STUDY GUIDE 2006

A PRACTICAL, HANDS-ON RESOURCE FOR THE CLASSROOM

CONTAINING ONTARIO CURRICULUM SUPPORT MATERIALS

ARMS
AND
THE MAN

BY
BERNARD SHAW

EDUCATION PARTNERS
 PRESENTS

Arms and The Man

By
BERNARD SHAW

This study guide for Arms and The Man contains

background information for the play, suggested TABLE OF CONTENTS
themes and topics for discussion, and curriculum-
based lessons that are designed by educators and The Players and The Story ...................................3
theatre professionals.
Who’s Who in the Play .........................................4
The lessons and themes for discussion are organ-
Historical Timeline ................................................5
ized in modules that can be used independently or
interdependently according to the class level and The Playwright .......................................................6
time availability.
Costume Design Notes ........................................7
THIS GUIDE WAS WRITTEN AND COMPILED BY
Set Design Notes ..................................................8
BARBARA WORTHY, ROD CHRISTENSEN AND DR.
DEBRA MCLAUCHLAN, PHD. ADDITIONAL MATE- Did You Know? Play Trivia.................................9
RIALS WERE PROVIDED BY JACKIE MAXWELL, SUE
Did You Know? Historical Trivia .....................10
LEPAGE, WILLIAM SCHMUCK AND JEFF SCOLLON.
Shades of Shaw ....................................................11
COVER: DETAIL FROM A PHOTO OF HAAKON VII OF
NORWAY, 1905 (GETTY IMAGES). PAGE 2: PICTURE: Classroom Applications
"BAYONET CHARGE" (BULGARIANS ATTACK SERBI-
ANS, 1885) BY JAJAROSLAV VESIN (1860-1915). Before Attending the Play ............................ 12-17
PAGE 11: ILLUSTRATIONS: “GBS” BY RAY MCILROY.
Set Design Activity ........................................ 18-20

After Attending the Play............................... 21-26

Arms and the Man Say What? (Text Tips).................................. 27/28

Running time: 2hrs 15 approx. Glossary of Theatre Terms ................................29

including one intermission Word Puzzle.................................................. 30/31

Previews March 30 Response Sheet ....................................................32

2
 The Players
Raina ................................................................................................ Diana Donnelly
Bluntschli ........................................................................................ Patrick Galligan
A Russian Officer ............................................................................ Martin Happer
Petkoff.......................................................................................................Peter Hutt
Louka.......................................................................................Catherine McGregor
Catherine ...........................................................................................Nora McLellan
Nikolai .................................................................................................. Peter Millard
Sergius.......................................................................................................Mike Shara
A Russian Soldier……………………………………… Michael Strathmore

Directed by Jackie Maxwell

Set Designed by Sue LePage
Costumes Designed by William Schmuck
Lighting Designed by Louise Guinand
Original Music by Paul Sportelli
Stage Manager: Alison Peddie
Assistant Stage Manager: Dora Tomassi
Technical Director: Jeff Scollon
Intern Director: Lee Wilson

The Story
The moon rises over a small Bulgarian town. Clutching the photograph of her fiancé in dashing military attire, a
beautiful young woman sinks into her bed with a romantic novel. Suddenly, gunshots ring out, and as if from
the
Thepages
moonofrises
theover
book, a desperate
a small Bulgariansoldier
town.bursts into the
Clutching the room. As heof
photograph lights a match,
her fiancé we see he
in dashing is jittery,
military ex-a
attire,
hausted,
beautiful and
ing with the
yes,woman
young
Serbian army.
The Story
perhaps—even
sinks intoinher
He is
thisbed
suffering
light—handsome?
with a romanticThis
from hunger, lack of
is Captain
novel. Suddenly,
sleep and
Bluntschli,
bad
gunshots aring
nerves—and
Swiss
out,mercenary
he
and as if fight-
would
the pages of the book, a desperate soldier bursts into the room. As he lights a match, we see he is jittery, ex- rather
from
eat
chocolate than
hausted, and fireperhaps—even
yes, bullets. And now he is
in this a fleeing soldier, hiding in Raina’s bedroom.
light—handsome?
Arms and The Man is considered once one ofofShaw’s
Shaw’smost
mostentertaining,
entertaining,deftly
deftlywritten
writtencomedies.
comedies. Set against the back-
ground the
of the Serbo-Bulgarian
Serbo-Bulgarian conflict
conflict of 1885,
of 1885, heretheweShaw production
get to know Raina,is updated to the early
her deliciously 20th family
eccentric centuryand
to
take advantage
household, of the style fiancé,
her outrageous and fashions
and of of that time
course, period. soon-to-be
the runaway In the romantic mountainscream
her “chocolate of Bulgaria weAnd
soldier”. get to
as
know Raina
heroism andPetkoff, herare
militarism deliciously
laid bareeccentric family
against the and household,
foibles her outrageous
of middle-class fiancé,
pretensions, love and
and of course, run
romance the
runaway
amok. “chocolate cream soldier”. Raina saves him from certain death, and does not see him again until he
returns the following spring. And as heroism and militarism are laid bare against the foibles of middle-class pre-
tensions, love and romance run amok in what Shaw called his ‘anti-romantic comedy’.
Jackie Maxwell, Director.

3
 Bernard Shaw didn’t want to give
who’s in his characters names at first...they
an
WHO s and The M were just generic ‘no-names’...but
Arm a friend changed his mind...
The Stranger
Captain Bluntschli: A Swiss mercenary The Daughter
with the Serbian army who carries choco-
Raina Petkoff: A beautiful, young Bulgarian
late instead of rifle cartridges. He is capable and
woman, engaged to Major Sergius, one of the he-
unaffected; and although life for him is ‘something
roes of the Serbo-Bulgarian war. She is child-like, a
quite sensible and serious’, in the end he is re-
romantic, in love with heroism, gallantry, and with
vealed as a suppressed romantic. And although his
what she believes to be the splendid nobleness of
common sense and stability prove admirable, in
war. But her eyes are opened to the reality of life
the end it is his romantic streak that captures
by Bluntschli, who in turn then becomes the cata-
Raina’s love.
lyst for all her romantic dreams to give way to true
romance.
Sergius Saranoff: A Bul-
garian soldier who has lived a
life full of ornamental honour, The Father
chivalry, patriotism and hero-
The Major Petkoff: Raina’s father, a cheerful, excit-
ism. Extraordinarily self-
Heroic obsessed, he lives up to his able, insignificant, unpolished man, who Shaw de-
Lover ideal of the perfect soldier scribes as ‘naturally unambitious, except as to his
and gentleman but is forced income and his importance in local society.’ The
to accept his own weaknesses. war provided him with an enviable military rank,
Handsome, appealing, funny and a great degree of self-importance.
and appalling, he is perhaps
the anti-hero of the play.
The Maid
The Mother
Louka: A servant in the Petkoff house-
Catherine Petkoff: Raina’s mother, an energetic,
hold. A feisty, proud peasant girl; she
magnificent, free-thinking artistic woman, deter-
disdains the work of a servant and uses
mined to be bourgeois rather than merely the wife
her earthy strength and defiance to pro-
of a mountain farmer, or a soldier. She is business-
pel herself to a better future.
like and efficient when necessary, extravagant and
outrageous when she chooses.
Nikolai: A servant in the Petkoff household. He is
intelligent, cool of temperament, with the compla-
cency of a servant who values his rank in servitude,
and who has no illusions of his role in life.
The Servant

4
 BALKANS HISTORICAL TIMELINE
10th century: First unification of the Serbians un- 1914, June 28: Assassination of Archduke Francis
der Byzantine sovereignty. Ferdinand in Sarajevo precipitates Europe into
war.
1389, June 15: Turkish victory over the Serbians at
the battle of Polje. 1918: Proclamation of the Kingdom of the Serbi-
ans, Croatians and Slovenes ("first Yugoslavia") in
1459-1462-1463: Serbia, Bosnia and Herzegovina Belgrade.
become Turkish provinces.
1941, April: Invasion of Yugoslavia by the Axis
1699: Treaty of Karlovitz returns Croatia to the forces. Capitulation and Italo-German occupation.
Habsburgs.
1945: Proclamation of the Federal People's Repub-
1739: Treaty of Belgrade - Austria restores Serbia lic ("second Yugoslavia") under Marshall Tito.
to the Ottoman Em-
The Balkans
pire. 1948: Break between
Tito and Stalin.
Early 19th century:
Emergence of Croa- 1980: Death of Tito.
tian and Slovenian The federation hit by
nationalism, along economic crisis.
with a "Yugoslav"
(literally Slavs of the 1991, June 6: Slove-
South) conscious- nia and Croatia pro-
ness. claim their independ-
ence.
1876-1877: Serbian
war against the 1991, August: The
Turks. federal army
launches a massive
1878: Treaty of Ber- military assault in
lin recognizes Ser- Croatia.
bian independence.
1991, October: Bos-
1885: Serbia declared nia-Herzegovina pro-
war on Bulgaria and claims its independ-
were completely de- ence.
feated at Slivnitza
(Nov. 17). They were 1992: Outbreak of
saved from invasion war in Bosnia.
by the intervention 1993, January: Bos-
of Austria. (Shaw’s play Arms and The Man opens nia divided into three ethnic states (Owen Stolten-
here). berg Plan).
1908: Bosnia-Herzegovina annexed by Austria- 1995, November: Dayton Agreements bring an
Hungary. end to the war in Bosnia.
1912: First Balkan War (Serbia, Greece, Bulgaria, 1998: Serbian police and Yugoslav army operations
Montenegro against Turkey). in Kosovo.
1913: Second Balkan War (Serbia, Greece, Bul- 1999 (Spring): NATO bombardments in Serbia,
garia). dissuasion force in Kosovo.

5
 GBS
GBS——exposed
Name: George Bernard Shaw.
Born: 1856, Dublin, Ireland.

Died: 1950, Hertfordshire, UK.

Role: One of the 20th century’s great writers and thinkers.

Father: George Carr Shaw, a failed corn-merchant with a drinking problem and a squint.

Mother: Lucinda Elizabeth “Bessie” Gurly, a professional singer and the sole disciple of an
eccentric voice teacher, George Vandeleur Lee, with whom she later eloped.

Siblings: Lucinda Frances “Lucy” and Elinor Agnes “Yuppy”.

Family Nickname: Sonny.

Quirks: Left part of his estate to fund new alphabet based on symbols for sounds.

Best Known For: Humour; being provocative and controversial; flame coloured beard.
Greatest Hits: Arms and the Man, Pygmalion, St. Joan (Nobel Prize 1925), Heartbreak House,
Man and Superman, Candida, Mrs Warren’s Profession.
Likes: Socialism; vegetarianism; music; women (passionately platonic).
Dislikes: Believed to be celibate entire 45 years of marriage; his name ‘George’; school.

Favourite Foods: Anything sweet, especially cakes covered in marzipan and icing sugar.

Favourite Clothes: Tweed knickerbocker suit.

“I’ve posed nude for a photographer in

the manner of Rodin’s ‘Thinker’ but I
merely looked constipated.” GBS

6
 What will they wear?!
William Schmuck, Costume Designer: “When
Jackie Maxwell [the director] and I spoke, she sug-
gested moving the era of the play from its original
era of 1880s to circa 1910. Jackie’s personal taste
seems to eschew the ultra fussy and Victorian
world, and 1910 is a more columnar period and
less cumbersome for woman’s dress, and suggests
a movement towards something more modern.
The challenge of course, is to provide costumes
that are true to the character of our heroine, which
is somewhat romantic by nature, but not define her
by those clichéd frilly
traits - basically let-
ting the simplicity of
the actresses’ natural
beauty and femininity
shine through. My
approach then is
more subtractive, in
that I will make Raina
simple and the rest of
the characters more
complicated and out-
rageous.
Costume Design for Catherine Petkoff by William Schmuck

During this era, fashion designers

such as Paul Poiret were fascinated
with Orientalism and much of their
esthetic is exactly what I am giving
Costume Design for Raina Catherine. Similarly, Eastern ethnic-
by William Schmuck
ity will be reflected in the robes of
Petkoff having an upscale Russian
flavour, using fine fabrics with
richness of gold embroidery, and by
contrast in the more rustic embroi-
dered peasant dress of Louka and
Nikolai. W.S.

7
 The set
Set Designer, Sue structure. The play is
very forward looking
Lepage: “The setting of
and we want to cre-
the play is a fictitious ate a production with
Bulgaria at the end of the energy and wit, that
19th century, and this is does not look too
the source of much of its ‘old-fashioned’ - a
comedy and social satire. Bulgarian world that
It seems slightly ridicu- has very few Euro-
lous, but Shaw, as always, pean traits and leans
works an extraordinary toward something
number of ideas about Preliminary drawing: Act One: Arms and The Man ethnic and stylized.
society, politics, and especially war into his comic And if you look at the work and style of the artist
Gustav Klimt you’ll see how he inspired the set
Shaw Festival’s Technical Director, Jeff d e s i g n . ” S . L .
It was during this time that Art Nouveau - New Art -
Scollon on Technical Theatre and Auto- flourished. Gustav Klimt (1862-1918) was one of
CAD : When I receive a set design, whether in CAD the famous painters of the movement. Art Nouveau
(Computer Aided Design) or on paper, it has to be assessed came into being as a rebellion against anything tra-
and approved for construction. Many factors are inter-related, ditional and as a reaction to the Industrial Revolu-
and affect the efficiency of each other. Here’s my check list: tion. But it became so successful that it spread into
*Audience safety the commercial world of high fashion, jewellery
*Actor and crew safety on set and decorative arts. Artists and designers of the
*Set Materials & Construction budget movement favored organic lines and contours.
*Scenic Art labour and materials budgets Klimt favoured gold and silver colours in his art
*Scene change requirements work - a heritage from his father's profession as a
*Rigging issues gold and silver engraver. This extraordinary period
*Automation requirements of art and design lasted from 1880 to 1915.
*Fly system requirements
*Changeover feasibility
*Repertory storage space
*Transport (to theatre) issues
*Lighting Design considerations
*Electrical elements
*Running crew requirements
*Audio consideration
*Audience sightlines
See example of floor plan opposite, and Pages 19/20 for related Arms and The Man: Act One - Layout
Classroom Activity. Set Designer: Sue LePage Technical Director: Jeff Scollon
8
 Did you know?
Oscar vs Bernard: In 1908, Oscar Straus wrote The Chocolate Soldier, an operetta based on Arms and
The Man. One of Straus’ librettists, Leopold Jacobson, contacted Shaw’s German agent to negotiate the rights
to adapt Arms and The Man as an operetta. Shaw was not a fan of Jacobson’s writing and wrote that he was “a
putrid opera bouffe in the worst taste of 1860.” In the end, however, Shaw gave permission with three distinct
conditions: none of his dialogue or his characters’ names could be used; the libretto was to be noted as a par-
ody; and he would receive no compensation. Big mistake. It was a huge international success! It had its pre-
miere in 1908 in Vienna, moved to New York in 1909, London’s West End in 1910, and was seen here in
Canada, in Toronto, 1911 - before Arms and The Man. It was also filmed as a silent movie in 1915.

Shaw hated the operetta version – he felt they had removed the political overtones and made it too sweet. He
vowed to never again release the rights to any of his plays for musical adaptation. But after his death, Pygmalion
was set to music by Lerner and Lowe, and became the phenomenally successful and much loved musical My
Fair Lady.

"I have the gift of neither the spoken nor the written
word, especially if I have to say something about myself
or my work. Whoever wants to know something about
me, as an artist—the only notable thing—ought to
look carefully at my pictures and try and see in them
what I am and what I want to do." Gustav Klimt

Arms and The Man premiered at the Ave-

nue Theatre, London, on April 21, 1894, and
opened at New York’s Herald Square Theatre in
September 1894. It was the first Shaw play ever to
appear in North America. Although Broadway
revivals of this play have been infrequent, Alfred
Lunt and Lynn Fontanne had a lengthy run in
1925-6, and a 1985 cast included Glenne Headly,
Raul Julia and Kevin Kline. The first Canadian
production was in May 1923 by the Cameron Toronto’s Princess Theatre operated
Mathews English Players, a resident stock com- from 1895-1930 at 167 King Street West. It
pany at Toronto’s Princess Theatre. opened in 1889 as the Academy of Music and was
the first public building in the city with electric
lights. It had a banquet room, art gallery, drawing
room and ballroom, and was renamed the Princess
you in 1895 after being refurbished. It burned down in

Did Know? 1915 and reopened as the New Princess in 1917,

operated into the 1930s and was finally demolished
in 1934 for the widening of University Avenue.

9
 DID YOU KNOW?
On Military Uniforms by William Schmuck
Whatever period one sets this play in, the constant is the military uni-
forms. As Bluntschli is the chocolate cream soldier of Raina’s dreams,
the military uniforms must be spectacular and capture the romantic ideal
of the male warrior. Historically the uniforms of the era in which Shaw
has set the play are quite impressive. The uniforms of the 20th century are
moving towards something more functional, less showy. As the scale and
potency of weapons improve, the uniforms of the 20th century become less
intimidating and are not even seen during combat. It is no longer about
show but more about camouflage. We are taking a bit of license with the
uniforms to retain their old world appeal, since historically war in that
part of the world seems pervasive. The arrogance of Sergius and his ulti-
mate surrender to Louka, the feisty proud peasant girl, seems best served
Circa 1885 Costume Design for by the contrast of a very impressive uniform. WW I (1914-18) Costume Design
Sergius, Arms and The Man by for Journey’s End by Cameron
William Schmuck, 2006 Porteous, Shaw Festival 2005

Friend or Foe?
Oh, Slivnitza, let God This song was very
For Bulgarians, the Turks and Greeks were ene- damn you, popular around the
mies, the Serbs were assumed friends, and Roma- Oh, Slivnitza, you heroes’ turn of the century.
nians and Albanians appeared only in episodes. sepulcher, Several variations
For Greeks, the Turks were enemies, while Serbs You left many mothers in of it were available
tears, and it was sung
and Bulgarians were no more than secondary rivals
Where two brother peoples even in the Western
with claims bigger than possibilities.
fought and killed them- Bulgarian lands.
For Serbs, their enemies were Turks and Austri-
ans, Bulgarians were friends although underesti- selves.
mated, while Greeks were worth envying.

With the rise of the Balkan tensions at the end of No TV, No Radio, No Internet, No Cell !
the 19th century and especially after the Balkan So how did news spread? There were two mighty instru-
wars the situation changed and hatred rose widely. ments—newspapers and textbooks. And who read
them? Mostly the educated, literate strata of society.
In the Balkan textbooks from the period between
They were used for major propaganda, and were impor-
the World Wars almost all the neighbours were tant weapons. But how would you know if you were
considered enemies. reading the truth? What countries today control their
people’s ‘knowledge’ ?
you
Did Know?
10
 Shades of shaw
Shaw the Boy: “I may add that I was incorrigibly idle & worthless as a schoolboy,
& am proud of the fact.” But his bedtime reading consisted of the entire
works of Dickens and Shakespeare!

Shaw the Rebel:

"Do not do unto others
as you expect they
should do unto you.
Their tastes may not be
the same."

Shaw the Lover: He

loved women – had life-
long affairs with many,
in letters, poetry and
prose - but rarely of the
flesh; and was a major
supporter of women’s
emancipation — “she is
Shaw the Veggie: “Meat is
the slave of duty.” .
poison to the system. No-one
should live on dead things.” Shaw the Socialist: Shaw believed in activ-
And he believed this to be
ism with the use of the intellect and his
the reason he stayed men-
weapons were his words: “Socialism is ...the
tally and physically fit into
economist’s hatred of waste and disorder, the aes-
his 90’s.
thete’s hatred of ugliness and dirt, the lawyer’s ha-
tred of injustice, the doctor’s hatred of disease, the
saint’s hatred of the seven deadly sins.”

Shaw the Superman: Shaw was interested in everything, had an

opinion on everything, and criticized everything. No thought went
unrecorded or unexpressed. The personal letters that he wrote
in his lifetime comprise five large volumes. He wrote plays,
articles, essays and some 55 plays, and brought a new adjective
into the English language: Shavian, a term used to embody all
his brilliant qualities. Shaw wrote until his death in 1950.

11
 Classroom Applications
The following pages suggest questions and activities students might explore BEFORE attending Arms and The Man.

Activities relate to Ministry of Education expectations for Drama and Dance at the junior, intermediate and senior levels.
To obtain Ontario Curriculum documents, visit www.edu.gov.on.ca/eng/curriculum/secondary/arts.html

RESEARCH
Balkan Unrest in the 1880s

Much of Europe in the 1880s was embroiled in bitter dispute over land and power. Originally set in Bul-
garia in 1885, Arms and The Man brings characters together who battled in a conflict involving Russians
and Serbians.

* Investigate the causes and effects of “the Bulgarian Crisis” of 1885-1887.

* Research The Battle of Slivnitza (1885).

* Compare a map of Europe in 1885 with a map of Europe today. Notice the location of Bulgaria
on each one.

Theme One
VALOUR

As a central theme of Arms and The Man, the concept of valour describes the bravery and courage
of warriors in combat.

ACTIVITY

What is Valour?
In a debate format, decide whether or not the situations described below demonstrate valour.
Situation #1
Without consulting his more experienced superiors, an officer leads his soldiers into an extremely danger-
ous situation. He is victorious, but only because the enemy’s weaponry is defective. At the time of his at-
tack, the officer is unaware of the defect in his enemy’s weaponry.
One side of the debate will argue that the officer should be awarded a medal of valour for
his actions; the other side will argue that he should be court-martialed for recklessly endan-
gering the lives of his men.

12
 Theme One, continued

ACTIVITY

Situation #2
An experienced warrior explains combat by comparing young and old soldiers. Young soldiers carry a lot
of ammunition and attack their enemies directly, with the result that they are usually hungry and open to
injury or death. Old soldiers carry food and are careful to protect themselves in battle, with the result that
they survive longer.

One side of the debate will argue that young soldiers show more valour than old soldiers;
the other side will argue that old soldiers show more valour than young soldiers.

Situation #3
A man enlists in war as a mercenary (paid soldier). He is a citizen of neither country involved in the dis-
pute and will serve whichever side hires him. In battle, he conducts himself well and earns the respect of
his fellows.

One side of the debate will argue that a soldier’s valour does not require patriotism; the
other side will argue that valour cannot exist without a patriotic goal.

DISCUSSION

Is War Glorious?

Although the original setting of Arms and The Man is in war-torn Bulgaria, the characters are removed from
battle and those not involved in combat do not witness its victims. The violent realities of war are thus eas-
ily hidden and even ignored, while the life of a soldier on the field has the potential to become glorified.
Characters who have witnessed battle offer several reminders that war is not a glorious experience.
Continued on next page

13
 Theme One, continued
ACTIVITY

* In pairs, students draw from a hat an image of war as expressed in Arms and The Man (images pro-
vided in the box below).

* Using movement and mime, students create a sequence of actions to depict their selected image.

* Half the class performs their sequences while the other half observes.

* Switch places.

* Discuss the various impressions of war that emerge from the sequences depicted.

* All soldiers are afraid to die.

* If the enemy finds me, I promise you a fight: a devil of a fight.
* I can stand 2 days of heavy firing without showing it much, but no man can stand
three days.
* I’m as nervous as a mouse. Would you like to see me cry?
* You can’t guess how splendid the charge against the enemy was!!
* Our gallant soldiers with their eyes and swords flashing.
* I’ve not had two hours of undisturbed sleep since I joined the war. I haven’t closed my
eyes for 48 hours .
* Our men want to search for the enemy, and they are wild and drunk and furious.
* The sergeant ran up to us as white as a sheet and told us they’d sent the wrong ammu-
nition.
* The enemy was charging right at us.
* They cut us to bits.
* Soldiering is the coward’s art of attacking mercilessly when you are strong and keeping
out of harm’s way when you are weak.
* Get your enemy at a disadvantage and never, on any account, fight him on equal terms.
* A soldier gets his life saved in all sorts of ways by all sorts of people.
* Soldiers can cut throats but are afraid of their officers.
* Soldiers stand by and see one another punished like children, and even help do it when
they are ordered.

14
 Theme Two
INTEGRITY

Integrity involves acting with honesty and abiding by moral principles of behavior. Events that challenge
the integrity of characters in Arms and The Man include:
(a) telling secrets
(b) gossiping
(c) lying, and
(d) cheating in romance.
These challenges to integrity also exist in the lives of teenagers today.

ACTIVITY

* In pairs, students decide on one of the four challenges listed above (telling secrets, gossiping, lying,
and cheating in romance). This will become the topic of a short scene the pair will improvise.

* With their partners, students decide on a setting and teenage characters they will play.

* Students decide on an appropriate sequence of events that lead to an invitation to behave immor-
ally and without integrity, based on the topic they have selected.

* Students improvise two versions of the outcome. In both versions, the invitation to behave with
out integrity exists. In the first version, both characters give in to temptation. In the second ver-
sion, at least one character maintains integrity.

* Students present one or both versions of their scenes.

* The class discusses why people often choose to behave without integrity.

15
 Theme Three
IDENTITY

From the ancient Greeks to the present, dramatists have created characters who ask: “Who am I and where
do I belong?” In Arms and The Man, Shaw alludes to these questions in various ways.

DISCUSSION
Who Am I Based on First Impressions?

Read the following first impressions of characters in Arms and The Man.

Discuss the initial opinions formed by the class.

Character #1 Wrapped in fur, a young woman of 23 stands on a starlit balcony looking out dreamily at
snowy white mountains. Inside, her bedroom is lit by candles and decorated with orna-
mental textiles. Her visible possessions include a pile of paperback novels, a box of choco-
lates, and a large phototograph of a handsome military officer.

Character #2 In the dark of night, a 35-year-old fugitive seeks a hiding place. Of medium height and
build, he is bespattered with mud and blood. His torn and tattered military uniform
matches his overall dirty and unkempt appearance. Strapped to his chest is a revolver case.
When he realizes that someone has seen him, he threatens: “Don’t call out or you’ll be
shot.”

Character #3 As reported by a messenger, a young and inexperienced soldier is the hero of a decisive
military battle. Defying his commanders and taking matters into his own hands, he has led
a charge across the enemy line. Spurred by his example, his followers thundered like an
avalanche and scattered their foe like wheat in a field.

16
 Theme Three, continued
DISCUSSION
Who Am I Based on Gender Stereotypes?

Several characters in Arms and The Man make statements about male and female identity and behaviour.
From the quotations provided below, suggest stereotype expectations of men and women in society.

ACTIVITY

* Assign the class into mixed gender groups of approximately 4 students.

* In their groups, students determine an effective order for the quotations below to be spoken.

* Next they assign quotations to each member of the group.

* Students practice reciting the quotations in the order they have decided.

* Students present the quotations to the class.

* The class decides the effectiveness of the quotations in both identifying and questioning gender
stereotypes.

(Spoken by a woman to a woman) The world is really a glorious world for women who can see its glory and men who
can act its romance.
(Woman to woman) What faithless little creatures girls are.
(Man to woman) I am a brave man. My heart jumped like a woman’s at the first shot, but in the charge I was brave.
(Woman to man) Although I am only a woman, I think at heart I am as brave as you.
(Man to woman) You’re an angel.
(Woman to man who feels cheated by other men) The women are on your side; and they will see that justice is
done you.
(Man to woman) I have gone through war like a knight in a tournament with his lady looking down on him.
(Man to woman) You little know how unworthy even the best man is of a girl’s pure passion.
(Man to woman) A gentleman has no right to hurt a woman under any circumstances.
(Woman to man) Men never seem to me to grow up. They all have schoolboy ideas.
(Man to his wife when planning to give orders to other men) You may as well come too. They’ll be far more
frightened of you than of me.
(Man to woman) All my deeds have been yours. You inspired me.

17
 CREATING A SET
DISCUSSION

Computers and Theatre: AutoCAD

AutoCAD stands for Computer-Aided Design and/or Computer-Aided Drafting. In theatre, design-
ers use the AutoCAD software program to create floor plans that provide a ‘blue print’ for the actual set
seen on stage.

When creating the set design for a production, a designer will gather from a variety of sources. Discussions
with the director and the production team – designers for costumes, lights, sound and music - are vital to
help create the world of the play. Together they build a vision, drawing inspiration from each other and the
play.

It helps to know a few things about stage blocking and movement when thinking about building a set and
creating acting areas for the performers. Actors like to be seen and heard.

Blocking: The action of moving an actor around the set. Stage positions are defined for a performer as if
they are standing on the stage, looking out at the audience:
Stage Left, Stage Right, Upstage, Downstage, or Centre stage.
e.g. ‘stage left’ (SL) - the left hand side of the stage, facing the audience. (From the audience, this side of the
stage is considered ‘audience or house right)
e.g. ‘downstage centre’ (DC)- front of the stage, in the centre. “upstage centre’ (UC)- near the back, in the middle.
If you enter from ‘Stage Right’ (SR) you appear to the audience on their left, (or ‘Audience or House Left’).

Arms and The Man: Preliminary Drawing - Act One

Set Designer: Sue LePage

18
 CREATING A SET, continued

Below are the opening lines of Shaw’s play, Arms and The Man. His stage directions are there to ‘set up’ the
background and action of the opening scene. Read the following paragraph, paying attention to the de-
scription and details of the setting.

Night: A lady’s bedchamber in Bulgaria, in a small town near the Dragoman Pass, late in November in the year 1885.
Through an open window with a little balcony a peak of the Balkans, wonderfully white and beautiful in the starlit snow,
seems quite close at hand, though it is really miles away. The interior of the room is not like anything to be seen in the west of
Europe. It is half rich Bulgarian, half cheap Viennese. Above the head of the bed, which stands against a little wall, cutting
off the left hand corner of the room, is a painted wooden shrine, blue and gold, with an ivory image of Christ, and a light hang-
ing before it in a pierced metal ball suspended by three chains. The principal seat, placed towards the other side of the room
and opposite the window, is a Turkish ottoman. The counter pane and hangings of the bed, the window curtains, the little
carpet, and all the ornamental textile fabrics in the room are oriental and gorgeous; the paper on the walls is occidental and
paltry. The washstand, against the wall on the side on the side nearest the ottoman and window, consists of an enameled iron
basin with a pail beneath it in a painted metal frame, and a single towel on the rail at the side. The dressing table, covered
with a cloth of many colours, with an expensive toilet mirror on it. The door is on the side nearest the bed; and there is a chest
of drawers between. This chest of drawers is also covered by a variegated native cloth; and on it there is a pile of paper backed
novels, a box of chocolate creams, and a miniature easel with a large photograph of an extremely handsome officer, whose lofty
bearing and magnetic glance can be felt even from the portrait. The room is lighted by a candle on the chest of drawers, and
another on the dressing table with a box of matches beside it.

On the next page is a copy of The Shaw’s 2006 AutoCAD floor plan for Arms and The Man. Based on the
stage directions above, answer the following questions and indicate your answer by writing the number of
the question in the correct area on the floor plan.

1. Indicate where the bed is positioned on the set. ACTIVITY

2. Indicate the location of the open window.

3. Indicate the location of the dressing table.

4. Where do you think the easel with large photograph should be?

5. Where is the dressing table with the box of chocolate creams?

6. If the easel with photograph was moved upstage centre (USC), where would that be?

7. If the director told an actor to enter from stage left (SL), where is that?

8. If an actor is blocked to walk from upstage right (USR) to downstage left (DSL); show with arrows.

9. Where is the audience in relation to the stage?

10. On the floor plan write down where you are and what time it is when the play begins.

19
 CREATING A SET, continued

Arms and The Man: Act One - CAD Layout

Set Designer: Sue LePage
Technical Director : Jeff Scollon

Below in a copy of the floor plan for Arms and The Man using AutoCAD. An industry standard now, AutoCAD
is the method used to transfer the design to other departments. “If the design is not already on CAD, I will do
an outline drawing myself,” says Scollon. “ I make sure that everyone is working with the same information: the
shop uses the outline that I create so that what gets built is the size that I’m expecting; I forward the stage plan
to Stage Management, Lighting, Props, and the deck crew, and I use the CAD to make sure that it will all fit
within the theatre.” J.S.

Refer to the questions on Page 19 and indicate your answer by writing

the number of the question in the correct area on the floor plan.

See Page 8 for more information on Set Design.

20
 The following pages suggest questions and activities students might explore

AFTER attending Arms and The Man

RESEARCH

The Title of the Play

“Arms and the man” is a phrase taken from the first line of the Aenead, an epic poem written by Virgil in
the 1st century BC. The poem narrates the mythical adventures of Aeneas, chosen by Fate to wage furious
battles in his mission to continue the Trojan race in far-off lands.

* Research events of the Trojan War that caused Aeneas to flee his homeland.

* Report on some experiences of Aeneas in his journey.

Theme One
VALOUR DISCUSSION

Like Arms and The Man, Shakespeare’s Henry IV, Part I questions the notion of valor and compares the ac-
tions of young and inexperienced soldiers with their older and more seasoned comrades. According to
Shakespeare’s Falstaff, a survivor of the battlefield, “The better part of valour is discretion, in the which
better part I have saved my life.” (V, iv, 119). Falstaff’s words were the source of the expression: Discretion
is the better part of valour.

* In your own words, what is meant by the statement Discretion is the better part of valour?

* To what extent does Arms and The Man demonstrate the truth or falsehood of the statement?

* Might the statement ever be used to justify acts of cowardice?

21
 Theme Two
INTEGRITY

DISCUSSION

Ethical Dilemmas

On a few occasions, characters in Arms and The Man encounter situations that present difficult moral deci-
sions. As a class, discuss the choices made by various characters from the following examples.

Example #1
With her father and fiancé fighting in battle, Raina voluntarily hides an enemy soldier in her bedroom be-
cause she disagrees with the practice of torturing and killing fugitives of war. This action forces her to lie to
her mother and a Russian police officer.
What elements of Raina’s behaviour displayed integrity? Has she been disloyal to her family
and country?

Example #2
When Louka the servant-girl begins to tell Sergius about Raina and the fugitive soldier, Sergius interrupts:
“You will please remember that a gentleman does not discuss the conduct of the lady he is engaged to with
her maid.”
Is it ever morally acceptable to disclose secret information about a girlfriend/boyfriend? If so,
give examples of appropriate circumstances. Would it have made a difference if Louka were
not Raina’s servant?

Example #3
When Bluntschli arrives at the Petkoff house to return the coat lent to him as a fugitive, Catherine attempts
to hide him from her husband. When her husband arrives and asks about his coat, she insists that it hasn’t
left the closet and pretends that she has never seen Bluntschli before.
What were Catherine’s reasons for lying to her husband? Do these reasons justify her
behaviour? Do honourable motives ever excuse immoral acts?

22
 Theme Two, continued

ACTIVITY
Writing-in-Role/Improvisation

Imagine yourself as a teenager in one of the following situations:

a) a friend asks you to do something that involves lying to your parents;

b) you know something negative about your friend’s girlfriend/boyfriend that your friend doesn’t
know;

c) you can avoid causing trouble if you lie.

* Flesh out the details of your imaginary situation so that the situation becomes more specific. For
example, what does your friend ask you to do that involves lying to your parents? What do you
know about your friend’s boyfriend or girlfriend? What lie can you tell to avoid causing trouble?
To whom?

* In role as the character facing the situation, write the details of your circumstances. Do not decide
on your course of action.

* Collect the student responses in a jar. Pull them out at random.

23
 Theme Three
IDENTITY

Who Am I Based on My Possessions?

Some of the humour in Arms and The Man arises from the Petkoffs’ snobbish pride of possessions and hab-
its. The family believes that social status is gained by owning a library, having an electric bell, and keeping
their laundry out of sight of visitors. Raina calls the family “civilized” because they go to the opera and
have visited Vienna. References to washing and bathing add to the humour of the situation.

DISCUSSION

What status symbols are common among teenagers in your school? How important are brand names and
labels when people buy clothes and shoes?

ACTIVITY

In pairs, create a bristol board collage of magazine and catalogue images depicting status symbols generated
by advertisers to attract the teenager market.

ACTIVITY

The Complexity of Identity

The play reveals that stereotypes, shallow descriptions, and individual opinions do not sufficiently represent
the complexity of any person’s identity. The character of Sergius provides an excellent example.

* In small groups, use the excerpts provided on the next pages to depict various facets of the
character of Sergius.

* One excerpt will involve a single character; others pairs; others, more than two characters.

* Some excerpts are silent; some involve dialogue.

* You may decide to use the same person in your group to play Sergius throughout the presentation,
or you may decide to use different people to play Sergius in various sequences.

24
 Theme Three, continued
ACTIVITY
Excerpt #1 (Catherine)

CATHERINE: A cavalry charge! Think of that! Sergius defied our Russian commanders—acted without
orders—led a charge on his own responsibility—headed it himself—was the first man to sweep through
their guns….Oh, Raina, if you have a drop of Bulgarian blood in your veins, you will worship him when he
comes back.

Excerpt #2 (Bluntschli and Raina)

BLUNTSCHLI: You should have seen the first man in the charge today.

RAINA: Tell me. Tell me about him.

BLUNTSCHLI: …A regular handsome fellow, with flashy eyes and a lovely moustache, shouting his
war-cry and charging like Don Quixote at the windmills. We did laugh.

RAINA: You dared to laugh!

BLUNTSCHLI: Yes, but when the sergeant ran up as white as a sheet and told us they’d sent us the
wrong ammunition…we laughed out the other side of our mouths…We had no bayonets, nothing. Of
course they cut us to bits. And there was Don Quixote flourishing like a drum major, thinking he’d done
the cleverest thing ever known, whereas he ought to be court-martialed for it. Of all the fools ever let loose
on a field of battle, that man must be the maddest.

Excerpt #3 (Sergius and Louka)

SERGIUS: (to himself) Mockery! Mockery everywhere. Everything I think is mocked by everything I do.
Coward, liar, fool! Shall I kill myself like a man or live and pretend to laugh at myself? (Louka starts to leave
the room) Louka, remember, you belong to me.

LOUKA: Is that an insult?

SERGIUS: ….Whether it is an insult I neither know nor care. Take it as you please. But I will not be a
coward and a trifler. If I choose to love you, I dare marry you, in spite of all Bulgaria. If these hands ever
touch you again, they shall touch my affianced bride.

LOUKA: We shall see whether you dare keep your word. And take care. I will not wait long.

SERGIUS: (folding his arms and standing still) Yes, we shall see. And you shall wait my pleasure.

25
 Theme Three, continued
ACTIVITY

Excerpt #4 (Petkoff and Catherine)

PETKOFF: You must talk to Sergius, my dear, until Raina takes him off our hands. He bores my life
about our not promoting him.

CATHERINE: He certainly ought to be promoted when he marries Raina.

PETKOFF: Yes, so that he can throw away whole brigades instead of regiments. It’s no use, my dear.
He hasn’t the slightest chance of promotion until we’re quite sure that the peace will be a lasting one.

Excerpt #5 (Sergius and Raina)

RAINA: (looking at him with admiration and worship) My hero! My king!

SERGIUS: My queen. (He kisses her forehead)… All my deeds have been yours. You inspired me. I have
gone through the war like a knight in a tournament with his lady looking down at him.

RAINA: And you have never been absent from my thoughts for a moment. (Very solemnly) Sergius, I think
we two have found the higher love. When I think of you, I feel that I could never do a base deed, or think
an ignoble thought.

SERGIUS: My lady and my saint.

RAINA: My lord and my—

SERGIUS: Sh—sh! Let me be the worshipper, dear. You little know how unworthy even the best man is
of a girl’s pure passion.

Excerpt #6 (Sergius and Bluntschli)

SERGIUS: You have deceived me. You are my rival… At six o’clock I shall be in the drilling-ground…
alone, on horseback, with my saber. Do you understand?

BLUNTSCHLI: Oh, thank you. That’s a cavalry man’s proposal. I’m in the artillery, and I have the
choice of weapons. If I go, I’ll take a machine gun.

SERGIUS: (with deadly coldness) Take care, sir. It is not our custom in Bulgaria to allow invitations of that
kind to be trifled with.

BLUNTSCHLI: Don’t talk to me about Bulgaria. You don’t know what fighting is. But have it your
own way. Bring your saber along. I’ll meet you.

SERGIUS: Shall I lend you my best horse?

26
 SAY WHAT?
(Text Tips)

Word Where Definition

Akimbo Act II A position in which the hands are on the hips and the elbows
are bowed outward.
Battery Act I a) An emplacement for one or more pieces of artillery;
b) A set of guns or other heavy artillery, as on a warship;
c) An army artillery unit, corresponding to a company in the
infantry.
Baulked Act II To refuse obstinately or abruptly: ‘She baulked at the very idea’.
Bayonet Act I A blade adapted to fit the muzzle end of a rifle and used as a
weapon in close combat.
Blackguard Act I A thoroughly unprincipled person; a scoundrel; a foul-
mouthed person. Pronounced “bla-gard”.
Bourgeois Act II Of the middle class; attitudes and behaviour that conform to
the standards and conventions of the middle class.
Brigades Act II A military unit consisting of a number of combat battalions
or regiments.
Bucharest Act I Capital city of Romania, since 1862.
Byron Act I George Gordon, Lord Byron (1788-1824). Romantic poet
and satirist, famous for numerous love affairs.
Capriciously Act II Guided by whim or fancy, rather than judgment; unpredict-
able.
Castilian Act I A native of the Spanish province of Castile.
Chaff Act I Husks of corn, separated by threshing.“… Scattered like chaff.”
Coquetry Act II Dalliance; flirtation; playful behavior, arousing sexual interest.
Cossack Act II A people of southern European Russia and adjacent parts of
Asia, noted as cavalrymen especially during Czarist times.
Court martialled Act I A military or naval court (tribunal) of officers appointed by a
commander to try persons for offenses under military law.
Czar Act III Czar (Tsar) Nicholas II, Russia (1868-1918); last crowned
Emperor of Russia, ruled 1894 until the Russian Revolution
of 1917; Bolsheviks executed entire family in July, 1918.
Don Quixote Act I An impractical idealist bent on righting incorrigible wrongs;
hero of a satirical chivalric romance by Miguel de Cervantes.
Ernani Act I Opera by Giuseppe Verdi, of love, revenge and conspiracy.
.

27
 SAY WHAT?
(Text Tips, continued)

Word Where Definition

Field Marshal Act II An officer in some European armies ranking just below com-
mander in chief.
Forage Act II The act of looking or searching for food or provisions.
Fusillade Act I Discharge from firearms fired simultaneously or in rapid suc-
cession
Gaiters Act II Heavy cloth covering from instep to the ankle or knee.
Imperturbability Act II Calm and unruffled self-assurance.
Lest Act II For fear that: ‘She tiptoed lest her mother should hear her’.
Levas Act III Currency from Bulgaria; basic unit is the ‘lev’ divided into 100
‘stotinka’.
Major Act I Commissioned rank in Army, Air Force, or Marine Corps that
is above captain and below lieutenant colonel.
Middling Act I Fairly; moderately; of no exceptional quality or ability.
Perfunctory Act II Done routinely and with little interest or care.
Philippopolis Act II Oldest town in the Free State of South Africa, founded in
1823.
Peremptorily Act II Expressing a command, dictatorial.
Prince Alexander Act II Alexander Joseph of Battenberg (1857-1893), the first prince
of modern Bulgaria, reigned from 1879 to 1886.
Propriety Act II The quality of being proper; conformity to prevailing customs
and usages; the usages and customs of polite society.
Prosaic Act I Lacking in imagination, spirit; dull; rather matter-of-fact;
straight forward.
Pushkin Act 1 Aleksander Pushkin (1799-1837): Russian poet and author,
often considered founder of modern Russian literature.
Regiments Act II A military unit of ground troops consisting of at least two bat-
talions, usually commanded by a Colonel.
Sabre Act I A stout sword with a curved blade and thick back.
Salver Act II A small tray used, in this play, for presenting calling cards.
Seamy Act II Sordid: “seamy tales of messy divorces and drug addiction.”
Servile Act II Submissive; slave-like; relating to servitude or forced labour.
Sheathing Act I A case for a blade; to encase or cover, as if using a sheath.
Shew Act I Variant of show, pronounced as ‘show’.
Slivnitza Act 1 Battle of Slivnitza, 17-19 November, 1885, was a Bulgarian
victory and the decisive battle of the Serbo-Bulgarian war.

28
 GLOSSARY OF THEATRE TERMS WHO WORKS IN A THEATRE

BLOCKING: The actor’s movement on stage is known as DIRECTOR: The person who guides the actors during the
“blocking”. The Stage Manager writes the blocking notation rehearsal period as they stage the play. The director is respon-
into the Prompt Script. sible for presenting a unified vision of the play to the audi-
ence.
COSTUME: Anything that an actor wears on stage is re-
ferred to as a costume. The Wardrobe department (the de- DESIGNERS: The people who work with the director to
partment responsible for creating costumes) provides clothes, decide what the production will look like. Designers must
shoes, hats, and any personal accessories such as umbrellas, choose the colour, shape and texture of everything you see
purses and eyeglasses. on the stage. There are several areas that need to have design-
ers: costumes, set, lighting and sometimes sound. The design-
DROP: A drop is a large piece of painted canvas that is
ers work very closely with the director to create the environ-
“flown in” by the flyman (see FLYMAN).
ment in which the play will take place.
GREEN ROOM: The green room, usually near the en-
DYER: The person who dyes fabrics for the Wardrobe de-
trance to the stage, is where the actors and crew sit while
partment.
waiting for their turn to go on stage. One possible explana-
tion of how the green room got its name is that actors used FLYMAN: The person responsible for the manipulation of
to wait for their entrances at the back of the theatre in an the scenery which is in the fly gallery (the space above the
area where the scenery was stored. Perhaps the scenery was stage). The scenery is manipulated by ropes attached to a
green, or the name “scene room” evolved into “green room”. counterweight system.

ORCHESTRA PIT: The orchestra pit is the place where MILLINER: The person who makes the hats which the
the musicians perform during a musical. Usually the orchestra actors wear on stage.
pit is between the front row of the audience and the stage.
PROPS BUYER: The person who buys items that will be
PROPS: A property or “prop” is anything that the audience used or adapted to become props. Props buyers also pur-
sees that is not worn by an actor and is not a structural part chase the raw material used to build props.
of the set. Some examples are: tables, chairs, couches, car-
SCENIC ARTISTS: The people who are responsible for
pets, pictures, lamps, weapons, food eaten during a play,
painting and decorating the surfaces of the set. Some of the
dishes, cutlery, briefcases, books, newspapers, pens, tele-
techniques they use include: wood graining, stenciling, mar-
phones, curtains and anything else you can imagine.
bling and brickwork. They also paint the drops and scrims
PROSCENIUM: A term describing the physical character- that are flown in.
istics of a theatre. A proscenium theatre is one in which the
STAGE CARPENTER: The person who ensures that
audience and the actors are separated by a picture-frame
everything runs smoothly on stage during a performance.
opening that the audience looks through to see the actors.
The stage carpenter and stage crew are responsible for chang-
Surrounding this opening is the PROSCENIUM ARCH. If
ing the sets between scenes and acts.
there is an acting area on the audience side of the proscenium
arch, it is referred to as the APRON or FORESTAGE. STAGE MANAGER: The person who makes sure that all
rehearsals and performances run smoothly. During a per-
SCRIM: A scrim is a piece of gauze that is painted and used
formance the stage manager also makes sure that all of the
as part of the scenery. When a scrim is lit from in front it is
technical elements (e.g. lights, sound, curtains flying in and
opaque, you cannot see through it. When a scrim is lit from
out) happen at exactly the right time.
behind it is transparent, you can see through it. This allows
for many different visual effects to be created by the lighting TECHNICAL DIRECTOR: The person who is responsi-
and set designers. ble for coordinating all of the technical elements of a produc-
tion. Technical directors work with the people who build the
THRUST STAGE: A thrust stage is a stage that is sur-
sets, props, costumes, wigs and special effects to make sure
rounded on three sides by the audience.
that everything runs smoothly.
29
 Theatre Terms crossword Puzzle
Complete the puzzle using the clues shown below.

Across
1. A place where the musicians perform during a musical, usually between the front row of the audience and the stage.

3. The actor's movement on stage. The Stage Manager writes this notation into the Prompt Script.

5. Piece of painted gauze used as part of the scenery, which when lit allows for many different visual effects to be created by the lighting & set designers.
7. Anything that the audience sees that is not worn by an actor and is not a structural part of the set.

10. The people who work with the director to decide what the production will look like.

13. Person who guides the actors during rehearsals, and is responsible for presenting a unified vision of the play to the audience.

14. A stage that is surrounded on three sides by the audience.

15. The person who ensures that everything runs smoothly and on time during a performance.
16. Usually near the entrance to the stage where the actors and crew sit while waiting for their turn to go on stage.

17. A large piece of painted canvas that is "flown in" by the flyman.

Down
2. Person responsible for coordinating technical elements of a production & works with people who build the sets, props, costumes, wigs, special effects.
4. The people who are responsible for painting and decorating the surfaces of the set.

6. The person who make the hats which the actors wear on stage.

8. A term describing a theatre in which the audience & actors are separated by a picture-frame opening that the audience looks through to see the actors.
9. The person responsible for the manipulation of the scenery which is in the fly gallery (the space above the stage).

11. The person who buys items and raw materials that will be used or adapted to become props.

12. Anything that an actor wears on stage.

13. The person who colours fabrics for the Wardrobe department.

30
 Theatre Terms crossword solution

Across
1. A place where the musicians perform during a musical, usually between the front row of the audience and the stage.

3. The actor's movements on stage, always noted in the Stage Manager ‘s Prompt Script.

5. Piece of painted gauze used as part of scenery, which when lit allows for many different visual effects to be created by the lighting & set designers.
7. Anything that the audience sees that is not worn by an actor and is not a structural part of the set.

10. The people who work with the director to decide how the production will look and sound.

13. Person who guides the actors during rehearsals, and is responsible for presenting a unified vision of the play to the audience.

14. A stage that is surrounded on three sides by the audience.

15. The person who ensures that everything runs smoothly and on time during a performance.
16. Usually near the entrance to the stage where the actors and crew sit while waiting for their turn to go on stage.

17. A large piece of painted canvas that is "flown in" by the flyman.

Down
2. Person responsible for coordinating technical elements of a production & works with people who build sets, props, costumes, wigs, special effects.
4. The people who are responsible for painting and decorating the surfaces of the set.

6. The person who make the hats that are worn by the actors on stage.

8. Term describing a theatre where the audience is separated from the actors by an arch-like opening, similar to a picture frame.
9. The person responsible for the manipulation of the scenery that is kept in the fly gallery (the space above the stage).

11. The person who buys items and raw materials that will be used or adapted to become props.

12. Anything that an actor wears on stage.

13. The person who colours fabrics for the Wardrobe department.

31
 Arms and The Man
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Design Notes: YES _______ NO _______

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Lessons before the play: YES _______ NO _______

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