E D I U G Y R E V O C DIS IN THIS ISSUE Using This Guide The Story & The Writers The World of the Play Our Production Meet the Cast & Characters Enhancing Your Experience Resources for Educators Self-Guided Tour: For Teens Bibliography & Credits A Thank You to Our Sponsors
P
Page 2 Page 3-4 Page 5-6 Page 7-8 Page 9-10 Page 11-12 Page 13-14 Page 15-16 Page 17 Page 18
Y MPAN O C rg RE HEAT leslight.o T & T LIGH www.peop S ’ E EOPL
USIN
G TH IS GU IDE
Welcome to the People’s Light and Theatre Discovery Guide for ONE FLEW OVER THE CUCKOO’S NEST! This guide will enrich your experience of the production and is a great resource for all theatre-goers, not just teachers and students. Each issue will include these Regular Features:
THE STORY & THE WRITERS
Includes information about the play’s plot, as well as the writers and composers who bring the story to the stage.
THE WORLD OF THE PLAY lives.
With many plays, it’s helpful to understand the larger world in which the play These pages help frame the story in a historical and/or cultural context.
OUR PRODUCTION
This section features the designers of the production, the artisans who bring those designs to life, images of the set, costumes, and other production elements. It’s a glimpse of the amazing work that happens behind the scenes.
THE CAST & CHARACTERS Photos of the actors and synopsis about the characters in the show. ENHANCING YOUR EXPERIENCE This is a great resource for theatre-goers who want to dig
a little deeper. It contains a listing of books, websites, and video links we’ve encountered while preparing for the production, along with thought-provoking questions for you to discuss with the actors after the show, or with your family and friends on the car ride home.
RESOURCES FOR EDUCATIORS Written specifically for teachers, this section links the play to Pennsylvania State Academic Standards. This page includes discussion questions, classroom activities, and ideas for continued exploration of the play’s themes and ideas.
‘
SELF-GUIDED TOUR
These activities are designed especially for young people to explore the play on their own. Each guide will have an age/grade level recommendation for this section.
BIBLIOGRAPHY & CREDITS A listing of our sources and our Discovery Guide content contributors. ARTS DISCOVERY SPONSORS An expression of our gratitude for the funders who support Arts Discovery programming.
We’d
l
We hope our Discovery Guide provides you with enjoyable reading and opportunities for exploration that make your theatre experience with us more rich. See you at the theatre!
E-ma ove to hea il r and i us at artsd your thou deas abou iscovery@ ghts! t our DISCO peopleslig ht VERY GUIDE .org with y our fe . edba ck
Page Two
THE S TORY & THE WRITE RS THE STORY
Adapted by Dale Wasserman from Ken Kesey’s novel, ONE FLEW OVER THE CUCKOO’S NEST follows the lives of patients inside a state mental hospital in 1963. Nurse Ratched and her staff preside over the patients and circumscribe their activities. Ostensibly admitted to be cured, no patient actually expects to return to the normal world and instead resigns himself to living indefinitely within the institute’s walls. The arrival of Randall P. McMurphy, a potential psychopath transferred from a state prison, awakens a shift in behavior on the ward. McMurphy aims to buck the system, enliven the floor, and break Ratched’s stronghold over the other patients. His refusal to submit to the system and limits imposed by Nurse Ratched inspires the rest to unanimously defy her in one sweeping moment. However, she quickly restores order and metes out punishment exacted to break their newfound rebellious spirit, specifically McMurphy, into submission. When their battle of wills comes to a head, the ramifications shatter morale and shock the patients into action.
About the Playwright: Dale Wasserman Born in 1914 and orphaned by the age of ten, Wasserman lacked formal education and spent his childhood working odd jobs and riding the rails in what he termed “a wayward youth.” His nomadic ways eventually led him to Los Angeles, where he found employment in the theatre. He began as a lighting designer and eventually progressed to a director in Los Angeles, New York, and Europe. Along the way, he said that he “learned that everything on a stage was subservient to the text,” so he tried his hand at writing, which proved successful with a play written for television. As for ONE FLEW OVER THE CUCKOO’S NEST, Wasserman recalled that it “was hammered out in a disreputable hotel in Jamaica, preceded by one conference with Ken Kesey, the novel’s author” during which they compared notes on the lumber camps where they’d each worked and jails they had shared, not on dramatizing the novel into a play.
ONE F LE Disco W OVER TH very G E uide 2 CUCKOO’ S NES 010 T
Page Three
About the author: Ken Kesey While attending Stanford’s graduate creative writing program, Vic Lovell, a friend of Ken Kesey, suggested that Kesey could make extra cash as a paid volunteer in medical experiments. Together, they would volunteer at Menlo Park Veteran’s Administration mental hospital to take part, in the words of Lawrence Kappel, in “government-sponsored forays into LSD and other psychedelic drugs.” Kesey would later take a second job at Menlo Park as an orderly, again at Lovell’s suggestion. He planned to spend his hours there working on a novel entitled ZOO, but instead became fascinated by the inner workings of the hospital, from the patients and nursing staff to the policies and procedures. What he witnessed convinced him that the conditions were far from therapeutic and he discovered with the help of “a tiny potion I could toss word salad with the nuttiest of them,” which led him to question their ability to perceive truth as they were unhindered by society’s patterns of thinking and behavior. He stopped working on ZOO and began a new project, focusing on men such as those he encountered. The character of Chief Bromden appeared to him while he was under the influence of peyote, then available by mail order. Thomas Wolfe once said that Kesey would “write like mad under the drugs” and then edit out what he considered “junk” after the high ended. Published in 1962 to enthusiastic reviews, ONE FLEW OVER THE CUCKOO’S NEST garnered Kesey instant acclaim.
QUICK FACT: According to THE NEW YORK TIMES, the film ONE FLEW OVER THE CUCKOO’S NEST employed eighty-nine actual patients from the Oregon State Mental Hospital as assistants to the film crew and one patient was so emboldened by the responsibility that he permanently lost his stutter. Read the the full article HERE.
NY O M P A rg C E R HEAT leslight.o T & T LIGH www.peop S ’ E L PEOP
Page Four
THE W ORLD OF TH E PLA Y
Mental Health in the U.S.in 1963
U.S. legislation first recognized the importance of mental health in 1930, but the issue received minimal attention. After World War Two, faith in medical science spread across the nation and inspired the hope that all illnesses, from smallpox to schizophrenia, could be treated or cured. On July 3, 1946, President Truman signed the National Mental Health Act, which began the creation of the National Institute of Mental Health, later established in 1949. In 1955, the Mental Health Study Act commissioned a “reevaluation of the human and economic problems of mental health” which led to the report Action for Mental Health, a ten volume assessment which caught the attention of President Kennedy. In 1963, the year in which Kesey set CUCKOO’S NEST, President Kennedy submitted the first special message from a president to Congress on mental health. That same year, a congressional act provided grants to assist with building mental health centers nationwide. Since then, care of and service for mental illness has gradually made steps towards removing stigmas and gaining support through education. However, in the early ‘60s, mental illnesses were not discussed outside one’s immediate family or, at most, with the family doctor. It was a topic in Congress, not at the dinner table. Families of the mentally ill experienced a nightmare of life, forced either to devote all their energy to controlling and overseeing relatives or to commit them to institutions. Newspapers and other print painted mentally ill individuals as disturbed and disturbing, unstable and unable to exist within the modern population. Society deemed that, for their own benefit, the best way to care for these patients was to lock them away in institutions under the supervision of psychiatrists. This would conveniently excuse the public from confronting its own stigmas or making the effort to care for and incorporate patients into the “normal” world. The latter end of the ‘60s saw a shift in perception and a decrease in stigma, as well as a gradual push away from institutions and toward adult homes, which allowed the incorporation of patients into everyday life, teaching skills such as cooking and budgeting. Within the play, however, the belief that the best ONE F LEW O possible life for mentally ill patients lay in V Disco very G ER THE CU segregation from society prevailed. CKOO uide 2 ’S NES 010 T [SOURCES CITED ON PAGE 17]
Page Five
MAD DOG
O G N I L he Play t n E i r e t H T ncoun E l l ’ u o W Y hrases P NUniqO d n a K s d e Wor u w e AF
Mad as an adjective means “mentally disturbed, deranged, insane.” This phrase usually referred to a rabid, and therefore dangerous and unpredicatable, dog.
BULL GOOSE LOONEY
In terms of animal husbandry, the “bull” is the lead male, like saying “alpha.”
YALLER SKUNK
Yellow, or “yaller,” symbolizes cowardice, so together this phrase insinuates that one is both cowardly and odious, as unwelcome as a skunk at a perfume convention.
PADLOCKIN’ MY PANTS
A padlock was widely accepted as the strongest method to protect one’s property, so McMurphy implies that he did not make sexual advances in the rape case but rather that she advanced upon him.
BOOSTED
To steal. This is a term that went out of fashion and has come back with the same meaning though in a different context.
RED HOT
A hot dog, the popular menu item from concessions at sporting events.
TO “CRAWFISH”
To backpedal, to back down
WHAT’S THE BEEF?
A “beef” is an issue or complaint one individual has, usually against another individual. Literally, “What’s the problem?”
A TWITCH NAMED CANDY STARR
McMurphy also refers to Candy as a “trick” and Ratched calls her a prostitute, so it can be understood that a twitch is simply another slang for a woman who offers sexual favors for payment. PANY M O C SOURCES: E E A T R s l i g h t . o rg H Dictionary.com. http://dictionary.reference.com/ T & e The meanings and origins of sayings and phrases. IGHT ww.peopl L S ’ w Phrasefinder. <http://www.phrases.org.uk/index.html> LE PEOP
Page Six
OUR P RODU CTION
ABOVE: Set Model Photo, Scenic Design by Wilson Chin RIGHT: Costume Renderings of the Patients, Costume Design by Jessica Ford
ONE F LE Disco W OVER TH very G E uide 2 CUCKOOâ&#x20AC;&#x2122; S NES 010 T
Page Seven
Artistic Director, Abigail Adams Managing Director, Grace Grillet
ARTISTIC TEAM
Director Production Manager Scenic Designer Costume Designer Lighting Designer Composer & Sound Designer Dramaturg Assistant Sound Designer Fight Director Production Stage Manager
Jackson Gay Charles T. Brastow* Wilson Chin Jessica Ford Joshua Schulman Fitz Patton Elizabeth Pool Toby Jaguar Algya Samantha Bellomo Patricia G. Sabato*
*Member, Actorsâ&#x20AC;&#x2122; Equity Association, the Union of Professional Actors and Stage Managers
THEATRE ARTISANS Technical Director Scene Shop Foreman Scenic Painter Scenic Carpenter Master Electrician Assistant Master Electrician Costume Shop Manager Cutter/Draper Wardrobe Properties Master Stage Management Assistant
PEO
Joseph Franz Dylan Jamison Will Scribner Jefferson Haynes Gregory Scott Miller Chris Hallenbeck Marla J. Jurglanis Abbie Wysor Bridget Anne Brennan Elizabeth Stump Danielle Mangano
Y MPAN O C rg RE HEAT leslight.o T & T LIGH www.peop S â&#x20AC;&#x2122; E PL
Page Eight
MEET T HE CAS T Cast Clockwise from: Brandon A. Oakes [Chief Bromden], James Ijames* [Aide Warren], Delanté G. Keys [Aide Williams], Marcia Saunders* [Nurse Ratched], Jessica Bedford [Nurse Flinn], Lenny Haas* [Dale Harding], Joseph Michael O’Brien [Ellis/Technician], Aubie Merrylees [Billy Bibbit], Mark Lazar* [Scanlon], Tom Teti* [Cheswick], Joe Guzman* [Martini], Paul L. Nolan* [Ruckly], William Zielinski* [Randall P. McMurphy], Pete Pryor* [Dr. Spivey], Jerome Preston Bates* [Aide Turkle], Laura Catlaw* [Candy Starr], Georgia Cohen* [Sandra]
ONE F LE Disco W OVER TH very G E uide 2 CUCKOO’ S NES 010 T
Page Nine
*Member, Actor’s Equity Association, the Union of Professional Actors & Stage Managers
A H C E H T
S R E T C A R ACUTE: sudden-onset mental illness, classified as short-term
CHIEF BROMDEN A Columbian River Indian admitted to the hospital for schizophrenia AIDE WARREN, AIDE WILLIAMS These aides serve in a custodial capacity for the ward and its
patients.
NURSE RATCHED Also known as “Big Nurse” and entrusted with authority over the ward. She
maintains order through a combination of matronly care and strict adherence to the methods of therapy determined by the facility.
NURSE FLINN A skittish, young lady, she distributes medications and assists Nurse Ratched. DALE HARDING As a patient with considerable education, he presides over the others without
opposing Nurse Ratched, reasoning that this pattern of behavior is his wisest recourse.
BILLY BIBBIT A patient with a severe stutter, his boyish desire for approval and acceptance often
outweighs his longing to be an independent adult male. SCANLON A chronic patient, he refuses medication and focuses instead on delusional projects with which he can destroy the world. CHARLES CHESWICK Diagnosed as acute, he acknowledges he could be cured, but remains skeptical and paranoid about life. MARTINI Also diagnosed as acute, his energetic nature competes with his hallucinations resulting in an alternately bright-eyed or melancholy attitude.
RUCKLY As a result of a lobotomy procedure, he spends his time against a wall unable to control
his speech or fine motor skills.
RANDLE P. MCMURPHY A wildcard and the newest arrival on the floor, McMurphy has been
admitted to the hospital on a prison doctor’s recommendation after serving a penal sentence on a work farm. DR. SPIVEY The official authority in charge of the hospital. Spivey generally trusts the recommendations of Nurse Ratched, but has final authority on prescribing electroshock and lobotomy procedures. AIDE TURKLE The aging night aide of the ward. He oversees all maintenance and security during the twilight hours. CANDY STARR A friend of McMurphy, she enjoys participating in his efforts/schemes to liven up the floor.
SANDRA A friend of Candy and McMurphy.
Chronic: long-enduring or frequentlyrecurring mental illness
PEO
Y MPAN O C rg RE HEAT leslight.o T & T LIGH www.peop S ’ E PL
Page Ten
ENHAN C I N EXPER G YOUR IENCE
BOOKS
ONE FLEW OVER THE CUCKOO’S NEST (THE NOVEL) by Ken Kesey The original novel that inspired both the play and the film.
COGNITIVE-BEHAVIORAL TREATMENT OF BORDERLINE PERSONALITY DISORDER by Marsha M. Linehan Text on the theory, concepts, treatment practice and theory, overall goals of treatment, and strategies for specific tasks, this book offers a very medical and scientific view and approach to Cognitive-Behavioral conditions.
GRACEFULLY INSANE: THE RISE AND FALL OF AMERICA’S PREMIER MENTAL HOSPITAL by Alex Beam As a biography of a Massachusetts psychiatric institution, this book goes through the 200 year history of psychiatry in America. Something of a tell-all in the sense that McLeans (the institution in question) housed many notable American individuals.
MAD IN AMERICA: BAD SCIENCE, BAD MEDICINE, AND THE ENDURING MISTREATMENT OF THE MENTALLY ILL by Robert Whitaker A thoroughly researched history of the American mental health system. Broken down in time segments, beginning in the 1700s and ending with the present, this text would be beneficial for understanding the achievements and failures of this medical practice.
THE LIVES THEY LEFT BEHIND: SUITCASES FROM A STATE HOSPITAL ATTIC BY DARBY PENNEY and Peter Stastny The authors examine ten suitcases which were found in the remnants of a state institution (19001950). By dissecting the contents, they provide life stories for those who spent the remainder of their lives trapped mentally and physically. The introduction also provides a brief history of the medical care and attention paid to mentally ill individuals in America.
ONE F LE Disco W OVER TH very G E uide 2 CUCKOO’ S NES 010 T
Page Eleven
ONLINE RESOURCES Website: National Institute of Mental Health Website with information on various types of mental illness as well as modern forms of medication. Defines an illness, explains signs and symptoms as well as various forms of treatment, and provides links to related information.
Video: PBS American Experience Documentary The Lobotomist This website includes a link for further reading of books and websites, an online forum with questions from viewers with responses by authorities in the field, and a timeline: Treatments for Mental Illness.
CONTINUING THE CONVERSATION Liven up the car ride home with these thoughts and questions about CUCKOO’S NEST: What do you think about Nurse Ratched’s methods? Do you think she’s a good nurse? [From Marcia Saunders, Actor] Which character would you most like to invite to dinner? Which character would make you want to exit a few floors early if you were both on the same elevator? [From Samantha Bellomo, Resident Director] How do the labels given to patients (chronic, acute, schozophrenic, paranoid, etc.] affect their self-perception and ability to improve their overall wellness? [From Tom Teti, Actor] In the time just before the story takes place, lobotomies were prescribed for “ailments” such as wives being inattentive to their housework or children being overly-exuberant. These drastic and unethical treatments are now condemned by the medical community, but is there ever a circumstance in which you think a lobotomy is a justifiable treatment? [From Laura Catlaw, Actor] If you were suddenly placed in group therapy with these characters, whose insights Y do you think would affect you the most? MPAN O C rg RE [From Wendy Bable, Producer for Arts Discovery Programs] HEAT ght.o
LIGH S ’ E L PEOP
T & T peoplesli www.
Page Twelve
RESOURCES FOR EDUCATORS This Discovery Guide can be used in partnership with the following PA State Standards for Arts and Humanities either before or after attending a performance of ONE FLEW OVER THE CUCKOOâ&#x20AC;&#x2122;S NEST: PENNSYLVANIA STATE STANDARDS 9.1.12 GRADE 12 A. Know and use the elements and principles of each art form to create works in the arts and humanities. (Theatre Elements: scenario, script/text, set design. Theatre Principles: balance, collaboration, discipline, emphasis, focus, intention, movement, rhythm, style, voice.)
In this Guide See: SELF-GUIDED TOUR FOR TEENS and its corresponding activity for scenario, intention, and focus B. Recognize, know, use and demonstrate a variety of appropriate arts elements and principles to produce, review, and revise original works in the arts.
In this Guide See: SELF-GUIDED TOUR FOR TEENS and its corresponding activity. Possible Application after attending a performance: Students can write their own review focusing on production elements (sets, costumes, lights, props), acting, directing, or script. If students have also read the novel, they can write about the book in contrast to the script and the changes they noticed in the adaptation. C. Integrate and apply advanced vocabulary to the arts forms.
In this Guide See: THE STORY & THE WRITERS pages 3-4 THE WORLD OF THE PLAY pages 5-6 ENHANCING YOUR EXPERIENCE pages 11-12 Possible Application after attending performance: Discuss the above sections of the guide against the production elements seen at the theatre. Students can then create collages that illustrate their own designs for set, costumes, lights, or sound using magazine clippings, internet images, photos, etc. In class hold a mock design presentation where the students introduce their designs to the group. As an ensemble, have the class combine designs and create several large collages of productions that they might produce as a company. Each student can then write a press release for one of the company productions, detailing the world of the play, story, and design aesthetics.
ONE F LE Disco W OVER TH very G E uide 2 CUCKOOâ&#x20AC;&#x2122; S NES 010 T
Page Thirteen
9.1.12 GRADE 12 (continued) K. Analyze and evaluate the use of contemporary technologies in furthering knowledge and understanding in the humanities.
In this Guide See: The entire Guide. Analyze the usefulness of information for you and your students against what you have explored in your classroom and what you have seen onstage. Possible Application: Compare our Discovery Guide to those of other Theatres. Check out Steppenwolf’s Guides at HERE. Have the students create pages from a guide of their own to post online. 9.2.12. GRADE 12 A. Explain the historical, cultural and social context of an individual work in the arts. C. Relate works in the arts to varying styles and genre and to the periods in which they were created (e.g., Bronze Age, Ming Dynasty, Renaissance, Classical, Modern, Post-Modern, Contemporary, Futuristic, others). D. Analyze a work of art from its historical and cultural perspective.
In this Guide See: 9.3.12. GRADE 12
THE STORY & THE WRITERS pages 3-4 THE WORLD OF THE PLAY pages 5-6 ENHANCING YOUR EXPERIENCE pages 11-12
A. Explain and apply the critical examination processes of works in the arts and humanities. • Compare and contrast • Analyze • Interpret • Form and test hypotheses • Evaluate/form judgments C. Apply systems of classification for interpreting works in the arts and forming a critical response. F. Analyze the processes of criticism used to compare the meanings of a work in the arts in both its own and present time. G. Analyze works in the arts by referencing the judgments advanced by arts critics as well as one’s own analysis and critique.
Ask your students to search for on-line critiques of the novel, the film, the play, and our production of ONE FLEW OVER THE CUCKOO’S NEST. (We typically post these on our People’s Light website and Facebook pages.) Discuss how each critic adjusts their language to address the unique form of each genre. Ask your students to describe how the scenic, costume, lighting and sound design choices interpret the text. How does each design element contribute to the overall interpretation?
pany m o C e heatr slight.org T & t e h ’s Lig www.peopl e l p o Pe
Page Fourteen
SELF-
GUIDE
A THERAPUTIC COMMUNITY
In ONE FLEW OVER THE CUCKOO’S NEST, the setting for the play is a hospital ward, where patients socialize, interact, receive medication, and participate in group therapy. The ward operates on a Therapeutic Community model, which places high importance on patient-to-patient relationships, communication, and democracy. Patients are overseen by hospital staff; however, they play an active and important role in each other’s recovery through social interactions and group therapy sessions. In group therapy, applied group pressure is used to help patients overcome obstacles and challenges in their recovery. Other forms of therapy mentioned or administered in ONE FLEW OVER THE CUCKOO’S NEST include electro-shock therapy, (now called electro-convulsive therapy), the lobotomy, and Rorschach Inkblot test. In electro-convulsive therapy, electric currents are sent through the brain as a means of “rewiring” the brain when other medications have proved unsuccessful. Unfortunately, in the time period when ONE FLEW OVER THE CUCKOO’S NEST is set, electro-convulsive therapy was used often and with extremely high risk factors. Today, this therapy is used with precision in a controlled environment to help patients with severe depression, mania, and schizophrenia. A lobotomy is considered psychosurgery. During a lobotomy, a patient is rendered unconscious while a surgeon either severs nerves or removes brain matter from a patient’s frontal lobe. Because portions of the frontal lobe of the brain are altered or removed, a lobotomy produces a change in personality and spontaneity in a patient, rendering them with slower motor and decision-making skills.
ONE F LE Disco W OVER TH very G E uide 2 CUCKOO’ S NES 010 T
Page Fifteen
D TOU R [FOR TEEN
S]
THE RORSCHACH INKBLOT TEST & ROLE PLAYING The Rorschach Inkblot test was first developed by a Swiss psychiatrist, Hermann Rorschach, in 1921. This test helps doctors identify personality disorders by analyzing the patient’s interpretations of various inkblot images. The test is used to help them discuss their thought processes in a creative and descriptive manner, rather than in a linear fashion. The test is administered by a doctor who holds up inkblot cards for the patient while they describe what they see. Often the doctor administering the test asks the patient open-ended questions to better understand what the patient is seeing and how it relates to their condition.
Acting Analysis Activity Have at least two pieces of paper, a pencil, or your computer handy. Take a look at the following inkblots. For the first one, look closely and write down what you see. There is no wrong answer, and your writing may take on the form of a list, free association, or a short story.
2
1 Now flip over your paper (or scroll down to a new page), close your eyes and imagine that you are Nurse Ratched or Nurse Flinn. Once you are ready open your eyes and look at Inkblot 2. Write down what you see. Again, there is no wrong answer, but try to see the ink blot through the Nurse’s eyes.
3 For Inkblot 3, do the same as you did for Inkblot 2, only this time when you close your eyes imagine yourself as McMurphy. Again, visualize the image through his eyes (and personality) and write down what you see.
Finally, take all of your writing and read through it. What did you see from your own perspective? From the Nurse’s? From McMurphy? Are there any similarities? What are the differences?
For a different perspective, and a bit of fun, find a friend who has also seen the show. Take turns administering the Rorschach Inkblot Test to each other. One plays the doctor, while the other becomes a character from ONE FLEW OVER THE CUCKOO’S NEST, describing what he or she is seeing. The doctor can ask leading questions, while the other character responds. Try to stay in character as long as possible, and then switch roles. Did your original writing influence your answers or responses? In character, why did you respond the way you did?
NY O M P A rg C E R HEAT leslight.o T & T LIGH www.peop S ’ E L PEOP
Page Sixteen
BIBLIOGRAPHY & CREDITS “APA History and Archives.” American Psychology Association. 2010. Accessed 24 Aug 2010. <http://www.apa.org/ about/archives/apa-history.aspx> Borinstein, Andrew B. “Datawatch: Public Attitudes Toward Persons With Mental Illness.” Health Affairs 11.3 Fall (1992): 186-196. Web. 24 Aug 2010. <http://content.healthaffairs.org/cgi/reprint/11/3/186.pdf> Dictionary.com. Web. Accessed 25 Aug 2010. <http://dictionary.reference.com/> Fox, Margalit. “O. Ivar Lovaas, Pioneer in Devleoping Therapies for Autism, Dies at 83.” The New York Times. 22 Aug 2010, Web. Accessed 1 Sept 2010. <http://www.nytimes.com/2010/08/23/health/23lovaas.html?scp=1&sq =%22mental+illness%22+1960s&st=nyt> Gottlieb, Jane. “Name Change at Agency to Remove ‘Retardation’.” The New York Times. 7 June 2010, Web. Accessed 1 Sept 2010. <http://www.nytimes.com/2010/06/08/nyregion/08name.html?pagewanted=1&%2359;mental %20illness&%2334&sq&st=nyt&scp=2&%2359;%201960s> Grob, Gerald N. “Creation of the National Institute of Mental Health.” Public Health Reports 3.July/August (1996): 378-381. Web. Accessed 24 Aug 2010. <http://www.ncbi.nlm.nih.gov/pmc/articles/PMC1381885/pdf/pub healthrep00047-0092.pdf>. “Important Events in NIMH History.” National Institute of Health. 23 June 2010, Web. Department of Health and Human Services. Accessed 24 Aug 2010. <http://www.nih.gov/about/almanac/organization/NIMH. htm#events> Kappel, Lawrence. “Readings on One flew over the Cuckoo’s Nest.” Ken Kesey: An Extraordinary Interlude. 17-25. Kirkpatrick, David D. “Ken Kesey, Checking in on His Famous Nest.” New York Times 10 May 2001, Web. Accessed 24 Aug 2010. < http://www.nytimes.com/2001/05/10/theater/ken-kesey-checking-in-on-his-famous-nest. html?scp=14 &sq=&pagewanted=1> Lehmann-Haupt, Christopher. “Ken Kesey, Author of ‘Cuckoo’s Nest,’ Who Defined the Psychedelic Era, Dies at 66.” The New York Times. 11 November 2001, Web. Accessed 24 Aug 2010. <http://www.nytimes. com/2001/11/11/nyregion/ken-kesey-author-of-cuckoo-s-nest-who-defined-the-psychedelic-era-dies-at66.html?sec=&spon=&pagewanted=1> “The meanings and origins of sayings and phrases.” Phrasefinder. Web. Accessed 25 Aug 2010. <http://www. phrases.org.uk/bulletin_board/13/messages/512.html> Moser, Don. “The Nightmare of Life With Billy.” Life Magazine. 1965, Web. Neurodiversity.com. Accessed 1 Sept 2010. <http://neurodiversity.com/library_screams_1965.pdf> “NIMH Legislative Chronology.” National Institute of Health. 23 June 2010. Department of Health and Human Services. Accessed 24 Aug 2010 <http://www.nih.gov/about/almanac/organization/NIMH.htm#chronology> PinkMonkey Editors. “PinkMonkey on One Flew Over the Cuckoo’s Nest.” 7 May 2007. PinkMonkey.com. Web. 26 Aug 2010. <http://pinkmonkey.com/booknotes/monkeynotes/pmCuckoo29.asp> “Screams, Slaps & Love: A Surprising, Shocking Treatment Helps Far-gone Mental Cripples.” Life Magazine. 1965, Web. Neurodiversity.com. Accessed 1 Sept 2010. <http://neurodiversity.com/library_screams_1965.html> Sparknotes Editors. “SparkNote on One Flew Over the Cuckoo’s Nest.” 2003. SparkNotes.com SparkNotes LLC. Web. 25 Aug 2010. <http://www.sparknotes.com/lit/cuckoo> Sulzberger, A.G. “Judge Orders New York to Move Mentally Ill Out of Large, Institutional Housing.” The New York Times. 1 March 2010, Web. Accessed 1 Sept 2010. <http://www.nytimes.com/2010/03/02/nyregion/ 02mental.html?scp=6&sq=%22mental+illness%22+1960s&st=nyt> “This Day in History.” History.com. 2010. The History Channel. Accessed 24 Aug 2010 <http://www.history.com/ search/page1?search-field=1963&asset-type=This%20Day%20in%20History> Wasserman, Dale. “Flipping the Meat Train.” American Heritage. 52.1 (2001): Web. Accessed 24 Aug 2010. <http:// www.americanheritage.com/articles/magazine/ah/2001/1/2001_1_58.shtml> Weber, Bruce. “Dale Wasserman, Playwright, Dies at 84.” The New York Times. 27 Dec 2008, Web. Accessed 24 Aug 2010.
DISCOVERY GUIDE CONTENT DEVELOPED BY: Wendy Bable, Producer for Arts Discovery Programs; Hannah Daniel, Dramaturgy and Education Fellow ; Elizabeth Pool, Resident Dramaturg ; and Sara Waxman, Resident Teaching Artist CUCKOO’S NEST LOGO & GRAPHICS: Jill Margraff VISUAL CONCEPT AND LAYOUT: Wendy Bable
Page Seventeen
ARTS DISCOVERY SUPPORTERS These corporations and foundations receive our special thanks for their steadfast support in 2010-2011 of our arts education program, Arts Discovery. ARTS DISCOVERY PARTNERS
ACE INA Foundation The ARAMARK Charitable Fund at the Vanguard Charitable Endowment Program The Engage 2020 Innovation Grants Program (supported by The Wallace Foundation, The Pew Charitable Trusts and The Philadelphia Foundation, and is a program of the Cultural Alliance’s research initiative Engage 2020.) The Hamilton Family Foundation The John Lazarich Foundation ARTS DISCOVERY PLAYWRIGHTS The Marshall-Reynolds Foundation Anonymous National Endowment for the Arts Aqua Pennsylvania, Inc. New Century Bank DNB First PA Council for the Arts Marsh USA Inc. The Pew Center For Arts And Heritage Bank of New York Mellon through Philadelphia Cultural Management Initiative TARGET Stores Penn Liberty Bank The William Penn Foundation Pennsylvania Humanities Council
ARTS DISCOVERY PRODUCERS The Boeing Company Connelly Foundation The Wyncote Foundation Independence Foundation ING PECO
ARTS DISCOVERY ACTORS
Anonymous Centocor, Inc. Claneil Foundation First Priority Bank The Elsie Lee Garthwaite Memorial Foundation Meridian Bank Rosenlund Family Foundation Wachovia Wells Fargo Foundation
PepsiCo Philadelphia Arts in Education Partnership PNC Bank PricewaterhouseCoopers LLP Sedgwick CMS Sunoco, Inc. US Airways Education Foundation Willis
ARTS DISCOVERY DIRECTORS The Addis Group The Barra Foundation Checkpoint Conlin’s Copy Center Star Print Mail, Inc. West Pharmaceutical Services Zenith Insurance Company
Arts Discovery receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by annual state appropriation and the National Endowment for the Arts, a federal agency. Arts Discovery is also generously supported by hundreds of gifts from area businesses, corporations, foundations, & individuals. This project is supported in part by a grant from the National Endowment for the Arts.
Page Eighteen