Inaide the Stratford Festival uviSNO "Acting is handed on from actor to actor. It's the only way to do it... from observing the people who came before you. That is really the way theatre goes" In OFFSTAGE ONSTAGE: Inside the Stratford Festival, Stratford cameras go backstage during an entire season to capture the creative spirit at the heart of a treasured Canadian theatre company. For five decades, the Festival's stage has been home to the world's great plays and performers. Award-winning director John N. Smith (The Boys of St. Vincent), given unprecedented access backstage, offers a fascinating look at the personalities and the production process behind live theatre performance. Peek into William Hutt's dressing room as he does his vocal warm-ups before Twelfth Night. Watch Martha Henry command the stage in Who's Afraid of Virginia Woolf? Observe an up-and-coming generation of young performers who learn from the masters. Meet dozens of artists, craftspeople and technicians who reveal their secrets, from shoemaking, sword fighting and sound effects to makeup and mechanical monkeys. Join us behind the scenes of Canada's premier classical theatre institution ... and discover the love for the stage that drives this artistic company. Resource guide on reverse side, DIRECTOR: John N. Smith PRODUCER: Gerry Flahive 83 minutes Order number: C9102 042 Closed captioned. A decoder is required. TO ORDER NFB VIDEOS, CALL TODAY! -800-267-7710 (Canada) 1-800-542-2164 (USA) © 2002 National Film Board of Canada. A licence is required for any reproduction, television broadcast, sale, rental or public screening. Only educational institutions or non-profit organizations who have obtained this video directly from the NFB or an authorized distributor have the right to show this video free of charge to the public. National Film Board of Canada P.O. Box 6100, Station Centre-Ville Montreal, Quebec H3C3H5 Printed in Canada EDUCATOR'S GUIDE The Stratford Festival of Canada Directed by Suggested Activity JOHN N. SMITH The dream for a national classical theatre began in a tent in 1953 and now the 1. Take a speech from the list below and re-write it in modern laguage. Be aware of Stratford Festival is one of the largest theatrical companies in the world. Each Producer the multiple meanings of the same words when translating Shakespeare's text into GERRYFLAHIVE season the Festival presents over a dozen plays, from Shakespeare to contempo- contemporary speech. Perform the two versions. Discuss which version provides greater imagery, resonance, rhythm and power, rary classics to new works. It employs approximately one thousand actors, direc- Director of tors, designers, stage managers, technicians, administrators and other staff. Photography Henry IV, Part 1 (Hotspur, Act IV, Scene iii, lines 52-88) PIERRE LETARTE esc This video is ideally suited forthose teachers and students at the secondary and Henry IV, Part2(Lady Percy, Act II, Scene iii, lines 9-45) (Hal, Act IV, Scene v, post-secondary level interested in theatre arts. Executive Producer lines 138-176) LOUISE LORE The Shakespeare Plays Henry The Fifth (King Henry, Act IV, Scene iii, lines 18-67) Featuring from Twelfth Night (Viola, Act II, Scene ii, lines 17-41) • HENRY IV, PART 1; HENRY IV, PART2; HENRY THE FIFTH The Stratford 7776 Merchant of Venice (Portia, Act IV, Scene i, lines 184-205) Plot Synopses: Does Prince Hal have the makings of a noble king when he prefers Festival of to party with his friend Falstaff? Hal is eventually crowned King Henry V; he Canada 2. Design and build a model set (or costume sketches) of one of these scenes. renounces his wild ways and becomes a noble and righteous king, uniting his Set it in a time period other than Elizabethan and justify why it would work in Artistic Director wartorn country and inspiring his troops to great victory. another era. Richard Monette • THE SEAGULL, BY ANTON CHEKHOV In the video: Actor Jonathan Goad (as Hotspur) is rehearsing a scene, "The King is Performers kind ..." (Henry IV, Part 1, Act. IV, Scene iii) with Janine Pearson, the voice coach. Plot Synopis: Arkadina, a famous actress, vacations at her country home with her Graham Abbey lover Trigorin, a renowned writer. Arkadina's son, Konstantin, is a troubled writer, Douglas Campbell (as Falstaff) applies his makeup. James Blendick Douglas Campbell hopelessly in love with Nina, an aspiring young actress who falls for Trigorin. Graham Abbey (as Henry V) is rehearsing the lines of "Saint Crispin's day" speech Peter Donaldson Laughter and tears abound as these artists struggle to find meaning in their lives. (Henry The Fifth, Act IV, Scene iii). Michelle Giroux In the video: Michael Therriault (as Konstantin) and Michelle Giroux (as Nina) are ' TWELFTH NIGHT Jonathan Goad rehearsing a scene with the help of the director Diana Leblanc. Martha Henry Plot Synopsis: Duke Orsino is in love with Olivia, who falls in love with his William Hutt Suggested Activity messenger Cesario, who is really Viola disguised as a man and who loves Duke Lucy Peacock Choose one act from Chekhov's The Seagull ana create and/or design, and plan the Orsino. Get the picture? Completing this comedy are the other disorderly Rami Posner sound effects, and soundscapes for each scene. Select music that helps to bridge characters bringing fun and games. Michael Therriault scene changes or transitions and underscore some of the spoken text that will set the mood or the tone of the dramatic scene. Mark the sound cues in your script. In the video: Nicholas Van Burek (as Sebastian), Tara Rosling (as Cesario-Viola) Head of Voice Have a technical rehearsal, or "cue-to-cue" which means the play is not run in full and Michael Therriault (as Sir Andrew Aguecheek) in front of a student audience Training demonstrate fight scenes and comic timing. Janine Pearson but the sound cues are played exactly on cue and sound levels are set. • WHO'S AFRAID OF VIRGINIA WOOLF?, BY EDWARD ALBEE • THE MERCHANT OF VENICE Stage Manager Louise Currie Plot Synopsis: George, a seemingly soft-spoken history professor, is married to Plot Synopsis: This play deals with racial prejudice, hatred, love and mercy. loud, domineering Martha. The play explores a tormented marriage with wit, Bassanio marries Portia but must soon leave her to rescue his best friend, Director understanding and bitter pain. Antonio, who cannot pay his debt to Shylock, a Jewish merchant. Portia, disguised HENRY IV PART 1 as a man, poses as Antonio's lawyer and wins the case. Scott Wentworth In the video: Peter Donaldson (as George) is in his dressing room discussing the play and how theatre is topical and immediate, "You feel...it's alive, that they are In the video: Peter Hutt (as Antonio), Lucy Peacock (as Portia, disguised as Head of Properties not historical pieces, they are not dusty old things that should be left on the shelf, Balthasar) and Paul Soles (as Shylock) are in the courtroom scene where Portia Frank Holte they are what's going on around us." says Shylock must be merciful, "The quality of mercy is not strained..." (The Merchant of Venice, Act IV, Scene i). Director Suggested Activity THE SEAGULL Read Who's Afraid of Virginia Woolf? Prepare a prompt book for one of the acts. Diana Leblanc Place each page of the script on a blank piece of paper with a very wide margin on all sides to allow you to write down blocking (the movement/placement of each character throughout the scene), character notes, light cues and so on. • INHERIT THE WIND, BY JEROME LAWRENCE AND ROBERT E. LEE Plot Synopsis: Religious zeal and scientific principles clash in this courtroom drama. On trial is a schoolteacher in a small Midwestern American town who is accused of teaching the theory of evolution. In the video: The first rehearsal of the production is a "read-through" - the actors (such as William Hutt) and director (Richard Monette) and stage manager (Louise Currie) sit at a table to read and discuss the script. See also the props department building the mechanical monkey. Suggested Activity Read from other courtroom scenes listed below and compare the ideas and arguments on themes of freedom of expression, observing the stylistic differences of each of these plays: Galileo (by Bertolt Brecht); The Crucible (by Arthur Miller); The Lark (by Jean Anouilh). Glossary The following is a list of some of the many different skills employed (from artist to technical) in the theatre. Actor: interprets the character in the play and communicates the words and ideas of the playwright. Carpenter: interprets the set designer's drawings and builds the set for the production. Choreographer: creates all dance movement and rehearses the actors in the production. Costume Designer: creates and/or builds costumes for the actors in the production. Director: interprets the play as a whole, instructs actors as to the type of characters they are to portray, collaborates with designers and technicians and coordinates the artistic vision. Fight Director: creates and coordinates fight scenes, rehearsing actors in the proper and safe way to fight in stage combat. Lighting Designer: creates a lighting design that complements the whole artistic vision of the production. Lighting Technician: hangs and focuses lights and operates the lighting equipment. Musical Director: responsible for all the music in a production, rehearses the musicians and actors and conducts the orchestra if needed. Production Manager: supervises and coordinates with the technical director, designers, wardrobe and props, keeping an eye on the budget, resources and equipment. Properties: (props) is responsible for buying, building or borrowing stage properties and set dressings. Scenic Artist or Painter: artist is responsible to the set designer and oversees the painting, decorating and furnishing of the set.