The Frog Prince”, Grades K-12
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Expression of Language Etiquette in Russian Folktales
Expression of Language Etiquette in Russian Folktales Ildiko Csajbok-Twerefou, Department of Modern Languages, University of Ghana Yuriy Dzyadyk, Department of Modern Languages, University of Ghana Abstract Using different methods of analysis, this paper examines maxims of language etiquette, such as request, address forms and greetings in selected Russian folktales. Though language etiquette as a segment of politeness has its standards, it is dynamic, so it varies due to political, social, economic or cultural factors. Yet, folktales as a source of customs and beliefs, constitute an integral part of cultural heritage, serve as a means of upbringing, and play an important role in the linguistic development of a person. In Russia, expressions of politeness found in folktales are applied in accordance with the current requirements of Russian society. Keywords: Politeness, folklore, culture, language. Introduction Culture, traditions, language, and folklore are strongly related to each other and vary from nation to nation. Knowing the culture of a society, one may be acquainted with the traditions, language and folklore of that particular society, since culture encompasses all of them. The word folklore can be translated as “knowledge of people”. When referring to folklore in general, one may think about different genres, such as music, dance, tales, arts, crafts, etc. Usually, folklore is characterized by its collectiveness, since it is made on the earlier established traditions and standards of a society, taking into consideration its requirements and perceptions (Keszeg 2008). On the other hand, folklore is a piece of art, which exists not only by means of verbal units, but it often includes gestures, theatrical elements, dancing and singing. -
David Mamet in Conversation
David Mamet in Conversation David Mamet in Conversation Leslie Kane, Editor Ann Arbor Copyright © by the University of Michigan 2001 All rights reserved Published in the United States of America by The University of Michigan Press Manufactured in the United States of America ∞ Printed on acid-free paper 2004 2003 2002 2001 4 3 2 1 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data David Mamet in conversation / Leslie Kane, editor. p. cm. — (Theater—theory/text/performance) Includes bibliographical references and index. ISBN 0-472-09764-4 (cloth : alk. paper) — ISBN 0-472-06764-8 (pbk. : alk. paper) 1. Mamet, David—Interviews. 2. Dramatists, American—20th century—Interviews. 3. Playwriting. I. Kane, Leslie, 1945– II. Series. PS3563.A4345 Z657 2001 812'.54—dc21 [B] 2001027531 Contents Chronology ix Introduction 1 David Mamet: Remember That Name 9 Ross Wetzsteon Solace of a Playwright’s Ideals 16 Mark Zweigler Buffalo on Broadway 22 Henry Hewes, David Mamet, John Simon, and Joe Beruh A Man of Few Words Moves On to Sentences 27 Ernest Leogrande I Just Kept Writing 31 Steven Dzielak The Postman’s Words 39 Dan Yakir Something Out of Nothing 46 Matthew C. Roudané A Matter of Perception 54 Hank Nuwer Celebrating the Capacity for Self-Knowledge 60 Henry I. Schvey Comics -
STUDY GUIDE for PLAYHOUSE on the SQUARE's
STUDY GUIDE for PLAYHOUSE ON THE SQUARE’S Touring production of February 21 - March 9, 2012 & May 1 - May 18, 2012 Study Guide by: Andrea Rouch Playhouse on the Square 66 South Cooper St. Memphis, TN 38104 Theatre for Youth: (901) 728-5631 Business Office: (901) 725-0776 Box Office & Group Sales: (901) 726-4656 www.playhouseonthesquare.org table of contents Part One: The Play.................................................................1 Synopsis................................................................................................................................................1 Vocabulary...................................................................................................................................................2 Part Two: Background...........................................................3 About the Playwright......................................................................................................................3 Origins of the Play..............................................................................................................................3 About Brothers Grimm....................................................................................................................4 Part Three: Activities and Discussion.................................5 Before Seeing the Play...................................................................................................................5 After Seeing the Play......................................................................................................................5 -
The Frog Prince
THE FROG PRINCE Adapted by MAX BUSH A play for young chil dren based on the Olenberg manu- script and var i ous edi tions of the tale The King’s Daugh ter and the En chanted Prince by the Brothers Grimm. Dra matic Pub lishing Woodstock, Il li nois • Eng land • Aus tra lia • New Zea land *** NO TICE *** The am a teur and stock act ing rights to this work are con trolled ex clu- sively by THE DRA MATIC PUB LISHING COM PANY with out whose per mis sion in writ ing no per for mance of it may be given. Roy alty must be paid ev ery time a play is per formed whether or not it is pre sented for profit and whether or not ad mis sion is charged. A play is per formed any time it is acted be fore an au di ence. Current roy alty rates, appli ca tions and re stric tions may be found at our website: www.dramaticpublishing.com, or we may be con tacted by mail at: DRA MATIC PUB LISHING COM- PANY, 311 Wash ing ton St., Woodstock IL 60098. COPY RIGHT LAW GIVES THE AU THOR OR THE AU THOR’S AGENT THE EX CLU SIVE RIGHT TO MAKE COPIES. This law pro - vides au thors with a fair re turn for their cre ative ef forts. Au thors earn their liv ing from the royal ties they receive from book sales and from the per for mance of their work. Con sci en tious ob ser vance of copy right law is not only eth i cal, it en cour ages au thors to con tinue their cre ative work. -
RAFA 2015.Pdf
www.mkrf.ru RAFA is Russian animated film association. RAFA represents the interests of the Russian animation industry and helps to create favorable conditions for the effective development of anima tion in Russia and worldwide. RAFA represents the interests of animation studios of all sizes, as well as individual flmmakers working in animation, including indep endent directors, production designers, animators etc. The association also includes organizations which are involved in animation: TV networks with an interest in animation,distribution companies and Internet companies, that is, all organizations whose business is related to the field of animation and who are interested in joining forces. • If you need to communicate with any Russian studio, organization or animator, • If you need assistance in participation in festivals and film markets in Russia, • If you need to organize the presentation of your services to Russian partners, • If you need talents and studios for co-production JUST CONTACT RAFA! RAFA is proud to present opportunity of Russian animation to you. Today RAFA is 40 best Russian studios that able for cooperation with you and 200 animators, composers, producers etc that would like to join your team. 4 5 CONTENTS RAFA 3 OPENING WORD 7 RUSSIAN ANIMATION TODAY 8 STUDIOS 10 SHORTS 180 ALPHABETICAL LIST 200 ON THE CATALOG WORKED 203 6 7 Dear friends, Russian Animated Film Association offers you the fourth edition of a catalogue of current animated films. In the new release, you will find information on all latest releases in the Russian animated film industry in 2014 and early in 2015. The new catalogue fundamentally differs from its predecessors. -
1457878351568.Pdf
— Credits — Authors: Patrick Sweeney, Sandy Antunes, Christina Stiles, Colin Chapman, and Robin D. Laws Additional Material: Keith Sears, Nancy Berman, and Spike Y Jones Editor: Spike Y Jones Index: Janice M. Sellers Layout and Graphic Design: Hal Mangold Cover Art: Patricia Ann Lewis-MacDougall Interior Art: Janet Chui, Patricia Ann Lewis-MacDougall and Jennifer Meyer Playtesters: Elizabeth, Joey, Kathryn, Lauren, Ivy, Kate, Miranda, Mary, Michele, Jennifer, Rob, Bethany, Jacob, John, Kelly, Mark, Janice, Anne, and Doc Special Thanks To: Mark Arsenault, Elissa Carey, Robert “Doc” Cross, Darin “Woody” Eblom, Larry D. Hols, Robin D. Laws, Nicole Lindroos, David Millians, Rob Miller, Liam Routt, and Chad Underkoffler If you want your children to be intelligent, read them fairy tales. If you want them to be more intelligent, read them more fairy tales. —Albert Einstein Copyright 2007 by Firefly Games. All rights reserved under International Copyright Convention. Faery’s Tale and all characters and their likenesses are trademarks owned by and/or copyrights by Firefly Games. All situations, incidents and persons portrayed within are fictional and any similarity without satiric intent to individuals living or dead is strictly coincidental. Designed and developed by Firefly Games, 4514 Marconi Ave. #3, Sacramento CA 95821 [email protected] Visit our website at www.firefly-games.com. Published by Green Ronin Publishing 3815 S. Othello St. Suite 100, #304, Seattle, WA 98118 [email protected] Visit our website at www.greenronin.com. Table of Contents Preface .........................................................................3 A Sprite’s Tale .......................................................49 A Pixie’s Tale .............................................................4 Faery Princesses & Magic Wands ............51 Introduction ................................................................7 Titles .................................................... -
Schutz Theatre FT June 2021
THE W. STANLEY SCHUTZ THEATRE COLLECTION: THE COLLEGE OF WOOSTER PRODUCTIONS FINDING TOOL Denise Monbarren June 2021 FINDING TOOL SCHUTZ COLLECTION Box 1 #56 Productions: 1999 X-Refs. Flyers, Pamphlets AARON SLICK FROM PUNKIN CRICK Productions: 1960 X-Refs. Clippings [about] Flyers, Pamphlets Photographs Playbills Postcards ABIE’S IRISH ROSE Productions: 1945, 1958 X-Refs. Clippings [about] Photographs [of] Playbills Postcards ABOUT WOMEN Productions: 1997 Flyers, Pamphlets Invitations ACT OF MADNESS Productions: 2003 Flyers, Pamphlets THE ACTING RECITALS Productions: 2003, 2004 Flyers, Pamphlets Playbills ADAIR, TOM X-Refs. ADAM AND EVA Productions: 1922 X-Refs. Playbills AESOP’S FALABLES Productions: 1974 X-Refs. Correspondence [about] Flyers, Pamphlets Itineraries Notes Photographs [of] Playbills AFRICAN-AMERICAN PERFORMING ARTS FESTIVAL Productions: [n.d.] Playbills AGAMEMNON Productions: 2003 X-Refs. THE AGES OF WOMAN Productions: 1964 Playbills AH, WILDERNESS Productions: 1966, 1987 X-Refs. Photographs [of] Playbills ALABAMA Productions: 1918 X-Refs. Playbills Box 2 ALCESTIS Productions: [1955] X-Refs. Playbills ALICE IN WONDERLAND Productions: 1955, 1974 X-Refs. Artwork [about] Correspondence [about] Flyers, Pamphlets Invitations Itineraries Notes ALL IN THE TIMING Productions: 2002 X-Refs. Flyers, Pamphlets See Oversized location Press Releases ALL MY SONS Productions: 1968, 2006 X-Refs. Correspondence [about] Flyers, Pamphlets See Oversized location Invitations Photographs [of] Playbills Postcards Press Releases ALL THE COMFORTS OF HOME Productions: 1912 X-Refs. Playbills ALLARDICE, JAMES See PEACOCK IN THE PARLOR ALMOST, MAINE Productions: 2017 X-Refs. Correspondence [about] Flyers, Pamphlets See Oversized location Press Releases Box 3 AMADEUS Productions: [1985] X-Refs. Playbills AMAHL AND THE NIGHT VISITORS Productions: 1969 See also: HELP, HELP, THE GLOBOLINKS! X-Refs. -
Chicago Humanities Festival Deborah Henson-Conant “The Frog Princess”
For Immediate Release – Run through October 26, 2002 Filename: Chicago Press Release NS 020923Page 1 Contact: Nora Sawyer 781.483.3556 – [email protected] - website: www.HipHarp.com Hip Harpist’s Frog Princess Presented at Children’s Humanities Festival Contact: Nora Sawyer, P.O. Box 1039, Arlington, MA 02474 Phone: 781.483.3556 • Fax: 781.483.3987 [email protected] • www.HipHarp.com This and other photos available on our website: www.HipHarp.com Chicago Humanities Festival Credit this photo: Andrea Engels Presents Deborah Henson-Conant plays the harp - the solid-body electric strap-on harp - and she’ll Deborah Henson-Conant be joining The Fulcrum Point New Music At the Children’s Humanities Festival Ensemble at this years Chicago Humanities Live on stage with: Festival to present her original composition and ‘amphibious allegory’: The Frog Stephen Burns, conducting Princess. Performing Deborah Henson-Conant’s Families will learn what happens AFTER “The Frog Princess” “happily ever after” as Amphibia (daughter Saturday, October 26 of the Frog Prince) takes over the kingdom 12:00 PM & 2:00 PM of Lilypadia and learns to embrace her own inner frog (for more on “The Frog Princess” Walter Payton College Prep Auditorium see attached information sheet or visit our 1034 North Wells, Chicago, IL website, www.HipHarp.com). Admission is Free As an instrumentalist Henson-Conant has been compared to Chuck Berry, Jimi Hendrix and Elvis. Her voice has been compared to Carly Simon and Joan Baez. Her onstage persona has been described as “a combination of Leonard Bernstein, Steven Tyler and Xena, the Warrior Princess” (Boston Globe). -
Almost There, Indeed: Disney Misses the Mark on Modernizing Black Womanhood and Subverting the Princess Tradition in the Princess and the Frog
DePaul University Via Sapientiae College of Communication Master of Arts Theses College of Communication Winter 3-2012 Almost There, Indeed: Disney Misses the Mark on Modernizing Black Womanhood and Subverting the Princess Tradition in The Princess and the Frog April Callen DePaul University Follow this and additional works at: https://via.library.depaul.edu/cmnt Part of the Communication Commons Recommended Citation Callen, April, "Almost There, Indeed: Disney Misses the Mark on Modernizing Black Womanhood and Subverting the Princess Tradition in The Princess and the Frog" (2012). College of Communication Master of Arts Theses. 1. https://via.library.depaul.edu/cmnt/1 This Thesis is brought to you for free and open access by the College of Communication at Via Sapientiae. It has been accepted for inclusion in College of Communication Master of Arts Theses by an authorized administrator of Via Sapientiae. For more information, please contact [email protected]. Almost There, Indeed Disney Misses the Mark on Modernizing Black Womanhood and Subverting the Princess Tradition in The Princess and the Frog by April R. Callen, B.A. Thesis Presented to the Faculty of the Graduate School of DePaul University in Partial Fulfillment of the Requirements for the Degree of Master of Arts DePaul University March 2012 DEDICATION To My Mother, Lula Callen – Without Whose Support and Encouragement, This Project Would Not Have Been Possible ACKNOWLEDGEMENTS While I am ultimately responsible for the completion of this thesis, I recognize that the final product was made possible by the support, guidance, and inspiration of many people— family, friends, fellow graduate students, and complete strangers with whom I shared my thoughts. -
Answer Key Answer
ANSWER KEY More Classic Tales Supplemental Workbook Skills Strand GRADE 3 Core Knowledge Language Arts® ANSWER KEY Creative Commons Licensing This work is licensed under a Creative Commons Attribution- NonCommercial-ShareAlike 3.0 Unported License. You are free: to Share — to copy, distribute and transmit the work to Remix — to adapt the work Under the following conditions: Attribution — You must attribute the work in the following manner: This work is based on an original work of the Core Knowledge® Foundation made available through licensing under a Creative Commons Attribution- NonCommercial-ShareAlike 3.0 Unported License. This does not in any way imply that the Core Knowledge Foundation endorses this work. Noncommercial — You may not use this work for commercial purposes. Share Alike — If you alter, transform, or build upon this work, you may distribute the resulting work only under the same or similar license to this one. With the understanding that: For any reuse or distribution, you must make clear to others the license terms of this work. The best way to do this is with a link to this web page: http://creativecommons.org/licenses/by-nc-sa/3.0/ Copyright © 2013 Core Knowledge Foundation www.coreknowledge.org All Rights Reserved. Core Knowledge Language Arts, Listening & Learning, and Tell It Again! are trademarks of the Core Knowledge Foundation. Trademarks and trade names are shown in this book strictly for illustrative and educational purposes and are the property of their respective owners. References herein should not be regarded as affecting the validity of said trademarks and trade names. Name: X.X1.1 The Frog Prince, Part I 1. -
The Frog Princess Lit Review
Olentangy Local School District Literature Selection Review Teacher: Sheely/Addy School: OBMS Book Title: The Frog Princess Genre: Fantasy/Fairytale Author: ED Baker Pages: 224 Publisher: Bloomsbury USA Copyright: 10/07/2004 In a brief rationale, please provide the following information relative to the book you would like added to the school’s book collection for classroom use. You may attach additional pages as needed. Book Summary and summary citation: (suggested resources include book flap summaries, review summaries from publisher, book vendors, etc.) Princess Emeralda a.ka. Emma isn't exactly an ideal princess. Her laugh is more like a donkey's bray than tinkling bells, she trips over her own feet and she does not like Prince Jorge, whom her mother hopes she will marry. But if Emma ever thought to escape her troubles, she never expected it to happen by turning into a frog! When convinced to kiss a frog so he might return to being a prince, somehow the spell is reversed and Emma turns into a frog herself! Thus begins their adventure--a quest to return to human form. Provide an instructional rationale for the use of this title, including specific reference to the OLSD curriculum map(s): (Curriculum maps may be referenced by grade/course and indicator number or curriculum maps with indicators highlighted may be attached to this form) I can identify major and minor parts of a plot. I can explain how events in fiction affect each other. I can read from a variety of genres. Include two professional reviews of this title: (a suggested list of resources for identifying professional reviews is shown below. -
Sondheim's" Into the Woods". Artsedge Curricula, Lessons And
DOCUMENT RESUME ED 477 984 CS 511 366 AUTHOR Bauernschub, Mary Beth TITLE Sondheim's "Into the Woods". ArtsEdge Curricula, Lessons and Activities. INSTITUTION John F. Kennedy Center for the Performing Arts, Washington, DC. SPONS AGENCY National Endowment for the Arts (NFAH), Washington, DC.; MCI WorldCom, Arlington, VA.; Department of Education, Washington, DC. PUB DATE 2002-00-00 NOTE 24p. AVAILABLE FROM For full text: http://artsedge.kennedy-center.org/ teaching_materials/curricula/curricula.cfm?subject_id=LNA. PUB TYPE Guides Classroom - Teacher (052) EDRS PRICE EDRS Price MFO1 /PCO1 Plus Postage. DESCRIPTORS Class Activities; *Fairy Tales; Intermediate Grades; Lesson Plans; Middle Schools; *Music Activities; *Musical Composition; Scripts; Teacher Developed Materials; Units of Study IDENTIFIERS Musicals; National Arts Education Standards ABSTRACT This curriculum unit introduces intermediate grade and middle school students to the work of Stephen Sondheim, one of the most talented composers of the contemporary American musical theater, and teaches them about the process of writing an original musical. The unit notes that in his musical "Into the Woods" Sondheim incorporates (and distorts) elements of traditional fairy tales to create a lively and unique piece of theater. In the unit, students will create the libretto and script for an original musical based on the Grimm Brothers' fairy tale, "The Frog Prince." The unit's lesson--Sondheim's "Into the Woods": Fairy Tale Tunes--takes only two days to complete. Its classroom activities focus on improvisational techniques and small-group work. The unit provides a step-by-step detailed instructional plan for the teacher. (NKA) Reproductions supplied by EDRS are the best that can be made from the original document.