Moby Dick 2012

study guide

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EDUCATIONAL OUTREACH AT SYRACUSE STAGE

The Bank of America CHILDREN’S TOUR brings high-energy, interactive, and culturally diverse performances to elementary school audiences.The BACKSTORY Program brings history to life as professional actors portray historical figures in classrooms and other venues.ArtsEMERGING takes students on an in-depth exploration of one mainstage season production using a multi-cultural, multi-arts lens.The YOUNG PLAYWRIGHTS FESTIVAL challenges students to submit original ten-minute plays for a chance to see their work performed at Syracuse Stage.The STUDENT MATINEE SERIES provides student with the opportunity for a rich theatrical experience as part of our audience.

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Production InformationIntroductionTeaching TheatreLetter from the DirectorContent and CultureContext and DiscussionIn the ClassroomSources and ResourcesSyracuse Stage Season 2012-13

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12.16.18.19.

Content collection and portions written by Len FonteLayout design and portions written by Michelle Scully

CONTENTS STUDY GUIDE

Syracuse Stage is a global village square where renowned artists and audiences of all ages gather to celebrate our cultural richness, witness the many truths of our common humanity, and explore the transformative power of live theatre.

Celebrating our 40th season as the professional theatre in residence at Syracuse University, we create innovative, adventurous, and entertaining productions of new plays, classics and musicals, and offer interactive education and outreach programs to Central New York.

PRESENTS

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DIRECTED BY

ADAPTED FOR THE STAGE BY

from the book by Herman Melville

SYRACUSE STAGE Moby Dick STUDENT STUDY GUIDE

Alive with a soundscape of 18 authentic sea shanties and performed by an ensemble of nine, this highly physical adaption cuts to the core of Melville’s searing narrative and plays with the fury of a Nantucket sleigh ride. A young man seeks adventure on a whaling vessel and finds himself a pawn in an obsessive pursuit of vengeance that threatens death and destruction for all.

BE PROMPTGive your students plenty of time to arrive, fi nd their seats, and get situated. Have them visit the restrooms before the show begins!

RESPECT OTHERSPlease remind your students that their behavior and responses affect the quality of the per-formance and the enjoyment of the production for the entire audience. Live theatre means the actors and the audience are in the same room, and just as the audience can see and hear the performers, the performers can see and hear the audience. Please ask your students to avoid disturbing those around them. Please no talking or unnecessary or dis-ruptive movement during the performance. Also, please remind students that cellphones should be switched completely off. No texting or tweeting, please. When students give their full attention to the action on the stage, they will be rewarded the best performance possible.

GOOD NOISE, BAD NOISEInstead of instructing students to remain totally silent, please discuss the difference be-tween appropriate responses (laughter, applause, participation when requested) and inap-propriate noise (talking, cell phones, etc).

STAY WITH USPlease do not leave or allow students to leave during the performance except in absolute emergencies. Again, reminding them to use the restrooms before the performance will help eliminate unnecessary disruption.

Etiquette

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AudienceA few reminders...

introduction Welcome!

As you take your students on the exciting journey into the world of live theatre we hope that you’ll take a moment to help prepare them to make the most of their experience. Unlike movies or television, live theatre offers the thrill of unpredictability.

With the actors present on stage, the audience response becomes an integral part of the performance and the overall experience: the more involved and attentive the audience, the better the show. Please remind your students that they play an important part in the success of the performance!


INQUIRY How are each of these art forms used in this production?Why are they used? How do they help to tell the story?

Plot What is the story line? What happened before the play started? What does each character want? What do they do to achieve their goals? What do they stand to gain/lose?

Character Who are the people in the story? What are their relationships? Why do they do what they do? How does ages/status/etc. affect them?

Language What do the characters say? How do they say it? When do they say it?

Music How do music and sound help to tell the story?

Spectacle What visual elements support the play? This could include: puppets, scenery, costumes, dance, movement, and more.

Theme What ideas are wrestled with in the play? What questions does the play pose? Does it present an opinion?

Most (but not all) plays begin with a script — a story to be told and a blueprint of how to tell it. In his famous treatise, The Poetics,

the ancient Greek philosopher Aristotle outlined six

Other Elements: Confl ict/Resolution, Action, Improvisation, Non-verbal communication, Staging, Humor, Realism and other styles, Metaphor, Language, Tone, Pattern & Repetition, Emotion, Point of view.

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ACTIVITYWRITINGVISUAL ART/DESIGNMUSIC/SOUNDDANCE/MOVEMENT

At its core, drama is about characters working toward goals and overcoming obstacles. Ask students to use their bodies and voices to create characters who are: very old, very young, very strong, very weak, very tired, very energetic, very cold, very warm. Have their characters interact with others. Give them an objective to fulfi ll despite environmental obstacles. Later, recap by asking how these obstacles affected their characters and the pursuit of their objectives.

Any piece of theatre comprises multiple art forms. As you explore this production with your students, examine the use of:

Plot What is the story line? What happened before the play started? What does each character want? What do they do to achieve their goals? What do they stand to gain/

Most (but not all) plays begin with a script — a story to be told and a blueprint of how to tell it. In his famous treatise, The Poetics,

the ancient Greek philosopher Aristotle outlined sixthe ancient Greek philosopher Aristotle outlined six

Elements of Dramateachin

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that playwrights are mindful of to this day:

Elements of DesignLINE can have length, width, texture, direction and curve. There are 5 basic varieties: vertical, hori-zontal, diagonal, curved, and zig-zag. SHAPE is two-dimensional and encloses

space. It can be geometric (e.g. squares and circles), man-made, or free-form.

FORM is three-dimensional. It encloses space and fi lls space. It can be geometric (e.g. cubes and cylinders), man-made, or free-form.

SPACE is de-fi ned and determined by shapes and forms. Posi-tive space is enclosed by shapes and forms, while negative space exists around them.

COLOR has three basic properties: HUE is the name of the color (e.g. red, blue, green), INTENSITY is the strength of the color (bright or dull), VALUE is the range of lightness to darkness.

TEXTURE refers to the “feel” of an object’s surface. It can be smooth, rough, soft, etc. Tex-tures may be ACTUAL (able to be felt) or IMPLIED (suggested visually through the artist’s technique).

Most plays utilize designers to create the visual world of the play through scenery, costumes,

lighting, and more. These artists use

to communicate information about the world within the play and its characters.

APPLIED LEARNING Have students discuss these elements BEFORE attending the performance and ask them to pay special attention to how these elements are used in the production’s design. Whether your students are observing a piece of visual art (painting, sculpture, photograph) or a piece of performance art (play, dance), allow them fi rst to notice the basic elements, then encourage them to look deeper into why these elements are used the way they are.

7SYRACUSE STAGE Moby Dick STUDENT STUDY GUIDE

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Lauren UnbekantDirector of Educational Outreach

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SYRACUSE STAGE Moby Dick STUDENT STUDY GUIDE 8

Dear Educator,Live theatre is a place for people to gather and experience the joys, triumphs, and sorrows life has to offer through a shared experience.

The Syracuse Stage Education Department is committed to providing the tools to make learning in and through the arts possible, to address varied learning styles and make connections to curriculum and life itself. It is our goal in the education department to maximize the theatre experi-ence for our education partners with experiential learning and in-depth arts programming. Thank you for your inter-est and support!

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Cast of CharactersIshmael A young man who signs aboard the whaler, The Pequod.Ahab Captain of the Pequod, a "grand, ungodly, god-like man," with a wooden leg. He’s obsessed with finding the white whale.Starbuck the First Mate, a Quaker family manLandlord Peter Coffin owner of the Peter Coffin Inn.Queequeg The physically imposing Polynesian harpooner.Mr. Peleg the owner of the Pequod. Elijah, a mad prophet.Perth the ship’s blacksmithStubb the Second MateFlask the Third MateCarpenter a member of the crewCaptain Boomer anEnglishman with a detachable artificial arm. He has lost the limb to the White Whale.Captain Gardiner the Captain of the Rachel, searching for his son lost to Moby Dick.Sailors, townsfolk, etc.

About this Production...Moby Dick was adapted by Julian Rad from the original text by Herman Melville. It is a play with music, featuring songs adapted from traditional sea chanties. As an adaptation of a notoriously lengthy classic, the production leaves out the famous digressions into philosophy and the world of whaling. Bringing the work down to a manageable playing length also required the loss of some memorable characters and incidents. Characters missing from the adaptation include the preacher “Father Mapple”, “Pip” the cabin boy, and “Fedallah”, the ancient Asian harpooner secretly brought aboard by “Ahab”. For the Syracuse Stage production, many characters are doubled, with only “Ishmael”, “Queequeg”, “Ahab”, and “Starbuck” played by single actors.

JuliAn rAd (PlAywright)Playwright and actor Julian Rad produced and starred in the film The Four Corners of Nowhere, which was an official selection of the Sundance Film Festival 1995. Moby Dick had its workshop presentation in NYC in July 2002. The 2003 Ohio Theater production in New York City was the first Off-Off Broadway show to be nominated for Drama Desk Awards in the play and director categories. Rad’s documentary feature, The Franklin Cover Up, was the winner of the Roy W. Dean Grant in 1997. Julian Rad is the founder of Works Productions, a film and television production company.


was born into a prominent New York family on August 1, 1819. His father’s death in 1932 left the family in genteel poverty, often dependent on the kindness of relatives, and young Herman, the third of eight children, had to leave school at fi fteen. When he couldn’t fi nd work on the Erie Canal, he went to work as a bank clerk. In 1839, Melville, who had already begun writing, shipped out as a cabin boy on a merchant ship sailing from New York to England. Upon his return, he tried a number of jobs, even traveling out West in search of gainful employment. He quickly came back East, and, in 1841, the twenty-one-year-old signed on for a whaling voyage to the South Seas. His time in Polynesia during this time formed the basis for Typee, his fi rst novel, which recounts a young man’s adventures among the cannibalistic Typee tribe. Omoo, his second book takes place in Tahiti, where Melville found himself after taking part in a mutiny on an Australian whaler. After several voyages, Melville returned to the States to fi nd the family’s fortune

greatly improved. Typee and Omoo were

controversial but popular successes, and Melville embarked in earnest on a writing career, producing novels, short stories, and literary criticism with regularity, but with varying success with readers. With his brother’s sudden death, his writing supported the entire family. In 1847, he married Elizabeth Shaw and began a family of his own.

His friend Nathaniel Hawthorne proved to be a strong infl uence on Melville’s next work, an expansive

noVels• TYPEE: A PEEP AT POLYNESIAN LIFE (1846)• OMOO: A NARRATIVE OF ADVENTURES IN THE SOUTH SEAS (1847)• MARDI AND A VOYAGE THITHER (1849)• REDBURN, HIS FIRST VOYAGE (1849)• WHITE-JACKET; OR, THE WORLD IN A MAN-OF-WAR (1850)• MOBY DICK; OR, THE WHALE (1851)• PIERRE; OR THE AMBIGUITIES (1852)• ISRAEL POTTER: HIS FIFTY YEARS OF EXILE (1855)• THE CONFIDENCE-MAN: HIS MASQUERADE (1857)• BILLY BUDD (WRITTEN BETWEEN 1888 AND 1891; PUBLISHED POSTHUMOUSLY 1924).• OTHER STORIES, SKETCHES, AND JOURNALS• THE PIAZZA TALES (1856), INCLUDES “THE PIAZZA,” “BARTLEBY THE SCRIVENER,” “BENITO CERENO,” “THE ENCANTADAS, OR, ENCHANTED ISLES,” AND “THE LIGHTNING-ROD MAN”• THE APPLE-TREE TABLE AND OTHER SKETCHES (1922), CONTAINS 10 PIECES FIRST PUBLISHED IN PERIODICALS BETWEEN 1850-56• JOURNAL UP THE STRAITS, OCTOBER 1, 1856-MAY 5, 1857 (1935)• JOURNAL OF MELVILLE’S VOYAGE IN THE CLIPPER SHIP, METEOR (1929). VERSE• BATTLE-PIECES AND ASPECTS OF THE WAR (1866)• CLAREL: A POEM AND PILGRIMAGE IN THE HOLY LAND (1876)• JOHN MARR, AND OTHER SAILORS; WITH SOME SEA-PIECES (1888)• TIMOLEON (1891)• POEMS UNPUBLISHED DURING MELVILLE’S LIFETIME ARE INCLUDED IN LATER COLLECTIONS AND SELECTIONS.about t

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literary examination of whaling and obsession. When Moby-Dick, or The Whale, was published in October 1851, it was greeted with shrugs from the critics and poor sales.

After a number of personal and fi nancial setbacks and a cooling of his friendship with Hawthorne, Melville wrote darker fi ction and turned to verse. Herman Melville died on September 28, 1891. His last unfi nished novel, the allegorical Billy Budd, was published posthumously in 1924.

Photograph of the plaque outside 104 East 26th street, New York—former residence of Herman Melville

OTHER STORIES, SKETCHES, AND JOURNALS• THE PIAZZA TALES (1856), INCLUDES “THE PIAZZA,” “BARTLEBY THE SCRIVENER,” “BENITO CERENO,” “THE ENCANTADAS, OR, ENCHANTED ISLES,” AND “THE LIGHTNING-ROD MAN”• THE PIAZZA TALES (1856), INCLUDES “THE PIAZZA,” “BARTLEBY THE SCRIVENER,” “BENITO CERENO,” “THE ENCANTADAS, OR, ENCHANTED ISLES,” AND “THE LIGHTNING-ROD MAN”• THE PIAZZA TALES (1856), INCLUDES “THE PIAZZA,” “BARTLEBY THE SCRIVENER,” “BENITO CERENO,” “THE

• THE APPLE-TREE TABLE AND OTHER SKETCHES (1922), CONTAINS 10 PIECES FIRST PUBLISHED IN PERIODICALS BETWEEN 1850-56• THE APPLE-TREE TABLE AND OTHER SKETCHES (1922), CONTAINS 10 PIECES FIRST PUBLISHED IN PERIODICALS BETWEEN 1850-56• THE APPLE-TREE TABLE AND OTHER SKETCHES (1922), CONTAINS 10 PIECES FIRST PUBLISHED IN PERIODICALS

• JOURNAL UP THE STRAITS, OCTOBER 1, 1856-MAY 5, 1857 (1935)• JOURNAL OF MELVILLE’S VOYAGE IN THE CLIPPER SHIP, METEOR (1929). VERSE• BATTLE-PIECES AND ASPECTS OF THE WAR (1866)• JOURNAL OF MELVILLE’S VOYAGE IN THE CLIPPER SHIP, METEOR (1929). VERSE• BATTLE-PIECES AND ASPECTS OF THE WAR (1866)• JOURNAL OF MELVILLE’S VOYAGE IN THE CLIPPER SHIP, METEOR (1929). VERSE

• CLAREL: A POEM AND PILGRIMAGE IN THE HOLY LAND (1876)• BATTLE-PIECES AND ASPECTS OF THE WAR (1866)• CLAREL: A POEM AND PILGRIMAGE IN THE HOLY LAND (1876)• BATTLE-PIECES AND ASPECTS OF THE WAR (1866)

• JOHN MARR, AND OTHER SAILORS; WITH SOME SEA-PIECES (1888)• TIMOLEON (1891)• JOHN MARR, AND OTHER SAILORS; WITH SOME SEA-PIECES (1888)• TIMOLEON (1891)• JOHN MARR, AND OTHER SAILORS; WITH SOME SEA-PIECES (1888)

• POEMS UNPUBLISHED DURING MELVILLE’S LIFETIME ARE INCLUDED IN LATER COLLECTIONS AND SELECTIONS.

OTHER STORIES, SKETCHES, AND JOURNALS• THE PIAZZA TALES (1856), INCLUDES “THE PIAZZA,” “BARTLEBY THE SCRIVENER,” “BENITO CERENO,” “THE ENCANTADAS, OR, ENCHANTED ISLES,” AND “THE LIGHTNING-ROD MAN”• THE PIAZZA TALES (1856), INCLUDES “THE PIAZZA,” “BARTLEBY THE SCRIVENER,” “BENITO CERENO,” “THE ENCANTADAS, OR, ENCHANTED ISLES,” AND “THE LIGHTNING-ROD MAN”• THE PIAZZA TALES (1856), INCLUDES “THE PIAZZA,” “BARTLEBY THE SCRIVENER,” “BENITO CERENO,” “THE

SYRACUSE STAGE Moby Dick STUDENT STUDY GUIDE 11

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Then it was over. Women’s fashion abandoned the corsets that required baleen supports and stays. With the discovery of petroleum and the rise of the plastics industry, the thirst for whale oil and baleen slowed and then ended.

Today, the remnants of the vast whaling industry are the targets of environmentalists. The 1986 International Whaling Commission ban on commercial whaling permits countries to hunt whales only for scientific purposes. This controversial provision has allowed the hunting of the minke whale and Antarctic minke whale, smaller species of the baleen whale.

As they approached the New World, passengers on the Mayflower watched whales play off the bow of the ship. The English settlers also observed natives shore whaling, spearing and landing creatures that had come too close to the beach. Using native labor and skills, the North American whaling industry began in earnest in New England in 1650. From this point until the American Revolution, Nantucket, an island thirty miles off the Massachusetts coast, was the capital of the industry. Soon, New Bedford, Massachusetts, the starting point of Melville’s tale, overtook Nantucket in importance. By the nineteenth century, New England was a leader in whaling, with eight out of ten of the world’s whaling boats launched from New Bedford.

Although the management of the whaling industry was dominated by New Bedford Quakers, the ships held ethnically diverse crews. Alongside sailors from across Europe toiled Native Americans, Black Americans, and Polynesians. There was even a black captain, Absolom Boston of Nantucket.

A whale can weigh as much as eighty tons. In fact, they are bigger than any dinosaur that ever lived. Aboard a whaler, not one part of the earth’s largest mammal was wasted. A captured whale was immediately skinned and the fat was rendered in furnaces onboard ships that had become floating factories. If the catch was a sperm whale, the valuable waxy spermaceti oil, used to make candles that burned smokelessly, was harvested from the beast’s head. Other whale oil was used to lubricate machine parts or in cosmetics. The soft bone-like structure of Baleen whales provided material to be used in many different ways, most prominently for stays for women’s corsets. Flexible baleen was the forerunner of today’s plastics. Products harvested from whales were an important part of everyday life.

As demand grew for the products created by the industry and the population of whales decreased, whalers wandered the world in search of the leviathan and voyages became years long.

When Melville published Moby Dick (or The Whale) in 1851, it was dismissed by the critics and ignored by the public. However, by 1853, the whaling industry itself has reached a golden age.

Because of profits from whale oil, New Bedford becomes the richest city per capita in the US, and was called “The City that Lit the World.” With the rise of the transcontinental railroad, San Francisco surpassed New Bedford as the whaling capital.


AdaptationsSince its critical elevation as an American classic in the twentieth century, Moby Dick has become a touchstone for American culture. The novel has been adapted several times for stage and screen. The white whale was first hunted onscreen by John Barrymore in the silent The Sea Beast in 1926, but the first faithful film adaptation was John Huston’s 1956 film starring Gregory Peck as “Ahab”. For television there was a 1998 miniseries starring Patrick Stewart and another 2010 miniseries starring William Hurt. A notable stage incarnation is Orson Welles’ Moby Dick--Rehearsed. The novel Ahab’s Wife: Or, The Star Gazer by Sena Jeter Naslund, considers the plight of the wife that Ahab leaves behind.

Instant Moby Dick! The epic in eight chapters -- just add water!

Although the 135-chapter long Moby Dick, with its exploration of cetology and detailed look at daily life on ships at the height of the American whaling industry may seem daunting for the classroom, portions of the novel, supplemented by the Syracuse Stage production of Julian Rad’s adaptation, can provide a springboard for discussion of many important themes, including Ro-manticism, religion versus science, the environment, and the American spirit.

Chapters 133-135 “The Chase” The exciting climax as Ahab faces his nemesis.

Chapters 1 & 3: “Loomings” and “The Spouter-Inn” Beginning with the famous line “Call me Ishmael,” Melville identifies the novel’s narrator with the Biblical outcast son of Abraham and introduces Queequeg, the tattooed cannibal mystic who becomes his friend.

Chapter 26 “Knights and Squires” We are introduced to the crew of The Pequod, which led by Quaker first mate Starbuck, is a microcosm of the diverse 19th century America.

Chapter 27 “Ahab” We meet the “grand, ungodly, god-like man” who captains the Pequod.

Chapter 34 “The White Whale” Ahab’s obsession with the White Whale emerges, and the Leviathan is examined as the ambiguous symbol of both innocence and evil.

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As a play with music, Moby Dick celebrates the sea shantey, the traditional music of life at sea. Strongly influenced by the songs sung by slaves in American fields and factories, some sea shan-teys are pure work songs, boisterously urging sailors to their labor:

In South Australia I was bornHeave away haul awayIn South Australia round Cape HornBound for South Australia

Heave away you rolling kingsHeave away haul awayHeave away oh hear me singBound for South Australia Others, like “Alabama John Cherokee”, have a less celebratory focus on social injustice:

John Cherokee was an Indian manAlabama John CherokeeHe run away every time he canAlabama John Cherokee, way, hey, yah Alabama John Cherokee, way, hey, yah Alabama John Cherokee They put him aboard a Yankee shipAlabama John CherokeeAgain he gave the boss the slipAlabama John Cherokee, way, hey, yahAlabama John Cherokee, way, hey, yah Alabama John Cherokee They catch him again and chain him tightAlabama John CherokeeAnd starve him many a day and nightAlabama John Cherokee, way, hey, yah Alabama John Cherokee, way, hey, yah Alabama John Cherokee

Nothing to drink and nothin’ to eatAlabama John CherokeeHe just fall dead at the boss’s feetAlabama John Cherokee, way, hey, yah Alabama John Cherokee, way, hey, yah Alabama John Cherokee

So they bury him by the old gate postAlabama John CherokeeThe very same day you can see his ghostAlabama John Cherokee, way, hey, yah Alabama John Cherokee, way, hey, yah Alabama John Cherokee

seA shAnteysAnother type of shantey, like “Captain Bunker,” which Melville quotes in the novel, directly ad-dresses the whaler’s mission:

Our captain stood upon the deck,A spy-glass in his handA viewing of those gallant whales’That blew at every strandOh your tubs in your boats, my boysAnd by your braces stand,And we’ll have one of those fine whales,Hand boys over hand!So be cheery my lads, may your hearts never fail!While the bold harpooner is striking the whale!

A whole other type of sea shantey is aspirational, extolling the virtues of the girl left behind or dreaming of the girl in the next port.

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Resources For the Classroom There are several excellent non-fiction sources for classroom exploration of whales, whaling, and the lives of commercial fishermen.

“Into The Deep”, an episode of the PBS series The American Experience provides a detailed look at whales, whaling, and Moby Dick. The film and its excellent teacher’s guide and resources can be found at: http://www.pbs.org/wgbh/americanexperience/films/whaling/player/.

A tragic collision with nature ends the lives of New England fishermen in the non-fiction best-seller The Perfect Storm by Sebastian Junger. The book and the excellent film version directed by Wolfgang Peterson and starring George Clooney share many themes with Melville’s masterpiece.

Another excellent companion piece for classroom study of Moby Dick is the History Channel reality series, The Deadliest Catch, which follows the lives of crab fishermen in the Bering Sea. An introduction and video can be found at: http://dsc.discovery.com/tv/deadliest-catch/.

ActivitiesDebate: Whaling and the Environment.Current whaling nations give passionate explanations of why they should be allowed to continue this activity. Students should explore these explanations as well as the environmental ramifications of whaling and conduct a classroom debate.

I’m off to the store. Need anything?Whaling trips took men around the world and lasted for years. Research the provisions and equipment needed for such a voyage and create a shopping list.

Yo Ho Ho and a Bottle of What?Sea Chanties extol or bemoan the sailor’s lot. After exploring the traditional songs, students can write their own works songs or raps about the life of a student.

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TEACHING THEATRE/ARTS

TheatreTeachers.com http://www.theatreteachers.com/

ArtsWork.comhttp://artswork.asu.edu/

ChildDrama.comhttp://www.childdrama.com/lessons.html

Educational Theatre Associationhttp://schooltheatre.org/

Kennedy Centerhttp://artsedge.kennedy-center.org/educators/lessons.aspx

Viola Spolinhttp://www.spolin.com/

Princeton Online Art Lesson Planshttp://www.princetonol.com/groups/iad/Files/elements.htm

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SOURCES AND ONLINE RESOURCES

History of Whalinghttp://history1800s.about.com/od/whaling/a/histwhaling.htmhttp://en.wikipedia.org/wiki/Whaling_in_the_United_Stateshttp://history1800s.about.com/od/whaling/f/whaleproducts01.htmhttp://www.boston.com/news/globe/editorial_opinion/oped/articles/2007/07/06/a_glimpse_into_whaling_history/

Herman Melvillehttp://www.melville.org/http://www.mobydick.org/http://www.pbs.org/wgbh/americanexperience/films/whaling/player/http://en.wikipedia.org/wiki/Moby-Dickhttp://cummingsstudyguides.net/Guides3/MobyDick.html

Sea Chanties http://en.wikipedia.org/wiki/Sea_shantyhttp://www.ancientmarinersct.com/chantey.htmlhttp://www.sailorsongs.com/alabama_john_cherokee.html

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A Thousand Cranes is the moving true story about the effects of war on the life a 12-year-old Japanese girl named Sadako, and how, through her spirit of hope and determination, she be came an inspiration for generations to come. With an eye toward the future, this year’s production of A Thousand Cranes will incorporate recent events in Japan and connect them to the spir it of Sadako and her message of hope.

Performed in striking visual terms with puppetry and scenery, A Thou sand Cranes offers an extraordinary opportunity to share a culturally rich theatrical experience with your students. The director, designers, performers, and production crew are students and professionals from Syracuse University Department of Drama and Syracuse Stage.

Moby Dick 2012

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Transcript of Moby Dick 2012