For Teachers

For the Teacher Page

The Art of the FCAT

About the Performer

About the Performance

Resource Page

In this Issue

Class Acts Program

Evaluations

How to Get to the Performance

How to Contact Us

presents

Mahaffey Theater

1 0 : 4 5 A M a t t h e n e w l y re n ova t e d

M o n d a y , M o n d a y , A p r i l 2 4 , 2 0 0 6

The ExpertThe MessageThe Activities

Before the ShowBefore the ShowLA.E.1.1.3.LA.A.2.2.7.

The Theater is a Special TreatMatinee Manners

MA.D.1.1.1.MA.D.1.2.1.

After tAfter the ShowAfter th e S h o wAfter tLA.E.2.1.1.

LA.E. 2.2.3.LA.E.2.2.1.LA . E . 2 . 2 . 1 .LWord Play

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Class Acts Teacher Resource Guides are spon-

sored by the Mahaffey Theater/City of St. Peters-

burg, 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 Perform-

ing Arts and the Mahaffey Theater Foundation with the support

from the Division of Cultural Affairs, Florida Arts Council, Flori-

da Department of State, Pinellas County Arts Council, and the City

of St. Petersburg.

YOUR ROLE IN THE PRODUCTION

ARRIVAL Please plan to arrive at least 20 L P l e a s e pl a n t o a r r i ve a t l e a s t 20 L

minutes before show time. Proceed to the en-

trance with your group and look for the sign-in

table. A designated representative must stop

and sign in for the entire group.

Upon entrance, ushers will seat groups on a

fi rst come, fi rst served basis and will seat your

group as quickly and as effi ciently 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 fash-

ion. You will be directed to the parking area

using various routes. Exit routes may be differ-

ent from your entrance path due to the ingress

of students entering for the next performance.

Please follow the ushers’ directions.

QUESTIONS AND QUESTIONS AND CORRESPONDENCEClass Acts, The Coliseum

535 4th Ave. N., St. Petersburg, FL 33701-4346

ATTN: Class Acts/ Perkins Elementary School

Pony Route #5

Phone 727-892-5800

Fax 727-892-5770

www.stpete.org/classacts.htm

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DIRECTIONS TO THE MAHAFFEY THEATERTake 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 en-

ter through Gate #4 OR turn left onto 1st Street

South and turn right in Gate #1. Follow the

directions given by the parking attendants.

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THE EXPERTChild 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 vari-ous 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 diffi culty 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 beauti-ful, 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 confl icts. The peaceful pre-adolescent period Snow White has while liv-ing 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 transi-tional period, the hero will emerge on a higher and better plane, to enter upon a richer and happier existence.

THE MESSAGEDr. 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 anima-tor of feature-length cartoons. More than any other fi lm, 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.

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The death of the mother is a common occurrence in fairy tales: Snow White, Cinder-ella, 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 confronta-tion 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.

THE ACTIVITIES

BEFORE THE PLAY

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.1.1.3-(PreK-2) The student knows the basic characteristics of fables, stories, and legends.

LA.A.2.2.7-(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.

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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 fl ipping 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 man-ners to young people we take the liberty of putting the do’s and don’ts in verse, and hope that concerned adults will fi nd this a more palatable way of introducing these concepts to youngsters.

MATINEE MANNERSMATINEE MANNERSBY PEGGY SIMON TRAKTMAN BY PEGGY SIMON TRAKTMAN BY PEGGY SIMON TRAKTMAN

The theatre is no place for lunch. But if you like something you clap.

Who can hear when you go “crunch?” Actors like to hear applause.

We may wear our nicest clothes If there is cause for this applause.

When we go to theatre shows. If a scene is bright and sunny,

Do not talk to one another And you think something is funny

(That means friends or even mother) Laugh- performers love this laughter

When you go to see a show, But be quiet from thereafter.

Otherwise you’ll never know Don’t kick chairs or pound your feet

What the play is all about 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. Just sit back and watch the show.

So, be still - don’t say a word And when the fi nal curtain falls

Unless an actor asks you to… The actors take their “curtain calls”

A thing they rarely ever do. That means they curtsy or they bow

A program has a special use And you applaud, which tells them how

So do not treat it with abuse! You liked their work and liked the show.

It’s purpose is to let us know Then, when the lights come on, you go

Exactly who is in the show Back up the aisle and walk - don’t run

It also tells us other facts Out to the lobby, everyone.

Of coming shows and future acts. The theatre is a special treat

Programs make great souvenirs And not a place to talk or eat.

Of fun we’ve had in bygone years If you behave the proper way

Keep your hands upon your lap You really will enjoy the play.

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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.1.1.1-(PreK-2) The student describes a wide variety of classifi cation schemes and patterns related to physical characteristics and sensory attributes, such as rhythm, sound, shapes, colors, numbers,

similar objects, and similar events.

MA.D.1.2.1-(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”

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.).

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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.2.1.1-(PreK-2) The student uses personal perspective in respondingThe student uses personal perspective in respondingThe student uses personal perspective in responding 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.2.2.3-(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 confi rms 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.

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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.2.2.1-(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.

d. Act out a fairy tale of your own using some of these references. Be creative and assign a director, actors, prompter, etc.

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The Art of FCATContributed 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 fi eld trip.

Theatre Activities

FCAT Cognitive Level 1Read the story (or play) your fi eld 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 confl ict) 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.

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FCAT Cognitive Level II

Would the main character make a good friend? Write an expository essay explaining why or why not.Create a graph that records performance data such as: female characters, male characters, animal characters or number of characters in each scene, etc.Compare/Contrast a character to someone you know or compare/contrast the setting to a different location or time.Solve a special effects mystery. Use words or pictures to explain how “special effects” (Lighting, smoke, sound effects) were created.

Image the story in a different time or place. Design sets or costumes for the new setting.You’re the director. Plan the performance of a scene in your classroom. Include the cast of characters, staging area, and ideas for costumes, scenery, and props in your plan.Create a new ending to the story.

Did you enjoy the performance? Write a persuasive essay convincing a friend to go see this production.Write a letter to the production company nominating a performer for a “Best Actor Award.” Explain why your nominee should win the award.Create a rubric to rate the performance. Decide on criteria for judging: Sets, Costumes, Acting, Lighting, Special Effects, Overall Performance, etc.

W o u l d t h e m a i n c h a r a c t e r m a k e a g o o d f r i e n d ? W r i t e a n e x p o s i t o r y e s s a y e x p l a i n i n g w h y o r w h y n o t .C r e a t e a g r a p h t h a t r e c o r d s p e r f o r m a n c e d a t a s u c h a s : f e m a l e c h a r a c t e r s , m a l e c h a r a c t e r s , a n i m a l c h a r a c t e r s o r n u m b e r o f c h a r a c t e r s i n e a c h s c e n e , e t c .C o m p a r e / C o n t r a s t a c h a r a c t e r t o s o m e o n e y o u k n o w o r c o m p a r e / c o n t r a s t t h e s e t t i n g t o a d i f f e r e n t l o c a t i o n o r t i m e .S o l v e a s p e c i a l e f f e c t s m y s t e r y . U s e w o r d s o r p i c t u r e s t o e x p l a i n h o w “ s p e c i a l e f f e c t s ” (L i g h t i n g , s m o k e , s o u n d e f f e c t s ) w e r e c r e a t e d .

I m a g e t h e s t o r y i n a d i f f e r e n t t i m e o r p l a c e . D e s i g n s e t s o r c o s t u m e s f o r t h e n e w

Y o u ’ r e t h e d i r e c t o r . P l a n t h e p e r f o r m a n c e o f a s c e n e i n y o u r c l a s s r o o m . I n c l u d eY o u ’ r e t h e d i r e c t o r . P l a n t h e p e r f o r m a n c e o f a s c e n e i n y o u r c l a s s r o o m . I n c l u d e t h e c a s t o f c h a r a c t e r s , s t a g i n g a r e a , a n d i d e a s f o r c o s t u m e s , s c e n e r y , a n d p r o p s i n y o u r p l a n .C r e a t e a n e w e n d i n g t o t h e s t o r y .

D i d y o u e n j o y t h e p e r f o r m a n c e ? W r i t e a p e r s u a s i v e e s s a y c o n v i n c i n g a f r i e n d t o g o s e e t h i s p r o d u c t i o n .W r i t e a l e t t e r t o t h e p r o d u c t i o n c o m p a n y n o m i n a t i n g a p e r f o r m e r f o r a “ B e s t A c t o r A w a r d . ” E x p l a i n w h y y o u r n o m i n e e s h o u l d w i n t h e a w a r d .

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ABOUT THE PERFORMERS AB O U T T H E P E R F O R M E R S A

ABOUT THE SHOW AB O U T T H E S H O W ATeacher P

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STAGES PRODUCTIONS is a professional theatre ensemble that special-izes 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 edu-cation, 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!

“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 overfl owing 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.

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ResourcesTeacher P

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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)

Traktman, P., Matinee Manners

Linder, P., The Art of FCAT.The Art of FCAT.The Art of FCAT