
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How do you describe the role of the director? The role of the director is to get the entire creative company (including designers and actors) to fulfill the goals of the playwright. Our job is to serve the script and tell the story to the audience using all of our creative skills to make the story or message as clear as possible. What have been your greatest challenges? By far the biggest challenge for me as a director was and continues to be making a living at something that allows me to pursue my art. It is an unending struggle to make sure that whatever I am doing to make money helps me to pursue my art and does not prevent me from doing my art. It is a delicate balance to strike when you are making a living in the arts. How did you start working with Classic & Contemporary American Plays? I was producing a staged reading at The Pasadena Playhouse at the Artistic Directors request. There was a short list for the female lead and Bonnie Franklin was on the list. When we offered it to her, Bonnie’s manager introduced me to the company and I saw one show and I was hooked. I was soon asked to direct and then was asked to serve on the Board which I do now. I have been with the company about twelve years. What compels you to do this work? Classic & Contemporary American Plays’ mission is to re-introduce the work of the great classic and contemporary American playwrights to a generation which has lost familiarity with these works due to the economic cutbacks in schools nationwide. Since most students are only introduced to (possibly) the plays of Shakespeare in their English classes, the reading of great American playwrights and their works serves also as a literacy program.
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I started out as an actor and began to direct sketches for church camps and youth groups during my first years in college. Since I was the one with the most knowledge I began to direct others in the youth group and the group grew to into a full-fledged theatre company producing four shows a year. I found in some ways I was a better director than I was and actor and decided to get my Graduate Degree in directing.
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Play Review Outline 1. Title of your review 2. Your name (by line) 3. Introduction: a. Title of the play b. What genre of play is it? c. Name of the performing group d. Name of the director 4. Theme: a. What is the message of the play? 5. Production Values:
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b. Costumes c. Sound d. Does it all work together? What effect does it achieve? 6. The Actors: a. Did the lead actor deliver a strong performance? b. Were there any remarkable performances within the smaller roles? c. Were the actors believable? d. Was there a performance that detracted from the show? e. Was the show appropriately cast? 7. The Director: a. Did the director surprise you with any innovative show elements? b. Did the director’s choices support the text of the play, or detract from it? c. Was the show easy to understand or were there confusing elements? 8. Personal Opinion (make sure to give reasons to back up your opinion): a. What did you think of the play as a whole? b. Would you recommend the show? c. What did you particularly enjoy/not enjoy?
Based on “How to Write a Play Review.” Goodman Theater. http//www.goodmantheater.org/Education/Materials/HowTo.aspx
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a. Describe the set and lighting
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Visual and Performing Arts: Theatre Content Standards Glossary actor. A person, male or female, who performs a role in a play or an entertainment. antagonist. A person, a situation, or the protagonist’s own inner conflict in opposition to his or her goals. articulation. The clear and precise pronunciation of words. blocking. The planning and working out of the movements of actors on stage. center stage. The center of the acting area. characterization. The development and portrayal of a personality through thought, action, dialogue, costuming, and makeup. climax. The point of highest dramatic tension or a major turning point in the action. conflict. The opposition of persons or forces giving rise to dramatic action in a play.
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critique. Opinions and comments based on predetermined criteria that may be used for selfevaluation or the evaluation of the actors or the production itself. denouement design. The final resolution of the conflict in a plot. design. The creative process of developing and executing aesthetic or functional designs in a production, such as costumes, lighting, sets, and makeup. dialogue. The conversation between actors on stage. diction. The pronunciation of words, the choice of words, and the manner in which a person expresses himself or herself. directing. The art and technique of bringing the elements of theatre together to make a play. director. The person who oversees the entire process of staging a production. downstage. The stage area toward the audience. exposition. Detailed information revealing the facts of a plot. gesture. An expressive movement of the body or limbs. motivation. A character’s reason for doing or saying things in a play. objective. A character’s goal or intention. pacing. The tempo of an entire theatrical performance. pitch. The highness or lowness of the voice.
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crisis. A decisive point in the plot of a play on which the outcome of the remaining actions depends.
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Visual and Performing Arts: Theatre Content Standards Glossary (continued) play. The stage representation of an action or a story; a dramatic composition. production values. The critical elements of a production, such as acting, direction, lighting, costuming, sets, and makeup. projection. The placement and delivery of volume, clarity, and distinctness of voice for communicating to an audience. protagonist. The main character of a play and the character with whom the audience identifies most strongly. reader’s theatre. A performance created by actors reading script rather working from memory.
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stage left. The left side of the stage from the perspective of an actor facing the audience. stage right. The right side of the stage from the perspective of an actor facing the audience. subtext. Information that is implied by a character but not stated by a character in dialogue, including actions and thoughts. theatre. The imitation or representation of life performed for other people; the performance of dramatic literature; drama; the milieu of actors, technicians, and playwrights; the place where dramatic performances take place. theatrical experiences. Events, activities, and productions associated with theatre, film/ video, and electronic media. upstage. Used as a noun, the stage area away from the audience; used as a verb, to steal the focus of a scene. vocal quality. The characteristics of a voice, such as shrill, nasal, raspy, breathy, booming, and so forth. volume. The degree of loudness or intensity of a voice.
THE BROAD STAGE AT THE SANTA MONICA ARTS CENTER 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560
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rising action. The middle part of a plot consisting of complications and discoveries that create conflict.
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Standards Addressed CCSS:ELA-LITERACY.RL.11-12.1- Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text, including determining where the text leaves matters uncertain.
CCSS:ELA-LITERACY.RL.11-12.3 - Analyze the impact of the author’s choices regarding how to develop and relate elements of a story or drama (e.g., where a story is set, how the action is ordered, how the characters/archetypes are introduced and developed)
CCSS:ELA-LITERACY.RL.11-12.10 - By the end of grade 11, read and comprehend literature, including stories, dramas, and poems, in the grades 11–CCR text complexity band proficiently, with scaffolding as needed at the high end of the range. By the end of grade 12, read and comprehend literature, including stories, dramas, and poems, at the high end of the grades 11–CCR text complexity band independently and proficiently.
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CCSS:ELA-LITERACY.SL.11-12.1. Initiate and participate effectively in a range of collaborative discussions (one-on- one, in groups, and teacher-led) with diverse partners on grades 11–12 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively.
CCSS:ELA-LITERACY.L.11-12.1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.
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CCSS:ELA-LITERACY.W.11-12.1. Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence.