TLP 10 Years Later - Tectonic Theater Project
T E C T O N I C T H E AT E R P R O J E C TTHE LARAMIE RESIDENCYInterdisciplinary Syllabus and Resource GuideIntroduction2The Residency and Associated Activities3The Tectonic Technique4The Tectonic Theater Project5Supplementary Volumes6–67
Introduct ionThe Tectonic Theater Project, under the direction ofMoisés Kaufman, developed The Laramie Project andits sequel – The Laramie Project: Ten Years Later –An Epilogue – from an extensive series of interviewswith the citizens of the town of Laramie, Wyomingin the wake of the murder of Matthew Shepard in1998. Tectonic is now making both plays availableas the performance component of the residencies,each specifically developed to meet the individualinterests and needs of participating communities.This means that universities and performing artcenters around the world are now able to investigate the broader and deeper meaning of Tectonic’sdramatic exploration of the crime, the town, thepolitics, and the people as they absorb, manage, andcome to terms with the reality of a horrendous crimein its midst and how they and the world react to it.Activities are specifically tailored to each Presenter’scommunity taking advantage of local resources toshape an exploration of the many themes inherentin the events and the stage productions.Each series of workshops, colloquies, and relatedevents is designed in conjunction with the Presenter’s community. The members of The TectonicTheatre Project, all professional actors, includethose who conducted the actual interviews whichled them to create the script. These artists bring arare and matchless reality to the experience, boththrough their talent and their intimate knowledge ofthe subject.With two plays in tandem and a series of rivetingevents and options, Tectonic Theater now providesa deeper, more expansive, exploration of the iconictragedy in Laramie Wyoming, seen in a larger context as a crisis in small-town America.2
T HE R E S ID E NC YAss ociat ed Acti vit iesTwo Evenings of TheaterThe following residency themes could involve activeparticipation by experts, professors, and/or studentsin advanced technology, modern communications,contemporary behaviorism, the arts, literature, etc.The two plays that make up The Laramie Residencyare a powerful theatrical double-bill presentation.They now complete an epic investigation of a smalltown confronting its fears, its crimes, its biases, itbehavior, its obfuscations, and its regrets as revealed by the iconic tragedy surrounding the deathof Matthew Shepherd a decade ago.A Community of ParticipantsIn shaping the residency with members of thecommunity, Tectonic encourages the cooperativeinvolvement of students, faculty, and communityresources, people from a wide range of associateddepartments and organizations in fields such asbehavioral science, religious studies, journalism,theater, psychology, civics, criminology, lawand government.Themes and Related SubjectsA wide range of options for academic and community wide exploration might include such topics as. Crime: From Fact to Folklore The Political Impact of Murder on the Citizenry The Community as an Impetus to National Change The Long-term Effects of Hate in Society How does a Community cope with Tragedy inits Midst The Societal Danger of Forgetting The Criminal Impulse and The Community Identity Bringing Small Town America onto theInternational Stage Contemporary Issues and Greek Tragedy The Possibilities of Theater in our NewWebcasting Techno-age Theater and Contemporary Myth The Stage and The CommunitySupplementary MaterialEnclosed is a four part Resource Guide withexcerpts, commentary by the writer/performers,discussion points, books, websites and videoresources. Part 1: Background and Introduction Part 2: Issues and Themes Part 3: Viewing and Analyzing Part 4: Lessons from Laramie3
The Tectonic TechniqueTectonic Theater Project, under the direction ofMoisés Kaufman, creates theater work which depends upon the process named by them, “MomentWork”, a creative technique singular to TectonicTheater Project.Over the past fifteen years, Moisés Kaufman andTectonic Theater Project have developed and refineda wholly unique methodology, creating some of themost theatrically thrilling and currently importantAmerican theater of the past decade. Following theworld-wide success of The Laramie Project, and withgrowing interest in Tectonic and its unique approachto making theater, The Tectonic Teaching Arm wasofficially launched in 2005.At the core of the Tectonic teaching method is“Moment Work”, a technique developed by MoisésKaufman for creating and analyzing theater.Using laboratory setting, the technique encouragesthe participants to create work that is uniquelytheatrical. It pushes writers, actors, designers anddirectors to collaborate in the making of work thatfocuses on using all theatrical elements. The technique breaks apart the traditional roles of theaterartists, enfranchising artists of all disciplines tomove out of their defined roles and become theatermakers: true investigators of the possibilities ofthe medium.Tectonic is committed to expanding the conversation about how work gets made in this country toresident theaters, Broadway and off-Broadway stages, and educational institutions – focusing on theimportance of theatrical exploration in the creationof new work, especially in the early stages of newplay development.As part of residencies, Artistic Director MoisésKaufman and members of Tectonic provide communities nationwide workshops, lectures andseminars employing the company’s unique methodof “Moment Work”, giving artists at the educationaland professional level the practical tools they needto integrate this new theatrical vocabulary into thecreation of original work. By the same token, thesemethods can be applied to preexisting texts (fromShakespeare to Shepard) to achieve works of uniquetheatrical power.Beyond their mission of sharing theater performance with audiences, Tectonic Theater Project,shares their dramaturgical creative process in aweek-long residency that offers deeply engagedwork with the company for community membersand culminates with live performance by the company of two of their signature works, The LaramieProject and The Laramie Project: Ten Years Later –An Epilogue.Thus students of theatre can participate in thecreative process directly guided by the experiencedmembers of the company and see the ultimatefruit of drama guided by the core techniques of“Moment Work.”The following syllabus provides presenters withsome representative opportunities for building ameaningful experience in their community basedupon the application of “Moment Work” in amulti-disciplinary residency and performances oftwo of the most important American plays of thelast decade.For presenters who participated in the landmarkworld premiere of the “Laramie Project Epilogue Ten Years Later”, this residency offers the opportunity to deepen heir relationship with the company.For new presenters, “The Laramie Residency”offers a deeply textured engagement that can beshaped to suit the areas of interest and academicorientation of their institution, while also presentingdramatic work of the highest caliber.4
T E CTON IC T H E AT E R P ROJ ECTThis is an award-winning company whose playshave been performed around the world. The company is dedicated to developing innovative worksthat explore theatrical language and form, fosteringan artistic dialogue with our audiences on the social,political and human issues that effect us all. Inservice to this goal, Tectonic supports readings,workshops, and full theatrical productions, as wellas training for students around the country in ourplay-making techniques.to interview people in the town torn apart by thecrime. The play forged from these interviews wascreated collaboratively by the members of the company over a long workshop process in which participants were encouraged to operate outside their areaof specialization. Thus, actors and designers becamewriters and dramaturges, directors became designers and actors, and the company uncovered a newway of creating a theatrical event.Tectonic Theater Project was founded in 1991 byMoisés Kaufman and Jeffrey LaHoste. Tectonic refersto the art and science of structure and was chosento emphasize the company’s interest in construction-- how things are made, and how they might bemade differently.As with The Laramie Project, its groundbreakingplays – Gross Indecency: The Three Trials Of Oscar Wilde, and I Am My Own Wife – have sparkednational discourse about their subjects and haveinspired artists and audiences worldwide. In theearly years of Tectonic, the company staged worksby writers who were testing the boundaries ofthe theatrical form: Samuel Beckett, Franz XaverKroetz, Sophie Treadwell and Naomi Iizuka. But intime, however, Kaufman realized that in order to berigorous about exploring theatrical form, the company had to deal with the issue of text. Thus, he setabout writing his first play, Gross Indecency, basedon transcripts, biographies, letters and other foundmaterials about the life and work of Oscar Wilde.Tectonic continues to employ these techniques increating some of the most unique and innovativeworks on the American stage. The latest Tectonicproduction – Thirty-Three Variations, an explorationof obsession in music and life, was seen last seasonon Broadway with Jane Fonda.Tectonic followed Gross Indecency with anotherbold experiment in form: The Laramie Project. Onemonth after the murder of gay University of Wyoming student Matthew Shepard, Kaufman and tencompany members traveled to Laramie, Wyoming5
T E C T O N I C T H E AT E R P R O J E C TTHE LARAMIE RESIDENCYInterdisciplinary Syllabus and Resource GuideS upplementary VolumesThe Laramie ProjectVolume 1 – The Teachers7Everybody Carried a Piece of the TruthWhy The Laramie Project? Create Your Own ProjectFurther ExplorationsVolume 2 – The StudentsNOTE: Page numbers shown here reflect the completePDF document and do not necessarily correspond to thepagination within individual sectons.11Laramie, WY – Mirror of a Nation Hope, Heart, and HateFrom Life to TV Winning A Community’s TrustRoots of Intolerance A NotebookThe Laramie Project: Ten Years LaterPart 1: Prepare To See19Overview Guidelines for DiscussionFacts and Rumors The Meaning of MatthewThe Script When Events Become Lightning RodsDealing with Controversy The Road to LaramiePart 2: Issues and Themes28Outdoor Town with an Outlaw Past Measuring ChangeOne Visitor’s Impressions Expanding Laws Against HateMap of Hate Crimes The Laramie Project: A ChronologyCongress Resolution HR 777 Further ExplorationPart 3: Viewing and Analyzing44Examining Moments Writing a ReviewVoices of the Community Script: Excerpts and ActivitiesThe Big PicturePart 4: Lessons55Illuminating a Complex Story From Hate to HopeThe Process of Change Examining the InterviewsStanding Up to Hate Crime Digging DeeperSignposts of Change6
TEACHER’S GUIDE TO ACCOMPANY HBO’S THE LARAMIE PROJECTDEVELOPED BY TIME SCHOOL PUBLISHINGEVERYBODY CARRIESA PIECE OF THE TRUTH“I think right now our most important teachers must beRussell Henderson and Aaron McKinney [the men convictedof murdering Matthew Shepard]. They have to be our teachers.How did they learn? What did we as a society do to teach them?”—FATHER ROGER SCHMIT, CATHOLIC PRIEST IN LARAMIE, WYOMING,QUOTED IN THE LARAMIE PROJECTThe 1998 murder of MatthewShepard, a 21-year-old gaystudent at the University ofWyoming, focused nationalattention on hate crimes,bigotry and homophobia. Onemonth after Shepard’s killing,playwright Moisés Kaufmanand members of his theatercompany decided to travel to Laramie todocument the town’s reactions to Shepard’sdeath. After conducting more than 200interviews, the writers assembled T h eLaramie Project, a unique play—and now afilm—created from verbatim excerpts ofconversations with the residents of Laramie.At its core, The La ramie Pro j e c tcenters on a stark fact: Matthew Shepardwas hated—and killed—because of who hewas. In an era of increasing divisiveness,viewing this film can inspire students toreflect on a myriad of vital and timelyissues. These include the nature of tolerance, acceptance and pluralism; the meaning of community; and the struggle to overcome hate, bigotry and violence.Examples of guidelines include a commitment to confidentiality and to respect others,a ban on the use of slurs, and an agreementthat only one person will speak at a time. When discussing sexual-orientation issues,it is imperative that teachers and studentsresist the urge to place gay and lesbian youth,those who are perceived to be gay, or thosewith gay friends or family members in thespotlight. Students will enter into the conversation as they feel comfortable. It is the moderator’s role to establish ascomfortable a setting as possible. Specialcare must be taken to ensure that those holding a minority view are not vilified by students “on the other side.” The moderatorshould also pose questions to the class tohelp keep the conversation on track. The point of a classroom discussion ofdiversity issues—including sexual orientation—is not to reach a class consensus, astempting as that may be. Rather, the goal isto establish a forum for a free and respectfulexchange of ideas.APPROACHING THE MATERIALThe Laramie Project contains franklanguage and references to sexualthemes. While the film may elicitstrong reactions from students, it ispossible to moderate a classdiscussion on this topic whilemaintaining an academic focus.The following guidelines, developed by the editors of TeachingTolerance, can help ensure thatdiscussion remains constructive: Class members should agree ona set of ground rules that will steerthe discussion. Ask for student inputon what those principles should be. Why teach The Laramie Project? Create Your Own Project To CombatPrejudice in Your Community Resources for Further ExplorationVIEWING STRATEGYThe Laramie Project’s running time is 97minutes. Teachers have permission to tapethe broadcast for classroom viewing, in accordance with the guidelines below.BEFORE VIEWINGOnce you have established a clear set ofground rules, you might introduce TheLaramie Project by distributing the inTIMEmagazine produced to accompany the film.Direct the class to page 2 and have themread about the killing of Matthew Shepardand reactions to it. Ask students to answer thepoll questions posed on page 2: Could anattack like the one on Shepard occur in yourtown? Continue by exploring the process ofcreating the play (pages 4 and 5) and historical precedents for bias crimes (pages 6 and7). Then turn to the Notebook section onpage 8, and invite students to react to thequotations in the Verbatim column. Each ofthese statements can be used to spark ameaningful discussion. How, for example,do students react to Zackie Salmon’s pointthat she would not feel comfortable showingaffection in public for her same-sex partner?As a class, define pertinent terms:What is homophobia? Xenophobia?Bigotry? Tolerance? Acceptance? Ask students to watch for examples of thesebehaviors when they view the film.WHILE VIEWINGTHE LARAMIE PROJECT ON HBOPremieres Saturday,March 16, 2002, at 8 PM / 7 CAs students watch the pro g ram,encourage them to take notes in answerto the following questions: Which characters and statements moved you most?Why? What facial expressions, sceneryor other images elicited the strongestreactions? At what points were you surprised? Angry? Sad? Keep a log of emotional responses as you watch the film.(continued on page 2)HBO consents on a quitclaim basis to your making one videotape of The Laramie Projectfor five years from airdate for educational purposes within the curriculum only. HBO reserves all rights of every kind. Both the teacher’sguide and any videotape made of the film are intended for the sole use of educators, administrators and their students and may not be rebroadcast, recablecast or repackaged, nor may they be sublicensed, distributed, givenor sold in whole or in part to any other person or institution. Your use of the teacher’s guide and this film constitutes your agreement to comply with these terms.
2(continued from page 1)AFTER VIEWINGThe Laramie Project film can spark classdiscussion and critical thinking on a broadarray of topics. Areas to explore include:Portrait of LaramieAsk students: What impressions of Laramie,Wyoming, do you take away from the film?What statements and images caused youto form these impressions? How didLaramie residents respond to MatthewShepard’s killing? In what ways is Laramiea “mirror of the nation”? How is Laramiesimilar to and different from your town?What changes occurred in the town overthe course of the film?Unlikely TeachersRevenge and ForgivenessFather Roger Schmit calls Shepard ’skillers “our most important teachers.”What is your reaction to this statement?What can McKinney and He n d e r s o nteach America? If you had a chance tointerview McKinney or Henderson, whatquestions would you ask them?After a jury found Aaron McKinney guiltyof murd e r, what statement did DennisShepard, Matthew’s father, make regardingthe death penalty? Imagine that you hadbeen in Dennis Shepard’s position. Wouldyou have made the same choice he did?Presence and AbsenceHow did people in Laramie stand up tohatred, intolerance and violence? WhichLaramie residents struck you as most tolerant? Most accepting? What distinction doyou see between tolerance and acceptance?How do you think we should measure theeffectiveness of campaigns against bigotry?Standing Up To HatredMoisés Kaufman made a conscious decision not to include Matthew Shepard as acharacter in The Laramie Project. Why doyou think he made this choice? What impactdoes Shepard’s absence have on viewers?How do you think the film would change ifShepard were featured as a character?Getting InvolvedThe Power of VoicesLynchings Past and PresentTi m e’s writer describes the killing ofMatthew Shepard as a lynching. What doesthis mean? How does Shepard’s killing compare to the crimes described on pages 6 and7 of the inTIME magazine?In watching the film, how does the processthrough which it was made influence yourexperience of it? What is the value of hearing the actual words of Laramie residents?What is the impact of having actors portraythese people?Ask students: What concrete steps can youtake—in your school, in your town, in yourstate and on a national level—to help preventanti-gay violence and other forms of prejudice and bigotry? (For a worksheet designedto encourage students to take action in theirown communities, see page 3 of this guide.)WHY TEACHTHE LARAMIE PROJECT?inTIME asked ReLeah Lent, a veteran educator and memberof TIME Classroom’s National Advisory Board, how and whyshe would use The Laramie Project film and print materialsin her classroom. An English teacher at Bay High School inPanama City, Florida, and a staff member of the FloridaLiteracy Reading and Excellence Project, Lent is co-authorof At the Schoolhouse Gate: Lessons in Intellectual Freedom(Heinemann, 2002).One of our greatest challenges as high school teachers is tocreate thoughtful, independent learners who internalizeresponsibility as teachers widened from our subject curriculum toclassroom lessons so that they become relevant to the learners’ ownencompass the needs of young people compelled to discuss, quesworld. The Laramie Project may well become one of those expetion and shape their own understanding of how teens could kill theirriences that will remain with students for a lifetime. In an eraOnce again, with the Laramie materials, we arewhen students have seen it all—either in reality or“The Laramie Project peers.asked to go beyond our roles as traditional teachersvicariously—this material will, I believe, touch themhas the potential to into a place that is not always comfortable.in places that they haven’t yet been touched. Theinspire students toTopics such as homosexuality, religious doctrinefilm and accompanying print materials have thepotential to inspire students to ponder, explore,ponder, explore, and civil rights have no “fill-in-the blank” answers.listen, empathize, stretch and respond.listen, empathize, Abstract concepts such as revenge, forgiveness, hate,This type of powerful teaching tool, inherently stretch and respond.” tolerance and truth are even more difficult to squeezeinto a curriculum box. But to grapple with these issuesre l e vant, may well elicit passionate responses.in a safe, academic setting is necessary as we examine what makesStudents may even come to view their most basic values—valuesus all human. Yes, students may express strong opinions, theirthat have been a part of their families and communities foremotions may run high, and they may even find the discussion andgenerations—in a new light.materials disturbing—but this is a small price to pay for leading usWhen the Columbine tragedy unfolded, students nationwideall in the direction of a more tolerant future.were forced to deal with a previously inconceivable reality. OurCopyright 2002 Time Inc. This page may be photocopied for use with students.
CREATE YOUR OWNLARAMIE PROJECTHate, prejudice and divisioncan only be conquered bycitizen-activists willing tostand up and speak out. Inevery community—and atevery school—there arecountless ways to getinvolved, to spark dialogueand to build bridges.Working in smallgroups or as a class, followthe steps below to create a Laramie Project of your own. Notethat the suggested projects at right are only starting points. Thebest ideas are those that work for you and your community.PLANNING YOUR PROJECT1. In small groups or as a class, identify issues or problems atyour school or in your community that you would like to seechanged, addressed or improved. These might relate to endingan unfair situation; to reducing prejudice; to promoting understanding of difference; or to preventing hate crimes. List theissues here:4. Within your group, list steps for the activity and decide whowill work on each step.5. Conduct the activity. Then relate your experiences to theclass. Discuss: How did the community benefit from yourproject? How do you feel about the work you did or the serviceyou performed? What did you learn from this experience?6. Share your results with students around the country. Let usknow what your class did, and we’ll feature selected projects ontimeclassroom.com. Send project summaries to Bennett Singer,inTIME, 1271 6th Avenue—Room 2550B, New York, NY 10020.STEPS YOU CAN TAKE TO PROMOTEUNDERSTANDING AND IMPROVE YOUR COMMUNITYGET INVOLVED in a building or cleanup project to benefityour community. Paint over graffiti, clean up trash or design amural. If a project isn’t already under way, launch your own.Identify issues that reach across divisions, and forge alliancesfor tackling them.START a monthly “diversity roundtable” to discuss criticalissues facing your community.ESTABLISH a box in a public place where people can deposit2. From the above list, select the one issue that you considermost pressing and circle it. Then brainstorm a variety ofprojects you could undertake to address this issue. To getstarted, review the suggestions at right. What steps could youtake to tackle your issue? Name three.a.)b.)questions they have about race, ethnicity, sexual orientation,gender or religion. Find answers and post them on a bulletinboard near the box.SPONSOR a community dinner, where people bring a dishtypical of their ethnic background.ORGANIZE a community-wide yard sale and use the proceedsto improve a park or community center.VOLUNTEER at a local social-service organization or at an orga-c.)nization whose mission is to counter hate and promote diversity.3. With classmates, discuss the pros and cons of eachLOBBY your state representative, Congressperson and/oroption outlined above and select one activity that you willundertake. Form a group of students who want to address thesame issue. Group members include:Senator to support any hate-crime prevention bills that they canvote on. Mount a petition drive to build support for and awareness of pending legislation.INTERVIEW residents of your community about an issue thathas caused controversy or debate. Transcribe the interviewsand create a script modeled on The Laramie Project. Hold astaged reading for classmates and community members.SOURCES: TOLERANCE.ORG, HEALING THE HATECopyright 2002 Time Inc. This page may be photocopied for use with students.3
4FOR FURTHEREXPLORATIONBOOKSAllen, James, editor. Without Sanctuary:Lynching Photography in America (SantaFe: Twin Palms Publishers, 2000). An illustrated account of the atrocities of lynching.Gibson, Scott, editor. Blood & Tears: Poemsfor Matthew Shepard (New York: PaintedLeaf Press, 1999). Seventy-five poets honorthe memory of Matthew Shepard.Kaufman, Mo i sés. The Laramie Project(New York: Vintage Books, 2001). The scriptof the acclaimed play.VIDEO-AND-TEXT KITSA Place at the Table: Struggles for Equality inAmerica (Montgomery, Alabama: TeachingTolerance, 2000). Stories of unsung heroeswho have fought against discrimination andintolerance throughout U.S. history. Includesa 40-minute video, 144-page text and lesson plans. One free copy available per school;to order, fax written request on letterheadfrom department chair to (334) 264-7310.The Shadow of Hate: A History of Intolerance in America (Montgomery, Alabama:Teaching Tolerance, 1995). Stories of Americans who were hated. Includes 40-minutevideo, 128-page text and teacher’s guide.See preceding entry for ordering procedure.FILMS AND VIDEOSEthnic Notions by Marlon Riggs (1987, 56min.). This Emmy-winning documentarytakes viewers on a disturbing voya g ethrough American history, tracing the deeprooted stereotypes that have fueled antiblack prejudice. Distributor: CaliforniaNewsreel; www.newsreel.org.Licensed to Kill by Arthur Dong (1997, 77min.). Profiles men whose hate for homosexuals led them to commit murder. Distributor:DeepFocus Productions, (323) 662-6575.The Fight in the Fields: César Chávez andthe Farmworkers' Struggle by Rick TejadaFlores and Ray Telles (1997, 120 min.). Thestory of Chávez, about migrant workers’struggle for equality in America. Distributor:Cinema Guild, www.cinemaguild.com.STARTING POINTS FOR WRITING, RESEARCH AND REFLECTION1. The power of images. Select an ethnic, racial or sexual minority andinvestigate how that group has been portrayed in movies and other forms ofpopular culture. You might choose historical examples, such as how NativeAmericans are depicted in Westerns or in The Lone Ranger; or you could focuson more recent examples, such as the way that gay men and lesbians areportrayed on American television. How do the media and popular cultureshape our notions of identity and reinforce or challenge stereotypes?Rabbit in the Moon by Emiko Omori (1999,56 min.). A personal examination of theinternment of Japanese Americans in WorldWar II by a filmmaker who was sent to thecamps as a small child. Distributor: TransitMedia, 1 (800) 343-5540.The Times of Harvey Milk by Rob Epsteinand Richard Schmiechen (1984, 87 min.).An Academy Award-winning portrait ofHarvey Milk, the first openly gay electedofficial in America, who was assassinatedin 1978. Distributor: Telling Picture s d.orgA memorial to Matthew Shepard, with linksto anti-bias groups and suggestions forfurther reading.www.glsen.orgMaterials for teachers and students fromthe Gay, Lesbian and Straight EducationNetwork.www.tolerance.orgReadings and activities to combat hate andpromote tolerance.www.partnersagainsthate.orgExtensive information on hate crimes.www.adl.orgTools to fight bigotry from the Anti-Defamation League.www.hbo.com/hateAn exploration of Internet hate, with personal stories and ideas for promoting tolerance.www.timeclassroom.com/laramieResources to fight bias and foster citizenship.2. Responses to hatecrimes. Investigate the1998 murder of James Byrdin Jasper, Texas, the 1993killing of Brandon Teena inNebraska, or a hate crimethat occurred in your ownstate. What do thesecrimes have in commonwith the murder of MatthewTEXAS HATE CRIME: Blood stains and dried flowersShepard? How did eachmarked the spot where the body of James Byrd wascommunity respond?found after being dragged to death on a Texas road.3. Global connections.Hatred has been an enduring characteristic of human history, particularly in the20th century. Investigate one of the genocides that occurred in the last 100years, linking these global events to themes in The Laramie Project. Possibletopics: the Armenian genocide; the Holocaust; the bloodshed after Partition ofIndia and Pakistan in 1947-48; ethnic cleansing in the Balkan wars; tribal andethnic strife in Afghanistan today.Copyright 2002 Time Inc. inT IME is a trademark of Time Inc. Published in association with HBO. Printed in the U.S.A. Band of Brothers artwork Home Box Office, a Division ofTime Warner Entertainment Company, L.P. All rights reserved. HBO is a service mark of Time Warner Entertainment Company, L.P.
Audience guide part 1: Preparing To See the EpilogueTHELARAMIE PROJECT:TEN YEARS LATERAN E P ILOGUEphoto: tim chesnutInside This GuideOverview of the Epilogue . . . . . . . 3Previewing the Script . . . . . . . . . 6Guidelines for Discussion . . . . . . . 4When Events BecomeLightning Rods . . . . . . . . . . . . . . 7Facts and Rumors: ActivatingPre-Existing Knowledge . . . . . . . . 5The Meaning of Matthew . . . . . . 5Dealing with Controversy . . . . . . 8The Road to Laramie: 10 Activities . 9
ken friedmanIntroduction to this guide“It’s a fallacy to try to defineLaramie the way one would describean individual. There are 27,000people in Laramie. There are atleast 27,000 Laramies.—moisés”kaufman, creator ofth
The Tectonic Theater Project, under the direction of Moisés Kaufman, developed The Laramie Project and its sequel - The Laramie Project: Ten Years Later - An Epilogue - from an extensive series of interviews with the citizens of the town of Laramie, Wyoming in the wake of the murder of Matthew Shepard in 1998.
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LARAMIE PROJECT: 10 YEARS LATER: AN EPILOGUE. THE LARAMIE PROJECT: 10 YEARS LATER: AN EPI-LOGUE is a compel-ling follow-up to the highly acclaimed and widely produced play by the Tectonic Theater Project, "The Laramie Project," which chron-icled the aftermath of the Matthew Shepard murder in Laramie. Written by Tectonic Theater Project mem-
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Morpho-tectonic evolution of the Çanakkale Basin (NW Anatolia): evidence for a recent tectonic inversion . Fig. 2 a Simplified geological map of the Çanakkale Basin and surrounding area (compiled . forms a restraining bend in the fault zone, which a
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