The hobbit June 5-7, 2015 The Hobbit Educational Materials O L D T O W N P L A Y H O U S E Y O U N G C O M P A N Y T H I S I S S U E C O N T A I N S : Synopsis About the Author Theatre Vocabulary words Quotable quotes Riddle me this The definition of a Hobbit Curriculum Corner After the show Educational Materials for The Hobbit are provided through a grant from the Worthington Family Foundation. We thank them for their support. S y n o p s i s Adapted by Edward Mast Mountain to the Dwarfs. and based on the classic Along the way he meets novel by J.R.R. Tolkien. The Gollum, the pitiful creature Hobbit is a suspenseful, fast singularly motivated by a -moving journey through the precious magical ring and sometimes dark, sometimes Bilbo s life is forever charming, always compelling changed. world of Middle Earth. When Gandalf, the legendary wizard, knocks on Bilbo Baggins door, bringing along Thorin Oakenshield, 11 ragged dwarfs and a contract for an adventure, how can he resist? Bilbo s love for rousing adventure stories suddenly turns real as he and his companions try to defeat the dragon, Smaug, and restore the Kingdom Under the A b o u t t h e a u t h o r John Ronald Reuel Tolkien (1892-1973) was a major scholar of the English language, specialising in Old and Middle English. Twice Professor of Anglo-Saxon (Old English) at the University of Oxford, he also wrote a number of stories, including most famously The Hobbit (1937) and The Lord of the Rings (1954-1955), which are set in a pre-historic era in an invented version of our world which he called by the Middle English name of Middle-earth. This was peopled by Men (and women), Elves, Dwarves, Trolls, Orcs (or Goblins) and of course Hobbits. He is loved by literally millions of readers worldwide. Read more at www.tolkiensociety.org Photo of J.R.R. Tolkien from his Biography by Humphrey Carpenter
P a g e 2 T h e H o b b i t GLOSSARY OF THEATRE TERMS Act: 1) The process of per- Auditions: Tryouts held for Backstage: The area out forming as a character. 2) actors who want to per- of view of the audience A main section of a play. form in a show. Actors that include the wings Actor: A person who performs as a character in a play or musical. Antagonist: The opponent to the protagonist (or hero) of the story. An antagonist may sometimes be called the villain. Audience: The people who gather to watch the performance. The audience sits in the house. auditioning for a musical may be asked to sing and read a particular character s lines from a scene as well as learn a short dance sequence. Author: A writer of a play or musical, which is also known as a playwright. A musical s authors include the book writer, the composer and the lyricist. and dressing rooms as well as the lounge area or green room. Blocking: The actors movement in a play or musical, not including the choreography. The director usually assigns blocking during rehearsals. An artist s impression of Tolkien s Gandalf the Gray More studies are finding what we already know in our hearts the arts DO make a positive impact on our youth! Individually. Socially. Academically. Break a leg: A wish of good luck in the theatre, which comes from a superstition that saying good luck is actually bad luck! Broadway: The theatre district in New York City that is home to 40 professional theatres and one of the world s great capitals of live theatre. Cast: 1) noun The performers in a show, We have a great cast. 2) verb The act of the selection of an actor for a play, I hope I get cast in the next play. Character: A human (or animal) represented in a play. Each actor plays a character, even if that character doesn t have a name in the script. An actor may play many characters in the same play. Choreographer: A person who creates the dance numbers in a musical or combat sequences in an adventure story. Climax: The height of the dramatic action in a play. Company: All of the people who make a show happen: actors, musicians, creative team, crew, producers, etc. Crew: A team of people who move scenery, operate lights and sound, handle props or work backstage during a production. Curtain Call: The entrance of the company at the end of the show to bow and acknowledge the audience s applause. Designers: The people who create the sets, costumes, lighting and sound for a production. Dialogue: A conversation between two or more characters. Diction: The articulation, or clearness of speech, while delivering one s lines. Also known as enunciation.
Director: A person who provides the artistic vision, coordinates the creative elements and stages the play. Dress Rehearsal: A run-through of the show that includes costumes, props and technical elements. Ensemble: 1) A group of people who work together to create a show. 2) The chorus, or members of the cast other than the leads. P a g e 3 Entrance: When a character steps onto the stage from the wings or other offstage area. Exit: When a character leaves the stage. Follow Spot: Large, movable light at the back of the house that follows an actor as he or she crosses the stage. Also called a spotlight. Front of House: Any part of the theatre that is open to the audience, including the box office, lobby, restrooms and concession area. Improvisation: When an actor performs something not written in a script. Intermission: A break between acts when the audience gets a snack or uses the restroom while the company changes the set and cos- this break is called the Interval. License: Permission, or the rights, to produce a play in exchange for a fee which covers script copies and royalties for the authors. Light Board: A computerized board that controls all of the theatrical lights for a show. Lines: The dialogue spoken by the actors. Matinee: A performance of a show held during the day. Mic: Short for microphone, a device that electronically amplifies the voices of the actors. Monologue: A large block of lines spoken by a single character. When spoken alone onstage or directly to an audience, a monologue reveals the inner thoughts of a character. Independent studies show increased years of enrollment in arts courses are positively correlated with higher SAT verbal and math scores. tumes. In European theatres Offstage: Any area out of view of the audience. Onstage: Anything on the stage and within view of the audience is said to be onstage. Pantomime: To act something out without words. Performance: 1) A single showing of a production. 2) An actor s interpretation of a character in front of an audience. Play: A type of dramatic writing meant to be per- formed live on a stage. A musical is one kind of play. Plot: The chain of events that occur during the play. Producer: The person in charge of a production who oversees budget, calendar, marketing and the hiring of the creative team, cast and crew. Production: This term refers to everything about a show onstage and off, every given night of the run. A production includes the performing and technical aspects of the show, which means that each group that presents a show will have a unique production. Program: A booklet that lists the entire company of a production and may include other information about the play. Prop: Anything an actor holds or carries during a performance. Short for property.
P a g e 4 T h e H o b b i t GLOSSARY OF THEATRE TERMS, cont. Proscenium: A type of theatre in which a large frame, or arch, divides the stage from the house. Protagonist: The main character or hero of a story. Raked Stage: A stage that is raised slightly upstage so it slants towards the audience. Rehearsal: A meeting during which the cast learns and practices the show. Rights: Permission to perform a show that is obtained through a license and payment of a fee called royalties. Role: The character that an actor plays. Scene: A section of a play in one particular location and time. Script: 1) The written words that make up a show, including dialogue, stage directions and lyrics. 2) The book that contains those words. Set: The entire physical environment onstage, which may include backdrops, flats, furniture, props and projections. Set Change: A change in scenery, often between scenes or acts. Set Designer: A person who creates the scenery. Setting: The location, environment and time period of a play. Sound Board: An electronic board or computer that controls the mics, sound cues and any other audio in a production. Also called a sound console. Stage: The area where the actors perform in a theatre. Bilbo s Hobbit Hole Stage Business: Small actions performed by actors that make a play more realistic and believable. Stage Directions: Words in the script that describe the actions for the characters that are not part of the dialogue. Stage Left: The left side of the stage, from the actor s perspective. Stage Manager: A person responsible for keeping all rehearsals and performances organized and on schedule, and for calling sound and light cues during the show. Stage Right: The right side of the stage, from the actor s perspective. Strike: 1) To remove a prop or set piece from the stage. 2) To clean up the stage after closing. Tableau: A frozen image made up of actors, usually showing a specific mood or idea. Technical Director: A person who coordinates the construction and painting of the sets, the hanging of the lights and the setup of the sound system. Technical Rehearsal: A rehearsal when the crew begins adding sets, lights, sound etc., to the show once the performers know the lines, songs and blocking. Also called tech. Theatrical Lights: Lights that hang from the ceiling of a theatre or on poles, or booms above or on the side of the stage. These lights illuminate the actors and convey time of day and specific moods.
P a g e 5 Theatre versus Theater: The word theatre can also be spelled theater and is defined in two ways. The first definition is the art of producing plays and musicals for a live audience. The second definition is the building or place in which a show is performed including stage, backstage and house. Often the word is spelled with an er when it describes a cinema or movie theater. For the purposes of this glossary, we are using the re spelling throughout to refer to both the practice of theatrical activity and the physical building in which it takes place. Types of Stages Arena: The audience is seated on all four sides of the performance space. Also called in the round. Proscenium: The audience is seated on one side, facing the stage. The arch or frame around the stage is called the proscenium arch. Stadium: The audience is seated on two opposite sides of the performance space. Thrust: The audience is seated on three sides of the performance space in a U- shape. The stage itself can be shallow or very deep. Underscore: Music that plays under dialogue or during a scene change. Understudy: An actor who learns a character other than his own and is able to play that character if the other actor is sick. Upstage: The part of the stage furthest from the audience. Usher: A person who shows the audience to their seats and hands out programs. Warm-up: Exercises at the beginning of a rehearsal or before a performance that prepare actors voices and bodies. Wings: The area to the side of the stage just out of the audience s view. 6 Benefits Associated with the study of Arts Higher reading and language skills Improved math skills Developed thinking skills Increases social skills Positive school environment Motivation to learn When students have the opportunity to engage in a dramatic enactment of a story, their overall understanding of the story improved...drama can also be an effective method to develop the quality of a child s narrative writing.
P a g e 6 T h e H o b b i t Quotable quotes The following quotes can be found in The Hobbit by J.R.R. Tolkien If more of us valued food and cheer and song You certainly usually find something, if you above hoarded gold, it would be a merrier look, but it is not always quite the something world. you were after. May the wind under your wings bear you out of the frying pan and into the fire where the sun sails and the moon walks. We are plain quiet folk, and I have no use for Where there's life there's hope. adventures. Nasty, disturbing, and uncomfort- So comes snow after fire, and even dragons able things. have their endings. Don't tell us about dreams dream dinners You have nice manners for a thief and a liar," aren't any good and we can't share them. said the dragon. Far over the misty mountains cold. To dun- May the hair on your toes never fall out! geons deep, and caverns old. There are no safe paths in this part of the Third time pays for all world. Remember you are over the Edge of the If you sit on the doorstep long enough, I Wild now, and in for all sorts of fun wherever daresay you will think of something you go. He thought much but said little. The road goes ever on and on. Things are drawing towards the end now, Farewell! O Gandalf! May you ever appear unless I am mistaken. There is an unpleasant where you are most needed and least ex- time just in front of you; but keep your heart pected! up! A safe fairyland is untrue to all worlds. Every worm has his weak spot. Trolls simply detest the very sight of dwarves Don't dip your beard in the foam, Father!" (uncooked). They cried to Thorin. "It is long enough with- You may not like my burglar, but please don't out watering it! damage him. But I don't think I ought to leave my friends There is nothing like looking, if you want to find something. like this, after all we have gone through together. That was the most awkward Wednesday he ever remembered. We don't want any adventures here! You might try over the Hill or Across the Water. Elvish singing is not a thing to miss, in June under the stars, not if you care for such things.
Answers: a) Mountain b) Teeth c) Dark d) Time e) Wind f) Egg g) Sun on the daisies h) Fish Riddle Me This... P a g e 7 The back and forth of riddles asked and answered between Gollum and Bilbo Baggins. Do you know the answer to these riddles? A. What has roots as nobody sees, Is taller than trees, Up, up it goes, And yet never grows? B. Thirty white horses on a red hill, First they champ, Then they stamp, Then they stand still. C. It cannot be seen, cannot be felt, Cannot be heard, cannot be smelt, It lies behind stars and under hills, And empty holes it fills, It comes first and follows after, Ends life, kills laughter. D. This thing all things devours: Birds, beasts, trees, flowers; Gnaws iron, bites steel; Grinds hard stones to meal; Slays king, ruins town, And beats high mountain down. E. Voiceless it cries, Wingless flutters, Toothless bites, Mouthless mutters. F. A box without hinges, key, or lid, Yet golden treasure inside is hid. G. An eye in a blue face Saw an eye in a green face. That eye is like to this eye Said the first eye, But in low place, Not in high place. H. Alive without breath, As cold as death; Never thirsty, ever drinking, All in mail never clinking. Just what is a Hobbit? I suppose hobbits need some description nowadays, since they have become rare and shy of the Big People, as they call us. They are (or were) a little people, about half our height, and smaller than the bearded Dwarves. Hobbits have no beards. There is little or no magic about them, except the ordinary everyday sort which helps them to disappear quietly and quickly when large stupid folk like you and me come blundering along, making a noise like elephants which they can hear a mile off. They are inclined to be fat in the stomach; they dress in bright colours (chiefly green and yellow); wear no shoes, because their feet grow natural leathery soles and thick warm brown hair like the stuff on their heads (which is curly); have long clever brown fingers, good-natured faces, and laugh deep fruity laughs (especially afer dinner, which they have twice a day when they can get it). Excerpt from The Hobbit by J.R.R. Tolkien Tolkien s illustration of Bilbo Baggins
P a g e 8 T h e H o b b i t CURRICULUM CORNER Use the exercises and activities below to infuse and reinforce your students work. THEATRE GAMES Count to Ten Use this exercise to develop group cooperation and non-verbal communication. 1. Have students sit in a circle. Explain that they are going to count to ten. 2. Set the limitations: Only one person may say a number at a time. If more than one person says the same number simultaneously, the circle will need to start over at one. 3. Allow the students to try to count to ten. Generally, the first attempt will be unsuccessful. 4. Encourage the students to look each other in the eye and make it clear that they are about to make an entrance with a number. They should take deep breaths and focus on the energy in the circle. 5. For more of a challenge, have students count to a higher number or say the alphabet. For a real challenge, have the students close their eyes. This will force them to listen and feel the energy of the group without visual cues. ART Character Portraits Use this activity to utilize art as a means to explore character. The Hobbit is filled with many rich and vivid characters. Have each student choose a character to analyze. Then, have your students sketch, paint or sculpt a portrait of their chosen characters as they imagine them. Encourage your students to be non-literal and create a portrait that is thoughtful and filled with imagery. These portraits can make an excellent display and discussion platform. Mapping Middle Earth An activity to examine the story by creating a map of the locations of major events. Throughout The Hobbit the characters experience many important events all over the fictional place Tolkien called Middle Earth. Have your students create a physical map by listening to the performance closely, alert for clues about the land features of the region. Then they should mark places on the map where important events take place, such as Bag End where Bilbo lives or the Mirkwood Forest. Encourage your students to use symbols and color to make their maps engaging and understandable. Include these maps in a classroom display. DISCUSSION Some questions for discussion and debate following the performance. Does The Hobbit have a happy ending? Is Thorin Oakenshield a good guy or a bad guy? Why? What is the lesson in The Hobbit? Is this lesson articulated by a character in the play? Discuss the term anthropomorphic and how this device is used in The Hobbit. Would Smaug have been destroyed if Gandalf hadn t suggested Bilbo as the fourteenth traveler? It has been suggested that The Hobbit is an allegory. Can you think of what it may be an allegory of or for?
T h e h o b b i t P a g e 9 Examine The Differences The following excerpt is from the book by J.R.R. Tolkien. Notice the same passage as it was dramatized by the play s author, Edward Mast. What are the differences in the texts? Encourage students to select their favorite passages from the story and try to dramatize them in play form. Now is the time for our esteemed Mr. Baggins, who has proved himself a good companion on our long road, and a hobbit full of courage and resource far exceeding his size, and if I may say so possessed of good luck far exceeding the usual allowance now is the time for him to perform the service for which he was included in our Company; now is the time for him to earn his Reward. You are familiar with Thorin s style on important occasions, so I will not five you any more of it, though he went on a good deal longer than this. It certainly was an important occasion, but Bilbo felt impatient. By now he was quite familiar with Thorin too, and he knew what he was driving at. If you mean you think it is my job to go into the secret passage first, O Thorin Thrain s son Oakenshield, may your beard grow ever longer, he said crossly, say so at once and have done! I might refuse. I have got you out of two messes already, which were hardly in the original bargain, so that I am, I think, already owed some reward. But third time pays for all as my father used to say, and somehow I don t think I shall refuse. Perhaps I have begun to trust my luck more than I used to in the old days - he meant last spring before he left his own house, but it seemed centuries ago but anyway I think I will go and have a peep at once and get it over. Now who is coming with me? He did not expect a chorus of volunteers, so he was not disappointed. Fili and Kili looked uncomfortable and stood on one leg, but the others made no pretence of offering except old Balin, the look-out man, who was rather fond of the hobbit. He said he would come inside at least and perhaps a bit of the way too, really to call for help if necessary. (On a ledge of the Lonely Mountain. Rock face, with a doorway in it. THORIN, BALIN, GLOIN, BOMBUR and BILBO Inspect the door. BOMBUR turns away and calls offstage.) BOMBUR. Found it! GLOIN. Shhhh! Don t shout, numbskull. BOMBUR. Sorry. BALIN. This is the side door, all right. Do you remember it? THORIN. Not well. Never had to use the side door in my day here. GLOIN. Well, now what? BOMBUR. Well, now I would say it s time for our esteemed burglar to earn his one-fourteenth share of our treasure. BILBO. If you mean it is my job to enter this cavern first, oh, Master Bombur, may your beard fall off. BOMBUR. It only makes sense. You have the invisible trinket, after all. BALIN. And you have had your share of good luck on this journey. BILBO. More than my share, and I m not inclined to expect more, Master Balin. THORIN. Mister Baggins, sent in alone to encounter Smaug? Nonsense. I ll go in. Let the dragon know that the King has returned. BALIN, GLOIN & BOMBUR. No! GLOIN. Begging your pardon, Thorin, but perhaps the bold front will not be the best strategy just now. THORIN. Perhaps not. BILBO. All right, all right. I can see the river running to the ocean here. I am your burglar, curse my fate, and I do have a magic ring, curse my luck. Will someone come in part way and be ready for a cry for help? BALIN. Surely. I ll stand by. GLOIN. We ll gather the rest here with equipment. Take care. BILBO. I m touched by your concern. THORIN. He is sincere, Mister Baggins. You are a most brave companion to undertake this. It is simple reconnaissance, though. We don t expect you to kill the dragon, nor pluck u the whole treasure on your back. Have a look see and come back safely to tell us the situation. BILBO. Well, that s just as well. Getting rid of dragons is not at all in my line. (To us.) Of course, neither is burglary. All right, then. Balin? BALIN. Right behind you. THORIN. Good luck, both of you. BOMBUR. You ll need it. THORIN. Quiet. (BILBO and BALIN enter the doorway. Lights down.) The Hobbit by J.R.R. Tolkien
O L D T O W N P L A Y H O U S E Y O U N G C O M P A N Y 148 E. 8th Street Traverse City, MI 49684 Phone: 231-947-2210 Fax: 231-947-4955 E-mail: mychelle@oldtownplayhouse.com Be Bright. Be Bold. Be Young. Photos by Maddy Kachadurian A r m s & A r m o r u s e d i n t h e h o b b i t Most of the armor used by the actors in The Hobbit were rented from Combat Ready Art in Kalamazoo, Michigan. The artisan responsible for the broadswords, short swords, daggers, plate armor, grieves, belts and bucklers is Jon A. Reeves. Mr. Reeves forges the metal and creates the ominously carved handles in his eclectic metalworks studio. After rehearsing for weeks with bamboo and foam weapons, the actors finally get to work with the real thing a few weeks before the show opens. They undergo a daily warm-up and stretch to prepare for the weight of their actual swords some of which can weigh up to 10 lbs. This photo (right) was taken the day the weapons were being distributed to the actors for the first time. Keep your tips DOWN!