12 Dancing Princesses - Study Guide by Adventure Partners LLC

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Behind the Stage Door A resource guide for teachers

2014-15 SEASON Book by The Brothers Grimm Script & Lyrics by Jennifer Kirkeby Music by Shirley Mier Directed by Sandy Boren-Barrett

March 6 - 22, 2015 TWELVE DANCING PRINCESSES (952) 979-1111, option 4 1111 Mainstreet, Hopkins, MN 55343 stagestheatre.org

Table of Contents

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What Goes into a Performance

Behind The Stage Door

A resource guide for teachers BEHIND THE STAGE DOOR is intended as a resource guide for teachers and students to use before and after attending a performance at Stages Theatre Company. Our goal is to provide helpful information to enhance your theatre-going experience and to offer a resource that serves as a springboard for extending this experience into the classroom and across the curriculum. WHO WE ARE... Stages Theatre Company is committed to the enrichment and education of children and youth in a professional theatre environment that stimulates artistic excellence and personal growth. Guide content by Jeannine Coulombe

Role of the Director Role of the Designers Role of the Stage Manager Role of the Crew Role of the Cast Role of the Audience

The Role of the Audience

The Audience Agreement How to be a Polite Audience Member Before the Show Activities

The Production

Show Dates and Times Cast The Brothers Grimm - Author Jennifer Kirkeby - Playwright Shirley Mier - Composer

The Story

Play Synopsis A Few Words About the Play and its History

Points of Discussion

Who? What? Where? When? Why? Big Ideas

Across the Curriculum Activities in Theatre Arts Activities in Language Arts Activities in Other Subjects

Minnesota Academic Standards

Beyond the Classroom

Feedback

Additional Resources Further Reading

stagestheatre.org

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nce a m r o f r e P A o t n I s e o G at

The performance you see at Stages Theatre Company is the result of many people working together. As the audience, you mostly see the performers on stage, but there are many more people working behind the scenes that you never see. Each person, both on stage and off, serves an important role to create the performance you see as an audience member. Role of the Director

• Responsible for the overall vision of the production. • Guides actors in interpreting characters and provides them with stage movement. • Works with designers in planning the sound, lights, costumes, make-up, props, scenery, stage effects.

Role of the Designers

• Responsible for creating the look of the lights, scenery, costumes, make-up, sound and stage effects. • Works with the director in realizing the overall vision of the production.

Role of the Stage Manager

• Responsible for organizing the production, including schedules, resources, communications, technical effects and personnel. • In charge of making sure everything runs smoothly both during rehearsals and performances.

Role of the Crew

Role of the Cast Role of the Audience

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• Responsible for building the scenery, costumes, props and stage effects that you see on stage. • Work backstage during the performance operating the scenery, props, costumes, effects, lights and sound. • Responsible for performing the characters in the play on stage in front of the audience. • The play doesn’t exist without you! That’s right, you are a collaborator in any performance you see. All of the work that goes into a production means nothing without the audience there to experience the performance. It is a unique responsibility. It is important for you to learn your role so you can join everyone else who has worked to create the production.

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n e i d u A e h t The Role of

The audience has an important role in the theatre experience. When the lights go down, a performance, especially for you, begins. This special relationship only happens in live theatre. When you take your seat in the audience, you accept the responsibility of a special agreement.

The Audience Agreement

1. 2. 3. 4. 5. 6.

Believe what happens is real. It is happening live, before your eyes! Listen carefully and quietly. Let the production unfold and enfold you. Respond honestly and sincerely. The actors are aware of your presence and your responses. Tune in to what is happening on the stage. Remain polite throughout the performance.

How to be a Polite Audience Member

1. Avoid anything that distracts the performers. Un-necessary talking, rustling papers, gum-snapping, jangly jewelry, cellophane wrappers,cell phones, and pagers are all examples of un-warranted and un-welcome sounds during the play. 2. Never use flash cameras. They are strictly forbidden. Their blinding lights can be an actual danger to the actors. 3. Finally, when the play is over, show your appreciation with hearty applause.These are the sounds that warm the hearts of the actors.

Before the Show Activities

1. Have students make a list: â&#x20AC;&#x153;What do we do when we watch television or go to a movie?â&#x20AC;? Compare the results to the theatre audience etiquette list above. How are they similar? How are they different? 2. Take some time to practice being an audience member. Turn down lights to darken the room. Have a student tell or read a story. When the speaker is done, have the audience applaud. Ask the speaker how the quiet listening and the applause made him or her feel? How did it make the audience feel? 3. Before the play, discuss the elements that go into a theatrical production. Scenery, make-up, costumes, lighting, properties, and sound effects each has a unique design and a unique designer. In consultation with the director, each of these designs is coordinatedto produce an overall design concept. By making students aware of these production aspects, you can then ask them to comment on their observations of specific design elements after viewing the play. E STAG R DOO

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n o i t c u d o r The P

HANDMAIDEN

Kallie Jo Ascheman

PRINCESS ANYA

Halle Audette

GUARD

Evie Bair

PRINCESS SCARLET

Sara Bowman

MATTHEW

Logan Daum Bitz

PRINCE OF ARROGANCE PRINCESS SUZANNA

Theodore Emo

Liliana Felton

HANDMAIDEN

Willow Fields

SPIRIT MOTHER

Anna Hickey

PRINCESS LOUISA

Emma Highfield

PRINCESS ANNABELLA

Clare Judge

PRINCESS ROSALINA

Allison Kiewatt

PRINCESS HAZEL

Bella Lockhart

ROYAL SHOEMAKER

George Mulder

PRINCESS CELESTIA

Delaney Murray

HANDMAIDEN

Hannah Paulsen

PRINCESS GENEVIEVE

Abby Schroeder

GUARD / TOWNSPERSON

Grant Schumann

HERALD

Devon Selmon

HANDMAIDEN / TOWNSPERSON HANDMAIDEN

PRINCESS ZELDA

Anna Stenerson

Jozie Tamarkin Zoe Tamarkin

KING PHILLIP

Brent Teclaw

PRINCESS GISELLE

Elizabeth Sluka

PRINCESS VIOLETTA HANDMAIDEN

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Josie Turk

Marin Wilts

es m i T & s e t Show Da

MARCH 2015 Fri 6 7 p.m. Sat 7 1 p.m. Sun 8 2 p.m. Wed 11 10 a.m. Thu 12 10 a.m. Fri 13 7 p.m. Sat 14 1 p.m. Sun 15 2 p.m. Wed 18 10 a.m. Thu 19 10 a.m. Fri 20 10 a.m. Sat 21 1 p.m. Sun 22 2 p.m.

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4:30 p.m. 12:30 p.m. 12:30 p.m. 7 p.m. 4:30 p.m. 12:30 p.m. 12:30 p.m. 7 p.m. 7 p.m.

JACOB AND WILHELM GRIMM - THE GRIMM BROTHERS The Grimm Brothers, born at Hanau in Hasse-Kassel, Germany were academics best known for publishing popular collections of folk and fairy tales. Jacob Grimm was born on January 4, 1785 and Wilhelm Grimm was born on February 24, 1786. They were the second and third sons, respectively, born into a large family of nine children, eight boys and one girl. The two brothers were educated at the Friedrichs-Gymnasium in Kassel and later both studied law at the University of Marburg. While at the University, the Brothers’ professor Friedrich von Savigny inspired in them an interest in the past and they began the linguistic studies that would culminate in their life’s work. Though their collections of tales became immensely popular, these tales were essentially a by-product of their linguistic research, which was the Brothers’ primary goal. The Grimms had been collecting fairy tales from the people of Hesse since the early 1800’s in response to a wave of awakened interest in German folklore. By 1810 the Grimms produced a manuscript collection of several dozen tales, which they had recorded by inviting storytellers to their home and transcribing what they heard. Although they were said to have collected tales from peasants, many of their informants were middleclass or aristocratic, recounting tales they had heard from their servants. Several of the informants were of Huguenot ancestry and told tales that were French in origin. They also had a favorite local storyteller named Marie Muller. In 1812, the Brothers published a collection of 86 German fairy tales in a volume titled Kinder- und Hausmärchen (Children’s and Household Tales) and a second volume of 70 fairy tales in 1814, which together make up the first edition of the collection, containing 156 stories. From 1816-1818 they published a two-volume work titled Deutsche Sagen, which included 585 German legends, which were not as popular as the fairy tales. A second edition of the Kinder- und Hausmärchen followed in 1819-22, expanded to 170 tales. Five more editions were issued during the Grimms’ lifetimes, in which stories were added or subtracted. The seventh edition of 1857 contained 211 tales. Many of the changes were made in light of unfavorable reviews, particularly those that objected that not all the tales were suitable for children, despite the title. The Brothers also published the Kleine Ausgabe or “small edition,” containing a selection of 50 stories expressly designed for children. Ten printings of this edition were issued between 1825 and 1858. Wilhelm Grimm died on December 16, 1859 and Jacob Grimm on September 20, 1863. They remain among the best-known storytellers of European folk tales popularizing such stories as Rumpelstiltskin, Snow White, Rapunzel, Cinderella, Hansel and Gretel, Little Red Riding Hood and The Frog Prince. --(Taken in part from www. literaturecollection.com & wikipedia.org)

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JENNIFER KIRKBY, PLAYWRIGHT Jennifer Kirkeby has been involved in theatre for over 25 years as a playwright, actress, choreographer, director and teacher. She has worked with Stages Theatre Company for over a fifteen years, writing the memorable productions of Dot and Tot of Merryland, and Madeline’s Christmas, both published by Dramatic Publishing, as well as Harriet and Walt, The Mitten, Owl Moon, Aladdin and His Magical Lamp, The Paper Bag Princess, Twas the Night Before Christmas Click, Clack, Moo: Cows That Type, Giggle, Other work includes Eyes Wide Open, a touching play about a teenage girl struggling with anorexia, which continues to tour schools. Jennifer is a Giggle Quack, Duck for President, The Frog Prince, If You Give a Moose a Muffin, Llama, Llama Red Pajama, and Llama Llama Holiday Drama. SHIRLEY MIER, COMPOSER SHIRLEY MIER is a composer, music director and educator. She composes music of all kinds, in the theatre, concert and educational world. Theatre remains the focus of her creativity, both as a composer and music director, although she also continues to write concert and educational music for a variety of ensembles, including concert band, string quartet and piano duet. Her work includes a wide spectrum of topics—from Alexander the Great to the Three Billy Goats Gruff. This is her ninth collaboration with Jennifer Kirkeby for a world premiere musical at Stages Theatre Company. Past collaborations include this season’s Llama Llama Holiday Drama as well as Madeline’s Chirstmas, The Paper Bag Princess, Twas The Night Before Christmas and If You Give A Moose A Muffin. In May 2005, Shirley completed her Ph.D. in Composition at the University of Minnesota, where she also earned her M.A. in Composition in 2002 with a minor in Theatre Arts. She earned her B.A. in Music from Grinnell College in 1988. Shortly thereafter she moved to Minneapolis to do a theatre gig, and has lived here ever since. She is currently a music instructor at Century College in White Bear Lake, MN. (Taken from www.shirleymier.com)

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The Story

Play Synopsis Twelve sisters, all princesses, share a bedroom in which they are locked each night. Each morning, their shoes are found to have been worn through. Whoever discovers the secret of the twelve dancing princesses will be accorded power and riches by the king. Stages Theatre Company’s world premiere production brings this class Grimm’s fairy tale to life in collaboration with Escalate Dance, continuing the performance partnership that brought audiences both Owl Moon and The Mitten during our last two seasons.

A few words about the play and its history The origin of The Twelve Dancing Princesses can be traced through to central European folk lore. The thread of this storytelling tradition to modern times is, of course, the Brothers Grimm. The telling of these Grimm tales, however, is not one to gently waft you off to dreamland. The stories collected by Jacob and Wilhelm Grimm in the early 1800s served up life as generations of central Europeans knew it—capricious and often cruel. The two brothers, patriots determined to preserve Germanic folktales, were only accidental entertainers. Once they saw how the tales bewitched young readers, the Grimms, and editors aplenty after them, started “fixing” things. Tales gradually became softer, sweeter, and primly moral. Yet all the polishing never rubbed away the solid heart of the stories, now read and loved in more than 160 languages. This particular tale, also known as The Twelve Dancing Shoes or The Shoes that Were Dance to Pieces, has been changed and adapted many times over throughout the last several hundred years. It has been told and retold as a story, published and republished as a book and presented and re-presented on both the stage and screen. The number of these adaptations is too numerous to count. There is even a popular Barbie version of tale available on DVD and You-Tube. Stages Theatre Company now presents its own world premiere adaptation of this timeless tale.

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o i s s u c s i D f Points o

The ideas and questions in this section are designed as a springboard for student discussion after attending the play.

Big Ideas • • • •

Grief Vanity/Arrogance Heart’s Desire Truthfulness

Who? What? Where? When? • Where do the twelve princesses go each night? (To the forest to dance.) • Who gives Matthew the invisibility cloak ? (the Spirit Mother) • What do the princesses give the guards and the Prince of Arrogance so they cannot be followed each night? (A special tea that makes them sleep.) • When do the shoemakers re-make the princesses shoes? (each morning after they wake) • What is Matthew’s heart’s desire? (to be a gardener)

Why? • In the play, Matthew is asked by the Spirit Mother what is his heart’s desire? He answers truthfully about wanting to be a gardener. She asks him why he does not desire the riches or the crown the king is offering. He answers that he does not think it can truly make you happy. Do you think money makes people happy? Why or why not? Do you have to be rich and famous to be happy? • The king forbids dancing in the kingdom, even though his daughters love to dance because it reminds him too much of his deceased wife. Does this grief seem an appropriate justification for outlawing dancing? Why or why not? What does it mean to grieve? Have you ever grieved the loss of someone close to you or perhaps a pet? • What is meant by your “heart’s desire?” It is used in the play a lot. It is even sung about? What is your heart’s desire? Do you think your heart’s desire would be approved by the Spirit Mother? Why or why not?

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m u l u c i r r u C Across the

The possibilities of using the story The Twelve Dancing Princesses as a jumping off point for cross-curriculum and interdisciplinary study in your classroom are endless. From adaptation, Reader’s Theatre and poetry lessons to fractured fairy tales or a compare and contrast lesson within a Fairy Tale unit, this timeless tale offers a platform for reaching any number of educational goals. Below are a few suggestions for curriculum incorporating The Twelve Dancing Princesses into your classroom studies. Please also refer to the ADDITIONAL RESOURCE section at the end of this guide for links and resources to more curriculum ideas and lesson plans.

Theatre Arts ACTIVITY: GRADES K-8 EXPECTATIONS BEFORE THE PLAY: Read a version of The Twelve Dancing Princesses. See the ADDITIONAL RESOURCES section at the end of this guide for both free text and audio versions available on the Internet. With student input, establish the expectations for the upcoming play. What actions or events might be seen on stage? What characters might the play include from the tale? Students may draw or write about what they anticipate seeing. AFTER THE PLAY: Revisit the expectations to see how many were realized. Discuss the similarities and differences from the tale to the play, in terms of plot, characters, and action. Were the characters as portrayed on the stage faithful to the characters in the original story? How or why? How would you describe the main “message” of the play? How was it similar or different from the original tale?

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ACTIVITY: GRADES 3-5 COMPARE AND CONTRAST - FROM THE PAGE TO THE STAGE The play is an original adaptation of the classic folk tale. After seeing the play, it is a good opportunity to discuss the elements of adaptation with your students. Discuss the definition of adaptation—the rewriting of a work written in a different genre or medium than it was originally written—and analyzing how the playwright achieved this with STC’s version of The Twelve Dancing Princesses. Why do you think the playwright made the decisions she did in order to turn the story into a play? Students could then create a comparison chart or a Venn diagram to show the similarities and differences of the folktale to the play. FURTHER COMPARISON: Students may also watch the Faery Tale Theatre film version and create a threering Venn diagram to compare the original tale, the film version and the stage adaptation. The film version can be found on YouTube under the title Faerie Tale Theatre 27: The Dancing Princesses. Below is a more detailed lesson plan on comparing and contrasting the original folktale with an adaptation. Learning outcomes Students will: • Recognize differences and commonality in two very different forms of information and be able to articulate those differences. • Become more aware of necessary changes from one media to another. • Enjoy interesting traditional stories in whatever form they are presented. • Increase viewing and listening skills. Materials/resources • The Enchanted Book with stories selected by Alice Dalgliesh and illustrated by Concetta Cacciola Activities • Discuss what makes a fairy tale/folk tale and what the students will be doing - listening and looking for things that are alike and different in the written/read form compared to the play they see. Also, think about why some written material may have to be changed for the dramatic stage version. • Read “The Twelve Dancing Princesses” from Enchanted Tales • See the Stages adaptation of the Grimm’s fairy tale. • On the board make two columns “Alike” and “Different.” Have students list what they saw and heard. (Be sure you have your own mental list in order to prompt ideas - if this is needed.) • Discuss why the play changed the story so it could be told on stage.

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ACTIVITY: GRADE 3-8 WRITING AND ACTING ADAPTATION—CREATE YOUR OWN SCRIPT Students can create and act out their own version of The Twelve Dancing Princesses. Using the elements of adaptation that were explored in the above activity, have students create their own adaptation of the original tale. (Please see the FURTHER RESOURCES section for free online resources of the text and/ or audio versions of the fairy tale.) You may want to watch screen adaptations of the story also. The most appropriate one that is available is: • Faerie Tale Theatre 27: The Dancing Princesses (Available on youtube) SEQUEL—CREATE YOUR OWN SEQUEL Once the show concludes, the story is not necessarily over! What happens to the characters after the play ends? Individually, or in small groups, or as an entire class, write and/or perform the next part of the ongoing story. What might happen after the marriage of Matthew and Giselle? What might happen after be the story of each princess? What about one of the other characters? PRODUCTION—CREATE YOUR OWN PLAY Using a script adaptation of the story or a sequel that the students write themselves or using one of the scripts found on the links below, have the students put on their own play based on The Twelve Dancing Princesses. PUBLISHED SCRIPTS OF THE TWELVE DANCING PRINCESSES • https://www.hitplays.com/hp/Scripts/Samples/TwelveDancingPrincesses=032906.pdf • http://www.dramaticpublishing.com/p1604/The-Twelve-Dancing-Princesses/product_info.html • http://www.kidsinco.com/2013/10/the-twelve-dancing-princesses/ • http://www.pioneerdrama.com/SearchDetail.asp?pc=TWELVEDANC • http://www.lazybeescripts.co.uk/Scripts/script.aspx?iSS=1383

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ACTIVITY: GRADE 1-6 READER’S THEATRE The story of The Twelve Dancing Princesses has a relatively simple plot and plenty of dramatic possibilities. It can provide a good opportunity to incorporate Reader’s Theatre into your lesson plan. Whether using an existing script or creating your own, Reader’s Theatre can provide an opportunity for your students to experience the story in a deeper and more exciting way while also working on their confidence and selfexpression. FREE SCRIPT LINKS: http://www.kidsinco.com/2013/10/the-twelve-dancing-princesses/ Grades 3-6 could also create their own reader’s theatre script. HELPFUL POINTERS ON CREATING YOUR OWN SCRIPT: • Divide the story into scenes. Assign a different group of students for each scene. • You can do this division beforehand or have a session with the students where as a class you create an outline of the story breaking it into scenes. • While writing the scene outline with students, focus on the action or what happens in each scene and how the completion of this action ends the scene and triggers the next. • Each scene should have a clear beginning, middle and end, which can be discussed with the students before they begin writing. • Make sure that the students understand and agree what is to happen in the scene before they begin writing dialogue together. • It is helpful for the whole class also to agree on the number and name of the characters before starting. • If students are having difficulty starting, you can provide them with one line of narration to begin each scene. PLANNING AND PERFORMING THE SCRIPT: • Have the students sit in a circle and read the script out loud. Each student reads one line at a time around the circle. No need to assign roles as this point. • Again in a circle, split the class into groups and assign each group a different role. Read the script out loud with students choral reading the roles in groups. • Split class into groups so that each student in the group has an assigned role. Assign roles and then have the students read the script with their group. • Have each group stand in front of the class and present the script to the other groups one at a time. • Have the students practice in their groups using increasingly more expression with their bodies and voices. Help the student’s connect this expression to character emotion as well as the sound and meaning of the words. • Perform the play for an invited audience.

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Language Arts ACTIVITY: GRADES K-2 CREATE A CINQUAIN POEN With this activity, students create their own five-line poem about one of the characters in The Twelve Dancing Princesses. 1. Read the story of The Twelve Dancing Princesses. (See the ADDITIONAL RESOURCES section at the end of this guide for free text and audio versions available on the Internet.) 2. Have students choose one of the characters in the story. 3. Use the graphic organizer at the link below to assist students in creating their poem. This sheet is well written and straightforward. 4. Have students draw their own picture depicting their character. 5. Make a classroom display of the character pictures and poems. The graphic organizers can be found at: http://www.readwritethink.org/files/resources/lesson_images/lesson43/RWT016-2.PDF

ACTIVITY: GRADES 3-5 COMPARING AND CONTRASTING GRIMM FAIRY TALESHEY Have students read and become familiar with three of Grimm’s fairy tales. Refer to the ADDITIONAL RESOURCES section at the end of this guide for a list of tales with text available online. Have the students become familiar with the tales. Lead them in a discussion to see how the tales are similar and how they are different from one another. A Venn diagram or comparison chart may be used to enhance this understanding. Draw students’ attention to elements such as the following: • Magic • Hero • Hard or mean characters • Kind or innocent characters

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• Good actions and bad actions • Lesson or moral that the tale teaches CHANGING CHARACTERS As an extension of the activity above, have the students play with the tales even more to further extend their learning. Put your students into small groups. Give them the assignment to work in the groups to prepare new oral versions of the Grimm tales they have read—versions with different characters but the same lessons. For example in “The Fisherman and His Wife,” what might the fisherman find instead of a magic fish? In “The Frog King,” ask them to substitute two other characters in lieu of the princess and the frog.

MORE FAIRY TALE LESSON PLANS There are so many resources available for incorporating fairy tales into any number of educational goals. Below are links to FREE lesson plans and units focusing on fairy tales. FRACTURED FAIRY TALES (Grades 3-5 & 6-8) DESCRIPTION: Students study and diagram elements of fairy tales, read a fractured fairy tale, and then write their own fractured tales. Link: http://www.educationworld.com/a_tsl/archives/03-1/lesson003.shtml FAIRY TALES FROM LIFE (Grades 3-5) DESCRIPTION: Students begin by making a list of fairy tales they know, and then brainstorming characteristics that describe those fairy tales. They then use their knowledge of fairy tales to make predictions during a readaloud of a fairy tale picture book. Next, students work together in small groups to read, discuss, and analyze fairy tales. After compiling a list of common elements, students collaborate on their own original fairy tales—each student decides what kind of experience to write about, composes and revises a fairy tale, and finally presents their story to the rest of the class. The lesson follows a process method that includes peer review and encourages using picture books as models and concludes with individual reflection on the group project and fairy tales. LINK: http://www.readwritethink.org/classroom-resources/lesson-plans/fairy-tales-from-life-42.html MYTHS, FOLKTALES, & FAIRY TALES (GRADES K-3, 4-6, 7-9 & 10-12) THERE ARE SEPARATE LESSON PLANS FOR EACH GRADE GROUPING. DESCRIPTION: Students learn about a genre through participation in a variety of online activities. By interviewing accomplished genre writers and storytellers, taking part in online writing activities, and using interactive technology tools, students delve into the history, meaning, and cultural importance of each distinct genre. E STAG R DOO

LINK: http://www.scholastic.com/teachers/lesson-plan/myths-folktales-fairy-tales FAIRY TALES (Grades 3-6) DESCRIPTION: In this lesson, students talk about well-known stories. They revise story telling vocabulary and then plan and write a fairy tale. LINK: http://www.teachingenglish.org.uk/sites/teacheng/files/fairy-tales-not-just-for-kids-lesson-plan_0.pdf FAIRY TALES (Grades 6-8) DESCRIPTION: Students will recognize how the mentalities and values conveyed in fairy tales have impacted many aspects of our culture and personal belief patterns. Students will be able to apply critical lenses (feminist, marxist, etc) to fairy tales and other story mediums. Students will explore their own attitudes toward movies, television and advertising and relate these attitudes to the influences of fairy tales. Students will be actively involved in the learning process and learn to draw upon their creative skills while making comparisons and identifying contrasts in literary texts. LINK: http://www.teachingliterature.org/teachingliterature/pdf/story/fairy_tales_schultz.pdf

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s d r a d n a t S The

Here is a listing of Academic Standards that can be met by attending a performance at Stages Theatre Company and using this resource guide for pre and post performance activities. THEATRE ARTS (K-3) 0.1.1.4.1 0.1.2.4.1 0.2.1.4.1 0.4.1.4.1 THEATRE ARTS (4-5) 4.1.1.4.1 4.1.3.4.2 4.2.1.4.1 4.3.1.4.1 4.4.1.4.1 THEATRE ARTS (6-8) 6.1.1.4.1 6.1.2.4.1 6.1.3.4.1 6.1.3.4.2 6.2.1.4.1 6.3.1.4.1 6.4.1.4.1 LANGUAGE ARTS Reading and Literature (Comprehension/Literature) Speaking, Listening and Viewing Writing

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m o o r s s a l C yond The

ADDITIONAL RESOURCES

Please review all links below before sharing with students. • http://www.emints.org/ethemes/resources/S00000159.shtml--homepage on the Brothers Grimm in English • http://www.surlalunefairytales.com/twelvedancing/history.html - provides a history of the story of The Twelve Dancing Princesses • http://www.webenglishteacher.com/fairytales.html - lists two-pages of links to detailed lesson plans involving Fairy Tales. • http://school.discoveryeducation.com/lessonplans/programs/talesofthebrothersgrimm/ lesson plan for a fairy tale unit (K-2) • http://www.busyteacherscafe.com/themes/fairytales.html - A portal for many more resources on teaching fairy tales. (K-3) • http://www.atozteacherstuff.com/Themes/Folktales___Fairy_Tales/ - More links to folktale and fairy tale resources and lesson ideas. LINKS TO FREE TEXT AND AUDIO VERSIONS OF THE FAIRY TALE • http://www.storynory.com/2007/03/26/12-dancing-princesses-fairy-tale-podcast/ (audio) • http://www.eastoftheweb.com/short-stories/UBooks/TwelDanc.shtml (text only) • http://www.storybud.org/twelve_dancing_princesses_audio_version_page_1.htm (audio) • https://www.youtube.com/watch?v=y5mvr-uEv3k#t=10 (audio & visual version) • https://www.youtube.com/watch?v=OyN5Gd4sXco (audio & visual version) • http://www.literaturepage.com/read/grimms-fairy-tales-30.html (text only)

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