blood.claat - Great Canadian Theatre Company

GREAT CANADIAN THEATRE COMPANY
blood.claat
one oomaan story
STUDY GUIDE
A play written and performed by
d’bi.young anitafrika
Directed by
Weyni Mengesha
mudgu sankofa, a 15 year-old girl in Kingston, Jamaica, is bridging the gap
between innocence and maturity. As blood – both life blood and death blood –
cycles through her coming of age story, mudgu encounters her cleanlinessobsessed granny, a machete-wielding stranger, her reggae-loving boyfriend and
her church-going aunty. Helping her traverse her past, present and future lies
mudgu's mother, who left her in search of a better life for herself and mudgu in
Canada. Fusing theatre and dub poetry, the extraordinary artist d'bi.young
anitafrika portrays mudgu with wit, charisma and power.
Student Matinees
Mar. 10
12:00pm Noon
Study Guide
researched and written
by Jim McNabb
Welcome to the Great Canadian
Theatre Company!
GCTC’s Education Program
Special thank you to
GCTC’s Student Matinée
Partners
GCTC
STUDY GUIDE
The Play
Contents
The Play ………………………… 1
About the Play ………. 2 - 3
Set and Costumes………… 4
Excerpt from the
Script ………………… 5 - 6
Jamaica: Facts, History,
Features .………… 7 - 11
blood, a dub poem ……. 12
Traditional African
Religion …………………. 13
Plot in Detail ……… 14 - 15
Additional Resources …16
Activities ……………. 17 - 18
Curriculum References 19
What’s On in the Lorraine
Fritzi Yale Gallery ……
The Place and Time:
East Africa in the beginning
Toronto Airport immigration desk
three years earlier
Nanny Town, Jamaica 1730-1732
Kingston, Jamaica present day
The Plot (in brief): In her
formative sixteenth year,
mudgu is caught between the
expectations of her granny and
auntie and her boyfriend, is
emotionally wounded by the
violence and incest in the
community, but is strengthened by the presence of her
mother and her ancestors.
The blood of her menses
contrasts with the blood shed
violently but links her with the
blood of her strong female
foremothers who carried the
traditions of Africa to America.
..………………………… 20 - 21
Theatre Etiquette ……. 22
The Creative Team
Written and Performed by:
d’bi.young anitafrika
Director: Weyni Mengesha
Upcoming Plays
An exciting 2009 -2010
season of plays
♦ Apr. 13 – May 2 –- Facts
♦ June 8 – June 27 – Heroes
Visit us at www.gctc.ca
WARNING
Some teachers may feel
that some of the material in
this Study Guide is
inappropriate for their
students. Please read it
carefully beforehand.
Set and Lighting Designer:
Steve Lucas
Costume Designer:
Erika Connor
Composition and Sound
Designer:
Thomas Ryder-Payne
Stage Manager: Samira Rose
Apprentice Stage Manager:
Adrienne McGrath
blood.claat
Page 1
d’bi.young anitafrika
actor/playwright/dub artist
anitafrika is one of Canada’s
most celebrated young artists,
winning the ‘07 Toronto Arts
Council Foundation Emerging
Artist award. She has
performed, published, and
lectured internationally.
As a dub poet, anitafrika has
headlined numerous festivals in
Calgary, Vancouver, Havana,
and Toronto. She has selfproduced five dub albums.
Her stage work include: da
kink in my hair which garnered
her a Dora nomination for
outstanding performance, the
South African play Have You
Seen Zandile and mudgu in her
very own blood.claat; for which
she received a Dora award for
outstanding performance ‘06.
blood.claat is the first piece
in anitafrika’s biomyth-trilogy
three faces of mudgu sankofa.
She is currently completing the
second and third plays:
androgyne – a poetic two-hander
and word!sound!powah – a dub
opera
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blood.claat
STUDY GUIDE
About the Play
Page 2
Page 1 of 2
How it Came to Be
d’bi.young anitafrika is a dub poet, playwright and actor who lives in Kingston, Jamaica
and Toronto, Canada. In 2002, in response to a poem 5 nights of bleeding by dub poet
linton kwesi johnson dealing with violence, d’bi.young was inspired to write a feminist
version dealing with attitudes to women’s blood, aptly named blood. (A copy of that poem
is included in this Study Guide. A caution should be noted because some may find the
language offensive.) d’bi.young was attempting to dispel the stigma against menstrual
blood with the view that it is life blood as compared to death blood resulting from violence.
Furthering this theme, ms young set out to write a play about the women in her family, the
violence in Jamaica and the strength drawn from understanding blood. As Klive Walker
states in his introduction to the published version of the play:
In blood.claat, young takes this idea, the connection to blood – particularly women’s blood – to
birth, puberty, menopause and death, and roots it in an African-Jamaican experience so that it
provides a complex understanding of how slavery informs the present day condition of AfricanJamaicans. Then very skillfully, she extends this metaphor to include life-blood as a transformed
weapon of women’s liberation. Even the Jamaican curse word adopted as the title of the play is
drained of its profane character. ‘Blood.claat’ [menstrual cloth] is no longer simply an
exclamatory term of derision or anger that carries within it a negative connotation of blood.
The womb of the play morphs that expression into a symbol that is positive and life affirming.
young also examines the violence endemic in Jamaica in the light of its past colonial rule
based on slavery. The play is semi-autobiographical.
Structure and Language
blood.claat is written and performed in Jamaican Patois (see page 9), the colloquial
language of the people descended from the slaves brought from Africa. Only in the recent
past has Patois been recognized and honoured as a distinct language on the Island and
abroad. Dub poetry plays a large part in the magic of the language of this play, the rhythms
and images evoking strong emotions which are enhanced by the percussion and vocal
background. The play is essentially a narrative, the story of a girl’s coming of age. It
begins with a ritualistic libation to the ancestors and the future generations by Yamoja, the
goddess of motherhood. The play has an episodic structure with scenes moving in and out
of the past prompted by a stream of consciousness. mudgu is buffeted in the series of
scenes between the shame and scorn of her menstrual blood by some people in her life and
the pride in womanhood shown by her absent mother and ancestors. The conflict comes to
a resolution with the blessing by her granny as she becomes the mother of a new life, one
which will continue the legacy of the great heroine Queen Nanny.
Themes and Issues
The various themes and issues examined in the play include the deeply ingrained shame of
woman’s blood, prejudices based on gender and class, the confusion of adolescence, the
curse of incest, the roots of violence lying in a history of slavery, the importance of pride of
history and race, the strength of motherhood and the value of traditional African religion.
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STUDY GUIDE
About the Play
Page 3
Page 2 of 2
Characters
yemoja: deity of the West African Yoruba religion, the goddess of the ocean, the
essence of motherhood and the protector of children; Mama Afrika; the symbol
of blood.
granny: a fifty-year-old oomaan (woman) living in Kingston, Jamaica who loves her
granddaughter mudgu. She is ashamed of blood.
Canadian Immigration officer: believes and practices blood hierarchy.
stamma: a young bus conductor who stutters. He fears the loss of his power and draws
blood to maintain it.
queen nanny: a chieftainess/priestess/healer and military leader of the Maroons in the
18th century. She knows the power and magic of blood and fights to protect her
children’s children.
ogun: the deity of metal, warfare and hunting in the Yoruba religion. (Similar to Ares in
Greek mythology and Visvakarma in Hindu mythology.) His arrogance and temper
cause blood to be spilled wrongfully.
njoni: mudgu’s boyfriend who lives on her street and runs a DJ business which he
dreams will bring him fame. He is repulsed by and afraid of menstrual blood.
auntie: mudgu’s thirty-five-year-old aunt experiencing early menopause. She is a
Christian fundamentalist who uses her faith as a blindfold. She lives in denial of
blood.
uncle: auntie’s husband. He is a blood-killer.
pearl johnson: village gossiper. She is excited by blood stories.
mother: mudgu’s thirty-five-year-old mother now living in Toronto with plans to bring
mudgu to a new life. She understands and respects life blood.
mudgu sankofa: a fifteen-year-old schoolgirl on the verge of becoming a womban
(woman), learning about blood, both life blood (her menstrual power) and death
blood (violent bloodshed). She learns from her community, her immediate
relatives and her ancestors, and in doing so connects her roots with her future.
3 percussionists/vocalists who beat drums, sound the abeng (an animal horn which was
an instrument used by slave masters to call their slaves as well as by Queen
Nanny to communicate with her Maroons). They also tell the story of blood.
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STUDY GUIDE
Designs
Costume Design by Erika Connor
Page 4
The costumes for this one-oomaan show, designed
by Erika Connor consist first of all for the goddess
Yemoja of a long flowing red skirt representing a river
of blood, a girdle of finely embroidered cloth studded
with cowrie shells and a headdress. This is then
changed for a simple, neutral, beige dress easily
adaptable for the multiple characters played by the
single performer.
The set, designed by Steve Lucas, consists of a
neutral, pentagonal playing space backed by a scrim
through which the silhouette of a large iroko tree
towering over a small altar is seen at times. To the
right and left are roughly painted corrugated metal
walls with doorways to be used for various scenes.
Down left is a metal wash tub and several cement
blocks and overhead is a washing line with clothes
pegs and several props and costume pieces for use in
later scenes.
Set Design by Steve Lucas
Claudia
blood.claat
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blood.claat
STUDY GUIDE
Excerpt from the Script
Page 1 of 2
Page 5
Scene 1
mudgu, a 15 year old girl living with her grandmother in Kingston, Jamaica, is washing out a
bloody sheet in a wash tub behind the house early in the morning. She has started her
period during the night and her granny is angry that she soiled the sheet. (The spelling
suggests her Jamaican dialect.)
mudgu: I wish I was a bwoy. I don’t know why greedy Eve did have to disobey Father God
and listen to that wicked snake and eat the apple and now all of we must suffer
because of her, including me. Now look pon that. It deh pon the bed, and mi
clothes, and everywhere nasty like somebody get shot or cut up. And what you all
looking at? You never see somebody wash before? (Hisses her teeth) (pause) Now mi
definitely gwine be late for netball practice again. No practice no gold trophy. And
team captain must be at every practice. That’s what miss osborne seh. And guess
who is team captain, miss latey latey. (Hisses her teeth) I can’t tell miss osborne
why I am late. Then everybody pon di team going to know. Anyways it’s not as if it
don’t happen to them. Although you would nevah know. When auntie’s flow come is
one big secret. (pause) Well me play better than the whole a team anyways. That’s
why I am team captain. Not even inna basketball di bwoy dem can’t touch me.
Although sometimes when it come, my belly hurts so bad that I can’t play ball, and
the boys dem get 5 or 6 or 7 days extra practice time, because they don’t have it. I
still play better than them. If yuh don’t believe mi ask mi boyfr… (She remembers
granny and whispers) ask my boyfriend njoni. Him is the best baller pon the street.
(pause) Him run black bird sound system. Every morning dem wake up the
neighbourhood wid one loud piece of music. njoni seh people should pay him because
he is conducting a neighbourhood service helping everybody get up early for work.
Even people who don’t have no work, haffi get up too. (She laughs) granny can’t
stand him. Seh his eyes always look lazy, because him smoke dat corruption and
listen to pure slackness music. All di girls dem seh him have dreamy eye. When yuh
look inside dem yuh get lost like yuh inna one deep black bush. Where anything can
happen. When mi look pon him, him always tell mi to stop because me looking right
through him soul. (pause) Well when me have my period I play better than even
njoni. True they don’t know it give me powah. (She makes muscles with her two
fists) Whatever. (pause) This can’t clean. (She inspects the sheet) maybe I should
mek it soak likkle bit. (She hears granny yelling for her to leave for school) Yes
granny I wash out everyting clean, I’m going to put the sheet to soak a little. (She
puts on her knapsack) No granny mi not going to be late for school. (To audience) Mi
definitely late. (To granny) granny, school finish at 3:30 and I have netball practice
until five… until 7 o’clock (Crosses her fingers) … Mi not coming home when it dark
granny … Mi nah walk road side at nighttime like leggobeast … yes granny … granny I
not bringing any belly with baby in here for you to mind. granny you know I have
practice before and after school. Please … mi going to come home right after.
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STUDY GUIDE
Page 6
Excerpt from the Script
Page 2 of 2
Scene 2
mudgu didn’t go to school because a fight broke out on the bus and her school uniform
became spattered with blood. Instead she is visiting with her boyfriend njoni. In an
effort to get her to relax, njoni has offered mudgu a joint to smoke.
njoni: (Takes spliff back from mudgu and tokes) Suh, my girl, why the change of heart?
What yuh afraid something is going to happen to yuh? mudgu, yuh know already
dat is me and you fi a lifetime. Me will tek care of my princess. My girl cyan
breed and I don’t rise to di occasion like a big black stallion … Your stallion,
mudgu. Suh don’t worry bout nothing zeen. (njoni tries to seduce mudgu. He
speaks softly under his breath) Sweet blacky face mudgu. Come nuh my girl.
How yuh a gwaan suh. Just mek mi … (He feels her pad and realizes she is
bleeding. He pulls away quickly) Yow! What’s that? Pad?... What yuh have your
tings today? … but yuh nevah have it yesterday? … So why you didn’t tell me star.
And made man a put their hand inna , inna inna … How yuh mean, inna DAT! And
yuh know your something is here and you touching my microphone and my stereo,
and my 45 dub plate record dem and my ganga star. Oomaan not suppose to
touch up dem tings when she have her business, rasta. Cho. mudgu you know mi
real check fi yuh but you should know better than dat, man. Although my
brethren maaga man always tell me seh when woman have dem tings deh is like
dem get a, dem a funny brain like. Yuh feel alright? And watch dere now man, it
deh pon mi hand dem … wash my hands? Man and man not even suppose to be in
contact with them impurities, man. Yuh suppose to keep to yourself to yourself
during dem times. Rasta. Cho.
mudgu: (In anger and confusion she searches for the words.) Yuh going on as if is the
first time that catch pon yuh hands. So so so you can touch up mi soil up uniform
but you can’t touch me. And and and last month when you and steve get into dat
fight it was all over you. And which part you think you come from anyways? Out
of your moddah … Mi nevah seh anything bad bout yuh moddah. Anyways did first
time we do it you never did have a problem with it being on you. (Hisses her
teeth.) Hypocrite. (She leaves for home.) Dyam idiot. Him suh fool fool some
time. If he think he is going to be my boyfriend for long with that attitude him
better think again. It’s not like I have to have a boyfriend. I have netball and my
mother is in Canada. I won’t even be here for that much longer. Anyways.
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STUDY GUIDE
STUDY GUIDE
Jamaica
Page 1 of 5
Page 7
Flag of Jamaica
Facts About Jamaica
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Jamaica is situated in the Caribbean Sea, south of Cuba and West of Haiti. It is the third largest island in the Caribbean. Its capital is Kingston on the south coast which boasts one of the largest natural harbours in the world. Jamaica has a diverse population with about 90% Afro‐Jamaican and the rest being of European, Chinese, East Indian and Middle Eastern origin. This results in a large variety of physical appearances, cultures and customs. The motto is “Out of Many, One People”. Subtle racism and colour discrimination still exist as a result of more than three centuries of slavery, even though slaves were freed in 1838. Percival Patterson became prime minister in 1992, the first black man to hold that position. However, economic power still seems to elude the black majority. The climate varies from tropical to humid. The wet season falls between May and October, which coincides with the hurricane season that extends from June to November. The temperature averages about 24⁰C in the winter and 27⁰C in the summer. Jamaica has a mixed economy based on agriculture (fruits, vegetables, coffee for export), mining (bauxite), manufacturing, tourism and insurance. The official language is English but the common dialect spoken amongst the people is Jamaican Patois. (see Patois section) Education is currently free from the early childhood to secondary levels with the exception of the privately‐owned schools. Christianity is the main religion in Jamaica and has many denominations. The others include Islam, Judaism and Hinduism. The practice of Obeah traditions is common, however. (see Obeah section) Jamaica has contributed greatly to the world of music, with some of the most celebrated artists being Bob Marley, jimmy Cliff and Sean Paul. (see Reggae section) The Jamaican cuisine incorporates tastes from all over the world brought by its immigrants. The unique jerk seasoning and various cassava preparations are inherited from the indigenous Taino people. Sports are highly popular in Jamaica: soccer, track and field, cricket, netball (very similar to basketball). By the way, the Women’s National Netball team ranks third in the world after New Zealand and Australia. Jamaica even entered a bobsled team into the 1988 Calgary Winter Olympics. GCTC
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Page 8
Jamaica
Page 2 of 5
History of Jamaica
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Jamaica’s indigenous people were the Tainos, an Arawak‐speaking people, who probably migrated there from South America between 4000 and 1000BC. The Tainos called the island "Xaymaca" meaning "land of wood and water". Christopher Columbus arrived in 1494 and claimed the island for Spain. He described is as “the fairest isle”, and that the people were primitive, peaceful and friendly. “They would make fine servants... With fifty men we could subjugate them all and make them do whatever we want." The Taino population was rapidly reduced by smallpox and other diseases and by the European policy of enslavement, many of the Arawak woman with bird
Amerindians being sent to Spain as slaves. Large numbers of slaves were imported from Africa to run the plantations and to be distributed to other American settlements. Jamaica became an important centre of the slave trade. Between 1645 and 1670, Britain and Spain struggled for possession of the island with Britain finally gaining full possession in 1670. During this period, the famous Henry Morgan became the Admiral of the British fleet in Jamaica and ruled the Caribbean as a greatly feared pirate. Spain had freed and armed many of its slaves in the hope they would help defend the island from the invading British, but instead they fled to the forested mountains at the eastern and western parts of the island becoming known as Maroons. • Under the British, Jamaica remained a chief centre of the slave trade but the rebellious Maroons fought off the British – the only army ever to defeat the British ‐ until finally their right to freedom and ownership of property was recognized. It was during the First Maroon War of 1731 that Queen Nanny successfully led the former slaves against the British. Maroons still exist in modern‐day Jamaica. (see Queen Nanny section) •
British settlers, using slave labour, developed sugar, cocoa, indigo and Queen Nanny
coffee estates making the island very prosperous by the beginning of the 19th century. As a result of the oppressive slavery system, Jamaica had more revolts and slave uprisings than other West Indian islands, which, coupled with brutal militia reprisals, caused great concern in Europe. Slave trade was finally abolished in 1807 and the existing slaves were emancipated in 1838. Former slaves eagerly left their European masters to settle around the island, the work on the plantations now being done by indentured Chinese and Indian labourers. GCTC
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Page 9
Jamaica
Page 3 of 5
History of Jamaica (cont.)
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Banana plantations were introduced in the middle of the 19th century, and later, when banana were also introduced into Cuba and Central America, Jamaicans emigrated to tend those plantations. In 1866 Jamaica became a crown colony of Britain with a British governor and a legislature made up of some British appointed members and some locally elected members. Under the urging of two new political parties, Jamaica gained partial independence from Britain and became a province of the Federation of West Indies in 1958. It gained full independence in 1962 but still remains part of the British Commonwealth. Despite promises of better education, health care and other social reforms, Jamaica lags economically, the results felt most by the urban poor. Jamaican Patois
blood.claat is written and performed in the Jamaican Patois, which may at first be difficult to decipher. This Jamaican language is a creole language, one which is an amalgamation of English and West African languages with some words of French, Spanish and Portuguese, as well as others. It developed during the 17th century when African slaves adapted and modified the language of their European masters. It is mostly a spoken language used at home and in everyday situations and is the language of popular music. Standard Jamaican English (which is English with a Jamaican dialect) is the language of education, high culture, government, the media and formal situations. It is usually the print version of the language. In actual usage there is a continuum or gradation of language from Standard English in formal situations to modified English in semi‐formal business to a strong Patois in rural settings. Patios is rarely written and has no standardized spelling so Jamaicans would have difficulty reading material which represents the Patois. Even private correspondence is done in English. It has only recently been taught in schools. Jamaicans readily understand spoken Jamaican English but usually prefer to speak Patios. Literature in Jamaican Patois expresses folk poems and stories and therefore is normally used in reggae and other local music. Some basic Patois sayings and their English meanings are: Patois English • What a gwaan? What’s going on? • Go sih dung. Go and sit down. • Likkle more. See you later. • Mek wi dweet. Let us do it. • Hop affa mi. Leave me alone. • Ah wha dat yuh ah luok pon? What’s that you’re looking at?
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Page 10
Jamaica
Page 4of 5
Obeah
Obeah is a term used in the West Indies to refer to folk magic, sorcery, and religious practices derived from a blend of Central and West African folk religions and European myths. Obeah is practiced in a number of Caribbean islands and countries in Central and northern South America. It is associated with charms, rituals, luck and mysticism, and is related to Voodoo and other similar folk cultures. Tia Dalma, a character in two of the Pirates of the Caribbean movies, was an Obeah priestess and sorceress and a friend of the lead character, Jack Sparrow. She speaks a Jamaican Patois. Reggae
Reggae rose out of the slums of Kingston, Jamaica in the early 1960s, developing from a Jamaican style called ska mixed with American R&B and African music. Although there were others before him and many following him, Bob Marley and The Wailers made Reggae’s distinctive beat known to the world. Reggae is characterized by the rhythm guitar and bass drum emphasizing the 2nd and 4th beats in 4/4 time. This backbeat is found in African‐based music but not in European or Asiatic music. Harmonically, the music is often very simple, and sometimes a whole song will have no more than one or two chords. These simple repetitive chord structures add to reggae's sometimes hypnotic effects. Reggae is noted for its tradition of social criticism, although many reggae songs discuss lighter, more personal subjects, such as love, sex and socializing. Some reggae Bob Marley
lyrics attempt to raise the political consciousness of the audience, such as by criticizing materialism, racism or colonialism while other reggae songs promote the use of cannabis (also known as ganja) considered a sacrament in the Rastafari movement. Dancehall, a style grown out of Reggae, was criticized for the homophobia expressed by some artists but a coalition of the music industry agreed to stop releasing music promoting hatred and violence. As well as Dancehall, the legacy of Reggae includes Dub music and poetry, Hip Hop, Rap, and even Punk, House and Techno. Listen to Bob Marley and the Wailers at http://www.youtube.com/watch?v=pDvdBgJdEzU and http://www.youtube.com/watch?v=n6U‐
TGahwvs&feature=related . For a Dancehall Reggae mix listen to http://www.youtube.com/watch?v=TGrcKoUbrfs . GCTC
GCTC
I, CLAUDIA
blood.claat
STUDYGUIDE
GUIDE
STUDY
Jamaica
Page 11
Page 5 of 5
Queen Nanny
Queen Nanny is credited with being the single figure who united the Maroons across Jamaica and played a major role in the preservation of African culture and knowledge. She was the spiritual, cultural and military leader of the Windward Maroons and her importance stems from the fact that she guided the Maroons through the most intense period of their resistance against the British, between 1725 and 1740. Queen Nanny is presumed to have been born around the 1680s in Africa’s Gold Coast (now known as Ghana). She was reported to belong to either the Ashanti or Akan tribe and came to Jamaica as a free woman, perhaps even owning slaves of her own. Slaves from the Gold Coast were referred to as Koromantee in Jamaica. They were fierce and ferocious fighters intent on resistance, survival and above all freedom and they refused to become slaves. Between 1655 until the 1830s they led most of the slave rebellions in Jamaica. Portrait of Queen Nanny on
the Jamaican $500 bill.
Spiritual life was of the utmost importance to the Maroons and was incorporated into every aspect of life, from child rearing to military strategies. Almost every slave rebellion involved African spiritual practices. As a leader, Queen Nanny who practiced Obeah which had evolved from Africa was able to instill confidence in their followers. Queen Nanny employed clever strategies which led to the Maroon’s repeated success in battles with the British. She was a master of guerilla warfare and trained Maroon troops in the art of camouflage. Oral history recounts that Nanny herself would cover her soldiers with branches and leaves, instructing them to stand as still as possible so that they would resemble trees. Maroon settlements were situated high up in the mountains with only a narrow path leading to their town. In this way, the British soldiers could clearly be seen on approach as they advanced in single file, allowing them to be picked off one by one. Legends about Queen Nanny abound, one being how she miraculously fed her starving people with some pumpkin seeds she found in her pocket and which rapidly grew and produced many pumpkins. Another tells of how she could catch bullets with her hands. Still another tells of how she was able to set up a large stew pot in the forest which boiled without fuel and into which British soldiers fell never to return. GCTC
STUDY GUIDE
blood, a dub poem by d’bi.young.anitafrika
blood blood blood blood.claat
blood blood blood blood.claat
blood.claat
Page 12
blood fi wash di pain away/blood fi wash di slate
clean
On 9 May 1994, the day before Mandela's
inauguration as President of South
blood gwine guh tek yuh/blood gwine guh tek yuh
Time
ran in-depth
features on the 'miracle' of the country's
living innaAfrica,
time/where
di blood
is marketable
transformation
like di rest of my body/everyting is democratic
sellable
I bleed
toxic shock syndrome/proctor gamble
why wi teach young amazons/to hide di fact dat
chlorine bleach pad/suck blood mi nuh have
aunt flow come once a month/and she’s a setback?
don’t talk about har too loud inna public
lurking culture vultures/a siddung pon di shelf
be careful not to get CREASHUN pon di toilet
legalized pimping a mi cunt and mi blood
watch out yuh might get some CELEBRASHUN pon di
wid or widout applicators/wid or widout wings
chair
brands a b c and d/don’t give a blood.claat
don’t stain di sheets wid yuh LIBARASHUN
bout me
nor di streets wid yuh REVOLUSHUN
young black bush oomaan/nuh birth a nation
yuh evah motice/see dem pon tv
kotex tampax always or maxi
young black bush oomaan walking around
dem nuh use red/a blue dem use instead
no-one know har name
and I’m wondering from where di
she’s feeling demonized/dehumanized/
shame/around my cunt came from
disempoweredized
like a covert operashun/more than half di
she needs to deprogrammize
populashun bleed
close har eyes/and feel inna di darkness
di deepness/di wetness/di redness a blood
we used to have nuff nuff nuff nuff blood ritual
I bleed
where oomaan come togeddah/and bleed inna
di land
and when she comes to me once every month
but now di blood naw flow/where did the
she brings positive vibrashun wid har ciphah
rituals go
no doc mi nuh waan nuh tylenol/no midol/no advil
manufactured shame/designed to keep me
no spirit killers to numb dis healing
inna chains
jus gimme red raspberry tea
and I’ll be tranquil
I bleed
right now she universe is communicating
five nights of bleeding/blood inna mi eye
I am elevating
five nights of bleeding/bood inna mi head
surrendering myself to she gawdess within
five nights of bleeding/blood inna mi womb
five nights of bleeding/blood inna mi cunt
ancient moddah spirit is calling
five nights of bleeding/blood deh pon di
if I were in di bush/I would be bleeding
ground
in di earth
and when war come/whose blood run
watering har body wid mi healing
but mi live inna di shitty
no pad no tampon no liner no towel
brixton/railton road/rainbow/bluesno oppreshun/sheets well bloody
dance/telegraph
bleeding pon di bed instead
like rivah blood just a flow/wid blood
liberashun have a chance
I bleed cuz I’m a warrior
grenada joburg Haiti
amazon dawtah of yemoja
slavery ban mi belly and bleed/ban mi belly an
I bleed becuz di blood of di moon
bleed
di blood of di earth/di blood of di wind
one century two century three century
di blood of di rain/di blood of di sun
four/five century overboard
makes me mawu: ancient afrikan gawdess divine
captivity no more for she a come
who creates all life
blood fi wash yuh hate away/blood fi wash yuh
black
bush oomaan
rape
GCTC
GCTC
STUDY GUIDE
Traditional African Religion
I, CLAUDIA
blood.claat
Page 13
Traditional African religions differ from Christianity, Judaism and Islam and resemble Indian and ancient Greek religions, in that God, the Supreme Being and Creator is worshipped through consultation or communion with lesser deities or ancestral spirits. These lesser deities and spirits are honoured through libation (the pouring on of a liquid such as wine or oil) or sacrifice of animals, vegetables or precious metals. The will of God is sometimes sought through oracular deities. There is usually a belief in the cyclical nature of reality. The living stand between their ancestors and the unborn. African traditional religions embrace rhythmic natural phenomena – waxing and waning moon, rain and drought, the woman’s cycle, the rhythmic pattern of agriculture. There is no written scripture, the holy texts being oral, and there is a devout connection with their ancestors. There is a dualistic concept of the person which is made up of a body and a soul. Virtue in traditional African religions is often connected with the communal aspect of life. Examples include social behaviors such as the respect for parents and elders, appropriately raising children, providing hospitality, and being honest, trustworthy and courageous. Yemoja (also Yamaya) is an orisha or spirit goddess created by the Supreme Being. She is the water goddess of the Yoruba people of Nigeria in West Africa and is sometimes depicted as having the upper body of a human and the lower body of a fish, so is also known as a mermaid goddess. She is the mother goddess, patron deity of women, especially pregnant women. She is associated with the moon, the ocean and its fishes, female mysteries and ancient wisdom. She governs the household and intervenes in women’s affairs. She is a merciful goddess called on by women for aid in childbirth, love and healing. From her body came most of the other orishas including Odun, and also the first man and woman who became the parents of all mortal beings on the earth. The cowrie shell is Yemoja’s symbol. When West African slaves came to America they brought the worship of Yemoja and other orishas with them, her persona often being connected with the Virgin Mary. As such she has festivals in her honour in Brazil, Cuba, Trinidad and New Orleans. Ogun is the powerful orisha who presides over fire, iron, hunting, politics and war and might be compared to Ares in Greek mythology or Saint George. He is the traditional warrior and patron of metal smiths and is usually depicted with his machete, rum and tobacco. Ogun is mighty, powerful, and triumphal, but also exhibits the rage and destructiveness of the warrior whose strength and violence can turn against the community he serves. He gives strength through prophecy and magic. GCTC
STUDY GUIDE
blood.claat
Page 14
Plot Summary in Detail
Page 1 of 2
Some students may be challenged to follow the story because of the Jamaican Patois in which the play is performed. For those, the plot is summarized here in more detail. Spoiler Alert! •
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Old Jamaican folk songs are performed as the audience enters. We first see yemoja, mama afrika, entering with a flowing red skirt, making a libation to the ancestors and invoking the spirits of her children to tell us their story. In darkness, granny scolds mudgu for soiling her sheets with menstrual blood. mudgu hurries to wash the sheet so she won’t be late for netball practice before school. She boasts of being a skilled player and confides how she loves her boyfriend njoni, who granny hates. While waiting for her bus, mudgu explains how proud she is to be able to attend Campion College on a scholarship. She is living with her granny because her mother immigrated to Canada to prepare for a better life. We see the Immigration Officer at Pearson International Airport rudely questioning mudgu’s mother when she enters Canada. As mudgu’s bus arrives there is a crush to get on. The conductor, who has a bad stammer, tries to get control and collect all the fares but loses his temper and slashes out with a machete, wounding several other passengers. The attack with the machete prompts queen nanny (of several centuries ago) to tell the tale of the legendary orisha (African god) ogun to her village of Maroons. ogun, the great warrior, came upon a village and asked repeatedly for food and drink but no one answered. In a rage he killed everyone with his machete. He then learned that they were silent because they were celebrating a festival in his honour during which they were forbidden to speak. In remorse he fell upon his own blade. queen nanny has used this story to point out that those joined in blood (kinship) must not fight among themselves but resolve not to give in to the British army and the bakra massa (slave masters), and remain free people rather than slaves. mudgu realizes that she has not been injured by the crazed bus conductor but her school uniform has been badly soaked in blood. She is sick of the violence in her community but takes up the discarded machete to protect herself in the future. Because of her soiled uniform she cannot go on to school. Instead she drops in for a visit with her boyfriend njoni. At first he is startled by her bloody appearance but then when he realizes she is fine, he tries to seduce her. mudgu doesn’t fall for his sweet talk and doesn’t feel like having sex. When njoni touches between her legs he is shocked to feel her menstrual pad. njoni believes that woman’s blood is unclean and will contaminate his music equipment. mudgu leaves in disgust at his ignorance. When mudgu arrives home, her granny knows she has been to njoni’s instead of school. She decides to send her to her auntie’s so she won’t have contact with njoni. GCTC
STUDY GUIDE
blood.claat
Page 15
Plot Summary in Detail
Page 2 of 2
Because of her period, mudgu’s belly is hurting. She remembers how three years earlier when she had her first period, her mother rubbed her stomach to ease the pain. Her mother appears in her memory and teaches her to celebrate her woman’s blood and tells of the traditional use of the blood‐claat, the menstrual pad. She gives her an old piece of “majestic cloth” symbolic of the blood‐claat handed down since God was a woman. At auntie’s house, mudgu is told that Jesus’ blood will wash away her sins if she prays. Her auntie tells her to be ladylike about cleaning up her menses. She tells her to stay in the house while she goes off to a prayer meeting and that her uncle will be home soon. In the darkness, her uncle enters and we learn that he has been sexually abusing mudgu for some time. This time, however, mudgu fights back with her machete and chops off his hand. auntie believes that her husband was injured at work but sends mudgu home while she prays for his recovery. When mudgu arrives home she hears shots from next door and a neighbour, pearl johnson, tells that two men shot njoni over a drug deal. Three months later, mudgu fears she is pregnant. In despair, she calls upon her mother who tells her the story of how she came to be called mudgu. When queen nanny escaped to the forest, her sister sekesu failed in her attempt to escape because she was carrying a newborn baby. The child grew up to poison her cruel masters and escape to the forest to join her relatives. That child’s name was mudgu. Her mother reminds mudgu that she has the strength of her ancestors to help her through the difficulties in life. When granny learns that mudgu is pregnant she threatens to send her back to her auntie’s to have the baby. It is then that mudgu reveals that her uncle raped her and that she cut off his hand in defense. granny is heartsick and confesses that she too, as well as many others, had been sexually abused. queen nanny inspires her koromante soldiers when Nanny Town is captured and things look very grim. She tells them that they must sacrifice their blood for their children, as will their children for the next generation in turn. Only in this way will they eventually have freedom and a good life for their offspring. granny tends to mudgu and in time helps her deliver her baby. mudgu lovingly calls her baby sekesu after her ancestor. As the audience leaves we hear d’bi.young.anitafrika’s poem blood. •
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STUDY GUIDE
GCTC
blood.claat
Page 16
Additional Resources
Movies:
Amistad – 1997 – Dir. Steven Spielberg, starring Morgan Freeman, Djimon
Hounsou. True story of a 1839 mutiny aboard a slave ship bound for North
America and the trial of the their leader when they reach land.
Cool Runnings - 1993 – a comedy starring John Candy loosely based on the
true story of the Jamaican national bobsled team’s debut at the 1988 Winter
Olympics in Calgary, Alberta.
The Harder They Come – 1972 (the first feature film made in Jamaica) – A poor Jamaican comes
to the city to make it big singing Reggae. However, he finds life in the city to be harder than he
thought, and is taken advantage of by both the record producer and the marijuana boss he later
starts dealing for. This is based on a true story.
Life and Debt – 2001 Documentary covering the political reasons for many of Jamaica's
economic hardships in the 20th century and offering a scathing look at the United States
and its international policies.
Websites:
http://www.hartford-hwp.com/archives/43/282.html The Mother of Us All: A
History of Queen Nanny Chapter 1: Introduction by Karla Gottlieb. Africa World
Press, 2000.
http://www.hartford-hwp.com/archives/43/130.html Jamaica by Veront
Satchell, Africana.com, 1999. A brief history of Jamaica covering from the late
15th century to the end of the 20th century.
http://www.dbiyoung.net/ Website of d’bi.young.anitafrika
http://www.youtube.com/watch?v=XaICpqjXzNY d’bi.young performs her dub poem “blood” and
is interviewed along with her mother anita.
http://www.youtube.com/watch?v=E13tjTk4O-Q d’bi.young is interviewed on how her art
developed.
http://www.youtube.com/watch?v=pDvdBgJdEzU Bob Marley and the Wailers sing “Roots Rock
Reggae”.
http://www.youtube.com/watch?v=n6U-TGahwvs&feature=related Bob Marley and the Wailers
sing “Stir It Up”.
GCTC
STUDY GUIDE
blood.claat
THE NET
Page 17
Activities Before and After Seeing the Play
Before Seeing the Play 1. Activity involving the Script Excerpt: (pp.5 – 6) In teams of two or three explore the two short scenes involving monologues for mudgu and njoni. If the students lack familiarity with the Jamaican dialect try listening to some Youtube videos such as http://www.youtube.com/watch?v=meJEjXhVnrk&f
eature=related to hear the cadence and pronunciation. Discuss and list what qualities of each of the characters is revealed in the monologues. What makes us like or dislike each character? What makes us want to know more about each one? Why do you think the second scene is made up of two monologues rather than a set of dialogue? Try reading the scenes aloud adding personality traits and physical mannerisms. Try adding in speeches for granny in the first scene and replies from the other character during the monologues of the second scene. How does this effect the quality of the scene? Add in actions for mudgu and try to stage scene 1. Using two actors try to stage scene 2. Using only one actor, try to stage scene 2, being careful to distinguish clearly between the characters of mugdu and njoni. 2. Reading and Discussion Activity Have the class read the five page section on Jamaica (pages 7 – 11) as well as the section on Traditional African Religion (p. 13) to gain a familiarity with the culture and background of the play. Perhaps members of the class have a family background traced to the Caribbean and can talk of their experiences, or others may have vacationed on one of the Islands. Discuss how the vacation experience would differ from actually living there. Discuss how the hardships of the people of the Caribbean – the poverty, hurricanes, earthquakes, violence – have either made them strong or broken their will. Discuss how religion has played a role in helping the people through hardships. Discuss what immigrants from the Caribbean have brought to Canada to enrich its culture. - page 1 of 2
3. What to Watch for in the Production: a) Since all the characters are portrayed by a single actor watch carefully how she distinguishes between each one through costume, mannerisms or voice. b) Study how the set which is used for all the different locations identifies where we are in each scene. Watch how panels in the walls open in various scenes to provide a special feature. Decide why the materials used to construct the set and the few props are carefully chosen to tell us something about the location. Analyze the emotional effect achieved by lighting behind the scrim in certain scenes. Note which scenes use this lighting effect. Notice how lighting helps us focus during each scene. 4. Creative Writing Project: Students who are familiar with English spoken with an accent or dialect should try to write a monologue or short scene in that dialect. Be very careful not to mock the accent. Try spelling the words so that the reader/actor can reproduce the authentic way of speaking. 5. Viewing a Film: One of the films mentioned on page 16, Additional Resources, might be interesting to view at home. Any of these will give students an added appreciation and understanding of the background of this play. 6. Art Viewing: Teachers should encourage students to read pages 20 and 21 and to examine the paintings by young Ottawa artist Eric Chan on display in the Lorraine Fritzi Yale Gallery in the upper lobby. His works are chosen to complement this play. Visit his website at http://eepmon.com/ to see more of his work. Have a discussion following the visit to GCTC on exactly how the art works comment on blood.claat. 7. Behaviour at a Play: Distribute copies of the page on Theatre Etiquette found on page 22 of this Study Guide. Remind students that polite and respectful behaviour is expected for all to enjoy the play. Remind them that anyone who disrupts the performance by inappropriate behaviour may be asked to wait in the lobby along with his/her teacher. GCTC
STUDY GUIDE
blood.claat
Page 18
Activities Before and After Seeing the Play
After Seeing the Play 8. Analytical Activities After seeing the play the teacher could conduct a class discussion on the following topics: - Style of writing; effectiveness of the language to suggest characters. - Style of acting chosen for this show; the arc or changes that occur in each character as the play progresses; the use of movement, music and singing; the effectiveness of having one actor portray all the characters. - Themes explored in the play – what was the play about? What do we learn from it? What symbols are used? What is the importance of the visual theme of corrugated metal and the cloth? What is the significance of the red cloth and how it was used? What examples of devotion were found in the play? - Structure of the script – The story is told in short scenes in various locations which allow us to glimpse the characters over a period of time. Discuss whether this structure is effective in telling the story rather than having long scenes, each of which tells a portion of the story. Pick a short scene that you remember and explain what its purpose was and what you learned about the story during it. - Production aspects: Costumes – Describe the effect of the costumes chosen by designer Erika Connor. How did each costume help to define or not define the individual character? Set – What did the set suggest before the play started? Did it provide the necessary acting areas for the different scenes? What mood did the shape and colour of the set convey; what effect does its somewhat non‐
realistic style have on the viewer’s understanding of the story? Examine the photograph of the set designed by Steve Lucas on page 4. Why is it suitable for a touring show? - page 2 of 2
‐ Production aspects: (continued) Lighting – Did the lighting effects also designed by Steve Lucas help to define the various locations and incidents? What moods or atmospheres were evoked? Were there any special moment that stood out? Sound – did the musical and vocal accompany‐
iment complement the themes and mood of the play? 9. After seeing the play, and while it is still fresh in their minds, give students the assignment of writing a review of the production of blood.claat. Have them read reviews of other plays in The Ottawa Citizen or Ottawa (X)press to give them an idea of the standard approach to theatrical criticism. Another excellent guide to writing a review can be found on the Theatre Ontario website http://theatreontario.org/content/play_reviews.htm. Students should refer to the program distributed at the matinée, or may refer to page 1 of this Study Guide for the names of the various artists who put the production together to write their reviews. The areas the review should cover are, in general ‐ and more specifically when merited ‐ all design elements (lighting, sound, set and costumes), the actors’ performances, the direction, the basic narrative, the dialogue, and the central theme(s) of the script. 10. Senior students may be encouraged to read the dub poem by d’bi.young called blood found on page 12. The poem (and the title of the play) is meant to be controversial and cause discussion. What emotions are evoked upon reading it? Do students feel that this topic should be focused upon or discussed, or remain private? Is this topic important in gender equality and women’s liberation? GCTC
STUDY GUIDE
blood.claat
Page 19
Curriculum References
The Ontario Curriculum: The Arts
A visit to see a live stage production helps fulfill the following High School curriculum expectations:
Drama and Dance, Grade 8
Specific Expectations:
- demonstrate understanding of the appropriate use of voice, gestures, and the level of language in different
dramatic situations.
- write in role in various forms, showing understanding of a dramatic situation and using appropriate vocabulary,
tone, and voice for the character portrayed.
Critical Thinking
- review drama and dance performances, orally or in writing, critiquing the use of elements and techniques in the
particular genre of the piece.
Dramatic Arts, Grade 9
Theory: Overall Expectations
- demonstrate an understanding of the conventions of role playing.
- demonstrate an understanding of the elements and principles of dramatic expression.
Theory: Specific Expectations (Role)
- identify the skills necessary to remain engaged in role and the drama (e.g. concentration, listening, interpreting,
questioning).
Analysis: Specific Expectations (Evaluation)
- identify the characteristics of a receptive, discriminating audience (e.g. engagement, listening, focus).
- use specialized vocabulary in discussing and writing about drama (e.g. production value, role development,
stagecraft, comic relief, satire, irony).
- identify the main aspects of a production (e.g. acting, set design, lighting, costume).
Dramatic Arts, Grade 10
Theory: Specific Expectations (Role)
- demonstrate an understanding of techniques used to re-create roles (e.g. observation, research, improvisation).
Analysis: Overall Expectations
- use the vocabulary of dramatic arts to discuss, critique, and review drama presentations in the school and the
community.
Dramatic Arts, Grade 11 (University/College Preparation)
Analysis: Overall Expectations
- evaluate dramatic performances presented in the school and the community.
- explain how dramatic arts represent, influence and contribute to culture and society.
Dramatic Arts, Grade 11 (Open)
Theory: Specific Expectations (Role/Character)
- describe the process of portraying a character in a script through voice, gesture, props, and the character’s
relationships with other characters.
Dramatic Arts, Grade 12 (University/College Preparation)
Analysis and Evaluation: Specific Expectations
- explain how theatre can reflect issues, societal concerns, and the culture of the community, the country and
other countries.
Dramatic Arts, Grade 12 (Open)
Theory: Specific Expectations (Role/Character)
- describe how dramatic elements (e.g. costumes, make-up, props, lighting, set design) are used to develop
character and theme.
- describe how acting techniques are used to develop characters that are in keeping with the themes in the script.
http://www.edu.gov.on.ca/eng/curriculum/elementary/arts.html
http://www.edu.gov.on.ca/eng/curriculum/secondary/arts.html
GCTC
STUDY GUIDE
blood.claat
Page 20
GCTC
STUDY GUIDE
What’s On in the Lorraine Fritzi Yale Gallery
Each month a different local artist is featured in the Gallery in the
upper lobby of the Irving Greenberg Theatre Centre. Artists are chosen
by Cube Gallery’s curator Don Monet to complement the GCTC current
production by creating original works on the themes of the play. This
year GCTC’s season, called “Viewpoints”, presents plays which examine
the human situation through the eyes of unique individuals. Monet’s
featured artist during the run of blood.claat is Eric Sze-Lang Chan. Eric is an Ottawa-
based artist, born and raised here, and a graduate of Canterbury High School. He
calls himself an artist/technologist; his medium explores the intersection between
art and technology. The limited edition prints at GCTC in the Lorraine Fritzi Yale
Gallery are hand drawn illustrations that have been composed digitally.
His work follows a creation process that is
constantly switching between analogue and digital.
For example, the hand drawings go through a series
of random permutations with an application that he
developed. The output is a total transformation
yielding new and unexpected results creating a dense
and complex imagery. The art plays on a series of
dichotomies which characterize the relation between
the logical/illogical, rational/irrational, inanimate/
living and order/chaos, a dichotomy that Eric feels
represents his own background and personality.
Eric feels there is a definite parallel between his
work and that of d’bi.young.anitafrika. Both are
reflecting on the complex and sometimes chaotic
cultural identification and sense of belonging in a
multicultural world. Both result from introspection,
rejuvenation and, in a way, coming-of-age.
The Inner Utopia Circus
GCTC
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STUDY GUIDE
Page 21
What’s On in the Lorraine Fritzi Yale Gallery
Page 2
Eric is a recipient of the Canada Council's Art Bank Purchase (2009), a resident
artist at the Banff Centre (2009), Computer Arts ‚ Excellence Award for Illustration in
the International Graduate Showcase (2008) and FITC 2006 Best Canadian Student.
Having worked on projects with Microsoft XBox 360 (Europe), MINI Cooper
(Canada), Dentsu Canada, Yahoo! (Singapore) and Tiger Beer (China), Eric's work has
made international headway and recognition in both the art and design spaces. He is
currently preparing for his collaborative new media and music performance in Tokyo,
Japan at Yamaha Ginza. In May 2010 he will be back in Ottawa for his major solo
show at the Ottawa Contemporary Art Gallery.
Eric feels that a piece of his which particularly works well in relation to
blood.claat is his work entitled “Revival of the Ancient Sect Pt. 1” which is a visual
exploration of introspection. Although there is clearly an Asian motif behind the work,
it nonetheless parallels with anitafrika’s play involving the exploration of identity and
introspection.
Be sure to visit Eric Sze-Lang Chan’s website at http://eepmon.com/ to examine more
of his very exciting work.
Twisted Mind
Revival of the Ancient Sect (Pt. 1)
GCTC
STUDY GUIDE
blood.claat
Page 22
Great Canadian
Theatre Company:
The Irving Greenberg
Theatre Centre
Ottawa, corner of
Holland and Wellington
Admin. Office:
(613) 236-5192
Box Office:
(613) 236-5196
Fax:
(613) 232-2075
Box Office E-mail:
[email protected]
Education Coordinator
Laurie Koensgen
(613)236-5192 x226
[email protected]
We’re on the Web!
www.gctc.ca
Get involved
with your local
Theatre. GCTC Your City, Your
Theatre
9 Student Matinees
9 Rush Hour tickets $10.
With valid student ID
(availability limited).
9 Student Discount
Tickets: $23 + $2s/c
9 Student
Apprenticeships,
Internships & Co-ops
9 Volunteering
To volunteer call 613236-5196 or email
[email protected]
Please take a moment to prepare the students for their visit to the Great
Canadian Theatre Company by explaining good Theatre Etiquette which
will enhance the enjoyment of the play by all audience members:
1. blood.claat will be performed in the Theatre of the new Irving
Greenberg Centre.
• It is important for everyone to be quiet (no talking or rustling of
materials) during the performance so others do not lose their
immersion in the “world of the play”. Unlike movies, the actors in
live theatre can hear disturbances in the audience and will give their
best performances when they feel the positive involvement of the
audience members. The appropriate way of showing approval for
the actors’ performances in this play is through laughter and
applause. It is not appropriate to whistle or cheer during the
performance or during scene changes but this may be used during
the curtain call at the end of the show for particularly good
performances. For the enjoyment of all, people who disturb others
during the play may be asked to leave the Theatre.
• Please remove your hat while in the Theatre and keep your feet off
the seats.
• It is also important to remember that no food or drink is allowed in
the Theatre. Remember to deposit all garbage and recyclables in
the containers in the Upper and Lower Lobbys before entering the
theatre.
• Remember to recycle the House Program if you do not take it home
with you.
2. It is important that there be no electronic devices used in the Theatre so
that the atmosphere of the play is not interrupted and others are not
disturbed. Cell phones, pagers and anything that beeps or glows must be
turned off and put away. Cameras and all other recording devices are not
permitted in the Theatre.
3. If you plan to make notes on the play for the purposes of writing a
review, please do not try to write them during the play. This can be
distracting for the actor as well as those around you.
Wait until
intermission or after the performance is finished to write your reflections.
4. blood.claat will have a running time of approximately 1 hr, 20 min. and
plays with no intermission. It’s always a good idea to use the washroom
before the play starts. Anyone leaving the theatre during the play may not
be readmitted.
This Study Guide was written and researched by Jim McNabb for the Great Canadian
Theatre Company in February 2010. It may be used solely for educational purposes.
Any feedback on the Study Guide would be much appreciated. Contact the writer at
[email protected]