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Table of Contents
Introduction ............................................................................................................................. 1
Curriculum Connections ......................................................................................................... 2
Production Personnel .............................................................................................................. 3
Western Canada Theatre Staff ............................................................................................... 4
Inside Western Canada Theatre: General Services Director Allison Clow .......................... 5
About the Play ......................................................................................................................... 6
Characters ................................................................................................................................ 8
Playwright: Alan Corbishley ................................................................................................... 9
Charlie Chaplin’s Career ......................................................................................................... 11
Charlie Chaplin’s Wives .......................................................................................................... 13
Chaplin Exiled ........................................................................................................................ 14
Interview with Alan Corbishley ............................................................................................ 15
Silent Chat with Assistant Director Melissa Thomas .......................................................... 17
A Sneak Peak inside Silent Chap: Actor Kelsey Gilker ....................................................... 18
Some Types of Film Genres ................................................................................................... 19
Milestones in the Creation of Film ....................................................................................... 21
Lesson Activities .................................................................................................................... 25
Post Show Discussion Prompts ............................................................................................ 38
Resources Used ..................................................................................................................... 39
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Thank you for participating in Western Canada Theatre’s matinee programming! We would like you and your students to get the most out of your experience with us. Included in this package is some inside information exclusive to teachers and students, lesson ideas, discussion questions, and online resources. We hope you find them useful before and after seeing the show.
Please take a few minutes to review appropriate theatre etiquette with your students. While clapping and laughing are most appropriate for the theatre, whispering, talking, and excessive movement during the show is distracting to others in the audience and our actors on stage.
Audience members are encouraged to get comfortable, remove coats, use the washroom and turn all electronic devices OFF before a show begins. Please remind your students that texting is not allowed during the show.
Remembering theatre etiquette makes the show more enjoyable for everyone!
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Curriculum Connections Course Strand(s) English Language Arts Grades 8 to 12 Oral Language (Speaking and Listening)
(Strategies)(Thinking)(Features) Drama 8 to 10 Exploration and Imagination (Expression and
Trust) Drama Skills (Drama as Metaphor) (Body)(Role) Context (Making Connections)
Theatre Performance 11 and 12 Exploration and Analysis, Performance Skills (Body) Performance skills, (characterization) Context, Company
Theatre Production 11 Exploration and Analysis, Production Skills (Design) Production Skills (Technical) Production Skills (Management) (context) (Company)
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Silent Chap Production Personnel
Cast (in alphabetical order)
Chaplin Andrew Cownden Mildred/Lita/Oona Kelsey Gilker Producer/Ensemble Christopher Weddell Ensemble Daniel White Tramp Leon Willey
Creative Team
Director/Playwright/Sound Designer Alan Corbishley Associate Director Valerie Easton Assistant Director Melissa Thomas Set and Lighting Designer Terry Gunvordahl Costume Designer Marian Truscott Videographer Gareth Madoc-‐Jones Sound Editor Kris Ruston Stage Manager Sarah Wallin Assistant Stage Manager Skylar Nakazawa
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Western Canada Theatre Staff Staff Daryl Cloran Artistic Director Lori Marchand General Manager
Administration Ron Thompson Financial Manager Marilyn Zuke Associate Financial Manager Catrina Crowe Marketing & Communications Manager Kelly Manson Special Events & Administrative Associate Alexis Tuyttens Special Events & Development Coordinator Melissa Thomas Education Coordinator
Production
Ross Nichol Production Manager Heather Cant Associate Producer Gal Minnes Production Technical Director Brian St Amand Michelle Inksetter
Sagebrush Technical Director Head Carpenter
Jungyeon Ji Head of Properties Cindy Wiebe Head of Wardrobe Darren John Technician Joel Eccleston Jared Rashke
Technician Technician
Facilities
Heather Reagan Facilities Manager Jean Choi Volunteer Coordinator Nicole Bremner Lead Concession Services Amy Baskin, Allison Clow, Christine Leroux, Phyllis Mader, Dušan Magdolen, Gabrielle Putoto, Jessica Reid, Carling Ryan, Melissa Thomas
Guest Services Staff
Kamloops Live Box Office
Geraldine Penny Box Office Staff Janet Riggs Box Office Manager Judy Day Box Office Staff
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Inside Western Canada Theatre with Allison Clow
Guest Services Director, Allison Clow, gives a short description about what she does at Western Canada Theatre.
Type or paste the following video link into your browser:
Link at https://vimeo.com/86052201.
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About the Play The Plot
With the needle being placed on a gramophone, music is heard throughout the theatre and remains for the rest of the production. A film set and crew is revealed, and the young Charlie Chaplin is introduced to the silent film industry. Asked to find a costume, he composes a mix of items that becomes his famous Tramp costume. Once on set and filming begins, it is clear from the overwhelming reaction from the public and media alike that Charlie has a future in cinema. This
cultural love affair with his on-‐screen character is so strong that the character is born into the real world and physically emerges from the screen itself.
Soon the real Charlie Chaplin is confronted face to face by his own creation. This confusing new reality (that both the fictional and real versions of the man exists in the world together) results in some comedic antics. Despite their working partnership as actor (Tramp) and director (Charlie), it becomes clear that the Tramp is the celebrity of the two. They are introduced to a young actress of 15, Mildred Harris. A courtship develops between her and the Tramp with some jealous competition from Charlie. Mildred plays both men to her advantage and soon announces she is pregnant. As an impromptu wedding unfolds, we learn that the pregnancy was false and that both men were duped. Feeling like they need to be more careful, they both decide to work more synergistically and to make their career their priority. This pact last only moments,
when they meet Lita Grey, only 16, who they both become enchanted with. Very quickly, we learn once again that Lita is pregnant and a repeat marriage ceremony occurs.
Having had the baby, Lita is now left to realize that her life as an actress is over and she is now faced with the future as a housewife to two men and a baby.
After some disappointing struggles, Lita divorces the two men, resulting in the largest settlements in history.
Throughout this, we learn that the “talkies” are making their debut, which causes a new stress within the men’s creative partnership. Over time, despite
their own stall tactics, the popularity of the talkies cannot be denied and the duo is forced to realize the inevitable; they must change or become obsolete.
Charlie reveals his spoken script based on the life of Hitler to the studio. Nervous of the subject matter and the growing negative perception of Charlie’s personal life, everyone struggles as to how to accomplish this with a mute leading man. With no other options and the pressure mounting, Charlie attempts to force sound from the Tramp. After the music to the show has been interrupted through their physical fighting, it is revealed that Chaplin himself is able to speak. Understanding that this means the end of the road for the Tramp, the two accept that the Tramp
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belongs in his screen reality where he will live forever. Escaping back into the film, the Tramp observes as Charlie is interrupted by a knock at the door: it is the young Oona O’Neal for her audition. As she introduces herself with verbal dialogue it becomes clear that Charlie’s future is moving in the right direction. As Charlie guides Oona offstage we learn that Oona, too, is only 16 years old. With that, the Tramp shakes his head and with an ever present charm, turns and walks off into the horizon.
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Characters Charlie – The main character in the show. The struggle for this character is managing his two identities – the fictional tramp, and the other being the real man.
The Tramp – Charlie Chaplin’s self-‐created character
Mildred – Chaplin’s first wife
Lita – Charlie’s Chaplin’s second wife
Oona – In this production, Oona is Chaplin’s 3rd and final wife
Producer – A movie producer that works with Chaplin
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Playwright, Alan Corbishley
Although performing less to focus on his directing and producing talents, baritone Alan Corbishley has sung throughout North America and Europe. In the UK, he sang Marcello in Puccini’s La Bohème, Mozart’s Great Mass in C minor, and Bach’s St. Matthew and St. Johns Passions, Dr. Falke in Die Fledermaus in London, and Papageno in The Magic Flute in Belfast. He sang Schaunard with Vancouver Opera in their production of La Boheme and then repeated the role with Opera Theátre Besançon in France. He returned to Besançon to sing in Peter Eötvös’ contemporary opera Le Balcon and then once again to sing Parmenione in Rossini’s opera L’occassione fa il Ladro. In 2011 Alan performed Mahlers’ Das Lied von der Erde with the Kamloops Symphony and then the Mozart Requiem with the Okanagan Symphony where he returned in 2012 to sing and narrate various Christmas excerpts. In 2013, Alan portrayed the role of Lazar Wolf in Western Canada Theatre and the Kamloops Symphony’s production of Fiddler on the Roof and was seen in WCT’s production of Les Misérables in December as the Bishop.
As the Artistic Director and Creator of Kamloops’ own BC Living Arts (BCLA), Alan premiered Satie de Paris to critical acclaim. Alan co-‐wrote, directed, designed and stared in this multi-‐media and circus inspired theatrical concert, which the Kamloops Daily News hailed it as “Poetry on Stage”. Also for BC Living Arts, he has directed and designed stagings of Bach Cantatas and a contemporary dance piece entitled Metaxu, which he produced and designed in collaboration with The Tomorrow Collective dance trio. He presented his own musical play entitled September Songs in 2010 (based on the music of Kurt Weill) which created rave reviews and more recently produced a new theatrical concert based on the music of Tom Waits entitled Webley aWaits. As a developer of talent, Alan has produced and directed a series of interdisciplinary concerts entitled Canadian Cabaret, along with various other events that promote and foster new and underexposed talent from within the region. This past June 2013, BCLA premiered the Kamloops THRiVE Festival – a grand multi-‐disciplinary event designed and led by Alan Corbishley.
In 2006, TRU awarded Alan a Distinguished Alumni Award for his accomplishments in Arts and Culture. Due to his artistic output and in creating BC Living Arts, Alan was voted Artistic Newsmaker of 2007 by the Kamloops Daily News. In 2011, Alan directed and co-‐produced the opening and closing ceremonies for the Western Canada Games held in the Interior Savings Centre to rave reviews. In 2012, Alan was the sole recipient of the Kamloops Mayors Award for the
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Arts for his innovations in the arts. Alan won a prestigious Canada Council Grant to develop a new theatrical production based on the life of Charlie Chaplin entitled Silent Chap, which is being produced within Western Canada Theatre’s 2013/14 main stage season and Alan will direct.
Having started his studies in theatre, Alan eventually received his Bachelor of Music from the University of British Columbia, followed by his Masters of Music from the New England Conservatory of Music in Boston. Alan also studied as a vocal fellow for two summers at Boston Symphony’s prestigious Tanglewood Music Center, where he performed with many of the world’s best artists, including Seiji Ozawa. Alan also studied for two summers at The Music Academy of the West in California, which is headed by famed mezzo-‐soprano Marilyn Horne. He was also invited with 12 singers from around the globe to study in France for a one-‐year apprenticeship program.
Alan has also performed with the following companies: Boston Symphony, Connecticut Grand Opera, Calgary Opera, Prince George Symphony and, of course, The Kamloops Symphony on several occasions. Alan is one of the founding and core faculty members at the Vancouver International Song Institute (VISI).
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Charlie Chaplin’s Career
Charles Spencer Chaplin was born to parents Hannah and Charles Chaplin in London, England on April 16th, 1889. His father was a versatile vocalist and actor. His mother, known under the stage name Lily Harley, was an attractive actress and singer who gained a reputation for her work in the light opera field.
Unfortunately, Charlie’s father died at a young age and his mother was often committed to psychiatric care, so he and his brother were left to fend for themselves and raised in workhouses. The brothers both exuded the talents of their parents and therefore pursued careers on stage to make ends meet.
Charlie’s early beginnings were as a comedian in vaudeville, then as a featured player with the Fred Karno Repertoire Company in the United States by 1910. In 1913, Chaplin was offered a motion picture contract with Keystone Studios (presided over by the Irish Canadian-‐born Mack Sennett). The second film Chaplin made at Keystone, in 1914, Mabel’s Strange Predicament, was the first film in which Chaplin donned the costume and character of the Tramp. However, audiences first met the Tramp in Chaplin’s his third movie: Kid Auto Races at Venice, Cal., as it was released first.
He was an overnight success and was quickly sought after throughout Hollywood.
After 1915 Chaplin signed with the Mutual Film Corporation with the agreement to make 12 two-‐reel comedies, including titles such as: “The Floorwalker,” “The Fireman,” The Rink,” “The Vagabond” and One AM.” Chaplin was the first artist to ever receive a one-‐million-‐dollar contract.
When Chaplin’s contract expired with
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Mutual Film Corporation in 1917 he shifted his career slightly, and became an independent producer. He constructed his own studios and created United Artists with Douglas Fairbanks and Canadian superstar Mary Pickford.
In keeping with Chaplin’s involvement in comedic endeavours, he released a production entitled “Shoulder Arms,” a comedy about the Great War, in 1918. Despite the subject matter, it was a great success.
Chaplin then released a series of masterpieces including: The Kid (1921), A Woman of Paris (1923), The Gold Rush (1925), The Circus (1928), City Lights (1931), Modern Times (1936), The Great Dictator (1940 – his first talking film), Monsieur Verdoux (1947), and Limelight (1952),
In 1966 he produced his last picture, A Countess from Hong Kong – his only film in colour. He also authored at least four books and composed many songs, in addition to writing his scripts.
Charlie Chaplin died on Christmas day in 1977.
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Charlie Chaplin’s Wives Charlie and his first wife, Mildred Harris, married in 1918 after she thought she was pregnant. While it had turned out she was wasn’t pregnant, she later did deliver Chaplin’s baby -‐ only it died days later. Mildred Harris was an actress with stunning beauty. Their marriage did not last as they divorced only two years later.
Lita Grey and Charlie Chaplin wed in 1924. She was also an actress and the two had two children together. Three years after they wed, they ended their marriage with much dispute.
Chaplin’s third marriage lasted longer, being married to Paulette Goddard from 1936 to 1942. Unlike the first two marriages to actresses, this one ended on a less bitter note.
In 1943 53 year old Charlie found true love with 18 year old Oona O’Neill. He originally intended to cast her for a part in a film, then they became inseparable from that moment on. They made a home in Switzerland and had eight children.
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Chaplin Exiled Soon after Chaplin had created his film, LimeLight – an autobiographical film that included the mention of his own loss of popularity in the United States – Chaplin was exiled from the US. The premiere of Limelight took place in London, so when Chaplin left for a long trip to London in 1952, the US government banned him from returning. Although, Chaplin could have re-‐applied for entry and likely have been successful, he never expressed the desire to return.
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Interview with Alan Corbishley
Q: When did you first get the idea to create Silent Chap? A: I first got the idea when living in Europe and chatting with an opera composer friend in Amsterdam back in 2006 about the concept of a mute opera. One could argue that many ballet’s or dance works are just that, but this would not include dancers... This is a venue for physical actors in the form of pantomime and in the style of silent movies. Charlie Chaplin was quickly the main subject of the concept and through my investigations into his history, the wealth of drama and intrigue inherent to his life was immense. It then sat in the back of my mind till about 2010 when I started to actually put thought to action. Q: How has the play developed to come to what we'll see on stage? A: It was WCT’s new Artistic Director, Jeremy Tow (who unfortunately died only 18 months after taking the position), who learned of this idea and suggested the theatre company help develop the show – but with no promises. They brought on Governor General Award winning playwright Kevin Kerr (Kamloops native) to help guide the work through what is known as dramaturgy. This is essentially a coach for a playwright but does not actually do any of the writing himself. This really brought the work to where it is today which is a full 180 degrees from where it started in both story line and approach to storytelling. The piece was struggling between a bio play about Charlie and a fictional interpretation of his life. Kevin really helped guide it into the latter focus. So, the show is based on true events in his life, but the context in which it is delivered is not bound by history or even reality. So, in that respect, it has a fantasy quality to it that is certainly lifted from reality. We workshopped the script in the summer of 2012 through the guidance of present Artistic Director of WCT, Daryl Cloran, who understood and saw the shows potential and offered to mount the full production in this present season. Q: Is this your first written work performed on stage? A: I have created numerous shows before out of nothing, or from preexisting works that I have then re-‐worked or re-‐arranged to create a new story or idea that wasn’t there to begin with. But this would be my first official “script” in that it is a written work that is being published outside of my own company. It is a huge opportunity and a gift. Having said that, with this being a silent play, the script is already unconventional as it is 95% dialogue free.
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Q: What are your hopes for the future of this script? A: Well, I am not one to predict the future of any of my work. The only thing I can do is to make the best product I can at this time. From that, depending on who see’s it and deems it worthy, hopefully it can then live again for another audience. As an artist, one can only generate the most honest work possible, and after that, the reaction and worth of the piece is in the hands of the audience. Q: What do you think students will enjoy most about this show? A: I think they will enjoy the style of the show as it is a bit over the top and unique. It is not an approach they will see every day. Q: What aspect is most challenging as far as the production element is concerned? A: Certainly the multi-‐media aspects of the concept as it mixes live action with films that we are creating as well as subtitles and live-‐video streaming from the stage. There are a lot of technical elements that need to all be aligned to make it work and to tell the story. Q: What do you hope the Kamloops audience gets from this play? A: A fun yet thought provoking experience that evokes conversations about celebrity as well as new perspectives on artists and the impact their creations have on society. I also hope the show speaks to each person in their own unique way. As there is no dialogue, it certainly lends to a more interpretive understanding. Q: The play certainly highlights parts of Charlie Chaplin's life -‐-‐ Was there research involved in creating this play? A: Plenty of research was done during the creation of this work including the reading of his autobiography, books from his son, his colleagues, watching his movies and many documentaries as well as listening to the music of his films, which Chaplin also composed. For this production however, we will not be using any of Chaplin’s original films, images or music and have opted for other musical works that were created in honour of Chaplin. We will also be creating our own versions of his film work. The amount of information available on Chaplin is immense as his life was very well documented and was riddled with controversy, some of which will be included in this production.
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Silent Chat with Assistant Director Melissa Thomas
Seeing this show will give students an opportunity to have a taste of what silent films were like, while also exploring the life of Charlie
Chaplin through modern theatrical innovation. We used several local actors for
our background scenes
The audience will
experience
the live actors
interacting
with the
actors in the video
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A Sneak Peak inside Silent Chap Actor, Kelsey Gilker talks about her role in Silent Chap and what she does to prepare for a role. Copy or click the following link into your browser to view this video clip:
Link at https://vimeo.com/86072935
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Some Types of Film Genres Documentary film is a broad category of visual expressions that is based on the attempt, in one fashion or another, to "document" reality. Although "documentary film" originally referred to movies shot on film stock, it has subsequently expanded to include video and digital productions that can be either direct-‐to-‐video or made for a television series. Documentary works to identify a "filmmaking practice, a cinematic tradition, and mode of audience reception" that is continually evolving and is without clear boundaries.
A drama film is a film genre that depends mostly on in-‐depth development of realistic characters dealing with emotional themes. Dramatic themes such as alcoholism, drug addiction, racial prejudice, religious intolerance, poverty, crime and corruption put the characters in conflict with themselves, others, society and even natural phenomena. This film genre can be contrasted with an action film, which relies on fast-‐paced action and physical conflict but superficial character development.[2] All film genres can include dramatic elements, but typically, films considered drama films focus mainly on the drama of the main issue.
Comedy film is a genre of film in which the main emphasis is on humour. Also, films in this style typically have a happy ending (the black comedy being an exception). One of the oldest genres in film, some of the very first silent movies were comedies. Comedy, unlike other film genres, puts much more focus on individual stars, with many former stand-‐up comic transitioning to the film industry due to their popularity. While many comic films are lighthearted stories with no intent other than to amuse, others contain political or social commentary (such as Wag the Dog and Man of the Year).
Short Film -‐ the North American definition generally refers to films between 20 and 40 minutes. Short subject is a technical description originally coined in the North American film industry in the early period of cinema. The description is now used almost interchangeably with short film. Either term is often abbreviated to short (as a noun, e.g., "a short").
A silent film is a film with no synchronized recorded sound, especially spoken dialogue. The idea of combining motion pictures with recorded sound is nearly as old as film itself, but because of the technical challenges involved, synchronized dialogue was only made practical in the late 1920s with the introduction of the Vitaphone system. After The Jazz Singer in 1927, "talkies" became more and more commonplace and within a decade silent films essentially disappeared.
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A sound film is a motion picture with synchronized sound, or sound technologically coupled to image, as opposed to a silent film. The first known public exhibition of projected sound films took place in Paris in 1900, but decades would pass before reliable synchronization was made commercially practical. The first commercial screening of movies with fully synchronized sound took place in New York City in April 1923. In the early years after the introduction of sound, films incorporating synchronized dialogue were known as "talking pictures," or "talkies." The first feature-‐length movie originally presented as a talkie was The Jazz Singer, released in October 1927.
Animation is the rapid display of a sequence of images of 2-‐D or 3-‐D artwork or model positions in order to create an illusion of movement. It is an optical illusion of motion due to the phenomenon of persistence of vision, and can be created and demonstrated in a number of ways. The most common method of presenting animation is as a motion picture or video program, although several other forms of presenting animation also exist.
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Milestones in the Creation of Film 1827 First still photograph taken, using a glass plate technique. Claude Niepce's photograph –
“The View from a Window at Le Gras” – took nearly eight hours to expose.
1832 Joseph Plateau and sons introduce the Phenakistoscope. Like other toys of its kind, the Phenakistoscope was one of the more successful illusion toys. Pictures on one disc viewed through slots in the other, appeared to move when the two were spun and viewed in a mirror.
1834 Another illusion toy - the Zoetrope was introduced by William George Horner. The Zoetrope used the same principle as Plateau's Phenakistoscope but instead of discs the pictures and slots are combined in a rotating drum. Zoetrope's were widely sold after 1867.
1839 Henry Fox Talbot makes an important advancement in photograph production with the introduction of negatives on paper - as opposed to glass. Also around this time it became possible to print photographic images on glass slides, which could be projected using magic lanterns.
1846 Important in the development of motion pictures was the invention of intermittent mechanisms - particularly those used in sewing machines.
1877 Emile Reynaud introduces the Praxinoscope. Similar in design to Horner's Zoetrope, the illusion of movement produced by the Praxinoscope was viewed on mirrors in the centre of the drum rather than through slots on the outside.
1878 Eadweard Muybridge achieves success after five years of trying to capture movement. In 1873, Muybridge had been asked by the ex-governor of California, Leland Stanford, to settle a bet as to whether horses hooves left the ground when they galloped. He
did this by setting up a bank of twelve cameras with trip-wires connected to their shutters; each camera took a picture when the horse tripped its wire. Muybridge developed a projector to present his finding. He adapted Horner's Zoetrope to produce his Zoopraxinoscope.
1882 Etienne Marey, inspired by Muybridge's animal locomotion studies, begins his own experiments to study the flight of birds and other rapid animal movements. The result was a photographic gun, which exposed 12 images on the edge of a circular plate.
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1882 Emile Reynaud expands on his Praxinoscope and using mirrors and a lantern projects moving drawings onto a screen.
1888 George Eastman devises a still camera which produces photographs on sensitized paper, which he sells using the name Kodak.
1888 Etienne Marey builds a box type moving picture camera which uses an intermittent mechanism and strips of paper film.
1888 Thomas A. Edison, inventor of the electric light bulb and the phonograph, decides to design machines for making and showing moving pictures. With his assistant W.K.L Dickson (who did most of the work), Edison began experimenting with adapting the phonograph and tried in vain to make rows of tiny photographs on similar cylinders.
1889 Reynaud exhibits Théâtre Optique, a much larger version of his praxinoscope that can be viewed by large audiences.
1889 Edison travels to Paris and views Marey's camera, which uses flexible film. Dickson then acquires some Eastman Kodak film stock and begins work on a new type of machine.
1891 By this year, Edison and Dickson have their Kinetograph camera and Kinetoscope viewing box ready for patenting and demonstration. Using Eastman film cut into inch wide strips, Dickson punched four holes in either side of each frame allowing toothed gears to pull the film through the camera.
1894 The Lumière family is the biggest manufacturer of photographic plates in Europe. A Local kinetoscope exhibitor asks brothers Louis and Auguste to make films that are cheaper than the ones sold by Edison.
Louis and Auguste design a camera, which serves as both a recording device and a projecting device. They call it the Cinématographe.
The Cinématographe uses flexible film cut into 35mm wide strips and used an intermittent mechanism modeled on the sewing machine.
The camera shot films at sixteen frames per second (rather than the forty six which Edison used); this became the standard film rate for nearly 25 years.
1894 During this year Woodville Latham and his sons Otway and Gray began working on their own camera and projector.
1894 In October of 1894, Edison's Kinetoscope made its debut in London. The parlour that played host these machines did remarkably well, and its owner approached R.W Paul, a maker of photographic equipment to make some extra machines for it. Incredibly, Edison hadn't patented his kinetoscope outside of the
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US, so Paul was free to sell copies to anyone; however, because Edison would only supply films to exhibitors who leased his machines, Paul had to invent his own camera to make films to go with his duplicate kinetoscopes.
1894 Another peepshow device, similar to the kinetoscope, arrived in the autumn of 1894. The Mutoscope was patented by Herman Casler and worked using a flip-card device to provide the motion picture. Needing a camera he turned to his friend W.K.L Dickson, who unhappy at the Edison Company, cooperates, and with several others they form the American Mutoscope Company.
1895 The first film shot with the Cinématographe camera is La Sortie de l'usine Lumière a Lyon. Shot in March, it is shown in public at a meeting of the Societe d'Encouragement a l'industrie Nationale in Paris that same month.
1895 In March, R.W Paul and his partner Birt Acres had a functional camera, which was based partly on Marey's 1888 camera. In just half a year they had created a camera and shot 13 films for use with the kinetoscope. The partnership broke up, Paul continuing to improve upon the camera while Acres concentrating on creating a projector.
1895 The Lathams, too, had succeeded in creating a camera and a projector, and on April 21st 1895 they showed one film to reporters. In May they opened a small storefront theatre. Their projector received only a small amount of attention, as the image projected was very dim. The Lathams did, however, contribute greatly to motion picture history. Their projectors employed a system that looped the film, making it less susceptible to breaks and tears. The Latham Loop as it was dubbed later is still in use in modern motion picture projectors.
1895 One of the most famous film screenings in history took place on December 28th, 1895. The venue was the Grand Cafe in Paris and customers paid one franc for a twenty-five minute programme of ten Lumière films. These included Feeding the Baby, The Waterer Watered and A View of the Sea.
1896 The Lumière brothers sent a representative from their company to London and started a successful run of Cinématographe films.
1896 R.W. Paul continued to improve his camera and invented a projector, which began by showing copies of Acres' films from the previous year. He sold his machines rather than leasing them and as a result speeded up the spread of the film industry in Britain as well as abroad, supplying filmmakers and exhibitors.
1896 After agreeing to back Armat's Vitascope, Raff and Gammon approached Edison, afraid to offend him, and Edison agrees to manufacture the Vitascope marketing it as "Edison's Vitascope". April 23rd saw the first public premiere of the Vitascope at Koster and Bial's Music Hall. Six films were shown in all, five of which were originally shot for kinetoscope, the sixth being Birt Acres' Rough Sea at Dover.
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1897 By 1897 the American Mutoscope Company become the most popular film company in America - both projecting films and with the peephole Mutoscope which was considered more reliable than the kinetoscope.
1903 The American Mutoscope and Biograph Company begin making films in the 35mm format rather that the 70mm which boosted their sales. The company went on to employ one of the most important silent film directors - D.W Griffith in 1908.
1905 Cecil Hepworth produced, with Lewin Fitzhamon Rescued by Rover. A charming film in which Hepworth, his wife, child and dog, star. It is notable for being the first time an attempt at a narrative rather than simple spectacle was made and for its editing. It also caused the then unusual name of Rover to become a popular name for dogs.
As films grew longer, more complex stories derived from novels or plays were adapted for one reel by specialist writers. Genres, such as comedies and dramas, began to be defined.
1908 Intertitles – dialogue titles – began to be used consistently.
WWI – During the war years, one-reel shorts gave way to feature films.
Charlie Chaplin’s move to Hollywood in 1913 coincided with the general move of the US film industry to Los Angeles in the early teens.
Late 1927, The Jazz Singer was released. It was a mostly silent but contained what is generally regarded as the first synchronized dialogue (and singing) in a feature film.
By the end of 1929, Hollywood films were almost all talkie.
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Lesson Activity Play the following youtube clip to your students without them seeing it. They may only listen to the clip.
Charlie Chaplin – The Lion Cage http://youtu.be/mpjEyBKSfJQ
The first time they listen to it, require them to close their eyes and visualize what might be happening in the silent film scenario. The next time (or next few times) they listen to it, have them do a creative exercise.
Examples:
o Provide students with a large piece of paper divided into a number of squares. Students draw the sequence of events that they visualized happening (including a beginning, middle, end, problem, solution). After each student completes their series, they could share storyboard and explain while the music clip is replayed.
o Students create silent scenes in small groups that are choreographed to the music, playing close attention to the intense moments.
o Students create silent scenes on their own that are choreographed to the music, playing close attention to the intense moments of the sound clip.
After creative guesses are made through whichever activity you’ve chosen, play the actual clip for students to view and enjoy.
*Note: If you want to provide the sound clip to students, without the visual, there is a website that converts youtube videos to mp3s: http://www.youtube-‐mp3.org/
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Lesson Activity Yesterday’s Humour (part 1)
Create a large T chart on your board/chart paper/smartboard. If you don’t have lots of space, have your students create a T chart on paper with the title, “Humour” at the top. On one side of the T chart label the column, “2014,” and other side, “1918.” Before filling in the T chart, brainstorm some examples of movies today where the focus is humour. Elicit a bit of conversation about each movie about what happens that is the funny part and jot some notes on your whiteboard (separate from the T chart). This will provide students with a context with which to compare before they see the Chaplin film.
Preview Chaplin’s film Shoulder Arms on youtube.com: http://youtu.be/v3hTxSCEZYM Watch the 45 minute film with your class. Ask your students to fill in the T chart as they watch the film. If you’ve created a T chart on the board, have students get up and write on the board/T-‐chart as the film is on. If they are doing it on paper, have them write on their own paper.
After watching the film (or even a portion of it), have students share their notes with a partner, group, or the class.
Alternate idea Grab 2 large hula hoops from your gym. Place on a table (or the floor) in such a manner that they partially cross over each other (to simulate a venn diagram). Again label the title “humour” and each side accordingly. The middle section can be what attributes both films have (from 1918 and 2014) 1918 same 2013
Extension Activity Create a courtroom environment in the classroom, establish rules, and assign roles (for silent films of the past or today’s conventional comedies), have your students prepare for their assigned argument/vantage point and, finally, engage in a healthy debate.
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Lesson Activity In groups of 3 or 4, have your students use a cell phone/digital camera/ipad to create a short silent film of a given length. Require students to write out their plot and ensure it includes your required components and how they will execute their filming.
After students have written their plan, had it reviewed, and gathered necessary props, they can film it. After they’ve created a silent mini film they are happy with, students can then add sound to enhance. If the technology is available at your school, you can digitally add the sound to the clip on a computer, otherwise, continuing with the idea of the use of cell phones, students can use another cell phone in a group to play sound during the viewing of their clip.
To view, either upload all videos to a computer/laptop where you can project them all or simple have students pass their phone to the next group to watch.
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Lesson Activity Cut out the following Charlie Chaplin quotations and place in a jar/box/hat. Divide your students into even groups and give each group a copy of the table of quotations (not cut out) as a reference. Each group takes their turn to perform to the rest of the class. They must figure out a way to silently act out the quotation they drew. The audience watches and tries to quickly guess the quotation that the group performing is acting out. Using the reference sheet will guide their guesses.
Depending on the size of your class, age level, and skill level, you’ll want to consider the following:
Ø How much time each group gets to prepare before performing Ø If just one person from each group can call out a guess (The rest need to whisper
their guesses to the team guesser) Ø If you want the audience to have a reference sheet (or if you simply go over each
quotation before the activity/game begins) Ø If you put two copies of each quotation in the jar (or want to mix in a playwright’s
quotations that you’ve previously been studying) Ø If your students need to buzz in somehow in order to make a guess Ø If you’ll award a prize to the winning group
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CHARLIE CHAPLIN QUOTATIONS
“Life is a beautiful magnificent thing, even to a
jellyfish.”
“You'll never find a rainbow if you're looking down”
“I always like walking in the rain, so no one can see me
crying.
“A man's true character comes out when he's
drunk.”
“Nothing is permanent in this wicked world, not even
our troubles.”
“We think too much and feel too little.”
“You'll find that life is still worthwhile, if you just
smile.”
“Failure is unimportant. It takes courage to make a fool
of yourself”
“To truly laugh, you must be able to take your pain, and
play with it.”
“Life is a tragedy when seen in close-‐up, but a comedy in
long-‐shot.”
“My pain may be the reason for somebody's laugh.
But my laugh must never be the reason for somebody's
pain.”
“Perfect love is the most beautiful of all frustrations because it is more than one
can express.”
“Imagination means nothing without doing.”
“Life can be wonderful if you're not afraid of it. All it
takes is courage, imagination ... and a little
dough”
“Life could be wonderful if people would leave you
alone”
“Words are cheap. The biggest thing you can say is
'elephant'.”
“Actors search for rejection. If they don’t get it they reject themselves.”
“I believe in the power of laughter and tears as an antidote to hatred and
terror”
“Movies are a fad. Audiences really want to see live actors
on a stage.”
“A day without laughing is a day wasted”
“After all, there are more valid facts and details in
works of art than there are in history books.”
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Lesson Activity
Photocopy the “Biography about Charlie Chaplin” sheet for students and a copy of the crossword. Depending on the age of your students, read through the information pages together, then have students work in partners to solve the crossword.
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Lesson Activity
As a class, read though the “About the Play” sheet, then distribute the wordsearch for students to complete.
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Lesson Activity The following 8.5 minute youtube clip details how Walt Disney movies were created. There is plenty of opportunity for discussion about advancements in technology. While the video portrays this form of film as cutting edge, it was only short lived. The Carthay Circle there (where the film premiered) was closed down, demolished and was said to be obsolete by 1960.
http://youtu.be/mhfp6Z8z1cI
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Lesson Activity Pre Show Discussion/Writing Prompts
For this particular show at Western Canada Theatre, it will be an interesting activity for students (and teachers) to predict what the show will be like. Because this show is a premiere and it is not a performance that specifically documents each part of Chaplin’s life, nor is it similar to other Western Canada Theatre performances, audiences might be quite surprised their predictions about the show and revisiting those predictions afterwards.
Some points to consider during your discussion with your class, or points for your students to consider when writing about their predictions:
How will the use of film be incorporated into the live performance on stage?
What will be the effect of a show that is mainly dialogue-‐free?
Before seeing the performance, do the hints about the performance remind you of another performance that you think it will be like?
Consider lighting, sound, costumes, and makeup and how those aspects will be used in this show.
Consider the cast and creative team (included with this study guide).
Consider the biography of director/playwright/sound designer Alan Corbishley in your prediction for this production – what might his background bring to the show?
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Lesson Activity Post Show Discussion/Writing Prompts
• In what ways did lighting play a role in setting the mood for the performance? • Discuss the importance of sound/music in the performance. • What conflicts did you observe during the performance? Which conflict was most
prominent to you? • In what ways does the stress and discomfort of change within the entertainment industry
(the emergence of talkies as opposed to the live vaudeville performances) mirror what might be happening in today’s society?
• What is the significance of Oona’s appearance near the end of the performance (and the significance of her actually speaking aloud in the mostly silent show)?
• In what ways was this production similar to other Western Canada Theatre plays you have seen?
• What component of the production elements appealed to you? • Compare the silent film genre to today’s ultra technologically advanced way of making
films. Think about what styles/genres might come next. • What role does the producer character play in the show? • What did the realization of the two Charlie Chaplins throughout the show symbolize?
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Resources Used http://www.charliechaplin.com
Alan Corbishley (interview)
Allison Clow (interview)
Melissa Thomas (interview)
Kelsey Gilker (interview)
Silent Chap script
http://www.bclivingarts.ca
Wikipedia.org
http://www.theguardian.com (archives)
http://www.earlycinema.com
