the cosmonauts last message to the woman he once loved in the former soviet union study guide

compiled by: Rob Kempson, Education Manager Sarah Green, Education Advisor Agatha Zarzycka, Education Intern
director fellowship provider

This insightful play has been making waves throughout Europe and North America since its premiere, and it has now landed with us for the Canadian premiere. The cosmonauts last message to the woman he once loved in the former Soviet Union may be a difficult title, but the play is everything but; characters invite you into their lives, unveiling their dreams and desires alongside their setbacks and disappointments. It is a play about communication, about finding somewhere new, and about feeling alright in your own skin. The piece is about the now, with a distinctly 21st century outlook, and the longing of these contemporary characters will be familiar for students. The characters are constantly searchingfor another place, for their dreamsa quest that many students face. However, it is also a play that requires a great deal of preparation in a classroom setting; the mature language can be very jarring. However, with the right preparation and context, I think that students will be able to see past the coarse language and into the hearts and voices of these compelling characters. Senior students can gain a great deal from this production, and this Study Guide has been created to help you open the right files for your students before they arrive at the theatre. In our three areas of exploration, we have created concrete activity plans to ask questions about connection and communication, the idealization of the other and the benefits of character doubling. I hope you will find these sections informative and helpful in creating a context for this piece. As always, our activities are prepared by experienced educators who sit on our Educator Advisory committee. The cosmonauts last message to the woman he once loved in the former Soviet Union is unlike anything that you have seen at Canadian Stage before, and I encourage you to speak to me about which classes might benefit from seeing this production. In addition, if you would like to join us for a Backstage Student Workshop before a matinee performance or an In-Class Variations Workshop, please dont hesitate to contact me directly for more information. Cheers,

Rob Kempson Education Manager 416.367.8243 x280 rkempson@canadianstage.com

educator outreach Program SPonSor

Sun Life financiaL community acceSSibiLity Program SPonSor

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a guide to live theatre

(a.k.a. this is not the movies. a top ten list.) 1. Turn off your cell phones, iPods, iPhones, etc. before entering the theatre. They are
a distraction to the actors, your classmates and yourself, and their signals can also affect our in-house technical signals and ruin the show. Vibrate/silent is not the same as off. (Things that light up and beep should only appear on stage.)

2. No texting. The light can be seen by the actors on stage.

disruptive for those around you. (We make the soundtrack for you.)

(You can wait until intermission to update your Facebook status.)

3. No headphones of any sort. Listening to your own media is not only rude, but also 4. No food or drink (except water) in the theatre.
(You can survive until intermission to mow down.)

5. Refrain from talking during the performance. The theatre is small and both actors and
audience can hear you. (Laugh when its funny, cry when its sad. Otherwise, zip it.)

6. Keep other sounds to yourself. This includes singing, unwrapping candies, watch alarms,
jewelry, etc. (If you know it will annoy your teacher, put it away.)

7. Sit in the seat assigned to you. If you sit elsewhere, the seating for everyone is disrupted.
(Youre watching the show anyways, so who cares who sits beside you?)

8. Represent your school (and your age bracket) with good behaviour.
(Theatre is awesome. You should be too.)

9. Do not heckle or shout at the stage. The actors can hear you.
(They are real people. There is no screen.)

10. Keep an open mind and think critically. Theatre is engaging and challenging, so be

prepared to examine something rather than simply judge it. (It doesnt star Justin Bieber. I think we can all agree thats a good thing. So pay attention.)

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table of contents
Opening Letter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 A Guide to Live Theatre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Table of Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

area of exploration

Communication: Barriers to Connection And Loss of Language Subject Links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Theatrical Context . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Historical & Social Context . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Pre-show Activities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Post-show Activities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Cast Doubling and The Artistic Possibilities of Duplicity Subject Links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Theatrical Context . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Historical & Social Context . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Pre-show Activities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Post-show Activities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 The Idealized Place: Belief Vs. Reality Subject Links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Theatrical Context . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Historical & Social Context . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Pre-show Activities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Post-show Activities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20 Production History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Playwrights Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

area of exploration

area of exploration

additional resources

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area of exploration
subject links:

communication:

barriers to connection and loss of language

Drama: Theatre is all about communication. Consider how our desire to connect with one another is both supported and thwarted in a technological age. English: Language is the foundation of human communication. Discover how our desire to connect is manifested through language itself. Technology: Communication has changed in the digital age, yet people still desire that human connection. Explore the ethics and challenges of global communication. Science: Space exploration has long been a component of scientific research. Learn about the nature of communication from far and away.

theatrical context:

One of the central ideas in the play is its characters inability to connect to others. There is a constant barrage of interruptions, missed points, misunderstandings, and language barriers that make communication almost impossible throughout the play. The cosmonauts last message to the woman he once loved in the former Soviet Union presents the audience with characters from different walks of life, both culturally and professionally, all searching for a sense of connection at a time when things are rapidly changing and nations are breaking apart. As the play opens, Vivienne and Keith, a married couple, are unable to communicate effectively: they cut one another off, cant have a full conversation, and centre what they do say around their television. They also cut themselves off from others, as they fear going out for a walk due to the dangerous teenagers outside. Although Vivienne is a speech therapist, she cant effectively communicate with her husband, with Claire, or with Bernard. Keith is also unable to connect to his lover Nastasya: the two want different things that the other cant understand, and they are constantly repeating themselves and not being heard. At the bar, Keith meets Eric and divulges to him that he likes to get drunk and talk to anybody, about anything - truth and lies highlighting his overwhelming desire for communication. Oleg and Casimir, who have been stuck in space together for 20 years, are unable to communicate and connect quite literally with the world and their loved ones, but also cant understand one another, symbolizing the isolation that results from a lack of connection. Everyone in the play wants to connect in some wayas lovers, friends, companions, or merely to share a laugh at a bar. Using characters with a variety of backgrounds and relationships, Greig depicts the human need for understanding and to be understood.

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communication: barriers to connection and loss of language | context

historical & social context:

Communication and Human Connection Space dark I see. Is my men last. Men are that first. That moon is there. They have some dust. Is home they know. Blue earth I think. I lift I see. It is that command. My men go back. I leave that there. It is bright so. Edwin Morgan Thoughts of a Module This poem acts as a prologue to The cosmonauts last message to the woman he once loved in the former Soviet Union. Edwin Morgan was a queer experimental poet, famous internationally but beloved in Scotland, where this poem (and the collection in which it was published) has been taught in public schools since its release in the 1960s. At that time, the UK was not heavily involved in the Space Race, but the world was watching as the US and the USSR competed to land the first human on the moon. It is an interesting poem to explore alongside the play because it captures the loneliness of many of the characters, but also this longing to continue.

Edwin Morgan, 1920-2010

In The Human Nature of Playwriting, Samson Raphaelson suggests that [Shakespeare] is not a realistic writer but he is overwhelmingly real because he reports the hearts of human beings. It is in this way that one must seek to understand The cosmonauts last message. Though each component of the story may strike a different chord and appeal to a different person, Greig is exploring the universality of the human wordthe desire to connect andcommunicate, if only because that is what we do as people. In an age where the Internet rules with email, IM chat, social media, and search engines, it is hard to imagine how the world functioned before those tools were available. Now, more than ever, we are increasing our ability to connect with each other and the pace at which we do so. Though we are constantly telling students to shut down Facebook, get off YouTube and turn off their phones, this play helps us to question why we turned them on in the first place. Speech Therapy Speech and language pathology is a study of communication, with the intent to assist people in achieving more effective verbal communication. It is primarily concerned with the production of verbal communication and the understanding of meaning of verbal communication. Though it is often associated with the health of young children (lisp, pronunciation difficulty, etc.), speech therapy is required in many situations where the production of vocal sound is inhibited. Speech therapists assist in problems of stuttering (dysfluency) and swallowing (dysphagia), cognitive-communication disorders, autism spectrum disorders, and language-based learning disabilities among others. Speech therapists are active for children, people affected by physical or mental health problems, adults who have recently suffered brain damage (stroke, etc.), those wishing to reduce the impact of an accent or people seeking overall voice quality improvement.

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historical & social context:

Communication in Space The sheer danger of sending humans into space requires a great deal of communication, both in the form of human connection as well as data and tracking abilities. Outer-space vehicles communicate with the Earth using high-frequency electromagnetic radiation. In most missions, communication would fall into three components: 1. Command the communication of instructions to the spacecraft either vocally or in messages 2. Telemetry the transmission of scientific data from the spacecraft to the Earth 3. Tracking the determination of distance, velocity, and Doppler frequency shift (monitoring magnitude and direction) These components are not all present for communications satellites, which act exclusively as a relay between different points on the Earth. Because enormous distances are involved, communication must be made with high frequency rates and in areas with low interference (both natural and artificial). Weight, usability, power source, size and durability must all be taken into account when developing communication systems to ensure that cosmonauts arent stuck in space like Oleg and Casimir.

The Canberra Deep Space Communication Complex in Australia houses some of the worlds largest satellite communication dishes.

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communication: barriers to connection and loss of language | activities

preperformance activites:

Lost in Translation Many of the characters in The cosmonauts last message struggle with communication. They are constantly interrupted, misunderstood and sometimes, completely ignored. In order to introduce students to this concept, have a few selections of thought-provoking song lyrics printed out. You might want to think about including some Bob Dylan lyrics as he is referenced in the play. In small groups, inform students that they are responsible for relaying the message within these lyrics to the rest of the class using only body movement/language as their medium. Once the groups have performed, pose the following questions to the class: Were you successful in relaying your message? What obstacles did you meet while preparing your movement piece? How did you make sure you were heard? In what ways has communication evolved? (cell phones & text messaging are great paths for this question) How reliant upon language are we? Exploring Subtext In pairs, students will explore the subtext (the unspoken, implied meaning in a line) of Act One, Scene One (found in Appendix A). There is no need to introduce students to these characters this is what they are going to explore. Students will read through the scene and decide who these characters are, what their relationship is to one another, the conflict within the scene and what Vivienne and Keith arent saying. Students will create their own subtext and rehearse and perform in one of the following ways (or both):: Perform the scene with your invented subtext as motivation. Perform the scene using your subtext as the actual dialogue. Use this scene study as a catalyst for conversation. Both in their work as actors and in their everyday lives, ask students how subtext informs their communication. Does it come to the surface in their vocal quality (intonation, etc.) or physically (body language)? E-Communication Challenge Because of the nature of the piece, you might consider issuing a challenge to your students: have them give up some form of communication for a given period of time. It might be a day, a week or simply a period depending on the level and maturity of your class. Consider things individually, rather than grouping. For example, suggest giving up texting rather than giving up their cell phone. Ensure that each student makes a choice based on something that they actually use to communicate regularly. Suggestions include: Texting Cellphone Talking Facebook Facebook Messaging Blackberry Messaging Email IM Service (Windows Live Messenger, Yahoo Messenger, etc.) Skype

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preperformance activities (continued):

The discussion possibilities after such a challenge are endless: What did you miss about that form of communication? What form took its place (if any)? Did you discover anything because you were not using this form of communication? Did you ever feel like you were missing out? Why or why not? Discuss with your students how this informs the work of an actor or the challenge of a character. Theatre and drama are all about using different forms of communication and in some cases, exploiting a particular form to create a desired effect. Extension For senior/keen students, consider asking them to only use a single form of communication for a given length of time. How did that isolation affect them?

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postperformance activities:

Behind Closed Doors Working in pairs, students should choose a character from The cosmonauts last message that they were drawn to and creatively delve into the mind of that person. Have students write, rehearse and perform a short scene that has this character talking with their psychiatrist. Consider what each character would share with their psychiatrist and what would remain hidden. Remind students that people often reveal more about themselves in the presence of a professional than they might otherwise. Although the characters rarely say what they truly think and feel, often as audience members we know exactly what it is they want and need to say. After seeing the play, this exercise will give students the opportunity to work with what they know and further explore their characters personality. Use the full character list (found in Cast Doubling) as reference if required. Words Unspoken So many things are left unsaid in The cosmonauts last message and many characters are still searching for answers or closure. Have students choose one of the following letter-writing options: As Keith, you are writing your last letter to either Vivienne or Natasja before taking your car to the beach. What would he have said? What did he want to say? Consider this his farewell letter; how would he explain his actions? You are Natasja. You miss your father, Casimir, dearly. You write a letter to him telling him everything you have always wanted him to know since you last saw him. You are Casimir. You miss your daughter, Natasja, dearly. You write a letter to her telling her everything you have always wanted her to know since you last saw her. Depending on resources, you may want to encourage students to explore different methods of communication: video diary, voice recording, animation, ongoing blog.

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area of exploration
subject links:

cast doubling
and the artistic possibilities of duplicity
Drama: The use of cast doubling has been common throughout the history of theatre. Discover consistently doubled casts and new emerging characters, while understanding the artistic principles behind this type of presentation. In this production, as with many productions, we will be making use of character doubling and thus shrinking the cast size from the original number of slated characters. Though certainly recognized as a budgeting technique, character doubling can serve many purposes including catalyzing discussion around thematic motifs. What happens when characters are connected by the actor who is playing them? What challenges does that offer the actor and the audience? Exploring the use of doubling can open up pathways to contemporary creation that is both thought-provoking and money-savinga rare pair.

theatrical context:

historical & social context:

Doubling: Definition and Some History Dual or Double roles refers to an actor playing the part of multiple characters in the same play. Double roles have been a part of many productions throughout history and may occur for a variety of reasons such as budgetary restrictions or an artistic choice. Character doubling was used in the Elizabethan and Jacobean theatre. There is an assumption that acting companies only resorted to doubling roles when they were understaffed, but many scholars suggest otherwise. Many contemporary thinkers believe that doubling was often a deliberate theatrical choice and not simply a result of a lack of available actors and/or budgetary restrictions. An example of this is Shakespeares King Lear, where the parts of Cordelia and the Fool were (and continue to be) regularly played by the same actor. Logistically, Cordelia and the Fool never share the stage, and the choice works thematically as well: Cordelia is the most loyal of Lears three daughters, and when she departs for France, the Fool remains by Lears side through his struggles on the heath. Though rare in film (due to the general reality of the form), doubling is a common choice in theatre and can often contribute to the creation of an alternate world for the audience. Doubling as Thematic Choice Doubling might be indicated in the script as a thematic choice by the writer or it may be a choice made later in production by the director. The two roles assigned to one actor can either be very similar, or differ quite drastically, and with each decision a new perspective can emerge. When the roles are similar, the dual roles function is to emphasize certain character traits, and often serve to accelerate character development, giving the audience more insight into both characters personalities in a shorter amount of time. An example of this is with Peter Pan, and the common choice to use the same actor to play Mr. Darling and Captain Hook; authority figures who inflict unwanted rules, order, and even fear onto the children. When the roles differ, the function is similar to that of the protagonist and the character foil in literature, creating contrast in order to highlight various features of the main characters personality (like Hamlet and his foil, Laertes), or to round out both characters and reveal different sides of their

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historical & social context (continued):

personalities. An actor playing dual roles can also be useful when a play is set in various locations, with actors recurring as different characters to make connections across seemingly disparate settings and to emphasize the plays theme(s). Character doubling can help an audience access a deeper understanding of a play and it many also highlight hidden meaning in the text of a doubled character. Doubling in The Cosmonauts last message In The Cosmonauts last message, the dual roles seem to function as a highlight for the plays major theme of universal human longing and the search for connection. Although the play is set in a variety of locations (including outer space), the choice to use the same actors to portray different characters in these very diverse settings emphasizes the universality of the need to connect. Although they are quite different in personality and in location, the use of the same actors suggests to the audience that we are all the same perhaps not on the outside, but certainly at our core. ACTOR ONE PLAYS... Keith (a civil servant; married to Vivienne, allegedly kills himself), and Bernard (a UFO researcher; stroke victim and host to Vivienne) ACTOR TWO PLAYS... Proprietors (the owners of bars), and Eric (an official of the World Bank; takes Natasja to Oslo) ACTOR THREE PLAYS Oleg (a cosmonaut), and Patient ACTOR FOUR PLAYS Casimir (a cosmonaut), and Patient ACTRESS ONE PLAYS... Vivienne (a speech therapist; Keiths wife), and Sylvia (an erotic dancer; Natasjas friend) ACTRESS TWO PLAYS... Natasja (an erotic dancer; Casimirs daughter and Keiths mistress), and Claire (a policewoman; Viviennes friend)

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cast doubling and the artistic possibilities of duplicity | activities

preperformance activites:

Introducing Doubling Engage students in a discussion about films and/or TV shows they know that incorporate dual/ double roles. Introduce The Wizard of Oz as a starting point. Students may not have seen the film, but most are familiar with the story and you can explain the following dual roles: In Kansas, Hunk is a farmer and in Oz he is the Scarecrow. In Kansas, Hickory is a farmer and in Oz he is the Tinman. In Kansas, Zeke is also a farmer and in Oz he is the Cowardly Lion. Miss Gulch rides an old bike in Kansas and in Oz she rides a broomstick as the Wicked Witch. In both cases, shes considered to be a villain. Professor Marvel tells Dorothy about her future in Kansas and in Oz he is the Wizard. You may want to think about showing students short clips from the beginning of the film and then when Dorothy travels to Oz to highlight the dual roles. Students should notice that the characters in Kansas show similar traits to that of their Oz persona. Is dual/double role a conscious casting choice? What are some of the benefits of dual roles? What might some of the drawbacks be? In your opinion, do dual roles complicate or further enhance the audiences experience of a play?

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postperfomance activities:

From Different Perspectives After seeing the play, students will have a better understanding of the effects of double casting. In order to solidify and build upon what they know and understand, provide them with the character list seen earlier in this area of exploration. Split the class into two groups. One group will be designated as ACTORS and the other group will be DIRECTORS. Brainstorming as ACTORS, students will prepare answers to the following questions: How does one prepare for a dual/double role? Think about the subtleties in the relationships between the characters in The cosmonauts last message What might some of the challenges be in preparing for such a role? As an actor, what does it mean to rehearse and perform a dual/double role? Brainstorming as DIRECTORS, students will prepare answers to the following questions: Why might a director choose to double cast certain roles? What are some of the casting considerations directors might need to consider when she or he is double casting (i.e. what would the director be looking for in an actor)? How would a director help her/his actors prepare for taking on a dual/double role? Discuss the benefits and drawbacks to both actors and directors when dealing with double casting. Using The cosmonauts last message as a source of inspiration, have students in each group choose a film (or recent play that they have seen) and make a new casting decision based on doubling. Students may do this in small groups. The presentation of this casting choice should include costume decisions, thematic links, casting information (why did they chose this actor to play both parts), and logical considerations (what happens if these characters are in a scene together?). Students should look at this presentation as a pitch to a new producer for a re-imagining of a particular film or play. Extension/Variation Once the students have completed their brainstorming session as ACTORS and DIRECTORS, have them switch roles, think of possibilities for the questions and then compare notes as a whole.

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area of exploration
subject links

the idealized place:

belief vs. reality
Drama: The dramatic trope of a character longing to be elsewhere is not new. Understand how such a sense of longing can help to create layered conflict within a drama. English: Through song, prose, poetry, and plays, writers have always created conflict out of the idealization of a place. Discover instances of this phenomenon across literary forms and throughout time. Philosophy: Why is the grass always greener on the other side of the fence? Understand the reasons for coveting the otherstatus, wealth, greed and social impact. Geography: The concept of the Idealized Place has permeated popular culture and is a real component of human geography: population density, movements and standards of living. Explore why people move, why they travel and the appeal of the other. Science: The Space Race in the 1960s was one of the most adventurous and influential scientific movements of the 20th century. Understand the quest to place humans beyond our natural environment, and the current state of space exploration.

theatrical context

The cosmonauts last message features characters who are constantly searching for meaning and understanding in the world around them, and who are never content with where they are. The play takes place in Scotland, England, France, Norway, and outer space; regardless of where the characters are, they seem to think the grass is greener elsewhere. While the characters are quick to praise nearby places, they seem unable to accept and to find the beauty in where they are. Greig seems to suggest throughout the play that these ideals cannot exist, and that reality is vastly different from the imagined. Expanding the idea of the idealized place as far as outer space, he presents the universal nature of idealizing other places despite their realities, and consequently missing out on the pleasures of our surroundings. If we always imagine other places as sources of happiness, we place the burden of our happiness on our location as opposed to on ourselves, and we miss out on the joys of where we are. Students might connect with popular culture representations of the idealized place. The Little Mermaid, Katie Perrys California Gurls, Desperate Housewives, John Denvers Country Roads, and The Beatles Strawberry Fields all support the concept that somewhere else is always the better place to be.

historical & social context:

The Isle of Skye The play deals with the idealization of certain concrete geographic locations, such as the Isle of Skye in Scotland. Skye is idealized by many of the characters, referred to by Claire as the most beautiful place in the world. And its in Scotland. Were so lucky. Just up the road. Keith tells Nastasya that Skye is beautiful, as long as it doesnt rain, hinting that the island may be less than paradise with the reality of everyday inconveniences, like the weather. Though the origins of its name are still uncertain, Skye or the Isle of Skye (Scottish Gaelic: An t-Eilean Sgitheanach or Eilean a Che) is the most northerly island in the Inner Hebrides of Scotland. It is also the largest of these islands and it is characterized by a series of peninsulas radiating from a mountainous centre.

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historical & social context (continued):

The pre-historic occupation of the island is the source of much of its mystery; it has been occupied since the Mesolithic period, and experienced Norse rule as well as a long period of domination by Clan MacLeod and Clan Donald. The island is now a major tourist destination, famous for its scenery, culture and rich heritage. The Grass Is Always Greener Often connected to a climb in status, this term refers to the desire for more and more. In a capitalist society, people are so often The Quiraing, Isle of Skye is one of the most sought-after vistas for phomeasured by what they have. Thus, gaining tographers and adventurers alike. status can often lead to wanting more, disconnected from the work or pain that might be required to achieve that gain ethically. It is a definition of ones worth based on what one doesnt yet have, rather than what they can offer at the current time. The origins of the phrase are complex and difficult to track. The renowned Oxford Dictionary of English Proverbs (1970) does not contain a separate entry for the proverb The grass is always greener on the other side of the fence. However, it does cite the the Latin proverb Fertilior seges est alieno semper in arvo by Erasmus of Rotterdam. Its first publication in English by Richard Taverner in 1545 became The corne in an other mans ground semeth ever more fertyll and plentifull then doth oure owne. Though not an exact descendant, most sources suggest that this proverb (used in the 16th and 17th centuries) may have inspired the 1959 play The Grass is Greener by Hugh and Margaret Williamsthe first modern publication of the phrase. As an interesting side note, the proverb was proved to be scientifically true by James Pomerantz in 1983, when he discovered that optical and perceptual laws will actually make the grass at a distance appear greener to the human eye than the grass directly in front of a viewer. So the grass is actually greener on the other side of the fence, even if it doesnt support a positive outlook personally. The Space Race Greig also uses outer space to explore the idea of the idealization of the unknown. The Space Race was an unannounced competition between the United States and the Soviet Union to develop the first real-world exploration of outer space, involving pioneering efforts to launch artificial satellites, send humans into space, and make physical human contact with the moon. In the truncated timeline provided, one can see how competition and a concrete goal led to fast-paced exploration and full financing. Greig also questions the space race and the valorization of space exploration in The cosmonauts last message. Casimir and Oleg, sent into space as a great experiment for their nation, end up being trapped. They dont feel a sense of accomplishment and grandeur, but rather of loss and desperation.
JFK was one of the greatest influences on the American Space Race.

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historical & social context (continued):

Timeline of Space Exploration

1957
Oct. 4 Nov. 3 USSR launches Sputnik 1. USSR launches Sputnik 2 which carried a small dog named Laika into orbit. Explorer 1, the first American satellite to reach orbit, is launched. It carried scientific equipment that lead to the discovery of the Van Allen radiation belt. Explorer 2 is launced but it fails to reach orbit. The Vanguard 1 satellite is launched. It continues to function for 3 years. Sputnik 3 is launched. The National Aeronautics and Space Administration (NASA) is formed, it replaces the National Advisory Committee on Aeronautics (NACA). Pioneer 1 is launched to a height of 70,700 miles. Luna 1 is launched by the USSR. It is the first man-made object to orbit the Sun. Pioneer 4 is launched on a Earth-moon trajectory. It passed within 37,000 miles of the moon before falling into a solar orbit. Luna 2 is launched. It impacts the moon on September 13, becoming the first man-made object to do so. Luna 3 orbits the moon and photographs 70% of its surface.

1958
Jan. 31 Mar. 5 Mar. 17 May 15 Oct. 1 Oct. 11

1959
Jan. 2 Mar. 3 Sept. 12 Oct. 4

1960
Apr. 1 Aug. 18 Tiros 1, the first successful weather satellite, is launched. The US launches Discoverer XIV, its first camera-equipped spy satellite. Yuri Gagarin orbits the Earth once and becomes the first man in space. Alan B. Shepard becomes the first American in space. President John F. Kennedy addresses Congress and challenges the nation to go to the moon before the end of the decade. Gus Grissom is launched on a sub-orbital flight. His Liberty-Bell capsule is lost when it fills with water and sinks after splashdown. John Glenn orbits the Earth three times. Walter Schirra orbits the Earth six times. Mariner 2 flies past Venus and enters a solar orbit. L. Gordon Cooper spends 34 hours in space. He is the last American to fly in space alone. Cosmonaut Valentia Tereshkova becomes the first woman in space. President Kennedy is assassinated.
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1961
Apr. 12 May 5 May 25 July 21

1962
Feb. 20 Oct. 3 Dec. 14

1963
May 15 June 16 Nov. 22

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historical & social context (continued):

1964
July 31 Ranger 7 transmits the first close range images of the moon. Alexei Leonov spends 12 minutes outside of his Voskhod spacecraft performing the first spacewalk. Gus Grissom and John Young fly the first manned Gemini spacecraft. Ed White performs Americas first spacewalk. Jim McDivitt remains in the Gemini capsule. Mariner 4 returns close ranger images of Mars. Venus 3 is launched. It becomes the first man made object to impact Venus on March 1, 1966. Frank Borman and James Lovell begin a two-week stay in Earth orbit aboard Gemini 7. Walter Schirra and Thomas Stafford, in their Gemini 6 spacecraft, make the first space rendezvous with Gemini 7. Luna 9 becomes the first spacecraft to soft-land on the moon. Luna 10 becomes the first satellite to orbit the moon. Surveyor 1 soft-lands on the moon. Lunar Orbiter 1 enters orbit around the moon and takes the first picture of the Earth from that distance. Gemini 12, the last flight of the Gemini Program, launches with James Lovell and Edwin Buzz Aldrin aboard. Gus Grissom, Ed White, and Roger Chaffee are killed when a fire ignites in their Apollo 1 capsule while performing a test on the launch pad. Cosmonaut Vladimir Komarov is killed when the parachutes of his Soyuz 1 capsule fail to open properly following re-entry. Venera 4 transmits data about the atmosphere of Venus. Zond 5 is launched. It carried a biological payload (including two turtles) around the moon and returned to Earth six days later. The crew of Apollo 7 begin a 10-day mission to study the new spacecraft. Frank Borman, James Lovell, and William Anders begin the first manned journey from the Earth to the moon. On Christmas Eve they take turns reading Genesis in a broadcast heard around the world. Soyuz 4 & 5 perform the first Soviet spacecraft docking. Neil Armstrong and Edwin Buzz Aldrin become the first men to walk on the moon while crewmate Michael Collins orbits around the moon alone. Pete Conrad and Alan Bean perform the first precision lunar landing, touching down just 600 feet from the Surveyor 3 probe that arrived two years earlier.
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1965
Mar. 18 Mar. 23 Jun. 3 July 14 Nov. 16 Dec. 4 Dec. 15

1966
Feb. 3 Apr. 3 June 2 Aug. 14 Nov. 11

1967
Jan. 27 Apr. 24 Oct. 18

1968
Sept. 15 Oct. 11 Dec. 21

1968
Jan. 16 July 20 Nov. 19

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historical & social context (continued):

Contemporary Space Exploration For further information about what has happened since 1969, and what is currently happening, check out the following articles and resources. You will notice that some of them appear in popular media and are supported by company branding, further proving that the public is still interested in space travel and going beyond our current boundaries. The Next Giant Leap by Sean Wilsey. Available at www.gq.com. < http://www.gq.com/news-politics/big-issues/200906/nasa-moon-astronauts-mars-space> Felix Baumgartners Space Dive. Information at www.redbullstratos.com. Public Space Travel: Flight School 101 by Leonard David. Available at www.space.com. < http://www.space.com/businesstechnology/070705_privatespaceflight.html> NASA. Articles, information, images and video available at www.nasa.gov

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preperformance activites:

You Cant Always Get What You Want Students will be familiar with many popular references to this longing or desire for something that is not theirs. The idealized place may be that something for many, or it might be something tangible (like a particular item of clothing). It may even be something more abstract (such as true love). Whatever the desire, students will be interested in exploring it in popular terms. We always want what we cant have. To what extent is that statement true? Can you think of examples of this statement? The grass is always greener on the other side. How do you feel about this statement? To what extent is it true? Introduce students to the song Stars and the Moon, from Jason Robert Browns Songs For A New World or Somewhere Thats Green from Little Shop of Horrors. In both cases, a recording might help students understand the emotional impact, but the lyrics can be found in Appendix B. Consider the following questions: What is the message in this song? What has this woman discovered? Is the grass always greener on the other side? Then ask students to bring in their own examples of music which idealizes another place or supports a constant longing for more. Have them explain why they feel like this particular song fits the bill, and whether or not they think the character in the song comes to some sort of understanding by the end. Decisions, Decisions - Role Playing Divide the class into smaller groups. Provide each group with one of the following role playing scenarios: SCENARIO ONE: Congratulations! You have just been given the promotion you have been waiting for at work! This has been your dream job since you started working at this company fifteen years ago what a difference it will make in your paycheque! Of course, the promotion doesnt come without a few strings: you have to move to a different firm halfway across the country; your new boss is uptight and has no soul; and sadly, you wont be able to spend as much time with your family. SCENARIO TWO: Congratulations! You have just won the lottery! You have been buying tickets for the past ten years and all of your commitment has finally paid off you are a millionaire! You are living the high-life now. As lovely as it is, you find it interesting that strangers are becoming friends and people who havent been in your life for many years are suddenly reappearing. Hm... SCENARIO THREE: Congratulations! You have made it to Hollywood! This is what every starving actor dreams of! You are preparing to attend the premiere of your new film where you starred with [insert name of famous actor here] and you are so thrilled! With all of this excitement, its hard to imagine a better life, although the paparazzi have started following you to the grocery store and suddenly, no one has any respect for your privacy. What to do? Students will rehearse and prepare a short scene illustrating their scenario. Following all of the presentations, students can deconstruct the messages within their scenes and evaluate the extent to which their pieces illustrate the phrase: the grass is always greener on the other side.

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postperformance activities:

Idealized Relationships If we always imagine other places as sources of happiness, we place the burden of our happiness on our location as opposed to on ourselves, and we miss out on the joys of where we are. The cosmonauts last message to the woman he once loved in the former Soviet Union Throughout the play, Casimir desperately tries to connect with his daughter from outer space. Casimir last saw his daughter, Natasja, when she was just six years old. In a sense, Casimir has idealized his relationship with his daughter. How might he react if he knew who she really was now? With a partner, write, rehearse and perform the scene where Casimir is successful in calling Natasja. Think about how the two characters might react to each other now. How will Casimir react to Natasjas chosen profession? How will Natasja react to her father; the man she has idolized and longed for since she was a small child? Students may also want to explore the relationships between some of the other characters beyond the play. Students could write, rehearse and perform the scene between Keith and Sylvia at the very end of the play or, they might want to think about exploring the relationship between Vivienne and Bradford.

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additional resources
production history:
The cosmonauts last message to the woman he once loved in the former Soviet Union premiered at the Edinburgh Festival in 1999. The play had its American premiere at the LaJolla Playhouse in San Diego in August 2000. The London premiere followed in 2005 at the Donmar Warehouse, directed by Tim Supple. The Evening Standard called the production realistic, comic, fantastic and mystical. The play, as well as Greig himself, has received numerous awards around the world. The Canadian Stage production marks its Canadian Premiere.

playwrights biography:

David Greig David Greig was born in Edinburgh in 1969 and raised in Nigeria. He studied drama at Bristol University and is now a well-known writer and director of plays. He has been commissioned by Tron Theatre Glasgow, the Royal Court, the National Theatre and the Royal Shakespeare Company (writer-in-residence, 1996), and is currently Dramaturge of the National Theater of Scotland. His first play was produced in Glasgow David Grieg in 1992 and he has written over 30 plays since, produced worldwide. In 1990 he co-founded Suspect Culture Theatre Group, one of Scotlands leading devised theatre companies, with Graham Eatough in Glasgow. His translations include Camus Caligula (2003), Candide (2000), When the Bulbul Stopped Singing, based on a book by Raja Shehadeh, and Strindbergs The Creditors, Danny 306 + Me (4 ever) (1999), a musical written for children. David Greigs recent plays include The American Pilot (2005), about Americas involvement in the Middle East and Eastern Europe, Pyrenees (2005) about a man who is found in the foothills of the Pyrenees, having lost his memory and San Diego (2003), a journey through the American dream. His latest works are Gobbo, a modern-day fairy tale; Herges Adventures of Tintin, an adaptation, Yellow Moon (2006), and Damascus (2007). His version of Euripides The Bacchae opened the Edinburgh International Festival in 2007, and starred Alan Cumming as the Greek god Dionysus with ten gospel singers as the Bacchae.

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additional resources | glossary

glossary:

Atrocity Appalling or atrocious condition, quality, or behavior; monstrousness. Barracks A building or group of buildings for lodging soldiers, or groups of people. Bulwark A wall of earth or other material built for defense; any protection against external danger, injury, or annoyance. Don Quixote A character in the influential work of literature Don Quixote written by Miguel de Cervantes. Civil Servant A person employed in the civil service, largely working for the government in some capacity. Connoisseur A person who is especially competent to pass critical judgments on art, particularly one of the fine arts, or in matters of taste: a connoisseur of modern art. Countermanded To revoke or cancel (a command, order, etc.). Cosmonaut A Russian or Soviet astronaut. Factions A group or clique within a larger group, party, government, organization. Gaelic A Celtic language that includes the speech of ancient Ireland and the dialects that have developed from it, esp. those usually known as Irish, Manx, and Scots Gaelic. Gaelic constitutes the Goidelic subbranch of Celtic. Impressionists A person who follows or adheres to the theories, methods, and practices of Impressionism, esp. in the fields of painting, music, or literature. Jean Genet a prominent and controversial French novelist, playwright, poet, and political activist. John Wayne American film star most well known for his roles in Westerns. Log Any of various records, made in rough or finished form, concerning a trip made by a ship or aircraft and dealing with particulars of navigation, weather, engine performance, discipline, and other pertinent details; logbook.

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additional resources | glossary

glossary (continued):

Mont Sainte-Victoire An impressionist landscape painting by French artist Paul Czanne. Mortal Of or pertaining to human beings as subject to death; human: life, or belonging to this world. Orions Belt A constellation named after Orion from Greek mythology. Oslo The capital and largest city in Norway. Pawns Those who are used or manipulated to further another persons purposes. Physicist A scientist who specializes in physics. Rations A fixed allowance of provisions or food, esp. for soldiers or sailors or for civilians during a shortage; a daily ration of meat and bread. Renault A French automaker that produces cars, vans, buses etc., Soliciting To seek for (something) by entreaty, earnest or respectful request, formal application, etc. Turbulence The quality or state of being in violent disorder or commotion, generally used when referring to aircraft travel. Uncle Tom A racial slur used to describe black men considered by other black people to be subservient to or to curry favor with the white population. Yank Slang for an American. Walt Whitman An American poet, writer and humanist.

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references
28 August 2010 <www.thespacerace.com> 29 August 2010 <www.helium.com> 29 August 2010 <www.deproverbio.com> Johnson, Claudia. The power and importance of human connection. <http://www.writersstore.com/ the-power-and-importance-of-human-connection-to-a-great-screenplay> 31 August 2010. 30 August 2010 <www.speechtherapycentres.com>

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