Study Guide: THIS
BY: Melissa James Gibson
DIRECTED BY: Matthew Jocelyn
A Canadian Stage production
Mar 18-Apr 13, 2013
Overview and Classroom Activities
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A Student’s Guide to Live Theatre
Here are your responsibilities:
1. Thank you in advance for turning off your cell phone, iPod, iPhone and anything else that makes
noise before entering the theatre. These items distract the actors, your classmates and you!
They can also affect our in-house technical signals and spoil the show. This is a common
courtesy. Vibrate/silent is not the same as off.
2. No texting! Because your phone is off you will need to wait until intermission to update your
Facebook status (and when you login, link to Canadian Stage at www.facebook.com/cdnstage)
or tweet to us @canadianstage to tell us your thoughts.
3. No headphones of any sort. Listening to your own media is not only rude, but distracting to
those around you.
4. In order to respect our theatre and you, our patrons, we only allow water in the theatre and no
other food or drinks.
5. Please refrain from talking during the performance - the actors and the audience will hear you!
(Laugh when it’s funny, cry when it’s sad. Otherwise, zip it!)
6. Please sit in the seat assigned to you. If you sit elsewhere the seating for everyone is disrupted.
7. Represent your school and yourself well with good behavior. Theatre is awesome. You should be
too!
8. Keep an open mind and think critically. Theatre is engaging and challenging. Be prepared to
examine what you see rather than judge it. You’ll be surprised how much you learn, even about
yourself, when you try to see things differently.
9. Enjoy the show and come again soon!
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THIS
Synopsis
A group of friends in their thirties struggle with infidelity, grieving, parenting, and the meaning of life.
The characters are well educated and reside in an urban setting.
Jane’s husband died over a year ago but his ashes are still sitting on top of her fridge. Struggling to raise
her young daughter alone, Jane isn’t really okay. Her friends try to cheer her up with party games and
blind dates but they’re desperate for fun themselves, juggling a sleep-deprived new baby and a
relationship strained to the breaking point. Their wisecracking and wine-drinking gay friend tries to help
while a sexy, French Doctor-Without-Borders incites temptation – and perspective.
Characters
Jane - a 38-year-old poet. She is recently widowed. Jane has a daughter named Maude.
Marrell – a 38-year-old jazz singer and new mother. She is married to Tom. Both Marrell and Tom were
old college friends with Jane and her deceased husband Roy.
Tom – Marrell’s husband. He is in his early forties. He is a cabinet maker.
Alan - Friend of Jane, Marrell, and Tom. Alan is a gay Jewish man who has recently turned 40. He is a
mnemonist, meaning that he has an exceptional ability to remember and recall unusually long lists of
data.
Jean-Pierre - French doctor with Doctors Without Borders in his late thirties. Marrell tries to set him up
on a date with Jane.
Theatrical Context
Melissa James Gibson’s THIS is a comedy about a group of close friends entering the confusing and
uncomfortable time that permeates early-mid adulthood as they struggle to define the purpose of their
lives. In this piece, Gibson focuses on the use of dialogue that mimics the stops and starts of actual
conversation in a way that makes the characters sound true to life. The result is an accessible work for
contemporary audiences as they witness the trials and hardships of realistic characters.
“For me, the best writing comes from grappling with something – often on a very unconscious level –
grappling with something on the page,” Gibson told the Globe and Mail in August 2012. “I’m definitely
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attracted to writing that really sits on the edge of comic and deeply painful. That, to me, is where life
exists most fully. So that’s the edge I’m most attracted to exploring.” (Lederman, 2012)
Historical and Social Background
THIS is Melissa James Gibson’s ninth play. It had a successful off-Broadway premiere in 2009 at the
Playwrights' Horizons Mainstage.
In 2009, the United States was evolving. The country was still reeling under the economic meltdown of
2008 and had just voted Barack Obama as the first black president and switched the country from
Republican to Democratic, among other major changes. The country was changing rapidly, provoking a
time to question previously held beliefs and wonder about the future.
Gibson’s earlier plays dealt with the importance of family life. In her Obie award-winning [sic] (2002), for
instance, three neighbors and possible lovers are in desperate need of money and affection and
ultimately realize the importance of friendship. Her play Current Nobody (2007) deals with the fate of a
family divided. THIS, on the other hand, deals with the problems that arise from family life: adultery,
grief over losing a loved one, and the trials of parenting.
The story of angst among thirty-something friends is a common one. While midlife crises are
traditionally associated with people in their 40s and 50s, recent research shows that shifting work and
relationship pressures has made the 30s many people’s unhappiest decade. This phenomenon has come
to be known as a “quarter-life crisis”. This recent pattern is associated with a more fluid lifestyle than
once existed. According to Dr. Oliver Robinson, a researcher at Greenwich University, “there is greater
fluidity in the job world, greater fluidity in marriage or alternatives to marriage. This fluidity has meant
major life changes are more acceptable. In the past if a major life change were to occur it would happen
in mid-life.” (Macrae, 2011) In THIS the characters are all affected by choices and changes that may lead
to such symptoms of unhappiness and self-doubt.
1. About the Melissa James Gibson
The following is from Arts+Culture (Gottlieb, 2006-2009)
Melissa James Gibson is at once an anomaly among contemporary playwrights and a sterling emblem of
her contemporary theatrical period. As anomaly, she imbues each work with a singular integrity that
seems almost defiant of the current overriding trend of theatrical collectives and hive-minded groups.
As emblem of her contemporary theatrical period, she displays in her texts evident and considered
examination of various notions of theatricality; in this way, she is similar to such playwrights as the late
Sarah Kane and Tarell Alvin McCraney and such theatre groups as The Talking Band and Elevator Repair
Service, among others. What separates her from these contemporaries is a subtlety in approach that
allows for more nuanced appreciation of the inherencies of the stage - little in her work bears the
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theatrical fireworks of Tony Kushner or Ontological-Hysteric Theater, others with whom she may
reasonably, with considerable caveats, be aligned - without casting her work into the often outsize and
hyperbolic territory of these other artists. She has cited as among her favorite writers Christopher Fry,
Mac Wellman, and Suzan Lori-Parks, and with each she does share certain affinities and concerns; to
offer a cursory account: with Fry, an appreciation of the unexplained minor absurdities of life; with
Wellman, an indefatigable formal experimentation; with Lori-Parks, an interest in locating within
colloquial speech its mythic and allusive substructures. But the nuance of her approach to each of these
elements is largely what allows for what may, quite sadly, be considered the more "traditional"
elements of her plays: their humanity, their concern for the piquantly painful and bizarre within the
ostensible ordinariness of quotidian life. This is what distinguishes her from many of her
contemporaries; this is what makes her work not only acutely contemporary but also timeless.
2. An interview with Set and Costume Designer Astrid Janson
Astrid Janson is the set and costume designer for this original production of THIS. She took some time to
answer questions from Erin Schachter, Education and Audience Development Manager at Canadian
Stage, in order to help us better understand the process of designing for a contemporary play.
Erin Schachter: How did you get involved in set and costume design?
Astrid Janson : I have always enjoyed making things with my hands and creating fictitious “worlds”. I
participated in school drama productions and once I had a university degree in philosophy decided that
my real calling was the theatre. I went back to university to do an MA at UBC in Theatre Design.
ES: How did you get involved with this production specifically?
AJ: [Canadian Stage Artistic & General Director, and this show’s director] Matthew Jocelyn asked me to
read the script and consider if I was interested in collaborating with him on THIS.
ES: What is the process of designing for a show? Can you walk us through some of the steps of taking
a play from page to stage?
AJ: The process always begins with multiple readings of the play. It is important for the design to grow
out of the text rather than be a superimposed “concept.” I like to have several intensive discussions with
the director about the play itself; the characters, the dominant themes, the arc of the action, the
“period” etc.
Then I work directly in 3 dimensions, making a rough scale model of the space, placing the actors in
relation to the audience. Researching materials is an essential step for me as well.
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After an initial go ahead from the director, the design is refined. Collaborating with the lighting designer
is helpful at this point to solve any issues that the set presents and begin a dialogue about the aesthetics
of the production.
Once the design is completed with all the necessary technical drawings and an accurate model, the
budget meetings begin in earnest.
The production staff for the show must then calculate the costs for building the sets, costumes and
props and, in conjunction with the designer, make any adaptations etc.
The building stage is next, involving many crafts and skills: carpentry, electrics, rigging, prop building,
scenic art, cutting and sewing costumes.
After the costume fittings, the production elements all come together for technical and dress rehearsals
and the show is presented in front of an audience in previews, where final adjustments can be made
before the opening!
ES: What type of research do you need to prepare for a contemporary piece?
AJ: For a contemporary piece, the designer still has to zero in on whether to use a specific time, e.g. the
90’s, or whether the approach is to be more eclectic (drawing from different times) or “timeless.” This
research applies to furnishings, props and costumes as well as materials used in the set.
The second area of research is in discovering who the characters are: their economic status, their age
and physical features, their ethnicity, relationships, and other circumstances. It is also important to
research where the play takes place: in an urban or rural setting, which society or country, the
socio/political climate.
ES: How do you define a character through their wardrobe? Are there specific characteristics
highlighted in their costumes?
AJ: Defining a character through his/her costume is done with research as mentioned above in terms of
age and professional/economic status. In addition, choice of colour, decoration and accessories indicate
more specific characteristics. Sometimes a designer may decide on “remedial” costuming by altering the
actor’s natural physique (padding etc.) or aging techniques to further help the characterization. Wigs
and makeup can play a large part in this as well. It is important not to let one’s own “taste” get in the
way of the costume design.
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ES: Does casting affect your costume design? If so, how?
AJ: Casting does affect the costume choices. An actor must feel that he/she looks the part and also be
comfortable in the costume. Sometimes it may be necessary to make a character look quite different
than the actor looks in real life. Occasionally a designer may be asked for costume drawings before the
part is cast which can be challenging.
ES: What are the unique opportunities and challenges you face in this theatre about designing for the
Berkeley Street Theatre?
AJ: The director and I decided the intimacy and warmth of the Berkeley Street Theatre was an ideal fit
for THIS. We decided to take advantage of the old industrial structure and strip away the “stage” in
order to create one environment that includes both the actors and audience. The actors will be sharing
the space with, and be part of the audience, while still maintaining their acting areas, visible from
everywhere. We removed the window coverings to allow daylight to be a part of the show’s
atmosphere.
ES: How do you work with the other designers on this production, such as sound and lighting?
AJ: By collaborating early on with the lighting designer, looking at the scale model and watching
rehearsals together, we were able to start the dialogue with the director in order to establish what
quality of lighting this production needs.
The idea of including the audience applies to lighting as well so this will determine many of his choices in
instruments, positions, and cues. Subtle lighting requires a lot of detailed planning. Bringing the sound
designer into the process early is really helpful in establishing the tone and function of sound, and giving
the designer perimeters for speaker placement.
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Study Links
Here are some curriculum connection points and sample discussion questions. These questions
may be used to prompt conversations in your classroom.
Psychology
Jane seems lost and isolated both from her friends and from her daughter as a result of her grief. How
does grief affect people? Identify different stages of grief, and some of the steps people go through to
cope with their grief.
Cultural Anthropology
Médecins Sans Frontières (MSF), or Doctors Without Borders, finds itself in a double bind. To remain
mobile they must limit local involvement, but as with mostly expatriate (often white) expert groups,
they can be seen as an elite force that swoops in to save local groups from their own ignorance. How
can this dilemma be addressed? Is this also the catch 22 portrayed by Jean-Pierre: he is introduced to
“solve” Jane’s problems, but can her problems only be resolved from within?
English
Gibson uses language as a device in the play. The title THIS is in itself significant: though simple, it
provides a lot of information. The dialogue style is natural and follows people’s speech patterns and
thoughts, and Gibson has a wonderful ear for the absurdities of idioms.
ALAN
“All these funny expressions
Just Got The Baby Down
It’s like the baby’s depressed or
or like you’ve finally succeeded in oppressing the baby
I Just Got The Baby Down
I Just Got The Baby Down”
(THIS 9)
How does the title set the tone of the play? What does the play of language teach us about each
character?
Drama
The script is written in a way that allows much interpretation from the actors, inlcuding limited stage
direction and punctuation. How may choices around intonation, placement of pauses, and direction
affect the play’s action? Can you think of scenes you would have directed differently that would have
changed the audience’s experience of the play in a meaningful way?
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Philosophy
THIS presents us with a group of characters who are particularly aware of how their choices have
directed their life paths. Consider Jane, for example, who is questioning her place in life now that her
husband has passed and her career as a poet has stalled. She last published 12 years ago and is
currently working as a teacher. How have conscious actions in these characters pasts affected where we
meet them during THIS? Further, how are their decisions throughout the play going to affect them and
those around them in the future? Consider how this play proves, or disproves, accepted philosophies
such as fatalism and causation.
Does Jane have an obligation to suppress her grieving in front of her daughter, Maude? Look at the
philosophy of meta-emotion.
What are the ethical implications of Jane’s affair with Tom? If it were necessary for Jane to have an
affair with Tom to be able to resolve her crisis, does that mitigate any wrong doing?
Gender Studies/History
Men and women are often “expected” to grieve differently. Compare and contrast historical
expectations of widows and widowers through the ages.
How do the characters in THIS reinforce existing gender stereotypes? How do they challenge them?
Politics
What issues would an organization such as Médecins Sans Frontières (MSF), or Doctors Without
Borders, need to negotiate before entering an area of conflict? What benefits do warring factions gain
by allowing humanitarian organizations access to their territory?
Note: The book Humanitarian Negotiations Revealed: The MSF Experience is an excellent resource. It
“takes readers behind the scenes of humanitarian action, revealing the complicated negotiations and
precarious compromises required to negotiate access to populations trapped by armed conflicts and
health crises.” (Doctors Without Borders, 2012)
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CRITICAL EXPLORATION
1. The Role of Language in THIS
Gibson is clever in her manipulation of language and the flexibility of words. A perfect example exists in
the many ways that Gibson phrases how long ago Jane’s husband Roy died. Depending on who is talking,
Jane lost her husband “not even a year ago” or “an entire year ago.” Marrell refers to Jane as being sad
because “it’s only been a year,” and immediately responds to the query about why she is setting Jane up
with Jean Pierre with “Because it’s been a whole year” (THIS 25). The importance of word choice is
established by the party game played in the first scene in which how a question is asked determines the
answer that follows.
Alan personifies the use of language as a weapon. He is a mnemonist with an exceptional memory. His
ability allows him to accurately remember everything ever said, and he is used by Marrell and Tom to
recreate a previous argument. He mediates the misunderstandings between them by allowing them to
faithfully go back to the argument and realize what they actually said instead of what they remember
saying.
Marrell, who has signs throughout her house to direct people where to go and how to act (“What
Happened To The Please Knock Sign” (THIS 10)), is obsessed by the correct pronunciation of the water
filtration system.
The wordplay in Gibson’s plays is both cryptic and accessible. Gibson’s language has been described as a
musical score that is hyper-realistic: much closer to the way people speak than so-called 'naturalistic'
dialogue. There's a great deal of freedom and variation to be found within the formal structure. For
Christina Kirk, the actress acclaimed for her portrayal of Babette in Gibson’s [sic] and Sallie in the
playwright’s Suitcase, Gibson's technique “foregrounds everything we experience in everyday
conversations: the awkwardness, the pauses, the hesitations, the stops and starts, and the thought
processes beneath the words. She writes with real precision and virtuosity” (Shandell, 2005).
JANE
I’ve been down that road with her
That’s when she says
Sometimes Mothers Are Wrong
And then when I say That’s True
But Not This Time
And then when she says You Always Say That
And then when I say You’re Right
(slight pause)
(THIS 59)
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In THIS, long conversations about trivial things are battles of wordplay. Gibson chooses to omit
punctuation entirely and rarely offers stage directions. Furthermore, as is apparent in the following
excerpt from the script, Gibson is deliberate in her use of capitalization. These choices allow for
flexibility in an actor’s interpretation.
JANE
Only three of my poetry students showed up and then when I was proctoring I caught two kids cheating
ALAN
What did you do
JANE
Nothing, it was a practice test
ALAN
So they were only practicing cheating
JANE
And they definitely need more practice Did
Maude have homework
(THIS 58)
The characters often take each other literally, which leads to comical exchanges. Sometimes these
scenes have little meaning beyond establishing realistic, banal, conversation. It is the combination of
how thoughts are expressed and interpreted that drive the drama within THIS.
2. Generation X
THIS tells the story of a group of characters who may characterized as being part of Generation X, or Gen
X. The use of the term “Generation X” to describe the children of baby boomers was popularized by the
Canadian author Douglas Coupland. Gen X is commonly accepted as the generation immediately
following the baby boomers. This includes people born from around the mid 60s to the late 70s or even
early 80s. In the United States, Gen X was originally referred to as the "baby bust" generation because of
the drop in the birth rate following the baby boom.
Author John Ulrich explains that “’Generation X’ has always signified a group of young people, seemingly
without identity, who face an uncertain, ill-defined (and perhaps hostile) future. They are often
identified as slackers, and cynics. In opposition to the baby boomers who believed in hard work to
maintain careers, Gen Xers believe in work/life balance, working to live rather than living to work.” This
nature is particularly reflected in THIS by the fact that most of the characters have nonstandard
occupations; Jane is a poet, Marrell a jazz singer, Alan is a mnemonist who appears on talk shows, and
Tom is a cabinet maker. The characters’ professions are largely irrelevant to the plot which may be why
their careers are excluded from the character list Gibson includes in the script. The play focuses on their
lives and relationships outside of their professional experiences.
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There was significant change throughout the world as Gen X reached adulthood. For example, these
young adults witnessed the end of the Cold War, the height of the AIDS epidemic, the dot com bubble,
the introduction of computers into the home, and, of course, the internet. As a result, change became
the identifying feature of Gen X culture. For example, Gen X is a generation who is known for shifting
careers several times before settling into a permanent position. A significant difference between them
and their parents, the baby boomers, is that the change that affected Gen X was not initiated by them,
unlike the baby boomers that drove societal shifts in the 60s. Gen Xers were often characterized as
disenfranchised slacker youth, and the first generation to earn less than their parents.
Questions:
Do you think being born in one generation or another leads to meaningful differences in how people
react to situations?
What does the expression: “youth is wasted on the young” mean?
A growing percentage of adolescents answer the question: “what do you want to be when you grow up”
by saying “famous.” Thirty years ago this would have been a highly unusual answer. Last year,
a survey found that the top three career aspirations for five- to 11-year-olds in Britain were sports star,
pop star and actor, compared with teacher, banker and doctor 25 years ago. As Rachel, a character in
the TV show Glee, says, "Nowadays being anonymous is worse than being poor." With this in mind, how
do you think your generation will experience your thirties and forties?
What do you think will be described as the defining characteristics of your generation (Generation Z)?
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Image from: (American generations through the years, 2011)
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3. Grieving Rituals
Mourning is universally defined as the practice of grieving over an individual’s death. The rituals
associated with mourning differ throughout various cultures and religions, and sometimes evolve over
time. It is common historically that people from many cultures will wear black when mourning, and will
withdraw from society for a predetermined amount of time, for instance. In THIS, Jane is grieving for her
recently deceased husband, Roy, which is arguably part of the driving mechanism for many of her
actions. In Jane’s case it becomes apparent that she is not necessarily following a prescribed mourning
tradition. Furthermore, the friends around her, who were also close to Roy, are presumably
experiencing grief themselves.
Throughout the southern states in the United States around the 19th century, widows expressed their
grieving by wearing black for the duration of “full mourning”, but could introduce greys and lavender
during the “half mourning” phase. The Roman Catholic Church also accepted these colours as
appropriate during mourning in 1969. Mourning could last up to four years as a sign of respect to the
deceased. If the widow was young and pretty, concluding mourning any earlier could be interpreted as
a sign of promiscuity. Furthermore, these widows were encouraged not to speak to other men for a
length of time following their husband`s passing. A good example of the defiance of such traditions and
the reaction to them is portrayed in the novel/film adaption Gone With the Wind.
In Hinduism, a belief in reincarnation affects mourning rituals. "For death is certain to one who is
born...thou shalt not grieve for what is unavoidable," says the Bhagavad Gita. Bodies are cremated
within 24 hours. In terms of mourning, men must not shave and women must not wash their hair for 10
days following the death of their loved one. Excessive mourning is not encouraged.
In Islam, widows are expected to mourn for 4 months and 10 days according to the Koran. Mourning is
comprised of increased devotion and avoiding wearing decorative clothing or jewelry. In Judaism the
length of time allocated to mourning is dependent on one’s relationship to the decease. It may vary
from one week to 11 months for closer relatives and is meant to allow for sufficient time to grieve
before fully reintegrating into society.
THIS takes place around the time of the first anniversary of Roy’s death, and it begins with Jane’s friends
deciding she should start dating again and introducing her to a potential match.
Questions:
What do you think grieving feels like/looks like?
What elements in society combine to determine what proper grieving rituals might look like?
Back in Victorian times in 19th century England, women were expected to mourn for at least a year for
their husbands, but only 6 months for a child or sibling. Why do you think that is?
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Are you able to identify other cultures and religions with prescribed mourning rituals? What are they?
4. Spiritual Trauma
It is highly common that people in mourning suffer from spiritual trauma. Symptoms may vary but
include contemplating existential questions, a loss of a sense or meaning or coherence in life, a sense of
discouragement or loss of hope, and a feeling of alienation.
Jane is clearing exhibiting a number of these symptoms twelve months after the death of her husband.
In the play’s opening scene, her friends are struggling to socialize with Jane. In a group effort to
reintegrate her into normalcy, they try to set her up with Jean-Pierre. Part of the reason Jane is
resistant to this matchmaking effort is that she has continues to mourn for her husband Roy. The fact
that she has not completely dealt with his death is evident when Jane says: “If I treat him like he’s really
dead then that will mean that he’s not just Out Of Town (sic)” at Marrell’s suggestion that she bury or
dispose of Roy’s ashes (which she currently keeps in a paper bag on top of her fridge). By avoiding
disposing of his ashes, Jane essentially refuses to accept the permanence of Roy’s absence.
Furthermore, she seems unwilling to face the existential questions around a different future than she
had planned for her and her daughter. Jane goes on to ask “what are the people left behind supposed
to do?” (THIS 139)
A hasty and regretted encounter with Tom, her best friend’s husband and Roy’s friend, seems to act as
the catalyst for Jane to rise up out of her period of mourning and start dealing with her trauma. It is
perhaps not by accident that the encounter takes place in a doorway, a threshold which is neither in one
place or another.
Jane also exhibits a loss of a sense of connection with her daughter Maude who is mentioned, but never
appears, throughout the play. Maude is mentioned briefly to emphasize the extent of Jane’s isolation.
Jane mentions that her relationship with her daughter is suffering. In many scenes Jane is on stage with
Marrell and Marrell’s baby, with no reference to her own daughter. It isn’t until the end of the play
when Jane has taken Roy’s ashes and rubbed them on herself, chanting “Down With Death” that she
remembers her daughter and rushes home to her. The last scene in the play is Jane’s apology to her
daughter for being so emotionally absent in the past year and for her failings both as a mother and as a
person in general. In the end she claims she is back and she is present ultimately ending her period of
mourning, and spiritual trauma.
Questions
Did telling Marrell about her adulterous encounter with Tom initiate the healing process for Jane, or was
it the encounter itself?
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Does Jane’s apology to Maude “count” since Maude was asleep the whole time? Or was the apology
really to herself?
5. Doctors Without Borders
Jean-Pierre is a doctor working for Médecins Sans Frontières (Doctors Without Borders).
Médecins Sans Frontières (MSF) was established in 1971 by a small group of French doctors who had
worked in Biafra. Upon their return, they were determined to find a way to respond rapidly and
effectively to public health emergencies, with complete independence from political, economic and
religious influences.
Today, MSF is one of the world's leading independent international secular medical relief organizations,
working in around 80 countries worldwide and with operational centres and national offices in 19
countries.
Jean-Pierre enters Tom and Marrell’s home as a potential suitor for Jane. His presence and the global
issues he represents is symbolic of the problems being faced by rest of them. Problems like adultery
become less significant when compared to the larger devastation witnessed by doctors working for an
organization such as this. In the opening scene where Tom is trying to convince Jane to play a game,
Jean-Pierre answers an urgent phone call and speaks in French regarding a crisis somewhere where a
MSF mobile camp is being shot at. When he hangs up he apologizes to the group and settles in to play
their game. The disaster is never referred to again.
Gibson enjoys showcasing wildly different-sized things next to each other. She said: “I'm interested in
hilarity and disaster as bedfellows. It does seem like they're inextricably linked. On the one hand, the
adultery is a huge event, and on the other hand it's irrelevant. And of course different people often
regard the same event as life-changing or insignificant.” (London, 2010)
Questions
How do you think the inclusion of Jean-Pierre into the narrative propels the story forward?
How does Jean Pierre help Jane through her grieving (if he does at all)?
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Pre Show Activities
1. The Game
Life as a “game” is both a central metaphor in THIS and an actual event that unfolds on stage. Students
can explore the life metaphors found in their favourite games.
a) Knots: Groups of 7-9, standing in a circle. Each student puts their hands into the centre of
the circle and clasps the hands of two other students, one hand to one hand. Check that no
one is holding two hands of the same person and that every hand has another to hold. The
group then has to untie this knot without breaking a link (or an arm or anything else!). It is
in the debriefing that the metaphor is exposed:
- What happened to make this successful?
- Did a leader emerge? How did the group empower the leader?
- (If no leader), how did the group reach consensus?
- Which group solved the problem fastest? Why?
- How is this exercise a metaphor for the types of problems, and actions, the
characters in the play?
b) In the script they play a storytelling game that is amusing for the audience but harrowing for
one of the participants. Pre-teaching students the rules of this game prior to viewing the
play will lead to a greater understanding of the scene and why it unfolds as it does.
i.
ii.
iii.
A simplified version of the game: A volunteer leaves the room. The rest of the group
makes up a story. The volunteer returns and by asking questions (which can only by
answered by Yes or No), and slowly figures out that the story is.
In the play the group plays a variation on this game, by not planning a story at all. They
also added the twist: if the question asked ends in a vowel, the group says “No”; if it
ends in a constant the group says “Yes”; and, if it ends in a Y the group says “Maybe.” In
this version the volunteer essentially creates their own story.
Following a couple rounds of the game, debrief using questions using Bloom’s taxonomy
(starting with ones that are simple to answer and ending with those that require deeper
thinking); students explore this game as a metaphor for life. Ask students to anticipate
how this game might be used in the play.
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2. Generation X, Y, Z and …
Melissa James Gibson has written a play with characters that are emblematic of their generation. What
are the characteristics of your generation? Are there certain characteristics that you associate with your
generation that you feel are particularly appropriate, or inaccurate?
Supplies: 6ft length of blank paper and coloured markers for each group. Access to the internet.
Divide the class into three groups. Assign a generation to each group to research characteristics. Groups
may include Baby Boomers (born after 1945), X (after 1965) and Millenials (after 1980). The shape of a
body is drawn or traced on the paper. The group then “dresses the body” in clothes typical of the
generation. The characteristics can be written in small pieces of paper and placed on or outsider the
body based on whether these are internal/external, psychological/social traits. The bodies are
displayed, and each group introduces their generation to the other groups.
Whole class projects the characteristics of the next generation, individuals born after 2000, and
completes the same activity … what will it be called?
3. Cultural Anthropology Debate
Jean Pierre, one of the characters in the play, works for MSF/Doctors Without Borders. Jean Pierre is
also used in the script as an outsider whose function is to reveal and potentially resolve conflict within
the story. Discuss the nature of outside influence in resolving major conflicts in our lives.
Stage a debate with individual students or small groups supporting each of the following arguments:
Solutions to a country’s/person’s problems are better if they depend only upon themselves. OR
Solutions to a country’s/person’s problems are better if they take advantage of external aid.
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Post Show Activities
1. Painful Moments made Comic
Playwright Melissa James Gibson says she is “attracted to writing that really sits on the edge of comic
and deeply painful. That, to me, is where life exists most fully.” (Lederman 2012)
a) Discuss examples of this from the play (i.e. humour and pathos attached to Roy’s ashes).
b) Working with a partner (or in small groups) identify a time in your life (or another’s close to you)
when you did something embarrassing. Share this with your partner, who will help you flush
out the details of the event (time, place, event details, etc.) Feel free to create a fictional
experience to use in this exercise. If this is the preference, however, it should still be retold as
though it was true.
c) Now, with your partner’s help, retell the story as if it you were a stand-up comedian.
d) Repeat the exercise to explore your partner’s story.
e) Select one, and using both your voices retell it to the class.
f) Debrief as a group. Suggested starting points:
- What happened when you retold your story as a stand-up comedian?
- What is the value to you of being able to “laugh with” yourself over embarrassing incidents?
- Why is this an important thing to be able to do?
- How can you help others to do this?
2. Character Exploration using Hot Seating
Discuss the individual qualities of each character (writing them on the board). Invite a student to take on
the role of their favourite character and be interviewed by the class. The in-role student remains in
character as he/she answers the questions. The class is encouraged to help their in-role classmate to
explore the motivations and attitudes while themselves becoming more aware of different human
behaviours. There are many variations of this exercise, e.g, having several students hot-seat one
character, putting the class into smaller groups so everyone has the opportunity to be in-role, etc.
3. Important Moments
Students discuss briefly the highlights of their field trip (which the teacher can limit to the play itself),
after which they are put into small groups.
a) Each group makes a tableau from amongst these chosen highlights. (Add qualifiers as needed.)
b) After a group rehearsal to ensure everyone is ready, each tableau is shared and discussed.
This simple technique gives students the opportunity to identify what is of interest and relevance to
them in the play they have just seen.
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4. Toxic Statements
Identify “toxic statements” from the play – discuss if they had said it differently, could the conflict have
been avoided? Now draw examples from your environment - what could be said differently?
FOR A COMPLETE UNIT PLAN, SEE THE APPENDIX AT END OF THIS STUDY GUIDE.
5. Write a Review and Submit it to Canadian Stage
As a company, Canadian Stage is very excited to hear from our audiences, especially our younger
patrons. As a class you can examine different formats for play reviews and take a crack at reviewing
THIS. All reviews can be sent to [email protected]. Who knows? Your review might even be
published on our website or in our Educations materials.
Works Cited
American generations through the years. (2011, May 5). Retrieved June 15, 2012, from CNN Living:
http://www.cnn.com/interactive/2011/05/living/infographic.boomer/index.html
Doctors Without Borders. (2012, January 12). New MSF Book Reveals Perils of Negotiating Access to
Crisis Zones. Retrieved June 2012, from Doctors Without Borders:
http://www.doctorswithoutborders.org/press/release_print.cfm?id=5748
Gottlieb, B. (2006-2009). Melissa James Gibson Overview . Retrieved June 2012, from Art+Culture you
might love: http://www.artandculture.com/users/5446-melissa-james-gibson
Lederman, M. (2012, August 24). Canadian playwright Melissa James Gibson comes hom. Retrieved June
2012, from The Globe and Mail: http://m.theglobeandmail.com/arts/theatre-andperformance/canadian-playwright-melissa-james-gibson-comes-home/article561419/?service=mobile
London, T. (2010, February 1). A Foot in Both Zones: An interview with the playwright Melissa James
Gibson. Retrieved 2011, from www.highbeam.com
Macrae, F. (2011, May 5). Most 25 to 35-year-olds suffering from a 'quarter-life crisis'. Retrieved May
2012, from Daily Mail Online: http://www.dailymail.co.uk/sciencetech/article-1383684/Most-25-35year-olds-suffering-quarter-life-crisis.html
Shandell, J. (2005). Melissa James Gibson: City Living - A playwright's weighty themes come to rest on
younger shoulders. American Theatre , www.highbeam.com.
www.headington-institute.org Programs Online Training Trauma and Critical Incident Care 4- Symptoms
of trauma." Trauma and Critical Incident Care for Humanitarian Workers. Www.headingtoninstitute.org. 07 May 2012 <http://www.headington-institute.org/Default.aspx?tabid=2074>.
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Being Assertive
Title: Learning to be Assertive in Conflict Situations Subject/Course: GPP3O Leadership and Peer Support
Topic: Communication Skills
Grade: 11
Stage 1- Desired Results/Learning Goals
Established Goals:
Interpersonal Knowledge and Skills
Overall Expectations
IKV.01 · demonstrate an understanding of and use theories and strategies related to positive and healthy interpersonal relationships;
IKV.02 · demonstrate an understanding of and use theories and strategies related to effective communication;
IKV.03 · demonstrate an understanding of theories and strategies related to leadership and group dynamics and use these to help individuals and diverse groups
achieve their goals
Specific Expectations
Interpersonal Relations
IK1.01 - demonstrate an understanding of the characteristics of positive relationships and of the early signs of an abusive relationship;
IK1.03 - describe the elements of effective interpersonal relations (e.g., respect for differences, flexibility, honesty, integrity) and demonstrate their use in selected
leadership and peer support roles in the school or community;
IK1.04 - describe a conflict resolution model and demonstrate its use in a variety of situations to reduce conflict and reach mutually agreeable solutions;
IK1.06 - identify the types and sources of pressure on adolescents (e.g., peer pressure, family tensions, media influence), describe the behaviours that may result,
and identify appropriate strategies to deal with pressure.
Communication Skills
IK2.01 - explain the benefits and pitfalls of expressing emotions and demonstrate appropriate ways of managing their own emotions and responding to others’
expressions of emotions;
IK2.02 - describe the elements of effective communication (e.g., active listening, non-judgemental statements, paraphrasing) and demonstrate their use in selected
leadership and peer support roles in the school or community (e.g., tutoring, mentoring, coaching, mediating, assisting with school or community projects);
IK2.03 - use feedback effectively and appropriately to help others identify their strengths and areas needing improvement;
IK2.04 - demonstrate an understanding of how to respond appropriately to peers’ disclosures of serious personal matters (e.g., health problems, physical and
emotional abuse, family issues, harassment, substance abuse).
Stage 2- Connections to Melissa James Gibson’s play THIS
Many of the characters in THIS are in a state of constant inner and interpersonal conflict because they want things that
they cannot or ought not to have. Jane wants her husband to be alive. Marrell wants the baby to sleep. Tom wants
Jane, but is married to Marrell. Alan wants some sort of higher purpose in life. They oscillate between passive and
aggressive communication, and often only hint at what they truly need and want from themselves and others.
As Alan reveals when he reminds Tom and Marrell of their exact words from a long ago fight, what people think they are
saying and what is actually communicated are two different things entirely. The repetition of key phrases in this play
(“I’m sorry!”) allows the actors on stage to play with passive, aggressive, and assertive communication styles to
communicate a broad range of meaning and intent.
In this unit, students will learn about different ways of communicating in conflict situations in order to say what they
really mean in productive ways. Through their voices, bodies, and words, they will learn how to align what they want
with the messages they are sending in order to get what they need.
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Understandings:
Essential Questions for Students:
Students face many potential conflict situations at
school, at home, and while socializing with others.
How do you respond to conflict?
Students can hurt themselves or others when they do
not know how to manage conflict in their lives or respect
the needs of others.
How can you get what you need in a conflict-filled
situation?
Is there a better way to respond to conflict?
It is important to equip students with the
communication tools and problem solving skills to stay
safe, maintain healthy relationships, and be well.
What is assertive communication?
Students can learn the difference between aggressive,
passive, and assertive behaviours, and choose how they
respond to difficult situations under stress.
Students will know…
What is active listening, and how can it help you resolve
conflicts?
-the characteristics of passive, aggressive, and assertive
behaviour
-assertiveness techniques (active listening, ‘I’statements)
-assertive responses to a range of situations
-how to assess their own level of assertiveness
-how to identify situations where they may be required to
assert their beliefs in the face of opposition
-how to enhance an assertive message by using
appropriate body language and voice qualities
-distinguish between appropriate and inappropriate
behaviours.
-examine personal boundaries, rights, and privacy needs
-demonstrate cooperative behaviour
-respect alternative points of view
-recognize the importance of respecting facts, evidence,
and views of others when engaging in rational discussions
-use effective communication skills
-understand that communication involves speaking,
listening, and non-verbal behaviour
What does it feel like when someone really listens to you?
Students will be able to …
Stage 3- Assessment Evidence/Success Criteria
Performance Tasks:
Physical Warm Up
Brainstorming, Defining & Identifying
Questionnaire
Scenario Quiz
Script Analysis
Written Responses
Small group role-play
Reflection
Other Evidence:
Formative evaluation by having the student analyse
specific scenarios and assessing student knowledge and
understanding of the assertive communication model and
the ability of the student to apply this knowledge to specific
real-life situations.
The rubric for role-play will be used to assess student
knowledge and application skills
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Stage 4- Learning Plan
Warm Up/Activating Prior Learning: connecting the content to prior learning or experiences
Getting What You Want: use an icebreaker to encourage students to express their views and engage with the topic
Form two lines that face each other (A and B). Everyone in Line A should select an object from the box. Both A and B
want the object very much. Now you must resolve this conflict. Line B may use whatever method they wish to obtain
the object from A (except by physical force) for the next three minutes. Switch roles and play again.

As a group, talk about what happened. Consider the following:

How did you feel when you wanted the object? How did you feel when you had the object?

What strategies did you use to try to get the object?

How was the conflict resolved? How did you feel about the way you solved the conflict?

In the play what were some of the things that people wanted? Did they get those things? Should they get those
things? What strategies did they use to get them, and were those strategies successful? Could you see yourself
wanting similar things in the future?
Setting the Context: clarifying learning and conditions for learning
Introducing the concept of Conflict: explain what students will gain from this activity and how this will benefit them
based on the learning goals and success criteria outlined above.
Ask students for examples of conflicts they observe in school, at work, or at home. Lead the students in a round-table
discussion about how people respond to these conflicts and what they consequences may be.
Have students brainstorm what we mean by aggressive behaviour, passive behaviour, and assertive behaviour. Hang
chart paper titled Passive, Assertive and Aggressive. Hand out slips of paper with the describing words written below,
and have students attempt to put the right descriptor with the right term. Have students assess the class efforts, and
re-position words as needed.
Passive
Aggressive
Assertive
Indifferent
Attacks person verbally or
Speaks clearly and confidently
Lifeless
physically
Honest
Doesn’t care
Hostile
Deals directly with anger
Avoids the problem
Sarcastic
Appropriate
“I’m not good enough”
Blaming
Considers the rights of the other
“It doesn’t matter”
Selfish
person
Builds anger
Opinionated
Deals with the problem
Hopes that needs will be met
Acts out in anger
Active
Lacks confidence
Demanding
Cares about self
Non active
Fighting
Cares about results
Non aggressive
Physical
Cares about the situation
Ignoring
Emotional
Lets others know about their
Lets others be disrespectful
Bullying
needs and wants
Gossips
Stands up for their rights while
respecting others
Ask students to think more about these responses to conflict. What does being passive sound like? Look like? Feel like?
(sighs, lack of eye contact, like a doormat…) Have students add to each of the charts on the wall. Encourage students
to think back to the production and remember how the actors physically portrayed different characters.
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Introducing or Reinforcing the Concept: instructional strategies to introduce or reinforce concepts
Have students fill out the Conflict and Communication Styles Questionnaire to determine how they respond to conflict
in their lives. This will provide students with a starting point to assess their own level of assertiveness.
Note: all people demonstrate each of these behaviours some of the time. The purpose is not to categorize people or to
judge them, but to understand the three response styles – only then can we decide which response is most appropriate
in what situations.
Checking for Understanding: ongoing assessment to inform instruction
Provide students with copies of the Communication Style Handout. Review the terms that they learned today, and
discuss the new term: Passive-Aggressive Communication. See if they can remember examples from the play of passiveaggressive behaviour in response to conflict. Give out the Sample Conflict Scenarios Page, and have students write next
to each answer whether it is a passive, passive-aggressive, aggressive, or assertive response to conflict. This will provide
you with a way to check for understanding of key concepts before moving on.
Guided Practice: application of the concept with guidance from peers and/or teacher – provides opportunities for
assessment and instruction
Direct Instruction: present a few traits of assertive people. (Who is the most assertive character in the play? Why?)
Emphasis that when people are assertive they:
 Know what they want and make it clear by coming to the point
 Are straightforward and honest about their feelings
 Speak for themselves and do not try to tell others what to think or do (Use “I” –statements)
 Can say “No” without a lot of excuses or apologies
 Do not believe that they have to say “Yes” to be liked by others
 Have confident body language, and look others in the eye when talking
Students learn that the amount of preparation they do before delivering an assertive message often determines the
success of their delivery. They learn a sequence of steps to use in delivering an assertive message. They develop the
message by writing the sequence of steps. Lastly, they practice delivering their assertive message orally.
Present the following four steps for delivering an assertive message:
1. Explain your feelings and the problem. (Use “I” statements)
2. Make your request.
3. Ask how the other person feels about the request.
4. Accept with thanks
Pairs of students are given a scenario where their alternatives are to respond passively, aggressively, and assertively
using the four steps to delivering an assertive message. Have pairs discuss and record their responses for formative
assessment.
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Example: Someone repeatedly offers you a cigarette. You do not want it.
Passive: “I don’t think so… “ (hesitantly, lacking confidence)
Aggressive: “I told you I don’t want any. Are you stupid?” (yelling, leaning threateningly towards the person)
Assertive: “I feel pressured when you ask me the same question over and over. Please don’t offer me a cigarette again.
Are you willing to go along with that? Good.” (calmly, with eye contact)
Possible Consequences for acting assertively: the person will not be your friend anymore, the person will respect you
more, other.
Possible scenarios:

The clock in background reads 5:45. Boss: “I told you to get here by five o’clock!” He knows the boss told him to be
there by six.

“Noise” coming though the walls. Boy trying to study saying, “It’s so loud, I can’t even hear myself think!”

Watching TV with boyfriend, Girl 1 says: “I don’t want to watch this again. Why do we always have to do what you
want to do?”

Girl 1: “I heard you’re going to break up with John.” Girl 2 thinks to herself: “I told Girl 3 not to tell anyone. I can’t
believe she told someone else!”

Teacher: “Can you redo this report?” Student thinks: “I’ve done it two times already. He’ll never be happy!”
Remind students to:
 Use “I” statements to say what he/she feels and wants, regardless of whether the feelings are positive or
negative.
 Say firmly and clearly what he wants or needs, without avoiding the subject or apologizing for his requests.
 Use assertive body language: stand tall, look people in the eye, and keep a serious expression on his/her face.
 Refuse to threaten, pressure or put others down.
 Respect other people’ feelings, needs, and explanations, but also be clear about her/his own feelings and needs.
The advantages of communicating assertively are reflected in the way people feel about themselves and how they
relate to others. Those who communicate assertively tend to:
 Feel better about themselves
 Learn to communicate directly and honestly
 Respect the rights of others
 Gain the respect of others
 Say “No” without feeling guilty
 Have better relationships with others
The disadvantages of communicating assertively are:
 It may elicit an aggressive response
 What defines assertive can vary among cultures (it can be interpreted as aggression)
 Others might not like what you have to say, and may respond negatively
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Application (independent): provides opportunities for evaluation of student achievement
Role playing Assertive Behaviour
Display the three posters of assertive, passive, and aggressive behaviors. Say that everyone will perform a role play, in
groups, each asking for what she/he wants in a passive, an aggressive and an assertive way.
1. Review the instructions and success criteria in the rubric:
o Each pair will select a scenario from the list provided in which one person needs to communicate with
another.
o In the pairs, participants will write three versions of a script for the speaker to speak passively,
aggressively, and assertively, using as many appropriate behaviors and consequences for each as they
can.
o Participants will then find another team to work with. Each pair should coach the other pair's roleplaying, by suggesting additional or different words or behaviors to strengthen communication.
2. After the role-play, teams will switch positions and continue.
3. Tell participants they have 20 minutes to work on their role-play. After 10 minutes, announce that pairs should
join together and role-play for each other. Remind the group that coaching is important.
4. After another 15 minutes, ask students to perform their role-plays for the entire group.
5. Assess with the evaluation rubric (attached).
Reflection ( summative): student description of learning, self-assessment, and goal setting
Conclude the activity with the reflection topics below, either in written or oral form.
1. Is it easy to speak up for what you want? What helps you to do so?
2. Do you think that you will be able to use assertive communication skills in real life?
3. What makes people back down from what they really believe in or want? (Jane hates games, but plays anyways
– why?)
4. How will you feel if you speak up for yourself and still do not get what you want?
5. Can you think of a situation in which it might be better to be passive than assertive? Give examples.
6. What should you do if your assertive communication gets a negative response, such as anger or even a direct
threat? (Answers may include but are not limited to: back off and get out of the situation; do not participate in
an escalating conflict.)
7. Can you be assertive if you don’t really know what you want? (Which characters in the play really know what
they want or need? How do they assert themselves?)
8. Is Jane being assertive in the closing monologue of the play?
Closure: summary of learning, connections to other concepts, often combined with reflection
Ask students to identify one area or skill they would like to develop to help them to be more assertive, for example,
being able to express themselves more clearly. Discuss the ways they could achieve this and set a target to work
towards.
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Know your Assertive Rights:
1. The right to say what you think and feel, and to be heard.
2. The right to change your mind.
3. The right to be human (i.e. not ‘perfect’), which includes the right to make mistakes and not to be liked by
everyone.
4. The right to ask for what you want knowing that others have the right to refuse.
5. The right to say “No” without feeling guilty or making excuses.
6. The right to get what you pay for.
7. The right to ask for help.
8. The right to set your own priorities.
9. The right to say “I do not know the answer” or “I do not understand” or “I need some time to think about that.”
PRIMARY SOURCES :
www.ehhs.kent.edu/cite/casap/docs/passiveaggressive.doc
http://www.steppingstonesforvets.org/Conflict/Conflict_And_Communication.pdf
http://www.selfesteem2go.com/social-skills-worksheets.html
http://www.girlshealth.gov/relationships/conflict/teenconflict.txt.cfm
http://www.advocatesforyouth.org/for-professionals/lesson-plans-professionals/1192?task=view
https://www.glastonburyus.org/.../Skit_Rubric%20and%20Description
http://www.mtstcil.org/skills/assert-8.html
http://www.education.com/reference/article/assertive-communication-lesson-plan/
http://www.learnnc.org/lp/pages/3562
http://www.career-productions.co.uk/PDFs/Life%20Tracks%20IYC%2015.pdf
Together We Can: Caring for My FamilyDr. Karen Shirer Relating to Others Lesson 4: Resolving Conflict
Improving Situations by Communicating
SaskEd : Assertiveness Skills Health Education: a Curriculum Guide for the Middle Level
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CONFLICT AND COMMUNICATION STYLES QUESTIONNAIRE
When I am having a problem, disagreement or am in conflict with someone,
I usually . . . (check all that apply)
 Put off dealing with the situation
 Try to meet the other person half way
 Cite authority to show I’m right
 Just give in
 Try to help the other person get what s/he wants
 Complain until I get my way
 Explain my point of view and ask the other person to do the same
 Keep my ideas to myself
 Change the subject
 Try to understand the other person’s point of view
 Get another person to decide who’s right
 Admit I’m wrong even though I don’t think so
When I look closely at my answers above, I think that I respond to conflict in the following way:
Passively
Assertively
Aggressively
Because…
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
The type of person I find it easiest to discuss a problem/conflict with is . . .
_____________________________________________________________________________________
_____________________________________________________________________________________
Because . . .
_____________________________________________________________________________________
_____________________________________________________________________________________
The type of person I find it hardest to discuss a problem/conflict with is . . .
_____________________________________________________________________________________
_____________________________________________________________________________________
Because . . .
_____________________________________________________________________________________
_____________________________________________________________________________________
Ideally, I would like to learn to communicate my needs during a conflict in the following way(s):
_____________________________________________________________________________________
_____________________________________________________________________________________
_____________________________________________________________________________________
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Communication Styles Handout
The style of communication a person uses can greatly influence the outcome of an interaction with
others. Examine the four styles and choose the one which you feel is the healthiest and most effective.
Passive Communication is when a person speaks quietly, avoids eye contact or slumps her posture. She
may agree to something she doesn’t feel comfortable doing or back down from confrontation.
Passive-Aggressive Communication is when a person is passive and agreeable in face-to-face situations,
but aggressive when the other person is no longer present. He may tell his roommate he is not angry
about an argument they shared, and then smash the headlight out of his roommate’s car later that
night.
Assertive Communication is clear, direct and shows respect for self and others. An assertive
communicator makes eye contact, appears relaxed, and speaks firmly from her own viewpoint.
Aggressive Communication is when a person yells at others, clenches his jaw or fists, and points at the
flaws in others. This sometimes escalates into violence.
Most people use a combination of these communication styles, depending on the situation,
though it is always best to aim for assertive communication.
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Sample Conflict Scenarios
Which is the best response/reaction in each of the following scenarios - assuming that ASSERTIVE
communication is the best choice?
1. Your teacher calls you into his office, slams his hand down on the desk and says, “You ruined this
report!” Will you:
a. Tell him it is his fault for failing to provide you with good direction.
b. Nod in agreement, then tell everyone in the office that the teacher is an idiot.
c. Calmly ask him to note the errors and tell him you will fix them.
d. Nod in agreement, and decide that you are incapable of doing this work.
2. Your family isn’t helping with household chores. Will you:
a. Hold a family meeting and ask everyone to volunteer for chosen chores.
b. Stop washing dishes and laundry so that they have nothing clean to use.
c. Make lots of noise as you are cleaning, and yell at them for being lazy.
d. Forget about your hobbies and make time to take care of everything.
3. You find out that your friend lied to you (about something small). Will you:
a. Slap them and scream, “How dare you!”
b. Explain you feel hurt by the dishonesty and wish to address the reasons for it.
c. Act like nothing happened, and then tell lies to them to feel “equal.”
d. Act like nothing happened.
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CRITERIA
Level 4
Preparation
-Excellent use of
class time.
-Clear beginning &
end of scene
-Very good use of
class time.
-Clear beginning &
end of scene.
-Good use of class
time.
-Beginning & end of
scene uncertain.
-Poor use of class
time.
-Beginning & end of
scene uncertain.
Behavioral
Focus
-Excellent focus
during
performance
-Good focus during
performance
-Some focus during
performance
- No focus during
performance.
Performance
Criteria
Clear evidence of:
-Active Listening
-I Message
-Assertive Behavior
-Aggressive
Behavior
-Passive Behavior
All group members
involved
Some evidence of:
-Active Listening
-I Message
-Assertive Behavior
-Aggressive Behavior
-Passive Behavior
Most group members
involved
Little evidence of:
-Active Listening
-I Message
-Assertive Behavior
-Aggressive Behavior
-Passive Behavior
Some group
members involved
No evidence of:
-Active Listening
-I Message
-Assertive Behavior
-Aggressive Behavior
-Passive Behavior
Not all group
members involved
Communication
Examples of both
verbal & non-verbal
(gestures & facial
expressions,
movement)
communication.
-Dialogue can be
heard
-Message is very
clear in
communicating in
the effects of
choosing certain
behaviors,
promotes
practicing positive
behaviors or
illustrates effects of
negative behaviors
Very good examples
of both verbal & nonverbal
communication.
Poor examples
(inappropriate) of
verbal & non-verbal
communication.
-Dialogue can be
heard
-Some difficulty
understanding
sequence of events,
but overall message
promoted positive
practices or shows
risks of negative
behaviors.
-Difficult to hear
No examples of both
verbal & non-verbal
(gestures & facial
expressions,
movement)
communication.
-Cannot hear
dialogue
-Message is unclear
or missing.
Promotes
Positive
Messages or
Behavior
Level 3
Level 2
Level 1
-Message is missing
some key ingredients,
disorganized, and
does not clearly show
the effects of
practicing positive or
negative behaviors.
-Roles do not
demonstrate the
consequences of
positive or negative
decisions/
behaviors.
Notes:
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Skit Description
Description: Using the knowledge that you have gained about Communication & Assertiveness skills,
you will present a skit to the class. Your group members will be selected for you. Each group will choose
scenario and write three scripts: one with a passive response, one with an aggressive response, and one
with an assertive response. Every group member must have a significant speaking role. You will be
graded based upon the criteria on the “Communication & Assertiveness Skills Rubric”.
Choose one of the following scenarios, or suggest a scenario and run it by the teacher.
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A salesman is trying to sell you a product that you don’t want.
Your friend was late picking you up and you missed a job interview.
You lend a friend one of your books. She returns it with pages missing.
Your friend always asks to borrow a few dollars when you go out, but he never repays you. You
begin to resent that he does this all the time.
A relative calls you late at night just to talk. You are tired and have to get up early in the
morning.
You went to a party with some people but the person who was driving had too much to drink
and refuses to let anyone else drive.
You are walking home with a friend and realize it is getting late. A car pulls up and asks if you
want a ride. Your friend is tired and wants to take the ride but you think it's too risky.
Someone in the van you are riding in decides to sing and does so for 15 minutes. It begins to get
on your nerves and you politely ask her to stop, but she doesn't.
The new shoes you bought three weeks ago are already starting to fall apart. You take them
back to the store where you bought them.
You bring your car to a garage for service. You ask the mechanic to call and let you know how
much it will cost before doing the work. He doesn't call and when you call him he tells you he
has already done the work and your bill is $250.
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P a g e | 33
This Study Guide was created and compiled by:
Erin Schachter, Education & Audience Development Manager
Pia Segal, Education Intern
Educator Outreach Program Sponsor:
Canadian Stage Educator Advisory Committee, 2012.2013
Please feel free to contact me or an Advisor from your own board to discuss productions and
further education opportunities at Canadian Stage.
Alicia Roberge
Brendon Allen
Christine Jackson
Janet O’Neill
Jennifer Burak
Julian Richings
Kristen Beach
Laurence Siegel
Melissa Farmer
Michael Limerick
Sally Spofforth
Marc Garneau, TDSB
The Bishop Strachan School, CIS
TDSB
TDSB
Victoria Park CI, TDSB
Arts Education Consultant
York Humber, TDSB
Arts Education Consultant
Branksome Hall, CIS
Monarch Park, TDSB
Marc Garneau, TDSB
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
STUDY GUIDE:
THIS