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1 0VS 4UBHF JT :PVS $MBTTSPPN presents M A o a re va Mahaffey Theater p4 t 0 n : t e o 0 r, 4 h t 5 e d G K In this Issue For Teachers The Expert The Message The Activities For the Teacher Page Class Acts Program Evaluations How to Get to the Performance How to Contact Us The Art of the FCAT Before the Show LA.E LA.A The Theater is a Special Treat Matinee Manners MA.D MA.D After tth the Show LA.E LA.E LA LA.E L Word Play About the Performer About the Performance e S h o Resource Page. E. 2. 2

YOUR ROLE IN THE PRODUCTION ARRIVAL Please plan to arrive at least 20 minutes before show time. Proceed to the entrance with your group and look for the sign-in table.

Petersburg, FL and their partner the Mahaffey Theater Foundation for the Performing Arts. Supervising Editor...Elizabeth Brincklow, Education Program Coordinator Coordinating Editor.

Your input is very important and useful to the theater s education program. Plus, your evaluations will be placed in drawings for class appropriate prizes!

Department of State, Pinellas County Arts Council, and the City of St. Petersburg.

Young students should be escorted. EXITING Ushers will help your group move out of the theater in a quick and orderly fashion. You will be directed to the parking area using various routes.

2 YOUR ROLE IN THE PRODUCTION ARRIVAL Please plan to arrive at least 20 minutes before show time. Proceed to the entrance with your group and look for the sign-in table. A designated representative must stop and sign in for the entire group. TEACHER PAGES 2 Class Acts Teacher Resource Guides are sponsored by the Mahaffey Theater/City of St. Petersburg, FL and their partner the Mahaffey Theater Foundation for the Performing Arts. Supervising Editor...Elizabeth Brincklow, Education Program Coordinator Coordinating Editor...Fremont Sheldon, Education Associate Writing and Artistic Design...Missy Schlesman EVALUATIONS can be completed on the form provided. Your input is very important and useful to the theater s education program. Plus, your evaluations will be placed in drawings for class appropriate prizes! Class Acts is presented by the Mahaffey Theater for the Performing Arts and the Mahaffey Theater Foundation with the support from the Division of Cultural Affairs, Florida Arts Council, Florida Department of State, Pinellas County Arts Council, and the City of St. Petersburg. Upon entrance, ushers will seat groups on a first come, first served basis and will seat your group as quickly and as efficiently as possible. After your group is seated, the restroom may be visited. Young students should be escorted. EXITING Ushers will help your group move out of the theater in a quick and orderly fashion. You will be directed to the parking area using various routes. Exit routes may be different from your entrance path due to the ingress of students entering for the next performance. Please follow the ushers directions. DIRECTIONS TO THE MAHAFFEY THEATER Take I-275 (South from Tampa, North from Bradenton/Sarasota) to exit 22 (I-175). Follow Route I-175 (it will become 5th Avenue South) to 1st Street South. The Mahaffey Theater will be in front of you. Continue straight on and enter through Gate #4 OR turn left onto 1st Street South and turn right in Gate #1. Follow the directions given by the parking attendants. QUESTIONS AND CORRESPONDENCE Class Acts, The Coliseum 535 4th Ave. N., St. Petersburg, FL ATTN: Class Acts/ Perkins Elementary School Pony Route #5 Phone Fax

3 THE EXPERT Child Psychologist Bruno Bettelheim from the award winning book: The Uses of Enchantment Snow White is one of the best known fairy tales. It has been told for centuries in various forms in all European countries and languages. Few fairy tales help the hearer to distinguish the main phrases of childhood development as neatly as does Snow White. It is not any external difficulty such as poverty, but the relations between her and her parents which create the problem. The story warns of evil consequences of narcissism for both parent and child. Snow White s narcissism nearly undoes her as she gives in twice to the disguised queen s enticements to make her look more beautiful, while the queen is destroyed by her own narcissism. Fairy tales teach the child that one cannot free oneself from the impact of one s parents by running away from home. Gaining independence comes only by working through one s inner conflicts. The peaceful pre-adolescent period Snow White has while living with the dwarfs gives her the strength to move into adolescence. Finally, many fairy tale heroes fall into deep sleep or are reborn. Each reawakening symbolizes the reaching of a higher stage of maturity. After the dangerous hardships of the transitional period, the hero will emerge on a higher and better plane, to enter upon a richer and happier existence. TEACHER PAGES THE MESSAGE Dr. Sheldon Cashdan, acclaimed author of The Witch Must Die: How Fairy Tales Shape Our Lives Snow White, with its dramatic portrayal of resurrection and love reborn, ranks as one of the most memorable fairy tales of all time. Not only is the story the centerpiece of the Grimm collection, it also marks the beginning of Walt Disney s career as an animator of feature-length cartoons. More than any other film, Snow White and the Seven Dwarfs heralded an era of fairy-tale animation that changed the public s view of fairy tales forever. Snow White includes all the ingredients that make up the fairy tale cycle: a threshold crossing, an encounter with a witch (the evil step-mother), the defeat of the witch, and a happy ending. But it is the potent themes that have allowed the story to endure for centuries. 3

4 The death of the mother is a common occurrence in fairy tales: Snow White, Cinderella, Rumpelstiltskin, and Bambi all begin with the mother s demise. The mother s exit, paradoxically, is empowering in that it forces the children in the story to confront a cruel and dangerous world on their own. Lacking a mother or protector, the hero or heroine must draw on inner resources that might not have been tested were the mother still around. It is the mother s death that sets the stage for the later confrontation with the witch. Snow White contains other important themes in addition to loss of the mother. There is compassion (the huntsman s last minute reprieve), security (the dwarfs offer of sanctuary), and ultimate redemption (the death of the witch). But the dynamic that drives the story and guides it to its inexorable conclusion is vanity. VANITY is the thread that weaves itself throughout, making its presence felt throughout the tale. K - 5th Grades BEFORE THE PLAY THE ACTIVITIES 1. Read the tale of Snow White to your students. Explain that there are hundreds of versions or adaptations of this story. If possible read an original Grimm version and view the Disney movie (or other video) in order to compare and cotrast the two. Discuss the elements that make it a fairy tale (happened long ago, there is magic in it, characters live happily ever after, etc.) Discuss the key story elements such as character, setting, plot, theme and point of view. Explain that the Stages Productions version of Snow White will not be exactly like the book or video. LA.E (PreK-2) The student knows the basic characteristics of fables, stories, and legends. LA.A (3-5) The student recognizes the use of comparison and contrast in a text. 2. Ask your students to discuss the difference between television and live theatre. It is important that they know about theatre etiquette, or manners. Refer to the following poem on Matinee Manners. 4

5 THE THEATRE IS A SPECIAL TREAT Let us concentrate for a moment on a vital part of youth theatre: the young people. Millions of youngsters attend plays every season, and for some the experience is not particularly memorable or entertaining. The fault may lie with the production - but often the fault lies in the fact that these youngsters have not been properly briefed on appropriate theatre manners. Going to the theatre is not a casual event such as flipping on the TV set, attending a movie or a sports event. Going to the theatre is a SPECIAL OCCASION, and should be attended as such. In presenting theatre manners to young people we take the liberty of putting the do s and don ts in verse, and hope that concerned adults will find this a more palatable way of introducing these concepts to youngsters. The theatre is no place for lunch. Who can hear when you go crunch? We may wear our nicest clothes When we go to theatre shows. Do not talk to one another (That means friends or even mother) When you go to see a show, Otherwise you ll never know What the play is all about MATINEE MANNERS BY PEGGY SIMON TRAKTMAN But if you like something you clap. Actors like to hear applause. If there is cause for this applause. If a scene is bright and sunny, And you think something is funny Laugh- performers love this laughter But be quiet from thereafter. Don t kick chairs or pound your feet And do not stand up in your seat, And you ll make the actors shout Never wander to and fro - Just to make themselves be heard. So, be still - don t say a word Unless an actor asks you to A thing they rarely ever do. A program has a special use So do not treat it with abuse! It s purpose is to let us know Exactly who is in the show It also tells us other facts Of coming shows and future acts. Programs make great souvenirs Of fun we ve had in bygone years Keep your hands upon your lap Just sit back and watch the show. And when the final curtain falls The actors take their curtain calls That means they curtsy or they bow And you applaud, which tells them how You liked their work and liked the show. Then, when the lights come on, you go Back up the aisle and walk - don t run Out to the lobby, everyone. The theatre is a special treat And not a place to talk or eat. If you behave the proper way You really will enjoy the play. 5 K - 5th Grades

6 3. Have the students look and listen for patterns during the play. See how many patterns they can recall and how they were used in the context of the play. Encourage students to be aware of patterns that may occur in music, dance, scenery, costume fabric and dialogue. Students may also notice architectural patterns in the theatre. MA.D (PreK-2) The student describes a wide variety of classification schemes and patterns related to physical characteristics and sensory attributes, such as rhythm, sound, shapes, colors, numbers, similar objects, and similar events. MA.D (3-5) The student describes a wide variety of patterns and relationships through models, such as manipulatives, tables, graphs, and rules using algebraic symbols. 4. Have students learn the following vocabulary words and listen for them during the play. See how many words they can recall and how they were used in the context of the play. Audacity, cauldron, ebony, enchanted, envy, façade, forsooth, haughty, honor, imply, integrity, ire, maiden, methinks, mundane, narcolepsy, quest, septuplets, subjects, swoon, thou, umpteenth, vanity, vulnerable. AFTER THE PLAY RELEVANT THEMES: 1. Vanity/Narcissism 2. Compassion 3. Good things come to those who wait 4. Mother says, don t talk to strangers K -5th Grades Refer to the themes listed above. Ask the following questions to relate the themes to everyday life. 1. The main theme in Snow White concerns narcissism or self love. The hidden message is that children need to combat their vain inclinations if they want to live productive lives. a. Discuss how Queen Hextra is destroyed by her vanity (the mirror, jealousy, etc.). b. How was Snow White also a victim of narcissism? (the combs, the apple, etc.). 6

7 c. We teach children that beauty is only skin deep, but what are they to think when television elevates the pursuit of beauty into high art? Stories like Snow White teach that over investment in appearances has harmful repercussions. Ask the students to think of personal experiences where vanity has led to trouble in their lives. LA.E (PreK-2) The student uses personal perspective in respondingng to a work of literature, such as relating characters and simple events in a story or biography to people or events in his or her own life. 2. Fortunately for Snow White, the huntsman feels compassion for her and spares her life. But what is the nature of his compassion for the young princess? a. Does he spare the girl because she is innocent of wrong doing? b. Does he allow her to live because he is repelled by the Queen s nasty habits? c. Or is it simply because of her beauty? What are his motives? LA.E (3-5) The student responds to a work of literature by explaining how the motives of the characters or the cause of events compare with those in his or her own life. 3. Many young people and their parents are fearful of quiet growth (the sleeping) because of a common belief that only doing what can be seen achieves goals. This is not true. Snow White confirms the fact that letting our children develop at their own speed often leads to greater rewards (the prince, etc.) in the long run. See Bettelheim on page 2. a. Think of three grown-up things that you want to do now (drive car, wear makeup, stay up late). b. How could these things hurt you if you re not ready for them? 4. Sheldon Cashdan asserts that the dwarfs are much more than just benevolent little innkeepers. Consider the warnings they give Snow White before they leave for work. Don t talk to strangers, they tell the child. Don t let anyone you don t know into the house. These are precisely the kinds of things mothers tell their children when they leave them alone. K- 5th Grades 7

8 a. Are the dwarfs maternal icons of the good mother that is missing in Snow White s life? b. What causes Snow White (like most children) to ignore their parental advice? c. What is the effect of Snow White s actions? LA.E (3-5) The student recognizes cause and effect relationships in literary text. WORD PLAY There are many alliterations, puns, rhymes, wise sayings and historical references in the dialogue and in the lyrics of the songs in Snow White. Examples: Fair Facades may Fade away, beauty is as beauty does, an apple a day, seven heads are better than one, Attila the Hun. a. Have the students listen for these and other fun plays on words during the performance. b. Back at the classroom, write down as many examples as you can recall. c. Write a letter to the cast using one of the word play examples. K - 5th Grades d. Act out a fairy tale of your own using some of these references. Be creative and assign a director, actors, prompter, etc. 8

9 The Art of FCAT Contributed by Patricia Linder Visual and Performing Arts Field Trips provide an excellent source of support for the development of skills necessary for success on the FCAT. We invite you to use these instructional strategies to enhance FCAT preparation through your theatre field trip. Theatre Activities FCAT Cognitive Level 1 Read the story (or play) your field trip performance is based on. Name the main character. List all the characters. Identify the setting. List the story events in the order they happened. Describe a character (or setting). Explain the problem (or conflict) in the story. Explain how the actors used stage props to tell the story (or develop characterization). Discuss how the blocking, or positioning of the actors on stage affected the performance. Discuss how unusual technical elements (light, shadow, sound, etc.) were used in the performance. Draw a picture of a character. Illustrate or make a diorama of a scene from the performance. Draw a poster to advertise the performance. Work with other students to act out a scene. Demonstrate how an actor used facial expression to show emotion. Write a narrative story to summarize the plot of the performance story. Use a map and/or timeline to locate the setting of the story. Make a mobile showing events in the story. K - 5th Grades 9

scene, r etc. Compare/Contrast a ocharacter to someone m you know or compare/contrast p the setting to a d s e Solve a special effects o mystery.

10 FCAT Cognitive Level II Would the main character make o a good friend? Write u an expository essay explaining w e Create a graph that records r performance e data such a as: female characters, t male characters, animal c characters hor number of characters a in each scene, r etc. Compare/Contrast a ocharacter to someone m you know or compare/contrast p the setting to a d s e Solve a special effects o mystery. Use l words or v pictures to explain e how special effects (Ligh e f f e Image the story m in a different time or place. a Design sets or g costumes for the new setting. You re the director. oplan the performance u of a scene in your classroom. r Include the cast of characters, t staging h area, and ideas e for costumes, scenery, and props in your plan. Create a new e r Did you enjoy the performance? i Write d a persuasive essay convincing y a friend to go see this pr g Write a letter to the production rcompany nominating i ta performer e for a Best Actor Award. AExplain why your nominee c should win t the award. o Create a rubric to rate the performance. Decide on criteria for judging: Sets, Costumes, Acting, Lighting, Special Effects, Overall Performance, etc. K - 5th Grades 10

11 ABOUT THE SHOW Mirror, mirror, on the wall who s the fairest one of all? Why, it s Snow White, of course. Come along on an enticing journey with the beautiful heroine, the handsome prince and the spritely dwarfs as they battle the jealous queen. Bursting with originality and overflowing with enchantment, STAGES PRODUCTIONS energetic musical offers plenty of singing, dancing, and laughs galore. This Snow White is guaranteed to reawaken any child s creativity. ABOUT THE PERFORMERS STAGES PRODUCTIONS is a professional theatre ensemble that specializes in bringing classic fairy tales to over 150,000 young people each year throughout the Southeast. STAGES show credits include critically acclaimed performances of: The Water Pigs, Hansel and Gretel, Pinocchio and The Frog Prince. Be sure to join us next season, which will feature Cinderella, Hansel and Gretel, Santa s Holiday Revue, Let Freedom Sing and The Frog Prince. Stages Productions is dedicated to making drama an integral part of education, and lesson plans are available to incorporate these plays into the student s curriculum. Thank you for supporting this mission by choosing a STAGES PRODUCTIONS play! Teacher Page 11

(Vintage Books Edition, 1989). Random House. Cashdan, Sheldon, (1999).

Basic Books. Grimm, Jacob & Wilhelm. Grimm s Fairy Tales. (1987).

12 Resources Bettelheim, B., (1975). The Uses of Enchantment: The Meaning and Importance of Fairy Tales. (Vintage Books Edition, 1989). Random House. Cashdan, Sheldon, (1999). The Witch Must Die: How Fairy Tales Shape Our Lives. (First Edition, 1999). Basic Books. Grimm, Jacob & Wilhelm. Grimm s Fairy Tales. (1987). Longmeadow Press. Microsoft Encarta 98 Encyclopedia. (1998) Teacher Page Traktman, P., Matinee Manners Linder, P., The Art of FCAT. 12

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