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CINDERELLA Curriculum Connections California Content Standards Kindergarten Through Grade 12
San Francisco Operaʼs Rossiniʼs CINDERELLA Curriculum Connections California Content Standards Kindergarten through Grade 12 LANGUAGE ARTS WORD ANALYSIS, FLUENCY, AND VOCABULARY DEVELOPMENT Phonics and Phonemic Awareness: Letter Recognition: Name the letters in a word. Ex. Cinderella = C-i-n-d-e-r-e-l-l-a. Letter/Sound Association: Name the letters and the beginning and ending sound in a word. C-lorind-a Match and list words with the same beginning or ending sounds. Ex. Don Ramiro and Dandini have the same beginning letter “D” and sound /d/; but end with different letters and ending sounds. Additional examples: Don Ramiro, Don Magnifico, Alidoro; Cinderella, Clorinda. Syllables: Count the syllables in a word. Ex.: Cin-der-el-la Match and list words with the same number of syllables. Clap out syllables as beats. Ex.: 1 syllable 2 syllables 3 syllables bass = bass tenor = ten-or soprano = so-pra-no Phoneme Substitution: Play with the beginning sounds to make silly words. What would a “boprano” sound like? (Also substitute middle and ending sounds.) Ex. soprano, boprano, toprano, koprano. Phoneme Counting: How many sounds in a word? Ex. sing = 4 Phoneme Segmentation: Which sounds do you hear in a word? Ex. sing = s/i/n/g. Reading Skills: Build skills using the subtitles on the video and related educator documents. Concepts of Print: Sentence structure, punctuation, directionality. Parts of speech: Noun, verb, adjective, adverb, prepositions. Vocabulary Lists: Ex. Cinderella, Opera glossary, Music and Composition terms Examine contrasting vocabulary. Find words in Cinderella that are unfamiliar and find definitions and roots. Find the definitions of Italian words such as zito, piano, basta, soto voce, etcetera, presto. -
Seriously-Cinderella-Is-So-Annoying-29Jamqg.Pdf
7. / Serigl$lg,qIilDtREtLArs 3lAll|,1'0YlN0l Thestory of CINDERELLA os'[o'd"TlfEwlcKED STEPM()THER YoumueV have heard of me.The wicked ebepmoNher?That'e noI true. ll,ejuet, anotherone of Cinderella'ewild ehories, Not ae wildae f,heone about the pumpkin, or the oneabouV the fairygodmolher, The realeNory, the true efory,beqan wiilh eome chatler- andeome dueL. AllI everwanted wao a husbandand a mansion.before I marciedCindy'o falher,my lwo darlingeand I hadmet Cindyonly a fewtimes. The girl had seemednormal fhen, J After I marciedCindy'o father, my darlingoand I movedin, When I h"ad J juel onefoot on Nhefront, otep, my dearhusband kissed me qoodbye and ) gaid,"l'moff on buginesg!" "He'6 oftenaway)' Cindy said,"buf, Nheanimalo olay Vut,They talk. Theyjoke,They oing.They even helV out,- eeVeciallythe bluebirdel' ( 4 }}: ',!;.'''{-" "'!'i,-': i -'--/t---' ,.. / --1 t'-- ' ., Now,I don'Lmind a qoodelory buLI do 2refer N '/ facte lo ficLion.)oon, the qirlwae Lalkinq all t't),t kindeof noneenee, "Cnce u?ona lirrte,"Cindy gaid,"one of Lhe bluebirdebecarrre blue, Not the colour.The feelinq,Aie lriend Aad llown eorLA ..." My darlinqeand I wereaLuck near the fronLdoor. 1luet wanledlo puLaway rny baqe, ThaL'e when I eawiL: duet, "Dear, ia lhe wholehouee thie dueLy?"I aeked. "l "l'll don'l know,"Cindy gaid, qiveyou a loLtrl" \-.....--.- 6 =v" 7 \.\ /,t, ,\ F' h' fl,r" lnthe diningroom, CindyNold etoriee. 7/ + vz att a.' ln lhe oNudy,Cindy told eforiee, Non-etoV, "Girlo," "time I gaid, to get to work,Thig placeneeds a goodcleaning," ")nce u?ona lime,when I wascleaning Cindvsf,arted. -
Film. It's What Jews Do Best. Aprll 11-21 2013 21ST
21ST TORONTO JEWISH FILM FESTIVAL APRIL 11-21 2013 WWW.TJFF.COM FILM. It’S WHAT JEWS DO BEST. DRAMAS OVERDRIVE AD COMEDIES DOCUMENTARIES BIOGRAPHIES ARCHIVAL FILMS ARCHIVAL SHORT FILMS SHORT Proudly adding a little spark to the Toronto Jewish Film Festival since 2001. overdrivedesign.com 2 Hillel Spotlight on Israeli Films Spotlight on Africa Israel @ 65 Free Ticketed Programmes CONTENTS DRAMAS 19 COMEDIES 25 DOCUMENTARIES 28 BIOGRAPHIES 34 ARCHIVAL FILMS 37 SHORT FILMS 38 4 Schedule 15 Funny Jews: 7 Comedy Shorts 42 Patron Circle 6 Tickets 15 REEL Ashkenaz @ TJFF 43 Friends and Fans 7 Artistic Director’s Welcome 16 Talks 44 Special Thanks 8 Co-Chairs’ Message 17 Free Family Screenings 44 Nosh Donors 9 Programme Manager’s Note 18 Opening / Closing Night Films 44 Volunteers 10 Programmers’ Notes 19 Dramas 46 Sponsors 12 David A. Stein Memorial Award 25 Comedies 49 Advertisers 13 FilmMatters 28 Documentaries 67 TJFF Board Members and Staff 13 Hillel Spotlight on Israeli Film 34 Biographies 68 Films By Language 14 Spotlight on Africa 37 Archival Films 70 Films By Theme / Topic 14 Israel @ 65 38 Short Films 72 Film Index APRIL 11–21 2013 TJFF.COM 21ST ANNUAL TORONTO JEWISH FILM FESTIVAL 3 SCHEDULE • Indicates film has additional screening(s).Please Note: Running times do not include guest speakers where applicable. Thursday April 11 Monday April 15 8:30 PM BC 92 MIN CowJews and Indians: How Hitler 1:00 PM ROM 100 MIN • Honorable Ambassador w/ Delicious Scared My Relatives and I Woke up Peace Grows in a Ugandan in an Iroquois Longhouse —Owing -
Who Is Cinderella,...Or Cinderfella?
1 Who is Cinderella, … or Cinderfella? Donna Rohanna Patterson Elementary School Overview Rationale Objectives Strategies Classroom Activities Annotated Bibliography/Resources Appendices/Standards Overview Folk and fairy tale stories comprise most of the stories children hear from birth to 2nd grade. They are used not only to entertain, but often as teaching stories about the dangers and values of life. These very same stories are shared in many cultures around the world. Although they vary in characters, setting, and texture from one continent to the next, they remain some of the most powerful stories for teaching and learning during the early years. Folk and fairy tales have initiated children into the ways of the world probably from time immemorial. Many have changed over time to homogenize into the variety that we often see and hear today to meet a more generic audience, often leaving behind the tales geographic and social origins. By exposing students to a variety of multicultural renditions of a classic Fairy Tale they can begin to relate to these stories in new ways, leading to a richer literary experience. Fairy Tales written through ethnic eyes also give a great deal of cultural information, which can result in a richer experience for the students and students. We can then appreciate the origins and adaptations as they have migrated through time and space. These stories help to make sense of the world for young children. Folk and fairy tales were not meant only for entertainment, they provide a social identity, and instill values as well as teaching lessons. In my own experience I have found that classrooms are often filled with students that either come from other countries or have families that do. -
Made in Oklahoma Pat Sturm
Volume 13 Article 5 Issue 2 Winter 12-15-1993 Made in Oklahoma Pat Sturm Follow this and additional works at: https://dc.swosu.edu/westview Recommended Citation Sturm, Pat (1993) "Made in Oklahoma," Westview: Vol. 13 : Iss. 2 , Article 5. Available at: https://dc.swosu.edu/westview/vol13/iss2/5 This Fiction is brought to you for free and open access by the Journals at SWOSU Digital Commons. It has been accepted for inclusion in Westview by an authorized administrator of SWOSU Digital Commons. For more information, please contact [email protected]. Made in O klahoma Voice lessons at SWOSU and Oklahoma City University developed a resonant sound. And by Pat Sturm her rise up O K C ’s Lyric Theatre ladder (apprentice at 15, full chorus at 16, dance captain “Hi, Mom.” at 17, secondary leads at 18) clinched our fate: For the third time that week, we’d deposited she would venture into the biggest, meanest city capital into Ma Bell’s coffers. The more the in the world and offer her talents to the quirkily world disappointed Cindy Robinson, once of selective powers of the theatre. 1 would pace Weatherford, the more often she called home. the floor in calm, rural Weatherford and field “I think I almost got mugged today, but 1 phone calls. didn’t realize it at the time.” “Never come up here without connections,” Great. For this we’d invested every extra she advised me to advise anyone else who might penny in dance lessons, gymnastic lessons, want to follow in her footsteps. -
Mother and Daughter Haven't Talked for 12 Years Since Cindy Eloped
Happily Ever After: A Fictional Case Study of Cinderella and Her Prince Nina Moliver Cinderella wasn’t living happily ever after. But she began to learn how to make that happen. The story of Cinderella is perhaps the world’s most beloved fairytale, endlessly speaking to children everywhere. In this article I explore Cinderella as a Jungian archetype: A wonderful, innocent girl, victimized by a miserable family, makes her escape thanks to the grace of magic. A life story behind this archetype is followed through to a possible real-life conclusion. Cinderella Seeks Psychotherapy Cinderella Respucci was married for almost 12 years to a wonderful man. So far she was unable to have children. She had heard that yoga can be helpful for infertility, and so she started attending my classes. Toward the end of the third class, after some backbends, she collapsed onto the floor and started sobbing. She lay there and sobbed until the class ended; afterwards, she approached me and requested a private consultation. Because the consultation involved both private asana work and a preliminary evaluation, I scheduled two hours for Cinderella. I prepared a room with soft candlelight and gentle flute 1 music in the background. We began with a series of hip openers to help bring oxygen to the pelvic organs and a good blood flow up and down the spine. I then led her into a few backbends to open her chest, liberate her breathing, and squeeze old, held tensions from her digestive and reproductive organs. Once again, the backbends released a well of sadness and pain. -
Animating Gender Roles: How Disney Is Redefining the Modern Princess Juliana Garabedian James Madison University
James Madison Undergraduate Research Journal Volume 2 | Issue 1 2014-2015 Animating Gender Roles: How Disney is Redefining the Modern Princess Juliana Garabedian James Madison University Follow this and other works at: http://commons.lib.jmu.edu/jmurj Recommended MLA Citation Garabedian, Juliana. “Animating Gender Roles: How Disney is Redefining the Modern Princess.” James Madison Undergraduate Research Journal. 2.1 (2014): 22-25. Web. Available at: http://commons.lib.jmu.edu/jmurj/vol2/iss1/4/ This full issue is brought to you for free and open access by JMU Scholarly Commons. It has been accepted for inclusion in James Madison Undergraduate Research Journal by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. JAMES MADISON UNDERGRADUATE RESEARCH JOURNAL Animating Gender Roles: How Disney is Redefining the Modern Princess Juliana Garabedian A prominent voice in the entertainment industry, Disney impacts many facets of society, including how we define gender roles. For the past 80 years, America’s younger generations have taken social cues from their favorite animated movies, learning to act like their favorite princes and princesses. Over the past few decades, Disney has broken through the concept of the damsel in distress and transitioned to represent and even advance modern feminist ideals. From likable protagonists to prominent images and popular products, the movies reinforce the gender roles they present because children learn to imitate the characters during playtime. 22 JAMES MADISON UNDERGRADUATE RESEARCH JOURNAL he idea of being a princess is not a novel fantasy; it In Snow White and the Seven Dwarfs, Snow White is portrayed has been around for centuries. -
A Rhetorical Analysis of Four Versions of the Cinderella Narrative
Abilene Christian University Digital Commons @ ACU Electronic Theses and Dissertations Electronic Theses and Dissertations Spring 5-2017 After the Shoe Fits: A Rhetorical Analysis of Four Versions of the Cinderella Narrative Faith L. Boren Abilene Christian University, [email protected] Follow this and additional works at: https://digitalcommons.acu.edu/etd Part of the Critical and Cultural Studies Commons, Gender, Race, Sexuality, and Ethnicity in Communication Commons, and the Rhetoric Commons Recommended Citation Boren, Faith L., "After the Shoe Fits: A Rhetorical Analysis of Four Versions of the Cinderella Narrative" (2017). Digital Commons @ ACU, Electronic Theses and Dissertations. Paper 69. This Thesis is brought to you for free and open access by the Electronic Theses and Dissertations at Digital Commons @ ACU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ ACU. ABSTRACT Fairy tales hold the power to influence societies and to challenge societal injustices, and the story of Cinderella exemplifies both of these roles. In this study, I conduct a rhetorical analysis of four different versions of the Cinderella narrative: Charles Perrault’s “Cendrillon,” the Brothers Grimm’s “Ascenputtel,” Anne Sexton’s “Cinderella,” and Disney’s Cinderella (2015). I examine Perrault’s “Cendrillon” and the Grimms’ “Aschenputtel” using constitutive rhetoric. This theory operates around the basic premise that rhetoric holds the power to aid in the shaping of societies. While analyzing “Cendrillon” and “Aschenputtel,” I specifically look for themes of classism and nationalism, respectively. I then examine Sexton’s “Cinderella” and Disney’s Cinderella (2015) using feminist standpoint theory as my theoretical lens. -
Poetry Cinderella
“CINDERELLA” by Raold Dahl I guess you think you know this story. You don’t. The real one’s much more gory, The phoney one, the one you know, Was cooked up years and years ago, And made to sound all soft and sappy Just to keep the children happy. Mind you, they got the first bit right, The bit where, in the dead of night, The Ugly Sisters, jewels and all, Departed for the Palace Ball, While darling little Cinderella Was locked up in the slimy cellar, Where rats who wanted things to eat Began to nibble at her feet. She bellowed, “Help!” and “Let me out!” The Magic Fairy heard her shout. Appearing in a blaze of light, She said, “My dear, are you all right?” “All right?” cried Cindy. “Can’t you see I feel as rotten as can be!” She beat her fist against the wall, And shouted, “Get me to the Ball!” There is a Disco at the Palace! The rest have gone and I am jalous!” I want a dress! I want a coach! And earrings and a diamond brooch! And silver slippers, two of those! And lovely nylon pantyhose! Thereafter it will be a cincy To hook the handsome Royal Prince!” The Fairy said, “Hang on a tick.” She gave her Wand a mighty flick And quickly, in no time at all, Cindy was at the Palace Ball! It made the Ugly Sisters wince To see her dancing with the Prince. She held him very tight and pressed Herself against his manly chest. -
125 ALL-FEMALE OPERA SCENES Compiled by Cindy Sadler ADAMO
125 ALL-FEMALE OPERA SCENES Compiled by Cindy Sadler Anyone who works with young singers knows that it’s a constant challenge to find repertoire that is both appropriate and fun when your available cast consists mainly of women, and most of those sopranos. Here is a compilation, by no means exhaustive, of 125 excerpts for female voices. Some of these require a bit of creativity in cuts or in re-voicing chorus. Many of these scenes can be extended if you have just one male singer (mostly baritones!), or cut into smaller scenes. If you have more suggestions, please feel free to contact me and I will add them to the list, which will remain available to all free of charge on my website. Cindy ADAMO Little Women 1. Act II, sc. 5 "Let Me Look At You" Jo, Meg, Amy, Beth (MMSS) https://www.youtube.com/watch?v=I-9KOgRqymk BARBER Vanessa 2. Act I, scene 1 Erika, Vanessa, The Old Baroness*, Servant ** (MSC) *silent **dialogue only; could be done by a woman https://www.youtube.com/watch?v=glWOro4IeJ0&t=159s 3. Act II, scene 1 “And then? … He made me drink too much wine…” Scena: Erika & Old Baroness (MC) https://www.youtube.com/watch?v=m-iVSm6XTxs BELLINI I Capuleti ei Montecchi 4. "Ecco la tomba... Tu sola, o mia Giulietta" (final scene) Giulietta, Romeo (SM) https://www.youtube.com/watch?v=28t-t2i0TiY Norma 5. Mira, o Norma Norma, Adalgisa (SM) https://www.youtube.com/watch?v=nJc2UyzW_qg BERLIOZ Béatrice et Benedict 6. Duet :"Nuit paisible et sereine" Héro, Ursula (SC) https://www.youtube.com/watch?v=Nx38dVy_ocU 7. -
A L U M N I & F R I E N D S N E W S L E T T
COWLEY alumni & friends newsletter She also has fond memories of Always giving of herself and helping create a recreation area for never asking for anything in return, the students to enjoy. She helped Betty Joe Fisher, Class of 1941, has clean and paint the recreation area, helped numerous individuals dur- which upon completion would in- ing her life. clude a phonograph to play records. Since graduation from Arkansas “Having a place to call our own City Junior College, Fisher went was great,” Fisher said. “Free time on to join the Navy’s WAVES from class found us in our newly (Women Accepted for Volunteer decorated domain, visiting, dancing Emergency Service) and then spent and recreating us before going to our 39 years as a teacher. next class.” Fisher, who grew up on the oil Fisher received her degree from fields near Arkansas City in com- ACJC in elementary education. She pany housing, has fond memories enrolled a third year at ACJC, tak- of her time at ACJC. ing mostly teachers’ courses, which would qualify her for teaching. “Most of the teachers were kind and helpful,” Fisher said. “I be- Mrs. Thelma Hall was in charge came good friends with many of of student teachers. Those striving the student body and continue to become teachers were enrolled to keep in touch with some of in an observation class, where they them. My years at ACJC were observed classes one week at a time the happiest years of my in grades one through six. After the college career.” six weeks, the student teachers were Cowleygradmakes assigned to a classroom, teaching the remainder of the semester. -
INTO the WOODS Music and Lyrics by Stephen Sondheim Book by James Lapine
INTO THE WOODS Music and Lyrics by Stephen Sondheim Book by James Lapine Originally Directed on Broadway by James Lapine Orchestrations by Jonathan Tunick Original Broadway production by Heidi Landesman Rocco Landesman Rick Steiner M. Anthony Fisher Frederic H. Mayerson Jujamcyn Theaters Originally Produced by the Old Glober Theater, San Diego, CA Director Shawn K. Summerer Musical Director Choreographer Catherine Rahm Alison Mattiza Producers Lori A. Marple-Pereslete and Tony Pereslete Set Design Lighting Design Costume Design Tony Pereslete Robert Davis Kathy Dershimer Elizabeth Summerer and Jon Sparks Cast (in order of appearance) Narrator/Mysterious Man ................................................................................................. Ben Lupejkis Cinderella ..................................................................................................................... Heather Barnett Jack .............................................................................................................................. Brad Halvorsen Jack's Mother ................................................................................................................. Patricia Butler Milky White/Snow White ................................................................................................. Brandie June Baker ........................................................................................................................... Terry Delegeane Baker's Wife .......................................................................................................................