A Confederacy of Dunces Curriculum Guide

NICK OFFERMAN IN

CURRICULM GUIDE

WRITT

EN BY

JEFFREY

HATCHER

BASED ON THE PULIT

ZER

PRIZE-WIN

NING B

OOK BY

JOHN KENNEDY

TOOLE

DIRECTED BY

DAVID

ESBJORNSON

A CONFEDERACY

OF DUNCES

TABLE OF CONTENTSStandards 3

Guidelines for Attending the Theatre 4

Artists 5

Themes for Writing & Discussion 7

Mastery Assessment 10

For Further Exploration 12

Suggested Activities 15

Poetry Out Loud 17

© Huntington Theatre Company Boston, MA 02115

November 2015

No portion of this curriculum guide may be reproduced without written permission from the Huntington Theatre Company’s Department of Education & Community Programs

Inquiries should be directed to:

Donna Glick | Director of [email protected]

This curriculum guide was prepared for the Huntington Theatre Company by:

Pascale Florestal | Education and Community Associate

with contributions by:

Donna Glick | Director of Education

Alexandra Truppi I Manager of Curriculum & Instruction

A CONFEDERACY OF DUNCES CURRICULUM GUIDE 3

COMMON CORE STANDARDSIN ENGLISH LANGUAGE ARTS

Reading Literature: Key Ideas and Details 1

• Grade 8: Cite the textual evidence that most strongly supports an analysis of what the text says explicitly as well as inferences drawn from the text.

• Grades 9-10: Cite strong and thorough textual evidence to sup-port analysis of what the text says explicitly as well as inferences drawn from the text.

• Grades 11-12: Cite strong and thorough textual evidence to sup-port analysis of what the text says explicitly as well as inferences from from the text, including where the text leaves matters uncertain.


• Grade 8: Determine a theme or central idea of a text and analyze its development over the course of the text, including its relationship to the characters, setting, and plot; provide an objective summary of the text.

• Grades 9-10: Determine a theme or central idea of a text and analyze in detail its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text.

• Grades 11-12: Determine two or more themes or central ideas of a text and analyze their development over the course of the text, including how they interact and build on one another to produce a complex account; provide and objective summary of the text.


• Grade 8: Analyze how particular lines of dialogue or incidence in a story or drama propel the action, reveal aspects of a character, or provoke a decision.

• Grades 9-10: Analyze how complex characters (e.g. those with multiple or conflicting motivations) develop over the course of a text, interact with other characters, and advance the plot or develop the themes.

STANDARDS: Student Matinee performances and pre-show workshops provide unique opportunities for experiential learning and support various combinations of the Common Core Standards for English Language Arts. They may also support standards in other subject areas such as Social Studies and History, depending on the individual play’s subject matter.

Activities are also included in this Curriculum Guide and in our pre-show workshops that support several of the Massachusetts state standards in Theatre. Other arts areas may also be addressed depending on the individual play’s subject matter.

• Grades 11-12: Analyze the impact of the author’s choices regard-ing how to develop related elements of a story or drama (e.g., where a story is set, how the action is ordered, how the charac-

ters are introduced and developed).

Reading Literature: Craft and Structure 5

• Grades 9-10: Analyze how an author’s choices concerning how to structure a text, order events within it (e.g., parallel plots), and manipulate time (e.g., pacing, flashbacks), create such effects as mystery, tension, or surprise.

• Grades 11-12: Analyze how an author’s choices concerning how to structure specific parts of a text (e.g., the choice of where to begin or end a story, the choice to provide a comedic or tragic resolution) contribute to its overall structure and meaning as

well as its aesthetic impact.

Reading Literature: Craft and Structure 6

• Grade 8: Analyze how differences in the points of view of the characters and the audience or reader (e.g., created through the use of dramatic irony) create such effects as suspense or humor.

• Grades 11-12: Analyze a case in which grasping point of view re-quired distinguishing what is directly stated in a text from what

is really meant (e.g., satire, sarcasm, irony, or understatement).

Reading Literature: Integration of Knowledge and Ideas 7

• Grade 8: Analyze the extent to which a filmed or live production of a story or drama stays faithful to or departs from the text or script, evaluating the choices made by the director or actors.

• Grades 9-12: Analyze multiple interpretations of a story, drama, or poem (e.g. recorded or live production of a play or recorded novel or poetry), evaluating how each version interprets the source text (Include at least one play by Shakespeare and one play by an American dramatist).

4 A CONFEDERACY OF DUNCES CURRICULUM GUIDE

ACTING

• 1.7 — Create and sustain a believable character throughout a scripted or improvised scene (By the end of Grade 8).

• 1.12 — Describe and analyze, in written and oral form, characters’ wants, needs, objectives, and personality characteristics (By the

end of Grade 8).

• 1.13 — In rehearsal and performance situations, perform as a productive and responsible member of an acting ensemble (i.e., demonstrate personal responsibility and commitment to a collaborative process) (By the end of Grade 8).

• 1.14 — Create complex and believable characters through the integration of physical, vocal, and emotional choices (Grades

9-12).

• 1.15 — Demonstrate an understanding of a dramatic work by developing a character analysis (Grades 9-12).

• 1.17 — Demonstrate increased ability to work effectively alone and collaboratively with a partner or in an ensemble (Grades 9-12).

READING AND WRITING SCRIPTS

• 2.7 — Read plays and stories from a variety of cultures and historical periods and identify the characters, setting, plot, theme, and conflict (By the end of Grade 8).

• 2.8 — Improvise characters, dialogue, and actions that focus on the development and resolution of dramatic conflicts (By the end

of Grade 8).

• 2.11 — Read plays from a variety of genres and styles; compare and contrast the structure of plays to the structures of other forms of literature (Grades 9-12).

TECHNICAL THEATRE

• 4.6 — Draw renderings, floor plans, and/or build models of sets for a dramatic work and explain choices in using visual elements (line, shape/form, texture, color, space) and visual principals (unity, variety, harmony, balance, rhythm) (By the end of Grade 8).

• 4.13 — Conduct research to inform the design of sets, costumes, sound, and lighting for a dramatic production (Grades 9-12).

CONNECTIONS

• Strand 6: Purposes and Meanings in the Arts — Students will describe the purposes for which works of dance, music, theatre, visual arts, and architecture were and are created, and, when appropriate, interpret their meanings (Grades PreK-12).

• Strand 10: Interdisciplinary Connections — Students will apply their knowledge of the arts to the study of English language arts, foreign languages, health, history and social science, mathematics, and science and technology/engineering (Grades PreK-12).

AUDIENCE ETIQUETTEAttending live theatre is a unique experience with many valuable educational and social benefits. To ensure that all audience members are able to enjoy the performance, please take a few minutes to discuss the following audience etiquette topics with your students before you come to the Huntington Theatre Company.

• How is attending the theatre similar to and different from going to the movies? What behaviors are and are not appropriate when seeing a play? Why?

• Remind students that because the performance is live, the audience’s behavior and reactions will affect the actors’ performances. No two audiences are exactly the same, and therefore no two performances are exactly the same — this is part of what makes theatre so special! Students’ behavior should reflect the level of performance they wish to see.

• Theatre should be an enjoyable experience for the audience. It is absolutely all right to applaud when appropriate and laugh at the funny moments. Talking and calling out during the performance, however, are not allowed. Why might this be? Be sure to mention that not only would the people seated around them be able to hear their conversation, but the actors on stage could hear them, too. Theatres are constructed to carry sound efficiently!

• Any noise or light can be a distraction, so please remind students to make sure their cell phones are turned off (or better yet, left at home or at school!). Texting, photography, and video recording are prohibited. Food, gum, and drinks should not be brought into the theatre.

• Students should sit with their group as seated by the Front of House staff and should not leave their seats once the performance has begun.

MASSACHUSETTS STANDARDS IN THEATRE


JEFFREY HATCHER — PLAYWRIGHT

Jeffrey Hatcher is no stranger to the world of adaptations. Not only has he adapted novels for the stage, he is also well-known for his television and film adaptations; some critics have even referred to him as a Master of Adaptations. So when it came time to adapt A Confederacy of Dunces, Hatcher was up to the challenge of transforming the cult classic and Pulitzer Prize winner, even though it initially seemed an impossible task. Hatcher is one of many writers who have attempted to adapt the novel, but unlike others, Hatcher found a home on the stage for his version of A Confederacy of Dunces. Hatcher explained the challenges he faced with this project:

“ Adapting John Kennedy Toole’s A Confederacy of Dunces into a play has been like wrestling Ignatius Reilly to the stage. The book is famously picaresque, episodic and digressive but the digressions are often the point. What I think we’ve arrived at is a play that focuses on the characters — Ignatius, his mother Mrs. Reilly, Burma Jones, Myrna Minkoff — without losing any of the book’s color, atmosphere and humor.”

Although Hatcher wrote a complete draft of his A Confederacy of Dunces adaptation, he realizes that there may be some necessary changes as the play develops in Boston. Hatcher states: “In terms of writing, that project is done for now, but I’m sure as we go into the rehearsal process, I’ll be making some changes and fine

tuning it.” Like other adapters, Hatcher has had to sacrifice certain elements of the original work in order to serve the primary story. Hatcher admits, “You simply have to betray them for the sake of time and interest. The important part is to keep the thematic idea and central notions intact.”

In addition to adapting A Confederacy of Dunces, Hatcher recently completed an adaptation of Mark Twain’s satirical tale A Connecticut Yankee in King Arthur’s Court, which had its first production in the spring of 2015 at the Guthrie Theater in Minneapolis, Minnesota. His most recent film adaptation premiered in July 2015; Mr. Holmes, starring Sir Ian McKellan, is a film adaptation of Mitch Cullen’s book A Slight Trick of the Mind which follows the final years of the famous detective Sherlock Holmes as he tries to solve his final case. Hatcher has also written screenplays for Casanova, The Duchess, and Stage Beauty, a film adaptation of his original play Compleat Female Stage Beauty.

Although Hatcher may be considered the Master of Adaptations, he has also written many original works that have been performed on Broadway, Off Broadway, and in regional theatres across the country and abroad. Some of Hatcher’s original works include Three Viewings, Scotland Road, A Picasso, Neddy, Korczak’s Children, and Mercy of a Storm. Hatcher also wrote the book for the Broadway musical Never Gonna Dance.

QUESTIONS:

1. What are the challenges of adapting a famous literary work into a script for stage or screen?

2. List some book-to-play or book-to-film adaptations you are familiar with. Were these adaptations successful? Why or why not?

2. How would you feel if there was going to be a stage adaptation of your favorite book? Would your love of the book influence how you judged the adaptation? Or would you be able to evaluate the adaptation as an individual work? How do you think this adaptation of A Confederacy of Dunces will be received by

fans of the novel?

NICK OFFERMAN: FROM RON SWANSON TO IGNATIUS J. REILLY

Pawnee, Indiana may be an unfamiliar place for many people, but for the fictional character Ron Swanson and the fans of the television show “Parks and Recreation,” Pawnee is home. Actor Nick Offerman is well known for his breakout role as Ron Swanson on the hit television show, which focuses on a group of employees in the fictional town of Pawnee’s Parks and Recreation Department and follows them through the trials and tribulations of government work. The show uses satire to poke fun at local government and the ignorance most citizens have about the inner workings of a local government agency. Famous comedian and former “Saturday Night Live” cast member Amy Poehler led the “Parks and Recreation” cast as Leslie Knope, the perky and determined

ARTISTS

Playwright Jeffrey Hatcher


deputy director of the parks department, while Offerman played the macho anti-government and meat-loving parks director Ron Swanson.

Many critics say that Offerman’s portrayal of Ron Swanson is what inspired theatre producers to cast him as Ignatius Reilly. Although the characters are from two completely different worlds and time periods, Ron and Ignatius seem to share a common worldview. Offerman has stated, “It seems only

fitting that I should follow seven seasons of Ron Swanson’s beef with the pudding of [novelist John Kennedy] Toole’s corpulent fop.” So how similar are these characters, really? Throughout the seven-season run of “Parks and Recreation,” Ron Swanson expresses his views on the uselessness for the government and demonstrates a healthy disregard for the law, citing his position of Parks Director and American citizenship as motivations. Swanson says, “I think that all government is a waste of tax payer’s money. My dream is to have the park system privatized and run entirely for profit by corporations, like Chuck E. Cheese. They have an impeccable business model.”

In A Confederacy of Dunces, Ignatius is known for defying conventional ideals and his frank and inappropriate outspoken beliefs are very similar to the character of Ron Swanson. With

so many shared qualities it seems as though the role of Ignatius Reilly could have been written for Nick Offerman. Offerman is also delighted to be returning to the stage, the place where he began his acting career. Originally from Illinois, Offerman began his professional life in Chicago where he worked with premier theaters such as Steppenwolf Theatre Company, the Goodman Theatre, Wisdom Bridge, and many others. In a New York Times article announcing his role, Offerman stated: “I am simply tumescent at the prospect of assaying the beloved character of Ignatius J. Reilly with our team of magnificent and weird artistic champions.”

QUESTIONS:

1. Research Nick Offerman’s acting career, both on stage and screen. What qualities are shared by the roles he has played? What makes Nick Offerman a good fit for the role of Ignatius J. Reilly?

2. Research roles that Nick Offerman played that are against the type of Ignatius Riley and Ron Swanson. What are some things you notice about Nick Offereman’s performance as these characters?

3. What are some of the advantages and disadvantages of casting a famous actor in an iconic role, rather than an actor who is largely unknown?

Nick Offerman

CULT CLASSICS

A Confederacy of Dunces by John Kennedy Toole

Infinite Jest by David Foster Wallace

1984 by George Orwell

To Kill a Mockingbird by Harper Lee

The Catcher in the Rye by J.D. Salinger

OTHER WORKS BY JEFFREY HATCHER

Mercy of a Storm

Neddy, Korczak’s Children

A Picasso

Scotland Road

Three Viewings

SUGGESTIONS FOR FURTHER READING

WORKS B Y ACTOR NICK OFFERMAN

Gumption: Relighting the Torch of Freedom with America’s Gutsiest Troublemakers

Paddle Your Own Canoe: One Man’s Fundamentals for Delicious Living


WORK ETHIC

Hard work pays off! Work Hard, Play Harder! Work Hard, Dream Big! Keep Calm and Work Hard!

In life’s journey, one encounters many slogans, phrases, and inspirational quotes about the importance of hard work. But what happens when you don’t work hard? What does it mean to have good work ethic? Jeffrey Hatcher’s adaptation of John Kennedy Toole’s novel A Confederacy of Dunces introduces audiences to multiple perspectives on work ethic and the rewards and consequences that may follow. The novel A Confederacy of Dunces won much acclaim as a literary tribute to the working man. Throughout the novel and play, we encounter characters struggles with finding gainful employment and then keeping the job. A good work ethic relies on the idea that hard work is intrinsically virtuous or worthy of reward; as we follow the characters throughout A Confederacy of Dunces, we notice that not all of them are in agreement with this concept.

One of the prime examples of a character who lacks a good work ethic is Ignatius J. Reilly, the outspoken and extremely intelligent protagonist of the play. From the moment Ignatius is introduced, it is clear that he is very smart, complicated, and following his own rules. He is quick to let people know what he thinks even if it might be offensive or inappropriate to the situation, and he is always ready to challenge “the man” or any higher authority. Though Ignatius is extremely intelligent he evidently has a major philosophical conflict with the concept of work, which is contradicted by his love for knowledge and power. When Ignatius is questioned by Patrolman Mancuso about his resistance to work, Ignatius responds with the observation that “employers sense in me a denial of their values, forced to function in a century I loathe. I am a delightful anachronism. People realize this and resent it.” An anachronism is a person or thing that belongs to a time period other than that in which it exists. Ignatius’s belief that he doesn’t belong to the 20th century, where one must work hard in order to prosper, seems to be at the center of his problems. It took him eight years to earn his master’s degree, which according to his mother has not reaped any reward for him or his family. “All he does is lay around and insult me,” says Mrs. Reilly.

Ignatius devotes significant time to defending his level of intelligence. He rejects the jobs he has been offered, describing them as menial and degrading, and declaring that he is too superior for that type of work. “Do you really think I would lower myself to do menial laboring?” he asks. However, Ignatius’s negative view of work is not only targeted at blue collar jobs but positions in higher education as well, which seems ironic coming from a man who considers his knowledge to be his most valuable attribute. In a story he recounts to Darlene at the infamous Night of Joy Bar, Ignatius recounts his adventures in Baton Rouge, where he traveled to interview for a position at a university: “My tale begins with an invitation. I had applied for a position at a university beneath my talents but beyond my walking distance.”

Ignatius strongly believes that he was more than qualified to work at the school and maybe even wasted his time applying for a position at a university that was also too far from home.

In today’s world the common wisdom says that success can only be achieved through hard work. African-American educator and author Booker T. Washington stated, “Nothing ever comes to one that is worth having, except as a result of hard work.” Washington’s quote reinforces the timeless ideal that nothing worth having comes easily, a view directly related to the concept of “The American Dream.” Ignatius Reilly, however, has a different view.

QUESTIONS:

1. Why does Ignatius have such difficulty acquiring a job?

2. a. In addition to a strong work ethic, what other qualities are necessary to achieve success in life?

b. Is Ignatius a successful person? Why or why not?

3. What do you imagine the path to your own success will look like? How will you achieve it? What obstacles do you think you may face?

IGNORANCE, JUDGMENT, AND PERCEPTION

How much do we know about current world events and the experiences of those who are different from ourselves? Do we really understand how our government works? As technology continues to advance, our methods of acquiring knowledge have shifted from copious hours of library research to the instant gratification of Google. Some say that it is this shift in technology that has caused more bias and prejudgment in the world. Others cite a cultural lack of motivation to think critically and spend time actually learning. Whatever a person’s reasons for not understanding something, it is clear that ignorance is a real challenge in modern times.

THEMES FOR WRITING & DISCUSSION

Ron Swanson (Nick Offerman) and Leslie Knope (Amy Poehler) in “Parks and Recreation”


Ignorance is defined as having a lack of knowledge or information about a topic, but what does it really mean to be ignorant in life? When people are ignorant about a particular topic, they may also be uninterested in the topic’s importance or relevance to their own experiences. This lack of interest is a major theme and catalyst for the characters actions and comedy of A Confederacy of Dunces. The title of the book even alludes to the characters’ ignorance; the term “dunce” is not commonly used in today’s society, but it is a synonym for “dumb,” “stupid,” or simply “slow at learning.” Toole’s characters’ ignorance is at the core of what makes them “dunces” and leads them into many complicated situations because of it.

Many of the characters in A Confederacy of Dunces are not only misinformed about the world but also continue to perpetuate the spread of inaccurate information to others. One of these characters is Claude Robichaux, the suitor of Mrs. Reilly. Claude Robichaux attempts to interrupt Patrolman Mancuso’s arrest of Ignatius and proclaims to the crowd that Mancuso is a communist. He declares that “New Orleans was never like this before all the Communists took over.” Robichaux’s claim that Mancuso and the other officers are communists is incorrect, as America is a democracy and has never been led by the Communist Party. Robichaux is tapping into Americans’ historical fear of communism, rooted in a period called the Red Scare in the first half of the 20th century. Toole wrote the novel in 1963 and although the Red Scare was essentially over, Robichaux’s adamant accusation represents the way ignorance can transform speculation and hysteria into inaccurate beliefs. In his stage adaptation, playwright Jeffrey Hatcher also deliberately spells “communist” as “communiss” in the script as a pronunciation clue for the actor playing the role.

Claude Robichaux is not the only character whose ignorance is on display. Mr. Gonzalez, the Levy Pants factory’s office manager, also demonstrates ignorance about the mental health needs of the elderly. When Ignatius arrives at the Levy Pants factory, he meets Miss Trixie, who is believed to be the company’s longest-tenured employee. Her odd practice of asking Mr. Gonzalez for a boiled ham and mistaking Ignatius as her former coworker, Gloria, indicate to the audience that she is suffering from some form of memory loss and perhaps should have retired by now. Yet rather than offering assistance, Mr. Gonzalez keeps her working on staff because according to her Miss Trixie’s psychiatrist (who happens to be Mrs. Levy’s cousin) work is what is best for her mental and physical well-being.

When it comes to the central character of Ignatius J. Reilly, playwright Jeffrey Hatcher and author John Kennedy Toole play with the relationship between ignorance and perception. They give Ignatius a sophisticated vocabulary that suggests he is highly educated and therefore cannot be ignorant, but Ignatius clearly does not understand many social constructs and cues. Is he ignorant or merely naïve? Ignatius is quick to speak whatever is on his mind regardless of how it might affect others. When Mrs. Reilly reveals to Ignatius that Claude Robichaux has paid for his medical bills he is offended by Robichaux’s generosity. “I will not have that man paying my medical bills,” Ignatius angrily declares. “I shall go back to the hospital until honest money buys my freedom.” Mrs. Reilly later confronts Ignatius about his tone:

“You learned everything at them colleges and universities except how to treat a human being,” she says. Ignatius’s rebuttal to his mother’s argument is that “It is not in your nature to be treated nicely. You’re an overt masochist. Nice treatment will only confuse you.” Ignatius’ pre-judgment is also demonstrated through his view of work and his belief that he is a superior human being who does not need to work in order to prosper.

QUESTIONS:

1. Why do you think Ignatius is ignorant about how to behave in social situations?

2. A Confederacy of Dunces clearly depicts the power of knowledge and how quickly biases can spread through a community. Ignorance is used as a comedic tool in the play but the points the show makes about the dangers of ignorance in the real world are very serious. Identify two or three moments in the play in which comedy is used to demonstrate the dangers of ignorance.

3. What does the saying, “ignorance is bliss” mean?

4. What current topics are people ignorant or misinformed about today? Why are they ignorant? Is there any subject or current event you claim to understand but may not be as fully informed about as you’d like?

5. Why has the word “dunce” fallen out of use?

RACIAL INJUSTICE

There are many forms of inequality in the world but the common thread among them all of is the practice of treating others differently because of some aspect of who they are. History has taught us that this sort of belief system is likely to lead to hate and bloodshed. Playwright Jeffrey Hatcher and author John Kennedy Toole explore racial inequality in the jazz-soaked New Orleans setting of A Confederacy of Dunces.

The characters Burma Jones, Mr. Watson, and the factory workers experience racial inequality throughout the entire play. Though they are not brutally punished or mistreated, it is clear that because of their race they are treated differently from others. When Claude is arrested and taken to the police station, he encounters Burma Jones, an African-American man who has been wrongfully convicted of a crime. As Claude enters the station, Burma comments: “Whoo-ee Po-lice mus be gettin desperate now. They pickin up color people all the time for doin’ nothing.” Burma’s claim that African-Americans are more likely to be arrested for simply “being black” than a white person is for actually committing a crime indicates that racial profiling is a problem in their community. Racial profiling occurs when someone in a position of authority assumes a person of color has committed a crime or done something wrong based on stereotypes. When Claude explains to Burma that he was arrested for calling a police officer a communist, Burma replies, “I call a po-lice a cawmniss, my ass be in Angola now.” Burma’s comment exposes the racial inequality of his community and indicates that if an African-American were to call a police officer a communist or anything possibly offensive, they would end up in jail without due process.

Unlike the other African-American characters in the play, Burma is very vocal regarding the mistreatment he faces. When Burma finds himself at the Night of Joy club asking Lana Lee for a job,


Lana Lee offers him a custodial position. Burma initially objects to the job, not just because of its low pay but on the grounds that it is a stereotypical job for an African-American. “They got me workin modern slavery. If I quit I get report for being a vagran. If I stay, I’m gainfully employ on a salry ain even minimal wage. What I sposed to do bout such a sityation?” Burma’s assertion of slavery implies that even though the institution of American slavery was over a century ago, African-Americans are still treated as second class citizens. With such racial disparities in the world, people of color are more likely to have lower paying jobs than their white counterparts. This second class citizenship is not only a challenge for Burma Jones but also for the workers in the Levy Pants factory.

As Ignatius grows increasingly dissatisfied with his clerical job at the Levy Pants factory, Miss Trixie, an elderly woman suffering from memory loss, suggests that he try working on the factory floor. “You always come back happy when the black boys pinch your bumpus,” she comments. Miss Trixie’s claim that the “black boys” make her happy by sexually assaulting her perpetuates the stereotypical image of African-American men as overtly sexual beings who are unable to control themselves, especially around white women. Ignatius goes on to reinforce this stereotype by proclaiming that “were I a Negro, I would spend every waking hour on public conveyances, pressing my ample thigh against old white ladies just to elicit their shrieks of pain.” With this statement, Ignatius not only reinforces Miss Trixie’s stereotype of African-American men but also frames it as a privilege to be one because of their violent tendencies.

Ignatius’s racial comments continue when he makes his way to the factory floor where he is met by Mr. Watson. Ignatius asks Mr. Watson how much he is paid and Mr. Watson reveals that he is

paid merely half of Ignatius’s own wage. The disproportionately low pay Mr. Watson receives for his hard work is an example of the modern slavery Burma Jones referred to earlier in the play. Ignatius, however, does not see the connection. He goes on to claim that he identifies with Negroes and that he even envies them. “Of course my exile is voluntary while an alarming number of contemporary Negros aspire to become active members of the middle class,” he comments to Mr. Watson. “Well, although such striving makes me question your values, I still far prefer the company of Negroes like yourself to that of middle class whites. The terror your race is able to inspire in the white proletariat? I envy it.” Ignatius demonstrates his ignorance of the plight African-Americans face on a daily basis. Ignatius’s belief that African-Americans inspire terror in white people is proof of the pervasiveness of the stereotype that African-Americans are to be feared and viewed differently from others.

QUESTIONS:

1. List three or four moments in the play that depict examples racial inequality. Why are characters like Ignatius quick to make assumptions about others?

2. Have you experienced or witnessed instances of racial inequality in your own community? How did you react? What long-term understandings did you take away from these experiences?

3. How can people work to eliminate racial inequality in daily life?

4. A Confederacy of Dunces was written in 1963 and exposes some of the racial inequality that still occurs in our society today. Research other social inequalities or current events that relate to inequality. What are some similarities between the book and these issues?

New Orleans, early 1960s jazz band


MASTERY ASSESSMENTPROLOGUE

1. To whom is Ignatius writing a letter?

2. Where is Ignatius during the prologue?

ACT ONE

Scene 1

3. What does Ignatius tell the patrolman he is doing?

4. What does Ignatius say is his visible means of support?

5. What is Mrs. Reilly purchasing for Ignatius at the store?

Scene 2

6. What drink does Ignatius ask the bartender for?

7. What is the name of the woman who is interested in Ignatius’s story of trauma?

8. Where does Dorian tell Mrs. Reilly his jacket is from?

9. What does Mrs. Reilly sell to Dorian for $15?

10. How many times has Ignatius left New Orleans?

Scene 3

11. What does Claude say is his reason for being arrested?

12. Why was Burma Jones arrested?

13. What happens to Claude and Burma when the sergeant enters?

Scene 4

14. What does Ignatius call the front seat of the car?

15. How does Ignatius cause the car crash at the end of the scene?

Scene 5

16. What does Patrolman Mancuso call his costume?

17. How long did Ignatius go to college?

18. How much is the cash settlement Mrs. Reilly must pay for the damages of the crash?

19. What does Ignatius give to Patrolman Mancuso?

20. What does Ignatius call himself to excuse him from performing menial labor work?

21. When was the last time Ignatius said “I love you” to his mother?

22. What company does Mrs. Reilly suggest Ignatius apply to work for?

23. What is Ignatius’ relationship to Myrna Minkoff?

24. Where does Ignatius suggest Patrolman Mancuso go to find dens of perversion?

Scene 6

25. How much does Lana Lee offer to pay Burma Jones?

26. Why is Darlene late?

27. What is Darlene’s professional aspiration?

28. What does George deliver for Lana Lee?

Scene 7

29. Who does Mr. Gonzalez say Ignatius will be replacing at Levy Pants?

30. What legend does Mr. Gonzalez tell Ignatius about the company?

31 . What does Mr. Gonzalez offer Ignatius that makes him accept the job?

32. What is wrong with Mr. Abelman’s shipment?

33. What happened to Mr. Levy Senior?

34. To which playwright does Mr. Levy compare the play?

35. What is one of the titles of Ignatius’s essays?

36. How much does Ignatius get paid?

Scene 8

37. Where is Mrs. Reilly going when Ignatius returns from his first night of work?

38. Who is Mrs. Reilly with when Ignatius arrives at home?

39. What does Myrna ask Ignatius to write back to her?

Scene 9

40. Who did Darlene try selling a drink to at the Night of Joy?

41 . Who keeps coming to the Night of Joy bar?

Scene 10

42. What is Patrolman Mancuso’s aunt’s name?

43. Where is Mancuso working the night shift?

44. What does Santa tell Mrs. Reilly she should do with Ignatius?

45. Where did Santa meet Mrs. Reilly’s mystery date?

Scene 11

46. What does Mr. Gonzalez ask for when he enters the scene?

47. What was Miss Trixie’s previous job?

48. Where does Miss Trixie suggest Ignatius go to make him feel better?

Scene 12

49. According to Mrs. Reilly, when was the last time she dressed up?

50. Who is Mrs. Reilly’s mystery date?

51 . How old is Ignatius?

52. What do Claude’s grandchildren call him?

Scene 13

53. To what does Burma Jones compare his job at the Night of Joy Club?

54. What does Watson tell Burma Jones is going to happen at Levy Pants?

Scene 14

55. What is written on Ignatius’ banner?

56. What happens on the factory floor when Mr. Gonzalez arrives?


ACT TWO

Scene 1

1. What is Mrs. Reilly celebrating when Santa and Claude arrive at her home?

2. What does Ignatius tell his mother when she brings out the cake?

3. Who does Mrs. Reilly say Ignatius never blames?

4. What does Ignatius pick up from his mother’s purse?

5. What does Ignatius write to Myrna in his letter?

Scene 2

6. What does George do to Mancuso to distract him?

7. How many hot dogs does Ignatius eat?

8. What does Clyde offer Ignatius for not paying for his hot dogs?

9. How much money is Levy Pants being sued for?

10. What does Miss Trixie tell Mr. Levy she will do if he doesn’t give her a ham?

11. What is Ignatius dressed up as? Why?

12. What does Ignatius find in the package delivered by George?

13. What does George thinks Ignatius wants from him?

Scene 3

14. What does Claude offer to do for Mrs. Reilly?

15. What happened to Rex? Who does Mrs. Reilly blame?

16. Why does Ignatius call the priest a heretic?

17. WHow does Mrs. Reilly describe her relationship with Claude?

18. Where is Myrna’s postcard from?

19. What does Myrna tell Ignatius in her postcard?

Scene 4

20. What is Burma Jones doing at the Night of Joy bar?

21. Who are the three women that approach Ignatius at the bar?

22. What does Ignatius ask the crowd to commit to?

23. What happens when Ignatius appears on stage?

24. What is Lana Lee arrested for?

Scene 5

25. Who pays Ignatius’ medical bill?

26. How long ago did Mr. Reilly pass away?

27. Who gives Ignatius back his book?

28. Who does Mr. Levy blame for writing the letter to Mr. Ableman?

29. What does Mr. Levy change the company name to?

30. To whom does Mr. Levy offer the Award of Young Idealist?

31 . What does Mrs. Reilly ask Claude to do for her?

32. Where does Claude ask Mrs. Reilly to go?

33. Who is knocking on the door after Mrs. Reilly leaves?

34. What did Myrna do to let Ignatius know that she was coming?

35. Where does Ignatius suggest they go?

36. What does Ignatius make Myrna do before the show ends?

AcolytesAlliterativeAnachronismClienteleChameleonCollectivismContretempsDécolletageDe-synchronized

DisparagedHereticInamorataIndictmentInterrogatoryMadrigalMercantilismMissiveMongoloid

MoorishNemesisObliterateProletariatSeguesSequesteredSocio-politicalTrajectoryVeracity

VOCABULARYIn A Confederacy of Dunces, Ignatius J. Reilly uses his power

of intellect to escape various complicated situations. Use a

dictionary to look up the following vocabulary words.

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CULT CLASSICS

Monty Python’s Holy Grail, The Rocky Horror Picture Show, Harry Potter, Mean Girls, A Clockwork Orange, and A Confederacy of Dunces; what do these books and films all have in common? They are all considered to be cult classics. Cult classics are stories that have acquired such a large and passionate fan base that includes its own dedicated subcultures. How do you know if you’re a follower of the many cult classics? Die-hard fans of

cult classics participate in multiple viewings or readings, quote the stories in their everyday lives, and sometimes participate in cosplay (the practice of dressing up as a character from a book, movie, or video game). Another hallmark of the cult classic is its increase in popularity over time. Many cult classics were considered controversial, inappropriate for their target audience, or simply not a strong artistic product when they were originally released. But over time, these works developed a following.

Many books that are considered important contributions to American literature such as To Kill a Mockingbird, 1984, and A Confederacy of Dunces, did not start out with such positive critical receptions. Long before John Kennedy Toole’s novel reigned in the cult classic category, publishers rejected the book many times before it finally found its way onto store shelves and into readers’ hands. Toole wrote the book in 1963 and died in 1969 before it was published. His mother retrieved the manuscript in 1972 but was unable to have it published until 1980. The following year, however, Toole’s book won the Pulitzer Prize for Fiction and its success has skyrocketed ever since. In the time since its publication, A Confederacy of Dunces has been translated into 22 languages with over 30 editions.

QUESTIONS:

1. Research some cult classic books from the last ten years. Compare and contrast these works in terms of themes and subject matter.

2. What gets you hooked on a book, movie, or television show? In your opinion, what makes for a good story?

3. What do you think encourages people to become fixated on a book, TV show, or film?

LITERARY ADAPTATIONS

Many films and television shows today began their lives as books before reaching the screen, and numerous popular stage plays are also adaptations of literary works. These adaptations provide the audience with new perspectives on some of their favorite stories and characters. A Confederacy of Dunces is one of the many books that have now joined the canon of adapted plays, which includes The Diary of Anne Frank, Grapes of Wrath, To Kill a Mockingbird, and

Frankenstein among others. Some of the most famous and longest running musicals were inspired or adapted from books, including Wicked, Les Miserables, South Pacific, and The Phantom of the Opera.

When news breaks that a stage or screen adaptation of a beloved book is in the works, lovers of these stories and characters often wonder if the new version could possibly live up to the book. Until playwright Jeffery Hatcher was asked to adapt the script, several attempts at bringing A Confederacy of Dunces to the stage or screen failed. The first attempt at an adaptation occurred in 1980. Film producer Scott Kramer first came upon the novel by accident and initially had no interest in it, but when he eventually read the

book he had a major change of heart and decided the story needed to be shared. According to Peter Hyman in the article A Conspiracy of Dunces: Will John Kennedy Toole’s comic masterpiece ever reach the big screen?, “Kramer spent 26 years trying to make the book into a movie and his odyssey underlines a perennial Hollywood question: Can you adapt a satire without losing your shirt and your mind?” Steven Soderbergh, director of the films Ocean’s Eleven and Traffic, dedicated ten years to try to produce the cult classic novel with no success. Many famous actors have been rumored to be associated with potential adaptation projects — Will Ferrell, John Goodman, John Candy, Chris Farley, and Zach Galifianakis have all been considered for the role of Ignatius.

A Confederacy of Dunces is not the only book that has been challenging to adapt. Producers have tried for years to adapt J.D. Salinger’s Catcher in the Rye. Salinger died in 2010, and unfortunately his agents refuse to sell or license the rights to the book. Many attempts have been made to adapt Infinite Jest by David Foster Wallace, but with over one thousand pages, over one hundred characters, and about four hundred footnotes, an adaptation of the prominent novel has been extremely challenging.

QUESTIONS:

1. Some say A Confederacy Dunces is a cursed book because of the troubles writers and producers have faced in their attempts to de-velop a stage or screen version. Do you agree? Why or why not?

2. What books have you have read that have been transformed into films, television shows, or plays? How was watching the story different from reading it? Which experience did you prefer?

3. What other books or plays you would like to see adapted into another art form? Why?

4. In July 14, 2015, author Harper Lee published a prequel to her famed book To Kill A Mockingbird entitled Go Set a Watchmen. How did critics and fans of To Kill A Mockingbird respond to this newly published work?

FOR FURTHER EXPLORATION


1682: On April 9, French explorer Robert Cavelier, Sieur de La Salle, and a small group arrive near the Mississippi River. La Salle claims the region and names it Louisiana in honor of King Louis XIV of France.

1699: Pierre Le Moyne, Sieur d’lberville, establishes the French colony of Louisiana.

1718: Jean Baptist Le Moyne, Sieur de Bienville, founds the city La Nouvelle-Orleans, which will later be known as New Orleans.

1723: New Orleans becomes the Capitol of the Louisiana colony.

1763: The Treaty of Paris is signed, ending the seven year war. Spain takes possession of Louisiana from France.

1788: On March 21, a large fire sweeps through New Orleans destroying more than 850 buildings.

1800: After signing the secret treaty of San Ildefonso, France acquires Louisiana from Spain.

1803: On April 30, the United States purchases Louisiana from France for about $15 million.

1812: Louisiana becomes a state.

1814: The battle of New Orleans, between the United States and Great Britain, begins.

1815: General Andrew Jackson and his forces defeat the British.

1853: New Orleans suffers an epidemic of yellow fever which kills approximately 9,000 people.

1857: Mardi Gras debuts in New Orleans with the establishment of the parading organization, The Mistick Krewe of Comus.

1861: On January 26, Louisiana secedes from the Union.

1861: On April 12 Confederate forces fire on Fort Sumter, South Carolina. Civil War breaks out.

1862: On April 28, under the command of Rear Admiral David G. Farragut, a Union naval fleet captures New Orleans. Union forces control of the city until the end of the Civil War.

1868: Louisiana’s Reconstruction government approves a constitution that extends voting rights to black males and integrates public schools and public accommodations. On June 25 Louisiana is readmitted to the Union.

1872: Famed French impressionist artist Edgar Degas stays in New Orleans, where he creates at least 22 works of art.

1884: New Orleans hosts the World’s Industrial and Cotton Centennial Exposition.

1890: On July 10, the general assembly of Louisiana passes a law requiring segregation of railway cars in the state.

1890: Ferdinand “Jelly Roll” Morton, considered the first great jazz composer and pianist, is born on October 20 in New Orleans.

1892: On June 7, Homer Plessy, who is categorized as seven-eighths Caucasian and one-eighth African, boards a train in New Orleans reserved for white passengers. He is arrested and fights the charge all the way to the US Supreme Court.

1896: On May 18, the US Supreme Court delivers the Plessy v. Ferguson decision, affirming the Louisiana state law that mandated segregation.

TIMELINE—THE EVOLUTION OF NEW ORLEANSDirector David Esbjornson and adapter Jeffrey Hatcher have described the city of New Orleans as being one of the major characters

of A Confederacy of Dunces, and the city has a rich and full history and a flavor all its own.

Above: Portrait of King Louis XIV of France; New plan of La Nouvelle-Orleans (August 9, 1763); Plan of La Nouvelle-Orleans, Capital of Louisiana (1728); Page 14: Ferdinand “Jelly Roll” Morton, first great jazz composer and pianist; Louis Armstrong, father of Jazz; The New Orleans Saints football helmet


1901: On August 4, Louis Armstrong, who would become known as the father of jazz, is born in New Orleans.

1929: Albert Baldwin Wood invents the wood screw pump, which would be used to reduce flooding in New Orleans.

1921: An amendment to the Louisiana Constitution on the preservation of New Orleans’ Vieux Carré, also called the French Quarter, leads to the creation of the Vieux Carré Commission to safeguard the area.

1927: On April 29, New Orleans dynamites the Poydras levee in an attempt to direct the flood waters away from the city.

1942: On December 26, Tennessee Williams arrives in New Orleans. He would become one of the nation’s preeminent playwrights and set several of his works in his adopted hometown.

1939: On February 13, The Little Foxes, a play written by New Orleans native Lillian Hellman about the struggles of a Southern family, opens on Broadway.

1947: The film New Orleans, with Louis Armstrong and Billie Holliday, is released.

1948: On December 3, Tennessee Williams’s world renowned play A Streetcar Named Desire opens on Broadway. The play would win the Pulitzer Prize. A film version starring Marlon Brando would be released in 1951.

1949: On March 1, Louis Armstrong is celebrated in his hometown as king of the Mardi Gras by the Zulu Social and Pleasure Club.

1954: On May 17, the US Supreme Court decision in Brown v. Board of Education strikes down the standard of Plessy v. Ferguson.

1960: On November 14, six-year-old Ruby Bridges enters the William Frantz Public Elementary School in New Orleans, the

first black student to enroll in the formerly all-white school. Her presence triggers protests and a migration of white students from the school.

1962: On December 12, after a lawsuit is filed to desegregate the institution, the board of Tulane University votes to admit black students.

1965: September 9-10, Hurricane Betsy strikes New Orleans, bringing winds of 125 miles per hour, causing widespread flooding, and killing dozens of residents.

1967: On September 17, the New Orleans Saints football team plays its first game at Tulane Stadium.

1970: On January 11, New Orleans hosts its first Super Bowl. Since then the city has hosted the Super Bowl nine times

1970: The New Orleans Jazz & Heritage Festival is held for the first time, with gospel singer and New Orleans native Mahalia Jackson appearing.

1971: On July 6, renowned jazz trumpeter and vocalist Louis Armstrong dies at his home in Queens, New York.

1975: On August 3 the New Orleans Superdome opens.

1978: On May 1, the first black mayor of New Orleans, Ernest Morial, is sworn into office.

1988: The Republican National Convention meets in New Orleans to select George H.W. Bush as the party’s nominee for President of the United States.

2005: On August 23, Hurricane Katrina hits New Orleans and causes 80% of the city to flood. Over 1500 people are killed and more than one million people in the Gulf region are displaced.

2015: New Orleans observes the 10th anniversary of Hurricane Katrina with memorial services.


SUGGESTED ACTIVITIESADAPTATIONS BY YOU

Jeffery Hatcher’s stage adaption of A Confederacy of Dunces opens a window into the world of John Kennedy Toole’s classic novel. Now it’s your turn to try out the process of adaptation! Work alone or in a small group to use the following suggested excerpts from the first chapter of the novel A Confederacy of Dunces to create a three to five minute scene. Each scene should have characters, dialogue, and stage directions that describe the setting and any important actions the characters take.

In the first chapter of the book, Claude Robichaux arrives at the police station after being arrested at D.H. Holmes for calling Officer Mancuso a communist. We are introduced to Burma Jones, who explains to Robichaux that he has been wrongfully arrested. After Burma has explained his situation, the sergeant summons Robichaux and determines that they must release him to his family.

Refer to the Grove Press 1980 edition for the following page numbers:

• Page 13 starting at “In the precinct the old man sat on a bench…” to page 17 “ ‘Ooo-wee!’ Jones said from the secrecy of his cloud.”

• Page 13 from the same place listed above but ending on page 15 at the line “A policeman summoned the old man up to the desk in the center of the room where a sergeant was seated. The patrolman who had arrested him was standing there.”

Preforming & Understanding Adaptations

After you have finished writing your adaptation, cast, rehearse, and perform the scene for the class. Using the table below, ask the audience to list the similarities between the excerpt from the novel and the newly scripted performances.

SCENIC DESIGN

Jeffery Hatcher’s suggestion for the scenic design for A Confederacy of Dunces is as follows:

The stage design should not attempt a slavish “realism.” Settings should be suggested by a few carefully chosen pieces of light furniture, and by the dialogue. Things that roll on and off are good. Things that don’t are bad. Back projections may come in useful. What is vitally important is a sense of New Orleans: wood, wrought iron, cobblestones, neon, streetcar tracks, etc. But these don’t have to be realistically rendered. They can be represented in various ways.

Use the references and descriptions in the play and/or the novel to design your interpretation of what one location in A Confederacy of Dunces should look like. Cite specific quotes from the text to support your design choices. Then compare and contrast your ideas with the actual design choices in the Huntington Theatre Company’s production.

NOVEL EXCERPT ADAPTED SCRIPT PERFORMANCE


SUGGESTED ACTIVITIESEXPLORING YOUR WORK ETHIC

A Confederacy of Dunces clearly depicts Ignatius J. Reilly’s ideas about work ethic and shows how it has affected his life. Divide students up into groups of four. Ask them to brainstorm what a good work ethic looks like and come up with 3 to 5 interview questions from which they think they can determine a person’s work ethic. Have students pair up with someone from another group and interview each other.

After they have interviewed each other, have students determine what kind of work ethic they have and the person they interviewed has. They should then share with their partners what they determined and discuss how they arrived at their conclusions.

UNDERSTANDING STATUS

Part 1

Throughout A Confederacy of Dunces, the characters’ lack of knowledge plays into their interaction with each other. The having or not having of knowledge strongly influences how characters perceive themselves and others.

Use a deck of playing cards (removing the joker) and distribute a card to each student. They should then hold the cards to their foreheads without looking at what number is on the card, so that they can see all other students’ cards but not their own. The card will represent their external status — how others perceive them. Instruct the students that the Ace is the highest status card and two is the lowest. Ask them to walk around the room as if they are at a social gathering. They should react to others according to the status level indicated by their card. The higher the status, the grander the interaction or gesture must be. After some time, ask students to put themselves in order from highest status to lowest status, based solely on their observations of how others reacted to them.

Shuffle the deck and redistribute cards to students, but this time let them see the card they have but not others’ cards. This time, the card will represent their internal status — how they perceive themselves. Ask students to walk around the room, performing their internal status through body language and gestures. After some time, ask them to again line up in order of internal status. Once they have lined up have students reveal their cards. If they have not arranged themselves in the correct order, discuss why this might be.

As a class, compare and contrast the experience of the first round versus the second round.

Part 2

Break up students into two groups. From each group ask two students to volunteer and be the performers while the rest of the group is the observers/judges. The two students will then determine who will be A and B. Then they will start with the following simple dialogue:

A. Hello

B. Hello

A. Been waiting long?

B. Ages

Students will then continue the dialogue by asking who, what, where, when, and why questions. The students do not need to discuss the questions before they create the scene — this process should happen improvisationally on the spot. Students should work to obtain and hold high status or low status while asking and answering each other’s questions. Students observing should attempt to judge who “wins.” Elements to consider include eye contact, body language, rhythms, movement, and vocal quality. Discuss why someone would want to attain lower status than someone else.

A bronze statue of Ignatius J. Reilly under the clock on Canal Street in New Orleans.

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REGISTER YOUR HIGH SCHOOL FOR POETRY OUT LOUD 2016!

TO REGISTER: HUNTINGTONTHEATRE.ORG/POETRY

IMPORTANT DATES:

• School Registration Deadline:

Friday, December 18, 2015

• School Competition Deadline: Friday, February 5, 2016

• Semi-Finalist Registration Deadline:

Friday, February 12, 2016

• Semi-Final Competitions: Saturday, March 5 and Sunday, March 6, 2016. Locations and times TBA

• Massachusetts State Finals: Sunday, March 13, 2016 9:30am at Old South Meeting House, Boston. (Please note, contestants must compete at the semi-final level to be named a State Finalist.)

• Poetry Out Loud National Finals: May 2-4 2016 in Washington, DC.

JOIN US!The Huntington’s Education Department cordially invites

you to the following FREE Performances and Events:

• August Wilson Monologue Competition: Boston Regional Finals: Monday, February 1 at 7pm, Calderwood Pavilion at the BCA

• Poetry Out Loud Semi-Finals: Boston, Cape Cod, Framingham, and Springfield, Saturday, March 5 and Sunday, March 6. For specific locations and times, email [email protected].

• Poetry Out Loud State Finals: Sunday, March 13 9:30am, Old South Meeting House, Boston

• 15th Annual Codman Spring Showcase: Friday, May 13 7pm, Boston University Theatre

• Not Waiting on the World to Change student performances: Monday, May 31, 7pm, Calderwood Pavilion at the BCA

From top, 2015 Poetry Out Loud Massachusetts: State Finalists; Caroline Sprague, Champion; 2015 August Wilson Monologue Competition: Joshua Champagne, Maria Gonzalez, and Carla Velasquez, Boston’s National Finalists with Kenny Leon; Boston Regional Competition Participants; Codman Academy: Huntington-Codman Summer Institute 2015 production of Macbeth; Not Waiting for the

World to Change: Cast of the staged reading of The View From Here.

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A Confederacy of Dunces Curriculum Guide

Documents

Transcript of A Confederacy of Dunces Curriculum Guide