Table of Contents

Welcome, About Inland Pacific Ballet ...... 3 Young Person's Guide to Ballet Program Summary ...... 4 Correlation to California Visual and Performing Arts: Dance Content Standards ...... 5 Ballet as an Art Form What is Dance? ...... 7 Ballet: Basic Ballet Positions ...... 8 Ballet & Dance Vocabulary ...... 9 Pre-Activities Libretto: IPB’s Story of “Cinderella” ...... 11 Production Credits ...... 12 Music Selections ...... 13 The Author: Charles Perrault ...... 14 The Composers: Johann Strauss ...... 15 Additional Composers ...... 16 The Choreographers ...... 17 Theatre Etiquette ...... 18 Pre & Post-Activities Overview Language Arts ...... 19 Social Studies ...... 20 Activity Sheets & Blackline Masters Primary Grade Writing Sheet ...... 21 Families & Traditions ...... 22 Cinderella Setting ...... 23 Compare and Contrast Venn Diagram ...... 24 Dance Match-up ...... 25 Vocabulary Crossword Puzzle ...... 26 Vocabulary Word Search ...... 27 Character Map ...... 28 Character Trait Cause & Effect ...... 29 Story Map ...... 30 Resources and References ...... 31 PHOTO CREDIT: Cover photos by E. Y. Yanagi © Copyright 2006 COVER DESIGN: Diana Giordano, Little Bear Productions. www.ipballet.org Page 2 Cinderella Study Guide INLAND PACIFIC BALLET Victoria Koenig, Artistic Director • Kevin Myers, Associate Director

Welcome! As part of our ongoing effort to introduce young people to the magic of ballet, we are pleased to offer the Cinderella Study Guide, a resource for K-12 teachers bringing their students to see an Inland Pacific Ballet outreach performance. The study guide allows you to choose what best meets your needs and includes background information, a variety of specifically developed activities, and a list of available resources that can be used in the classroom before and after the performance. It is our hope that you find this information easy to use, and helpful both in preparing your students for what they will see at the theater and discussing their experience afterwards. In addition to printed information and student activity sheets that you can reproduce, we have included links to online resources such as video examples, extended learning sources, and additional information and lesson plan sources. Our sincere thanks to the teachers who contributed ideas and activity suggestions, and reviewed the guide giving us valuable feedback. Enjoy!

Victoria Koenig, Artistic Director

About Inland Pacific Ballet Inland Pacific Ballet’s Founder/Artistic Directors are Victoria Koenig and Kevin Myers. Both are southern California natives and bring a wealth of experience to their visionary leadership of this young Company. In just 18 years they have built Inland Pacific Ballet into the premier ballet company in the region, enjoying critical acclaim while performing the largest and most varied repertoire in the area. The Company’s repertoire includes such classics as A Midsummer Night’s Dream, Les Sylphides, Graduation Ball and Swan Lake Act II. Full length classical masterpieces include Giselle, Coppélia and a lavish production of The Nutcracker. Contemporary classics include masterpieces by the legendary George Balanchine including Serenade, Concerto Barocco and Who Cares? and a growing body of original work that includes creative adaptations of much loved stories such as The Little Mermaid, Cinderella and Dracula. While the Company is based in the Inland Empire and performs its home season from October to May as Company in Residence at the Bridges Auditorium in Claremont, Inland Pacific Ballet serves a far-reaching audience from Redlands to Los Angeles. Festival programs such as the Redlands Bowl Music Festival, Balletfest and Dance Kaleidoscope have allowed the Company to reach an ever-expanding regional audience. Regional touring has included the Luckman Fine Arts Complex in Los Angeles, the Civic Arts Plaza in Thousand Oaks, the Annenberg Theater in Palm Desert, the Haugh Performing Arts Cener in Glendora, the Lewis Family Playhouse in Rancho Cucamonga, and the Warner Grand Theater in San Pedro. National touring has included the Globe News Center for the Performing Arts, Amarillo Texas.

www.ipballet.org Page 3 Cinderella Study Guide A Young Person's Guide to the Ballet Program Summary

Program Goals and Mission The goal of Inland Pacific Ballet's Educational Outreach Program is to present ballet to young people in a way that will have an enduring impact on their lives. With the decline of arts education in public schools, Inland Pacific Ballet's Young Person's Guide to the Ballet (YPG) is a vital cultural resource for children in the visual, musical, and movement arts in Los Angeles and the Inland Empire. Inland Pacific Ballet promotes the unique power of the performing arts to nourish our communities by enriching the lives of our children.

Program Description Inland Pacific Ballet's Educational Outreach Program is the most extensive of its kind in Southern California, bringing the beauty of ballet and classical music to thousands of children each year. Students from public, private, home schooled and special needs schools take exciting field trips to the historic Bridges Auditorium in Claremont to see traditional ballets such as Coppélia and The Nutcracker as well as new classics like Inland Pacific Ballet's original children's ballets, The Little Mermaid and Cinderella. The annual YPG program typically includes special morning performances of ballets chosen from Inland Pacific Ballet's repertoire that are especially suited to young audiences. Each Educational Outreach performance includes a lecture/demonstration on ballet and stage technique, which also describes the workings of a live theater and shows how a dancer tells a story without words. During the lecture/demonstration audience members are encouraged to participate in simple movement activities in their seats. Students then view a lavish professional ballet performance, followed by a lively question and answer period and an opportunity to meet the performers afterwards. For YPG we utilize two of the Inland Empire's treasured theatres: historic Bridges Auditorium and the Lewis Family Playhouse. Bridges Auditorium is a grand structure that has an immediate, awe-inspiring impact on young people, and has a seating capacity of 2,400 suitable for the large student audiences that attend. The Lewis Family Playhouse is an intimate, state of the art, performing arts center with 560 seats on two levels. giving each audience member a feeling of being close to the stage.

Program History and Success Inland Pacific Ballet's Educational Outreach Program has experienced sustained and resounding success in its 17-year history, consistently serving thousands of K-12 students each year. Through successful partnerships with corporations, foundations and individuals this program thrives. Together we have made the Educational Outreach Program available to over 100,000 students from throughout southern California. At a time when meaningful arts education in public schools is rare, A Young Person's Guide to the Ballet is more important than ever and makes the performing arts accessible to public, private and home school children in culturally diverse communities. More than 52 public school districts have participated in YPG. It is one of the most affordable educational outreach programs in the region, provides students with an introduction to a world of culture and tradition, that would be otherwise unavailable to them.

www.ipballet.org Page 4 Cinderella Study Guide Correlation to California Visual and Performing Arts: Dance Content Standards

1.0 Artistic Perception Processing, Analyzing, and Responding to Sensory Information Through the Language and Skills Unique to Dance A Young Person's Guide to the Ballet presents ballet to young people in a way that will have an enduring impact on their lives. IPB presents a high quality production that connects learning in the arts to movement and music. IPB performances provide opportunities for students to learn about ballet and classical music, and to observe dance movement in ballet. Performers and the Artistic Director use lecture and demonstration models to share dance techniques with students, and encourage students to observe and listen for these components within the program.

2.0 Creative Expression Creating, Performing, and Participating in Dance To introduce the featured ballet excerpt, dancers are brought on stage to demonstrate how they convey the story and express feelings through movement. Students then have a chance to try the techniques shared with them by the artists. During the lecture/demonstration by the Artistic Director, students are invited to "dance in their seats," with direction on what to do, but no music. Students learn a sequence of movements from the production and then perform the sequence again with the music.

3.0 Historical and Cultural Context Understanding the Historical Contributions and Cultural Dimensions of Dance Students are introduced to classical and contemporary ballet movement, as well as classical music through IPB's varied repertoire. Cinderella includes music selections by several well-known classical composers that were specifically chosen to help tell the story. Pre- performance comments include an introduction to the country of origin, the original literature, and how the traditions being represented in the performance relate to the students contemporary world. Students are encouraged to compare and contrast differences between their own dance traditions and those they are learning about.

4.0 Aesthetic Valuing Responding to, Analyzing, and Making Judgments About Works of Dance Pre-visit background information is available in this study guide and includes a biography and links to to additional information about the author and composers, an introduction to basic ballet movements, dance vocabulary, and a review of theater etiquette. As students come into the theatre, they will see the stage curtains open and dancers warming up before they are in costume and without sets or stage lighting. They will also see some of the set pieces being moved onto the stage before the curtain closes. A post-performance question and answer session with the Artistic Director gives students an opportunity to ask questions about they have seen.

www.ipballet.org Page 5 Cinderella Study Guide 5.0 Connections, Relationship, Applications Connecting and Applying What Is Learned in Dance to Learning in Other Art Forms and Subject Areas and to Careers Students are exposed to high quality production values at IPB outreach performances. These include music, lighting, set design, costumes and special effects. The Artistic Director makes a point to discuss the fact that the music is specific for production. Though some productions use a live orchestra, IPB works with music engineers to produce recorded music for Cinderella. Students also learn that costumes, sets and lighting are specifically designed for each production, and often made in-house by highly skilled designers and artisans.

Connections to ELA, Social Science, and Science Standards While most pre activities are geared towards VAPA standards, many of the post activities reach across the curriculum to help reinforce Language Arts, Social Science and Science standards. The study guide includes ready to use black line masters that incorporate research based strategies including graphic organizers, and cloze activities.

www.ipballet.org Page 6 Cinderella Study Guide Ballet as an Art Form

What is Dance? Bending, stretching, jumping, and turning, are all activities dancers do; however, dancers work hard and long to transform these everyday movements into the language of dance. Ballet is distinctive from dance in that it requires a special technique, established almost 500 years ago, involving steps and body movements that are unique to this discipline.

The most striking feature of the technique is the turnout of the legs from the hip. This turnout enables ballet dancers to move to either side as well as forward and back with equal ease, giving them command over a full circle of movement. The dancer’s turnout from the hips and strong frontal orientation of ballet staging can be traced to the European court tradition that directed the performance toward the sovereign in attendance.

Classical ballet technique and steps create modern ballets in a different way. The dancers wear simple leotards and tights and may dance in bare feet or soft slippers. In ballets where there is no story to follow, the audience’s attention is drawn toward the shape and speed of the dancers’ movements to the music. Some modern choreographers don’t even use music; others may use song or speech to accompany their steps. Alvin Ailey, Twyla Tharp, and William Forsythe are modern choreographers who have used these methods.

Other distinct dance styles include:

Ethnic/Traditional: Any dance form developed by a particular culture, like African, Spanish, Russian, Chinese, Cuban, Hawaiian, etc.

Jazz: The truly American dance form. Originated in America, this form combines elements of African, modern, and ballet.

Modern: A dance form that originated around the turn of the century in both Europe and America. Isadora Duncan, known as the “mother of modern dance,” began dancing barefoot and without the traditional ballet costumes as a rebellion against the constraints of ballet. Modern dance is based on the feet being parallel from the hips, rather than turned out as they are in ballet.

Social: Any dance form that people enjoy when they are gathered together. Ballroom dancing, street dancing, and folk dancing fit into this category.

Tap: Another distinctly American dance form, tap combines elements of jazz dance and borrows from the Irish jig and Dutch clogging.

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Abstraction – An idea or concept conveyed through movement and removed from its original context.

Aesthetic criteria – Standards applied in making judgments about the artistic merit of a work.

Axial movement – Movement anchored to one spot by a body part. Movement is organized around the axis of the body and is not designed for travel from one location to another. Also known as nonlocomotor movement. Examples include stretching, bending, turning in place, gesturing.

Accent – A strong movement or gesture.

Balance – A state of equilibrium referring to the balance of weight or the spatial arrangement of bodies.

Ballet – A classical Western dance form that originated in the Renaissance courts of Europe. By the time of Louis XIV (mid-1600s), steps and body positions underwent codification.

Ballerina – A female ballet dancer of the highest ranking.

Barre – The place where a dancer goes to begin his/her class work. The barre is a long pole that gives the dancer support. After the dancer has done barre work to warm up, he/she will move to the center the classroom or studio to practice increasingly complex steps.

Choreography – ("dance writing") The creation and composition of dances by arranging or inventing steps, movements, and patterns of movements.

Composer – one who writes music.

Corps de ballet – A group of dancers who work together as an ensemble. They form the background for the ballerina and her partner and are the backbone of any ballet company.

Dance Sequence – The order in which a series of movements and shapes occurs.

Divertissements – Consist of a variety of short dances inserted in certain ballets as entertainment.

Genre – A particular kind or style of dance, such as ballet, jazz, modern, folk, tap.

Gesture – The movement of a body part or combination of parts, with emphasis on the expressive aspects of the move. It includes all movements of the body not supporting weight.

Libretto – The text on which a ballet is choreographed; the story of a ballet.

Motif – A distinctive and recurring gesture used to provide a theme or unifying idea.

Pantomime – The art of telling a story, expressing a mood or an emotion or describing an action without words.

Partner and group skills – Skills that require cooperation, coordination, and dependence, including imitation, lead and follow, echo, mirroring, and call and response. www.ipballet.org Page 9 Cinderella Study Guide

Pas de Deux – a dance for two people, traditionally between a ballerina and the male dancer of the highest ranking.

Phrasing – The way in which the parts of a dance are organized.

Pointe Shoes – Shoes worn by female dancers that enable them to dance on the tips of their toes. The area covering the toe is made of layers of fabric glued together in the shape of a “box” covered in satin and hardened. The sole is made of hard leather to prevent the shoe from breaking when bent. To keep the shoes on tightly, the dancers sew satin ribbons and elastic to the sides and tie the ribbons securely around their ankles. A pair of pointe shoes may only last for 3 to 4 days of work.

Rehearse - to practice.

Set Designer – a person who creates the scenic design.

Scenic design – Like costumes and makeup, scenic design helps to tell the story or set the mood of the ballet. The set must be designed so that the dancer can enter and exit according to the choreographer’s wishes.

Shape – The positioning of the body in space: curved, straight, angular, twisted, symmetrical, or asymmetrical.

Technique – The physical skills of a dancer that enable him or her to execute the steps and movements required in different dances. Different styles or genres of dance often have specific techniques.

Tempo – The speed of music or a dance.

Turnout – The ability of the dancer to turn their feet and legs outward from the hip joints to close to a 180-degree position.

Tutu – Ballet skirt, usually made of net or tulle. Tutus may be of varying lengths. While the style and mood of the ballet help to determine the preferred tutu length, the dancer’s technique is most clearly visible when she wears a short tutu.

www.ipballet.org Page 10 Cinderella Study Guide Inland Pacific Ballet's Story of “Cinderella” Reading Comprehension Grade 2-3 – Std. 2.5, 2.6; Grade 5-6 – 2.2, 2.3, 2.4 Grade 7 – Std. 2.3 Literary Response and Analysis Grade 2 – Std. 3.1, 3.2, 3.3; Grade 3-5 – Std. 3.1, 3.2, 3.3, 3.4 Grade 6 – Std. 3.1, 3.2, 3.3, 3.6; Grade 7 – Std. 3.1, 3.2, 3.3, 3.4 Grade 8 – 3.2, 3.3, 3.4, 3.5; Grades 9-10 – Std. 3.4, 3.5, 3.6; Grades 11-12 – Std. 3.2, 3.6

Act I

In the parlor of Cinderella’s house, preparations are underway for a Royal Ball where it is rumored the Prince will choose his bride from one of the lucky girls in attendance. The Stepsisters are bickering over what to wear, running Cinderella ragged with their demands. The Dancing Master arrives to give them some last minute lessons. When Cinderella asks if she too can go to the ball her Step Mother tells her only if she completes all of her chores. Cinderella works very hard, and her friends, the Blue Birds and the Mice, help make a dress for her. A mysterious Beggar Woman appears, and Cinderella gives her a loaf of bread. The Step Sisters have no intention of allowing Cinderella to go with them, and after ruining Cinderella's dress they and the Stepmother leave for the Ball. Left alone, Cinderella is crushed. She tries to comfort herself by looking at her treasured portrait of her real mother and daydreaming about dancing with the Prince at the Ball. She falls asleep in her little chimney corner. The Beggar Woman again appears and reveals herself to be Cinderella’s Fairy Godmother. Greeting Cinderella she tells her she will go to the Ball in the most beautiful dress of all, and with a wave of her wand, she transforms the parlor into a magic place.

Beautiful Fairies and an array of sparkling Stars appear and dance for Cinderella. Cinderella appears in her exquisite ball gown, and the Stars adorn her with a brilliant necklace, flowing cape and a special crown. The Fairy Godmother warns Cinderella that at all costs she must leave the Ball before the stroke of midnight. With a final wave of her magic wand, the Fairy Godmother makes a magnificent coach appear to transport Cinderella to the Ball.

Act II

As the curtain opens, the Ball is underway. The Princesses are announced and the Stepmother and Stepsisters arrive just in time to join the line of Princesses who will meet the Prince. He dances with each one in turn, but none of them strikes his fancy. He then performs a dance for all the assembled guests. Cinderella’s coach arrives. As if in a dream, she steps out of the coach and enters the ballroom. No one seems to recognize this mysterious and most beautiful Princess. As the other guests continue to dance, Cinderella and the Prince catch each other's eyes. The Fairy Godmother appears with the Blue Birds, and Cinderella and the Prince dance together. Swept away by the Prince Cinderella forgets the time, and just as the prince is introducing her to the other guests, the clock strikes midnight. There is great confusion. Cinderella runs out, and in her hurry she drops one of her glass slippers. The Prince picks it up www.ipballet.org Page 11 Cinderella Study Guide realizing it is his only clue to finding his true love. He leaves with the Master of Ceremonies and the Dancing Master, determined to find her.

The Prince and the Master of Ceremonies, helped by the Dancing Master, search in vain for the girl who will fit the glass slipper.

Cinderella is back in her ragged clothes, without her carriage or jewels. The only thing left to remind her of the Ball is her one glass slipper. Hearing her sisters, she runs to her little chimney corner and pretends to be asleep. The Stepsisters and Step Mother appear and excitedly recount all of the events of the Ball while Cinderella pretends to be amazed. Then the Prince arrives with his entourage to try the slipper on the Step Sisters and Step Mother, but it fits none of them. Finally it is Cinderella’s turn to try on the slipper, and it fits her exactly. Shocked, the Step Mother and Step Sisters faint on the spot. Cinderella draws from her treasure box the matching slipper and explains that she was the mysterious Princess from the Ball. The Stepsisters beg her pardon for all their former unkindness. The Prince declares his love for Cinderella.

Everyone is gathered at the Palace for the wedding of Cinderella and the Prince. They all dance in celebration. The royal couple is married by the Fairy Godmother. They all live happily ever after.

PRODUCTION CREDITS

Concept & Libretto: Victoria Koenig

Choreography: DJ Gray, Clinton Rothwell, Laurence Blake, Jill Voznick

Music: Sound Design by Jim Linahon and Victoria Koenig with composers including: Johann Strauss Benjamin Britten Charles Gounod Jules Massenet

Scenic Design: Daniel Nyiri

Cinderella’s Coach: Kevin Myers and Daniel Nyiri

Lighting Design: Greta Stockwell

Costumes: Jeanne Nolden

Ball Gowns: Carmen Creations

www.ipballet.org Page 12 Cinderella Study Guide Music Selections and Composers Music Grade K – Std. 5.1, 5.2; Grade 1 – Std 4.1, 4.2 Grade 2 – Std. 5.2; Grade 3 – Std. 4.3, 5.2; Grade 4 – Std. 5.3

Overture: Johann Strauss: Cinderella

Act 1

Scene 1: In the parlor of Cinderella’s house – Leon Minkus: La Source Scene 2: The Dancing Lesson – Andre Messager: The Two Pigeons Scene 3: Cinderella completes her chores and is helped by the Birds and Mice Jules Massenet: Thais Scene 4: The Step Sisters Ruin Cinderella's dress and leave for the Ball Leo Delibes: La Source Scene 5: Cinderella dances alone – Benjamin Britten: Soirees Musicals Scene 6: The Fairy Godmother transforms Cinderella’s house – Johann Strauss: Cinderella Scene 7: The Fairy Godmother dances – Leo Delibes: Sylvia: Chant Bacchique Scene 8: The Stars dance for Cinderella – Charles Gounod: La Reine de Saba Scene 9: Cinderella gets her jewels and cape. The coach arrives to take her to the Ball. Reinhold Glier: The Red Poppy

Act 2 Scene 1: At the Ball – Johann Strauss: Cinderella Scene 2: Fanfare and introduction of the Princesses – Jules Massenet: Cendrillon Scene 3: The Prince dances – Andre Messager: The Two Pigeons Scene 4: Cinderella arrives at the Ball and meets the Prince – Johann Strauss: The Blue Danube Scene 5: Cinderella and the Prince dance alone together – Leo Delibes: Sylvia Scene 6: The clock strikes midnight – Pyotr Ilyich Tchaikovsky Sleeping Beauty Scene 7: The Prince searches for the girl who will fit the glass slipper TBA Scene 8: Back in the Parlor – Johann Strauss: Cinderella Scene 9: The Prince arrives to try the shoe on each girl in the household. The shoe fits Cinderella – Leo Delibes: La Source; Johann Strauss: Cinderella Scene 10: On the way to the Prince’s palace Johann Strauss: Cinderella Scene 11: Cinderella and the Prince get married and live happily ever after Johann Strauss: Cinderella

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Additional Composer Links

Benjamin Britten (1913 – 1976) K-6 Biography and Music Links http://www.classicsforkids.com/composers/bio.asp?id=10 http://www.dsokids.com/listen/ComposerDetail.aspx?composerID=41 http://www.classicsforkids.com/shows/showview.asp?ID=8 6-12 Biography http://opera.stanford.edu/Britten/bio.html http://www.its.caltech.edu/~tan/Britten/britbio.html K-12 Music http://www.youtube.com/watch?v=SY-UeI5ZzwE&feature=relmfu

Leo Delibes (1836 – 1891) 6-12 Biography http://www.naxos.com/person/Leo Delibes/27154.htm http://telasiado.suite101.com/leo-delibes-operas-and-ballets-a34235 K12 Music link - La Source http://www.youtube.com/watch?v=dYGY TvCLC4

Reinhold Glier (1874 - 1956) 6-12 Biography http://www.clarihorn.freeserve.co.uk/gliere/biog.htm K12 Music link - The Red Poppy http://www.youtube.com/watch?v=UVsiBHUdgKM

Charles Gounod (1818 – 1893) 6-12 Biography http://www.bach-cantatas.com/Lib/Gounod-Charles.htm http://www.wdav.org/1 248 436.cfm

Andres Messager (1853 – 1929) 6-12 Biography http://www.editions-enoch.com/editions-enoch-en/andre-messager.php K-12 Music link http://www.youtube.com/watch?v=LS0g4wYNPdc

Jules Massenet (1842 – 1912) 6-12 Biography http://www.mymusicbase.ru/PPB/ppb7/Bio 700.htm http://telasiado.suite101.com/jules-massenet-biography-french-opera-master-a35266 http://www.naxos.com/person/Jules Massenet 24611/24611.htm K-12 Music Link http://www.youtube.com/watch?v=luL1T1WQC2k

Pyotr Ilyich Tchaikovsky (1840-1893) K-5 Biography http://www.classicsforkids.com/composers/bio.asp?id=57 6-12 Biography http://www.imdb.com/name/nm0006318/bio http://www.notablebiographies.com/St-Tr/Tchaikovsky-Peter-Ilyich.html K-12 Music Link http://www.youtube.com/watch?v=erp8TxP51TQ

www.ipballet.org Page 16 Cinderella Study Guide About the Choreographers

Laurence Blake graduated from the North Carolina School of the Arts and joined Joffrey II and then the Joffrey Ballet, working with notable choreographers Glen Tetley, Sir Frederick Ash- ton, Gerald Arpino, Robert Joffrey and Twyla Tharp. After moving to Los Angeles, he was a guest artist with the Pacific Northwest Ballet, California Ballet and the Nevada Dance Theatre. Mr. Blake has set original works throughout the West and has been resident choreographer for the Los Angeles Chamber Ballet, Hawaii Ballet The- atre and Pasadena Dance Theatre. His choreography has been nominated for numerous awards, including the Lester Horton Dance Award in 1992, 1993, 1995 and 1997. In 1998 he received the Regional Dance America National Choreography Plan Award for his ballet Holberg Suite. Mr. Blake has appeared in several television dance specials, and has been on the dance faculty of the California Institute of the Arts since 1982. He was the recipient of an individual artist grant from the Pasadena Cultural Affairs Division for his collaborative work with Pasadena composer Cary Belling and several local musicians.

Clinton Rothwell has made choreography for many well known companies including: Tricentennial Festival Honoring Bach's three hundredth birthday commissioned by Alberta Ballet, the Banff Centre for Performing Arts, Calgary Opera Company, National Ballet of Canada (gala), San Francisco Ballet (workshops) and Young Canadians at the Calgary Stampede. His work stretches from classical ballet to contemporary works, which have entertained audiences for over 40 years. "To me, dance is an extension of sound forming the body like moving sculpture. If I am able to move an audience by adding to the music a complete experience in the message of the piece, then I am closer to achieving the goal of all that bring to you an evening of the arts."

DJ Gray is a performer, director, and choreographer. She has performed in the Tony Award winning production of The Producers. She was the Associate Choreographer with Tony Award winning, The 25th Annual Putnam County Spelling Bee, (On and Off- Broadway, Non-Equity Tour, and 7 other regional productions). She was the Associate Choreographer with Tony nominated, Xanadu, and assisted the staging for Sondheim on Sondheim (Broadway). She staged numerous TV appearances and events for Xanadu, including The Early Show, Broadway in the Park, and The Tony’s. She has Directed/Choreographed for Regional Theatre at the Candlelight Theatre and the Orange County Pavilion. Her Regional choreography resume includes Barrington Stage, North Shore, Northern Stage, Hangar Theatre, Starlight Theater (Kansas City), La Jolla Playhouse, Florida Studio Theater, Moonlight Amphitheater, McCoy/Rigby Entertainment and Musical Theater West.

www.ipballet.org Page 17 Cinderella Study Guide Theatre Etiquette Grade K – History/Social Studies: Std. 1-3. Grade 3 – Dance: Std. 2.6, 4.2; Music Std. 4.4 Grade 4 – Dance: Std. 4.4

General Information: • The performance will begin promptly and lasts from 60-75 minutes. • Let your children know in advance what behavior is expected of them. This is a LIVE performance. Unlike television of the movies, the people on stage are there at that moment and are dancing for the audience’s pleasure. Any noise distracts them. The performance will be exciting, but let your children know that they will be required to sit quietly in their seats for a fairly long period of time. • School clothes are appropriate dress, however, some children may choose to “dress up.” • Please plan to arrive at the theatre at least 30 minutes prior to the performance, as latecomers cannot be seated once the performance has begun.

Once you arrive at the theatre, please…. • No food, drink, chewing gum, cameras or recording equipment is allowed inside the theatre. Please leave these items at home as we do not have provisions for storing these items at the theatre. • It is important to accompany your children to the restrooms before the performance begins. It is inappropriate to visit the restrooms during the middle of a live performance, unless there is an emergency. Ushers will direct you to restrooms. • We recommend that you provide your children with some guidelines of things to look and listen for during the performance. You may also want to encourage your children to add to the following list.

Children should be encouraged to: a. Watch the dancers. b. Listen to the music. c. Look at the costumes and set designs. d. Laugh when they see the dancers doing something funny. e. Clap when the dancing has finished to show the dancers that they are enjoying the performance. It is customary to applaud when the dancers take a bow.

Children should be encouraged not to: a. Talk or make noise because they might miss something important. b. Chew gum or eat because it is disruptive to others and makes a mess in the theatre. c. Leave their seats before the lights go on because this is very disruptive to their neighbors. d. Bring cameras, ipods, or headphones to the theatre because this is disruptive to the dancers and other members of the audience.

www.ipballet.org Page 18 Cinderella Study Guide Pre & Post-Performance Activities Blackline masters for reproduction are included for some activities. Since many activites spiral throughout the grade levels, teachers may need to adjust the length and rigor to suit the appropriate grade level.

Language Arts: Writing

Grades K-1 – Std 2.1 Have students write two sentences about what they liked best about the Cinderella story or ballet. Have them draw a picture to go with their writing.

Grades 2-3 – Std 2.2 Have students write a friendly letter to one of the characters or dancers from Cinderella. Have students use sensory details to describe what they liked best about the character or dancer they chose.

Grades 5 – Std 2.4; Grade 6 – Std. 2.5 Have students write a letter to Cinderella persuading her to be forgiving of her step sisters, even though they have treated her so poorly. Be sure to address the concerns of the Prince and the Fairy Godmother.

Grades 5-6 – Std 2.1 Have students retell the whole fairy tale from the point of view of the Step Mother. How would she tell the story?

Writing Grade 1 – Std. 2.2; Grade 4 – Std. 1.7, 2.4 Grade 5 – Std. 1.2, 1.4, 1.6; Grade 6 – Std. 1.1, 1.2, 1.3, 1.4, 1.5, 2.3 Grade 7 – Std. 2.3, 2.5; Grade 8 – Std. 2.3, Grade 9-10 – Std. 2.3 Students write a summary or research report about any of the authors, composers or choreographers associated with this production of Cinderella.

Language Arts: Compare/Contrast

Reading K - Std 2.3, Grade 1 – Std. 2.6 Grade 3-4 – Std 3.2 Literary Response and Analysis Grades 2 – Std. 3.1

1) Read a version of the Cinderella aloud. The version of Cinderella that you have read is different from what students saw in the ballet. Have students chart the differences they notice on a thinking map or other graphic organizer. Depending on the grade level, have your students use their graphic organizer to write compare and contrast sentences, paragraph(s) or an essay. Upper grade students may compare and contrast the way story tellers and dancers convey events and/or themes in a story. www.ipballet.org Page 19 Cinderella Study Guide

Literary Response and Analysis Grades 1-2 – Std. 3.1, Grade 3 Std 3.2, Grade 4 Std 3.2,3.4. Grade 6 – Std 3.4 Writing Applications Grades 5, 7, 9-12 - Std 2.2

2) Have students compare Cinderella to another fairy tale, folk tale or story they have read or are familiar with. Students may compare and contrast the two stories from any of a variety of angles; transformation, dream, journey, recurring characters, the problem, the resolution, etc. Use a venn diagram, thinking Mmap or other graphic organizer to record similarities and differences. Use the graphic organizer as pre-writing to then write sentences, paragraph(s), or an essay.

Change the Setting for Cinderella

Social Studies Standards - K.4, K.6, 1.4, 2.1, 4.1

Language Arts Literary Response and Analysis Grades 1-2 – Std. 3.1; Grade 3 Std 3.2, Grade 4 Std 3.2, 3.4; Grade 6 – Std 3.4 Writing Applications Grades 5, 7, 9-12 - Std 2.2

1.) For this production of Cinderella, the ballet is set in the “long ago and far away” land of fairy tales. Have students write about what would happen if the story took place in a different time period and a different location. What would you change? (Costumes, sets, characters, music, landmarks, locations, events, animals, etc.) For Grades K-1, teachers can record responses on a graphic organizer. For Grade 4 students, change the setting to California.

2.) Have students re-write their own version of the story using a different setting, time period, or both be sure that they consider how costumes, sets, characters, music, landmarks, locations, events, and animals might be different.

Social Studies: Families & Traditions Social Studies Grads K-5- Std. 1.5 #3

The Cinderella story ends with Cinderella and the Prince getting married. The ballet shows how her family celebrates her “fairy tale wedding.” What wedding traditions are special to your family and friends? Use a thinking map or other graphic organizer to compare and contrast your traditions with your parents or guardian. How is it different from your grandparents?

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Name:______Date:______Families & Traditions Grades 1-8 (Social Studies 2.1)

The Cinderella story ends with a wedding and shows how the families celebrate their fairy tale wedding. What wedding traditions are special to your family and friends? Use a thinking map or other graphic organizer to compare and contrast your family traditions with those presented in the ballet version of the story. How have these traditions changed from your grandparents or great grandparents time?

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Describe any special foods, dances or activities your family celebrates:

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Cinderella: Setting Grades K-4 (Social Studies: K4, K6, 1.4, 2.1, 4.1)

What would happen if the ballet production of Cinderella were to be set in a different time period and a different location? Would the ballet look different? Would the characters behave differently? Write about the ballet of Cinderella as if it were set in ______.

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Name:______Date:______

Dance Match-Up

There are many different types of dance. Can you match the pictures with the name for each style? Draw a line between the name and the picture. Circle the picture of the type of dance you have seen.

Ballet

Hip Hop Dance

Ballroom Dancing

Square Dancing

Ballet Folklorico

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Cinderella Crossword Puzzle

1 2 3

4 5 6

7

8

9

10

11

ACROSS DOWN 2 The fairy godmother changed a 1 The ___ searched for the girl who

____ into a fine coach. had lost the glass slipper. 4 Cinderella was not ___ to the ball. 3 Cinderella had to be home by ___. 8 ____ and the prince were 5 Cinderella's fairy ___ helped her

married at the castle. to get ready for the ball.

10 Cinderella wore a glass ___ to the 6 Cinderella's _____ made her work

ball. very hard. 11 Cinderella lost one of her __ 7 Her stepsisters were going to the

slippers when she left the ball. ____

9 There was going to be a ball at

the____.

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Cinderella Word Search Puzzle

M P R I N C E C I N D E R F E

A I L E N I A M E R T Y D A L

G L C A D N A T E S N B A I C I K R E T D D O N W I N T R H

C C E S T E P M O T H E R Y H

B E P N K R T G U R Y G C G A H R P C I E L L A B L A Y O R

N A I A N L P U M P K I N D D

D W L D I L S O N E O R F M S T H S E E A L L E Z I R D O H

M O S S T F A S E R V A N T I

A I S A T S A N A M O C U H P S F A O L K T A L E S O F E A

U G L Y S T E P S I S T E R S

L L G T I M I D N I G H T M E

MAGIC ROYAL BALL GOWN FAIRY MICE GODMOTHER BRIDE SERVANT MIDNIGHT GLASS SLIPPER CARRIAGE STEP MOTHER PRINCE HARDSHIP CINDERELLA UGLY PUMPKIN STEP SISTERS

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Additional Resources

Biro, Val. Charles Perraut’s Mother Goose Tales. Nottinghamshire, UK: 2010

Perrault, Charles. The Complete Fairy Tales of Charles Perrault. Illustrated by Sally Holmes. New York: 1993.

Welsh, Charles. The Tales of Mother Goose: As First Collected by Charles Perrault in 1696.

Dance Web Resources

Inland Pacific Ballet http://www.ipballet.org

“How Dance Can Teach Literature: Five Ways to Use Dance in Your English Class” http://artsedge.kennedy-center.org/educators/how-to/encouraging-arts/how-dance-can- teach-literature.aspx

"Telling A Story Through Dance" Lesson Plan (grades K-4) http://artsedge.kennedy-center.org/educators/lessons/grade-3-4/Telling_a_Story_Dance.aspx

“Elements of Ballet” Lesson Plan (grades 5-8) http://artsedge.kennedy-center.org/educators/lessons/grade-6-8/Elements of Ballet.aspx

“Ballet and Classical Music” Lesson Plan (grades K-4) http://artsedge.kennedy-center.org/educators/lessons/grade-3-4/Ballet and Classical Music.aspx

Cinderella Web Resources

“Cinderella Trilogy: Compare and Contrast 3 Variations…” Lesson Plan (grades K-4) http://artsedge.kennedy-center.org/educators/lessons/grade-3-4/Cinderella%20Trilogy.aspx

“Searching for Cinderella” Lesson Plan (grades 5-8) http://artsedge.kennedy-center.org/educators/lessons/grade-5/Searching For Cinderella.aspx

“One Story, Many Tales” ESL Lesson Plan (grades 9-12) http://artsedge.kennedy-center.org/educators/lessons/grade-9-12/One Story Many Tales.aspx

Cinderella, Cinderella Cinderella Webquest http://projects.edtech.sandi.net/brooklyn/cinderella/

Cinderella Webquest (grades 1-2) http://education.iupui.edu/webquests/cinderella/index.htm

www.ipballet.org Page 31 Cinderella Study Guide “The Realm of Fairy Tales” Web Quest (grades 4-5) http://www-ma.beth.k12.pa.us/jhoke/jhwebquest/jhwebquest.htm

Cinderella Webquest (grades 6-8) http://www2.visalia.k12.ca.us/teachers/kcoulter/docs/cinderella.htm

Charles Perrault http://www.perraultfairytales.com/en/bio

Cinderella: 15 Different versions of the cinderella story http://www.pitt.edu/~dash/type0510a.html

References

California Department of Education - Content Standards & Framework http://www.cde.ca.gov/be/st/ss/

Grant, Gail. Technical Manual and Dictionary of Classical Ballet (Third revised edition), Dover Publications, 1967/1982.

Note about Web Links: All links referenced in this study guide were active at time of publishing. If you obtain an error, try pasting the url address into your web browser.

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