THE STUDENT SUBSCRIPTION SERIES 2014/15
THE STUDENTSUBSCRIPTIONSERIES2014/15INCLUDINGA Christmas Carol, The LittleFoxes and Two Trains RunningContents231218232730323334Introduction to the Study GuideTheater 101Women and Gender RolesCapital, Wealth and OwnershipFamilyGoodman Theatre’s 90th Season and HistoryBasic Theater EtiquetteReading Your TicketWriting Your Response LetterOur Generous DonorsCo-Editors Willa J. Taylor, Teresa Rende andElizabeth RiceCopy Editor Michelle NeufferProduction Manager Elizabeth RiceGraphic Designer Teresa RendeContributing Writers/Editors Bobby Biedrzycki,Rene Cruz, Mariana Green, Brandi Lee, MichelleNeuffer, Teresa Rende, Elizabeth Rice and WillaJ. TaylorSPECIAL THANKS The casts and crews of AChristmas Carol, The Little Foxes, and Two TrainsRunning, the Goodman Theatre DevelopmentDepartment, FedEx and Salsedo Printing.This study guide is published by GoodmanTheatre’s Education and Community EngagementDepartment for participants in the StudentSubscription Series.For more information related to A ChristmasCarol, The Little Foxes and Two Trains Running,activities, lesson plans and resources, pleasevisit the Goodman’s Education website at:www.goodmantheatre.org/engage-learn1
Introduction to the Study GuideBY WILLA J. TAYLORFamilies. Greed, power andownership. Women and their rolesin society. Three themes that runthrough the plays selected thisyear for the Student SubscriptionSeries. In each of the three—Dickens’ classic A Christmas Carol,Lillian Hellman’s masterful TheLittle Foxes and August Wilson’sTwo Trains Running, the fifthplay in his tremendous “CenturyCycle”—these themes shape thecharacters, the worlds of the playsand the narrative journeys of theirprotagonists. They are also forcesat play every day as we navigateour own lives.In A Christmas Carol, our annualholiday production, EbenezerScrooge has been emotionallystunted not only by his greed andlove of money, but by the familialtroubles of his youth. The womenmost important to him are lost tohim and he is cut off from his onlyliving relative.2Although Regina is at the center ofThe Little Foxes, her life is not herown to live. Because she cannotinherit wealth as a woman, her fateis in the hands of her husband andtwo brothers. Trapped in a lovelessmarriage she cannot escape, shehas little but her burning desire tobe free of a family she despises.Two Trains Running, set in thecontext of the Black Powermovement’s birth, centers onMemphis, who is adamant that heget a fair price for his diner whenthe city seizes his property througheminent domain. Risa, who hasworked tirelessly at the café withlittle to show for it, is a woman offew words who understands alltoo clearly the movement to freethe black race is really only aboutfreeing the black man.Family, economics and ownership,the place of women in society.Structures we navigate daily.By highlighting them and theirintersectionality in these threeplays, we hope to give you aricher starting point not only forunderstanding these classics ofdramatic literature but their impacton your own lives.Theater is a way of seeing andknowing the world. Through theateryou explore both the world’s impacton you and your place in it. Theatercan provide a larger context forexploration of the self in connectionto the work on the stage. It is astarting point for conversations onthe forces that shape who we are.By linking the plays you will beseeing and studying this year, wehope that each of you begins tounderstand the power of dramaticliterature in a new way; how thestories we tell on our stages—regardless of their time period—arethe stories we are living every day.
Theater 101BY MARIANA GREENWhat’s so special about seeing aplay? A bunch of people walk intoa room full of seats, settle in withtheir popcorn and watch some formof entertainment. We see this allthe time. It’s just the same as goingto the movies or heading out to seea football game, right? Who wantsto sit in the dark and watch somesilly people play pretend?More people than you might think.Theater is one of the first forms ofartistic expression known to man,and throughout the years, it hasplayed and continues to play a vitalrole in many civilizations. Peoplehave entrusted it to do everythingfrom preserving their cultures toproviding entertainment to inspiringsocial change. However, despitethe various ways people utilize thestory-telling power of the theater,every production has two elementsessential to performance and theuniqueness therein.The first aspect of the theater thatmakes it such a unique art form isthat its occurrence depends on youbeing there. Yes, you! Every personwho enters a theater to watch ashow sits in one of many seatsthat collectively form an audience.You, then, as an audience memberbecome a part of a larger group,which affects the way you respondto the action onstage. You mightlaugh louder or hold your silencelonger because the people aroundyou are doing so as well. Due to thevariety of responses audiences canhave, each audience that sees theshow inherently becomes a partof the performance, making eachnight a new and spectacular event!How an audience decides torespond impacts how all people inthe room interpret the experience.This does not exclude actors.Though they work for weeksrehearsing, a great actor knowsthe importance of responding tosituations in the moment, and hisinterpretation of the play may differvastly every night depending onaudience responses. All in all, you,as an audience member play as biga part in a theatrical experience asdoes anybody else in the space.This leads to the second aspect oftheater that sets it apart from anyother form of art. It is commonknowledge that art can present amirror-like representation of theworld in which we live. For instance,a painting of a bowl of fruit is arepresentation of an actual bowlof fruit, just as a sculpture of abear is a representation of anactual bear. However, it is onlyin the theater that people getliving, breathing interpretationsof life. For in representing a manonstage, an actual man existsthere simultaneously: an actor whomight bike home and make himselfdinner after his performance. Thedual consciousness that emergesallows the audience to align whatis happening onstage more closelywith reality; for the things that this“representation of man” is doingonstage, he could also do in reality.In fact, he is doing it in reality, onlyon a stage.These are just two of the reasonsthat theater remains such aresonating art form today. It isas unique an experience for theaudience as it is for those whoprepare it. However, judging by howlong the theater has been around,isn’t it probable to assume that ithas much more to offer than simplythose two experiences?The Purposes of TheaterOne of the earliest known functionsof performance is what is nowknown as “sympathetic magic,”which describes the phenomenonof acting out certain events inthe hopes that they will cometo fruition. As early as 2500 BC,men would perform ritualisticceremonies depicting themselveshunting or battling, hoping that thegods would help them succeed.Another purpose of theaterarose in 600 BC, at an ancientGreek festival known as the CityDionysia. This giant celebrationhonored their god Dionysus, thegod of wine, revelry, and religiousecstasy. The main event consistedof competitive performancesof plays. They were not usuallyoriginal works, but rather basedon the legends and stories veryfamiliar to Greek audiences.One of the most famous winningplays was Aeschylus’ trilogy theOresteia, written in 458 BC. Ittells the story of Orestes, the sonof King Agamemnon and QueenClytaemnestra, and the tragicdownfall of their family. SinceAgamemnon has been at war,Clytaemnestra has taken up anaffair with Agamemnon’s cousin,Aegisthus, and is plotting to killhim for power over Argos. At theend of Agamemnon, the first playof the trilogy, Clytaemnestra andAegisthus successfully murderAgamemnon to the rebuke ofthe Chorus, who claim thatAgamemnon’s son, Orestes, willavenge him. In the second play,The Libation Bearers, Orestesmurders his mother, Clytaemnestra,3
in retaliation for her assault onhis father. In the last play, TheEumenides, the Greek goddessesdevoted to avenging patricideand matricide (also known as theFuries) hunt Orestes for his crime,continuing the cycle of retributionestablished by the previousmurders. This situation is resolvedwith a trial featuring the god Apolloas Orestes’ council and Athena,the goddess of wisdom, as judge.After each side presents theircase for or against the death ofOrestes, Athena chooses to acquithim, passing judgment on one ofthe first displays of democracy,the governmental theory for whichGreece would become famous.This play is just one exampleof the preservation of AncientGreek culture and philosophicaladvancement. The Greeks used thetheater as a way to maintain notonly their stories and culture, butalso the legacy of their greatness.While some of the most famousGreek tragedies are still performedtoday, the traditions of maskwearing and male-only castshave not transitioned as easily tomodern times. However, there aresome cultural forms of theater,such as Japanese Kabuki Theater,that remain as popular today aswhen they were created. The highlystylized Kabuki Theater was bornin 1603 and has been a constantreminder to the Japanese people oftheir cultural history.Both the City Dionysia andKabuki Theater, in addition topreserving history and culture,are early instances of theater asentertainment. Human beingshave the inherent desire to tellstories and to hear and seestories performed. Stories enablepeople to use their imaginationsto create and experience newworlds. These worlds allow peopleto observe, learn about and judgehuman behaviors, cultures andhistories—whether they’re realisticor not. When seen merely asentertainment, however, theateris stripped of its inherent power ofinfluence. This leads to yet anotherpurpose of theater: the ability toinstigate social change. Peoplelove to be entertained, and as wehave seen, the theater is a perfectplace for people to be entertained,making it an effective means ofconnecting with large amounts ofpeople.The worlds created in plays maybe close representations of thereal world or far from it, and everyworld has a different set of values.For instance, in A ChristmasCarol, a person obtains powerby having money, whereas in ourworld, one might say that a personobtains power by establishinggood connections. The comparisonbetween the two worlds challengesthe audience to judge, based onthe events of the play, whether theworld of the play is better or worsethan the world in which we live.Seeing a show will give you theA BRIEF HISTORY OF THEATER: A TIMELINE600 BC: The Greek Chorus emerges, establishing thebeginnings of classical theater, in which a group ofactors tell a story to an audience.534 BC: Introducing elements such as masks,costumes, speeches, and prologues, the Greekdramatist Thespis creates the skeleton of drama, thetragedy. Most importantly, he sets an individual manapart from the chorus; their interactions creatingdramatic tension.449 BC: City Dionysia competitions begin.365 BC: Romans begin to stage their own productionsbased on those of the Greeks.335 BC: Aristotle writes The Poetics, in which heoutlines the standards and elements of tragedy.246 BC: The Great Wall of China is built.80 AD: The Colosseum is built in Rome.300: Christians speak out against the theater becauseof its pagan ritualistic origins. However, this is also theyear of the earliest recorded religious plays.618: Theatrical performance develops in China. On the4stage, actors are placed in a chalk circle on the ground,and relay stories through dance, song and comicpantomime.692: The Christian Church passes a resolution thatforbids all theatrical performances.925: Christian depictions of saints and martyrs are seenin miracle plays, solidifying religious drama.1250: German drama emerges.1325: The Japanese develop Noh theater.1375: The first known English plays are written.1400: Mystery and morality plays become popularamong Christians.1490: Spanish drama begins to develop.1500: Commedia dell’arte first becomes popular in Italy.1548: The first permanent theater in Paris, the Hotelde Bourgogne, is built; it will eventually become theComedie Francaise.1558: Queen Elizabeth I forbids religious drama, whichresults in an overflow of religious drama.
opportunity to consider: would youwant to live in the world you sawrepresented?Depending upon your answer, youmay find a certain amount of socialresponsibility placed upon you; allstories are told with purpose. If theworld you see onstage is not oneyou would want to live in, but yousee striking similarities betweenit and the real world, what are yougoing to do about it?Plays have inspired the samequestion in individuals throughouthistory, urging audience membersto not only be conscious of thesociety they live in, but to combatthe injustices represented in theplays they see. The development ofHarlem Renaissance Theater, forinstance, helped bring to light andfight inequalities African Americansfaced in the post-Civil War era.Many white people based theiropinions of black people on stagerepresentations known as blackA BRIEF HISTORY OF THEATER: A GLOSSARYChorus: A group of costumed men who would sing and dance in praiseof Dionysus, the god of fertility and wine. Eventually they created lines oftext to speak as a group.Kabuki Theater: Using elaborate makeup and costume, male actors aretrained in traditional Buddhist and popular contemporary dance formsthat reflect the culture of the common people.Interregnum: Period of time (1642-1660) in which the Puritans take overparliament and rule without a monarch. It is initiated by the beheadingof King Charles I.City Dionysia: A celebratory event at which playwrights would enter theirplays to be performed for Greek citizens.Restoration: In the year 1660, the monarchy is restored with KingCharles I’s son, King Charles II. He challenges his people’s resistance byerecting a statue of his previously beheaded father in Trafalgar Square.Mystery Play: Depicts biblical episodes.Morality play: Depicts moral struggles of humans in the world.Noh: A Japanese style of theater in which actors use stylized dance andelaborate masks to portray well known tales.Peking Opera: A form of theater that requires very little in set and props,but uses elaborate costumes. Males from very early ages study thestylized movements accompanied by string and percussion instruments.Commedia dell’arte: An improvisational performance that uses stockcharacters and comic story arcs.National Endowment for the Arts: A nongovernmental organizationdedicated to awarding grants to individuals and communities in supportof artistic excellence, creativity, and innovation.1599: The Globe Theater is built in London1600: Japanese Kabuki Theater is developed.1615: Spanish writer Miguel de Cervantes publishes acollection of plays.1642: Interregnum: English puritans overthrow themonarchy and close the theaters.1660: Restoration: London theaters are reopened.1660: Actresses are permitted in theaters to playfemale roles.1680: The Comedie Francaise is opened; it is theworld’s first national theater.1737: The Licensing Act in Britain submits all plays tocensorship.1774: The Continental Congress bans plays in America.1800: Peking Opera takes over the Chinese theatricalsphere.1861: The American Civil War begins.1881: Richard D’Oyly Cartre builds the Savoy Theatre inLondon, the first theater to be lit solely by electricity.1895: The Moscow Art Theater opens in Russia.1925: The height of the Harlem Renaissance, adistinctive African-American cultural movement in whichAfrican American theater flourished.1934: Konstantin Stanislavski finishes the Stanislavskisystem, a technique designed to aid actors instimulating emotions and reactions in real time.1947: First Tony Awards1961: Martin Esselin writes an article terming TheTheater of the Absurd, a movement of playwriting thatembraces the idea that life is purposeless.1965: National Endowment for the Arts established.1968: Censorship is revoked in British theater,launching a surge of alternative theater with topics likepolitics, feminism, and gay culture.1993: The United States Supreme Court rules in favor ofperformance artist Karen Finley in National Endowmentfor the Arts v. Finley, stating that the NEA must judgegrant applications solely by artistic excellence, not bysubject matter.5
minstrelsy – a form of mimicry thatfounded many racist stereotypespopular during the early half of the20th century. During the HarlemRenaissance, African Americanplaywrights wrote plays thatdetailed the everyday realities oftheir people, debunking many ofthose stereotypes and challengingviewers to treat African Americanswith respect and dignity.In short, the theater has played andcontinues to play a multi-facetedrole in society today, making it auseful tool for addressing a widerange of issues.How It Can Be ProducedCongratulations! You have justbeen hired as the new producer atGoodman Theatre. This job requiresa multiplicity of steps that you’llneed a whole team to complete.Not to worry; this list of steps willensure that your experience puttingup your first play goes as smoothlyas possible.Elements of a ProductionStep 1: Choose a play.Step 2: Hire a director.A director establishes a vision forhow the show will be interpretedand how all the elements of theproduction will come together toreflect his or her interpretation.Step 3: Find a stage managementteam.Stage managers are essentialto the play-making process. Theyare in charge of keeping track ofall the details and decisions thedirector and the designers makeabout the show, whether that bewriting rehearsal reports, keeping6meetings running smoothly, ormanaging where all people aresupposed to be when. They are alsoin charge of calling all the cues fortechnical changes (sound, lighting,and video cues) during the showand maintaining the show after thedirector has finished their job onopening night.identify with their characters. Afterthis, the director adds blocking,which, combined with the text, isrehearsed over and over again untilmemorized by the actors. Layerthat with the character work theactors have done, and much ofthe performance on behalf of theactors is prepared!Step 4: Work with designers.There are many designers withwhom a director must work toassemble the aesthetic they arelooking to produce onstage: acostume designer, set designer,lighting designer, sound andvideo designers, and propertiesmanagers. Each designercontributes an essential elementto the stage to create the rightatmosphere of the world that willbe represented.Step 7: Technical rehearsals.Usually the last week of rehearsalsis when all elements of theproduction are combined. By thistime, the set is completed andinstalled onstage, the lights arehung, and the sound and videocues obtained. The director willschedule a technical rehearsalat which the lighting, sound, andvideo crew will program and setthe intensity levels of all their cues.Then, the actors are added. At thispoint, the levels are checked withthe performers in the space toassure that the audience is able tofocus on the right plot points andareas of the stage throughout theshow.Step 5: Find your actors.The director works with their stagemanager and potentially a castingdirector to schedule auditionsat which they will see a numberof actors read segments of linesfrom the script known as sides.The director then casts who theyconsider to be the best actor foreach part.Step 6: Rehearse.Once all the parts have beenassigned, the director can beginmolding the actors, working withthem to create the world of the playby better understanding their roleand the script. Earlier rehearsalsusually consist of read-throughs ofthe play, followed by a discussionof each character’s function anddynamic within that world, eachobjective, and point of view.These discussions help the actorsStep 8: Dre
rehearsing, a great actor knows the importance of responding to situations in the moment, and his interpretation of the play may differ vastly every night depending on audience responses. All in all, you, as an audience member play as big a part in a theatrical experience as does anybody else in the space. This leads to the second aspect of
May 02, 2018 · D. Program Evaluation ͟The organization has provided a description of the framework for how each program will be evaluated. The framework should include all the elements below: ͟The evaluation methods are cost-effective for the organization ͟Quantitative and qualitative data is being collected (at Basics tier, data collection must have begun)
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Le genou de Lucy. Odile Jacob. 1999. Coppens Y. Pré-textes. L’homme préhistorique en morceaux. Eds Odile Jacob. 2011. Costentin J., Delaveau P. Café, thé, chocolat, les bons effets sur le cerveau et pour le corps. Editions Odile Jacob. 2010. Crawford M., Marsh D. The driving force : food in human evolution and the future.
Le genou de Lucy. Odile Jacob. 1999. Coppens Y. Pré-textes. L’homme préhistorique en morceaux. Eds Odile Jacob. 2011. Costentin J., Delaveau P. Café, thé, chocolat, les bons effets sur le cerveau et pour le corps. Editions Odile Jacob. 2010. 3 Crawford M., Marsh D. The driving force : food in human evolution and the future.
