Three Levels of Questions (Cinderella)

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Three Level Questioning: The Cinderella Example Level of Example Questions Question 1. Recall Define What is a fairy tale? What is a ball? Describe What are Cinderella’s step-relatives like? List Tell the tasks that Cinderella has to do around the house. Name What were her stepsisters named? Observe How did Cinderella dress? Recite Say the line that lots of fairy tales start with. Scan Find the name of the prince. 2. Analyze Analyze Why are Cinderella’s step relatives so mean to her? Compare How is Cinderella like other fairy tale characters? Contrast How are Cinderella’s and the stepsisters’ lives different? Group Who are the evil characters in the book? Infer Why would Cinderella just take this kind of abuse? Sort What are the good and bad things that happen to Cinderella? Sequence What happened when Cinderella went to the ball? Combine Can we make up a more complex character who has some of the sisters’ AND Cinderella’s characteristics? 3. Application and Evaluation Apply principle It looks like the message is sometimes people get what is coming to them. Is this always true? Evaluate Do you think that the prince is such a prize? Why? Do you think that this is a good book for children to read? Why? What would happen if Cinderella hadn’t dropped her slipper? Hypothesize/guess Imagine that you lived with a mean stepfamily like hers. How would that feel? What would you do? Would you be different? Imagine Was a ball an effective way to get the prince a woman? What will happen now that Cinderella and the prince are married? Judge Why were the stepsisters so mean? Why did the fairy godmother appear? Predict What if she hadn’t shown up? Speculate .

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Study Guide for Teachers and Students
Melody Mennite in Cinderella. Photo by Amitava Sarkar STUDY GUIDE FOR TEACHERS AND STUDENTS 1 TABLE OF CONTENTS PRE AND POST-PERFORMANCE ACTIVITIES AND INFORMATION Learning Outcomes & TEKS 3 Attending a ballet performance 5 The story of Cinderella 7 The Artists who Created Cinderella: Choreographer 11 The Artists who Created Cinderella: Composer 12 The Artists who Created Cinderella Designer 13 Behind the Scenes: “The Step Family” 14 TEKS ADDRESSED Cinderella: Around the World 15 Compare & Contrast 18 Houston Ballet: Where in the World? 19 Look Ma, No Words! Storytelling in Dance 20 Storytelling Without Words Activity 21 Why Do They Wear That?: Dancers’ Clothing 22 Ballet Basics: Positions of the Feet 23 Ballet Basics: Arm Positions 24 Houston Ballet: 1955 to Today 25 Appendix A: Mood Cards 26 Appendix B: Create Your Own Story 27 Appendix C: Set Design 29 Appendix D: Costume Design 30 Appendix E: Glossary 31 2 LEARNING OUTCOMES Students who attend the performance and utilize the study guide will be able to: • Students can describe how ballets tell stories without words; • Compare & contrast the differences between various Cinderella stories; • Describe at least one dance from Cinderella in words or pictures; • Demonstrate appropriate audience behavior. TEKS ADDRESSED §117.106. MUSIC, ELEMENTARY (5) Historical and cultural relevance. The student examines music in relation to history and cultures. §114.22. LANGUAGES OTHER THAN ENGLISH LEVELS I AND II (4) Comparisons. The student develops insight into the nature of language and culture by comparing the student’s own language §110.25. ENGLISH LANGUAGE ARTS AND READING, READING (9) The student reads to increase knowledge of own culture, the culture of others, and the common elements of cultures and culture to another.
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The Black and the White Bride: Dualism, Gender, and Bodies in European Fairy Tales
Jeana Jorgensen: The Black and the White Bride: Dualism, Gender, and Bodies in European Fairy Tales The Black and the White Bride: Dualism, Gender, and Bodies in European Fairy Tales Jeana Jorgensen Butler University* Fairy tales are one of the most important folklore genres in Western culture, spanning literary and oral cultures, folk and elite cultures, and print and mass media forms. As Jack Zipes observes: ‘The cultural evolution of the fairy tale is closely bound historically to all kinds of storytelling and different civilizing processes that have undergirded the formation of nation-states.’143 Studying fairy tales thus opens a window onto European history and cultures, ideologies, and aesthetics. My goal here is to examine how fairy-tale characters embody dualistic traits, in regard both to gender roles and to other dualisms, such as the divide between the mind and body, and the body’s interior and exterior (as characterized by the skin). These and other dualisms have been theorized from many quarters. As Elizabeth Grosz states: ‘Feminists and philosophers seem to share a common view of the human subject as a being made up of two dichotomously opposed characteristics: mind and body, thought and extension, reason and passion, psychology and biology.’144 Further, ‘Dichotomous thinking necessarily hierarchizes and ranks the two polarized terms so that one becomes the privileged term and the other its suppressed, subordinated, negative counterpart.’145 Thus, any discussion of dualisms is automatically also a discussion of power relations. This article begins by summarizing the trajectory of dualism in Western intellectual history and culture, including how dualism fits within folkloristic and feminist scholarship.
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An Analysis of Figurative Language on Cinderella, Rumpelstiltskin, the Fisherman and His Wife and the Sleeping Beauty the Woods
AN ANALYSIS OF FIGURATIVE LANGUAGE ON CINDERELLA, RUMPELSTILTSKIN, THE FISHERMAN AND HIS WIFE AND THE SLEEPING BEAUTY THE WOODS BY CHARLES PERRAULT AND THE BROTHERS GRIMM Poppy Afrina Ni Luh Putu Setiarini, Anita Gunadarma University Gunadarma University Gunadarma University jl. Margonda Raya 100 jl. Margonda Raya 100 jl. Margonda Raya 100 Depok, 16424 Depok, 16424 Depok, 16424 ABSTRACT Figurative language exists to depict a beauty of words and give a vivid description of implicit messages. It is used in many literary works since a long time ago, including in children literature. The aims of the research are to describe about kinds of figurative language often used in Cinderella, Rumpeltstiltskin, The Fisherman and His Wife and The Sleeping Beauty in the Woods By Charles Perrault and the Brothers Grimm and also give a description the conceptual meaning of figurative language used in Cinderella, Rumpeltstiltskin, The Fisherman and His Wife and The Sleeping Beauty in the Woods By Charles Perrault and the Brothers Grimm. The writer uses a descriptive qualitative method in this research. Keywords: Analysis, Figurative Language, Children. forms of communication, however some 1. INTRODUCTION children’s literature, explicitly story 1.1 Background of the Research employed to add more sensuous to Human beings tend to communicate each children. other through language. Likewise they Referring to the explanation use language as well as nonverbal above, the writer was interested to communication, to express their analyze figurative language used on thoughts, needs, culture, etc. Charles Perrault and The Brothers Furthermore, language plays major role Grimm’s short stories, therefore the to transfer even influence in a writer chooses this research entitled humankind matter.
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Who Is Cinderella,...Or Cinderfella?
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DISSERTATION Juan Pinon
Copyright by Juan de Dios Piñón López 2007 The Dissertation Committee for Juan de Dios Piñón López Certifies that this is the approved version of the following dissertation: The incursion of Azteca America into the U.S. Latino media Committee: Joseph Straubhaar, Supervisor Michael Kackman, Co-Supervisor Thomas Schatz America Rodriguez Charles Ramirez-Berg Peter Ward The incursion of Azteca America into the U.S. Latino media by Juan de Dios Piñón López, M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December 2007 Dedication To my mother and my beloved family Acknowledgements I want to express my profound gratitude and appreciation to my advisors, professors Joseph Straubhaar and Michael Kackman, for their guidance, encouragement, and friendship throughout the dissertation process. I also want to recognize the kind support showed by the members of my dissertation committee, professors Charles Ramírez-Berg, Thomas Schatz, América Rodríguez, and Peter Ward; I thank them as well for the crucial role they played in my academic career through their classes. Moreover, I wish to express my gratitude to Victoria Rodríguez and Federico Subervi-Vélez, as they both played a crucial role regarding my decision to study at The University of Texas at Austin. I also want thank Professor Robert Foshko, from whom I learned professionally and personally each day that I performed my duties as a Teaching Assistant. I want to express my gratitude to Sharon Strover, from whom I received institutional support through the extension of my appointment as a Teaching Assistant in the Radio, Television, and Film Department.
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Cinderella Synopsis
CINDERELLA SYNOPSIS ACT I In the run-down castle of Don Magnifico, his daughters Clorinda and Tisbe are in the middle of one of their usual arguments. Their stepsister Angelina, called Cenerentola, who serves as the family maid, sings her favorite song about a king who married a common girl. There is a knock on the door and Alidoro, tutor to the prince Don Ramiro, enters, dressed as a beggar. The stepsisters want to send him away, but Cenerentola gives him bread and coffee. Courtiers arrive to announce that Ramiro will soon pay a visit: he is looking for the most beautiful girl in the land and will hold a ball to choose his bride. Magnifico hopes that it will be one of the stepsisters: marriage to a wealthy man is the only way to save the family fortune. When the room is empty, Ramiro enters alone, dressed in his servantʼs clothes so he can freely observe the prospective brides. Alidoro has told him that there is a girl in the house worthy to be a princess, and Ramiro is determined to find out who she is. Cenerentola returns and is startled by the presence of a stranger. The two are immediately attracted to each other. He asks her who she is, and Cenerentola stammers a confused explanation, then runs away. Finally, the “prince” arrives—in fact Ramiroʼs valet, Dandini, in disguise. To Ramiroʼs amusement, Magnifico, Clorinda, and Tisbe fall over themselves flattering this prince, who invites them to the ball. Cenerentola asks to be taken along but Magnifico refuses.
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Cinderella Resource Pack
CINDERELLA A BALLET BY DAVID NIXON OBE RESOURCE PACK Introduction This resource pack gives KS2 and KS3 teachers and pupils an insight into Northern Ballet’s Cinderella. It can be used as a preparatory resource before seeing the production, follow up work after seeing the production or as an introduction to Northern Ballet or ballet in general. Contents • The History of Cinderella • • Characters • • Story • • About Northern Ballet’s Cinderella • • Costumes • • Sets • • Music • • Creative Team • • Terminology • • Gallery • Click on the links on each page to Terminology is highlighted and can find out more (external websites). be found at the back of this pack. This resource pack was created in autumn 2019. Photos Bill Cooper, Riku Ito, Emma Kauldhar and Dolly Williams. Cinderella is a universal story which has been re-written and retold in many different countries and cultures around the world. The oldest account of the story is from China, dating back to the 9th century AD. The well-known classic fairy tale was written by Charles Perrault and published in France as Cendrillon in 1697. Cendrillon told the story of a virtuous girl, whose mother dies, resulting in her being treated inhumanely by her family. In the end she is rescued by magical love from her mother beyond the grave. Task: How many elements of the Cinderella story do you know? A Stepmother and two Stepsisters A ball which Cinderella is not allowed to attend A visit by a Fairy Godmother The History of Receiving glass slippers Being home by midnight Losing a glass slipper Cinderella A Prince searching for the girl that fits the slipper There are numerous films, books, ballets and pantomimes which tell the story of Cinderella, all with their own interpretation.
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Into the Woods: Prologue
Into The Woods: Prologue https://www.youtube.com/watch?v=yCKtNkBI3uI or type “Into the Woods Prologue Lyrics” into the YouTube search bar [NARRATOR] Once upon a time In a far-off kingdom There lay a small village At the edge of the woods [CINDERELLA] I wish... [NARRATOR] And in this village [CINDERELLA] More than anything... [NARRATOR] lived a young maiden, [CINDERELLA] More than life... More than jewels... [NARRATOR] A carefree young lad... [JACK] I wish... More than life... [NARRATOR] And a childless baker... [BAKER & WIFE] I wish... [NARRATOR] with his wife. [BAKER] More than anything... [WIFE] More than the moon... [BAKER'S WIFE] I wish... [CINDERELLA] The King is giving a Festival. [BAKER & WIFE] More than life... [JACK] I wish... [CINDERELLA] I wish to go to the Festival. [BAKER & WIFE] More than riches... [CINDERELLA] and the ball... [JACK] I wish my cow would give us some milk. [CINDERELLA & BAKER'S WIFE] More than anything... [BAKER] I wish we had a child. [JACK] Please, pal- [BAKER'S WIFE] I want a child... [JACK] Squeeze, pal... [CINDERELLA] I wish to go to the Festival. [JACK] I wish you'd give us some milk or even cheese... I wish... [BAKER & WIFE] I wish we might have a child. [ALL] I wish... [STEPMOTHER] You wish to go to the Festival? [NARRATOR] The poor girl's parents had died, [STEPMOTHER] You, Cinderella, the Festival? You wish to go to the Festival? [FLORINDA] What, you, Cinderella, the Festival? The Festival?! [LUCINDA] What, you wish to go to the Festival? [ALL THREE] The Festival? The King's Festival? [NARRATOR] And now she lived with her stepmother [STEPMOTHER] The Festival...HA! [NARRATOR] who had two daughters of her own.
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04-28-2018 Cendrillon Mat.Indd
JULES MASSENET cendrillon conductor Opera in four acts Bertrand de Billy Libretto by Henri Cain, based on production Laurent Pelly the fairy tale by Charles Perrault set designer Saturday, April 28, 2018 Barbara de Limburg 1:00–3:50 PM costume designer Laurent Pelly New Production lighting designer Duane Schuler choreographer The production of Cendrillon was Laura Scozzi made possible by a generous gift from The Sybil B. Harrington Endowment Fund Additional funding for this production was received from Elizabeth M. and Jean-Marie R. Eveillard Cendrillon is produced in association with the Royal Opera House, Covent Garden, London; general manager Peter Gelb Gran Teatre del Liceu, Barcelona; Théâtre Royal de la Monnaie, Brussels; and Opéra de Lille. music director designate Yannick Nézet-Séguin Original production by The Santa Fe Opera 2017–18 SEASON The 5th Metropolitan Opera performance of JULES MASSENET’S This performance cendrillon is being broadcast live over The Toll Brothers– Metropolitan Opera conductor International Radio Bertrand de Billy Network, sponsored by Toll Brothers, in order of vocal appearance America’s luxury ® homebuilder , with pandolfe the fairy godmother generous long-term Laurent Naouri Kathleen Kim support from The Annenberg madame de la haltière the master of ceremonies Foundation, The Stephanie Blythe* David Leigh** Neubauer Family Foundation, the noémie the dean of the faculty Vincent A. Stabile Ying Fang* Petr Nekoranec** Endowment for Broadcast Media, dorothée the prime minister and contributions Maya Lahyani Jeongcheol Cha from listeners worldwide. lucette, known as cendrillon prince charming Joyce DiDonato Alice Coote There is no Toll Brothers– spirits the king Metropolitan Lianne Coble-Dispensa Bradley Garvin Opera Quiz in Sara Heaton List Hall today.
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G7ELAR.W5.L1.Cinderella.Pdf
Name: Class: Cinderella By Charles Perrault 1697 French author Charles Perrault is often called the “father of the fairy tale” for his well known tales such as “Little Red Riding Hood,” “Puss in Boots,” “Sleeping Beauty,” and “Cinderella.” Cinderella is a famous folk tale, a story that has been passed down for many generations, about a young woman trying to overcome the cruelty of some of her family. There are numerous different versions of the story, with historical roots in places as far apart as China and Italy. This version, by Perrault, is the first to include the famous pumpkin, fairy godmother, and glass slippers. As you read, take notes on how Cinderella and her stepsisters treat each other throughout the story. [1] Once there was a gentleman who married, for his second wife, the proudest and most haughty1 woman that was ever seen. She had, by a former husband, two daughters of her own, who were, indeed, exactly like her in all things. He had likewise, by another wife, a young daughter, but of unparalleled2 goodness and sweetness of temper, which she took from her mother, who was the best creature in the world. No sooner were the ceremonies of the wedding over but the stepmother began to show herself in her true colors. She could not bear the good qualities of this pretty girl, and the less because they made her own daughters appear the more odious.3 She employed her in the meanest work of the house. She scoured4 the dishes, tables, etc., and cleaned madam’s chamber, and those of misses, her daughters.
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