Invertigo Dance Theatre: Formulae & Fairy Tales

2019/20 SEASON INVERTIGO DANCE THEATRE: FORMULAE & FAIRY TALES

The Broad Stage presents

INVERTIGO DANCE THEATRE: FORMULAE & FAIRY TALES

STUDENT MATINEE

FRI SEPT 13, 2019 11 AM GRADES 9-12 THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

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2019/20 SEASON INVERTIGO DANCE THEATRE: FORMULAE & FAIRY TALES

Rob Bailis Director, Performing Arts Center EDUCATION & COMMUNITY PROGRAMS STAFF

Ilaan E. Mazzini, Director of Education & Community Programs

Mandy Matthews, Education & Community Programs Manager Daniel Escobar, Education & Community Programs Coordinator Olivia Murray, Education & Community Programs Assistant Madison Kalvert, Education Summer Intern K. Bradford, Invertigo Dance Theatre Kate Barraza, Resident Educator EDUCATION & COMMUNITY PROGRAMS Phone 310.434.3560 education@thebroadstage.org thebroadstage.org/education THE BROAD STAGE 1310 11th Street Santa Monica, CA 90401 Box Office 310.434.3200 Fax 310.434.3439 info@thebroadstage.org thebroadstage.org

Education and Community Programs at The Broad Stage is supported in part by The Herb Alpert Foundation Barbara Herman, in honor of Virginia Blywise Johnny Carson Foundation City of Santa Monica and the Santa Monica Arts Commission The Rosalinde and Arthur Gilbert Foundation Leonard M. Lipman Charitable Fund Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission The Ralph M. Parsons Foundation Sidney Stern Memorial Trust Dwight Stuart Youth Fund

THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

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2019/20 SEASON INVERTIGO DANCE THEATRE: FORMULAE & FAIRY TALES

GREETINGS FROM THE BROAD STAGE! Dear Educators, We are so excited to be presenting Invertigo Dance Theatre at The Broad Stage! Invertigo Dance Theatre is a local modern, contemporary dance company led by Artistic Director, Laura Karlin.

Laura is a teacher, choreographer and movement activist. Laura approaches dance as a way to establish communication, inclusivity, and trust among her dancers, students, and audiences, bringing together groups diverse in age, ability, access, and background through the joy of movement. The world premiere of Invertigo Dance Theatre’s performance Formulae & Fairy Tales will capture young audiences with their innovative works that showcase the power of storytelling and stretch the boundaries of modern dance as a socio-cultural space of transformation.

This curriculum engages concepts of dance theatre as a genre at large as well as powerful traditions such as Theatre of the Oppressed. Each lesson offers imaginative, interactive exercises for the students to learn the concepts of each lesson through embodiment, space, image-making and other Dance-Theatre elements. In Lesson One, students will be introduced to Dance-Theatre and storytelling through stage and movement, along with information on English mathematician and computer scientist, Alan Turing -- the legendary inventor at the center of Formulae & Fairy Tales. In Lesson Two, students explore the power -- and pitfalls -of symbols, myths and fairy tales and creative, hands-on methods invite students to unpack symbolism, retell fairy tales, and discover the transformative impact of storytelling through movement and writing. Down the line, upcoming lessons will invite students to analyze and discuss the culture and history of LGBTQ community, as well as the significance of heroes and social movements. The Study Guide also includes Invertigo’s methodology, Storytelling Through Movement, as a through line in “Mini Lessons” in each of the four larger lessons.

Please take some time to work through the lessons with your students prior to the Student Matinee performance. Curriculum writers include K. Bradford, Community Programs Manager of Invertigo Dance Theatre, and Kate Barraza of Santa Monica High School who both have extensive experience with community arts education and movement. The pair were members of The Broad Stage’s Teacher/Artist Collaborative. In addition to these lessons, there is supplemental curriculum video that interviews Laura Karlin about her dance experience, movement style, artistic vision and career as an Artistic Director. Please use this video to introduce your students to Laura before the performance and to make meaningful connections with the content.

This guide supports the National Core Arts Standards for Theatre and Dance with arts integration as the focus. We hope that this guide proves to be helpful in preparing your students for the presentation. Please don’t hesitate to contact us with questions or ideas. We’ll see you at Invertigo Dance Theatre!

Sincerely, Education & Community Programs at The Broad Stage

THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

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2019/20 SEASON INVERTIGO DANCE THEATRE: FORMULAE & FAIRY TALES

CONTENTS LESSONS LESSON 1: Dance-Theatre, Storytelling, and Who is Alan Turing?..............................................................................................5 HANDOUT 1: Hi, I’m Alan Turing!........................................................13 HANDOUT 2: Elements of Dance- BASTE Handout............................14 HANDOUT 3: What is Dance Theatre?...............................................15 HANDOUT 4: Socratic Seminar Rules................................................17 LESSON 2: Symbolism, Fairy Tales, & Transformation............18 HANDOUT 5: Apple Talk....................................................................25 HANDOUT 6: Symbolism in Snow White............................................26 HANDOUT 7: Transforming Fairy Tales Scene Writing Worksheet..28

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LESSON 1: DANCE-THEATRE, STORYTELLING, AND WHO IS ALAN TURING? LESSON AT A GLANCE LESSON OBJECTIVE: The following lessons will introduce students to dance theatre and build an understanding of the elements of dance, including interactive exercises for students to explore dance theatre techniques. Students will be introduced to Invertigo Dance Theatre’s artistic vision and the story -and the man -- behind the show at the center of this curriculum: Formulae and Fairy Tales.

DURATION: 120 minutes MATERIALS: Internet to view Invertigo Dance Company Videos. Students should have a journal or section of a notebook for their “Formulae & Fairy Tales Field Notes.” Print-outs of the following handouts, Handout 1: Hi, I’m Alan Turing!, Handout 2: Elements of Dance- BASTE, Handout 3: What is Dance Theatre?, Handout 4: Socratic Seminar Rules JOURNALS: Every lesson will include a journal component called Formulae & Fairy Tales Field Notes.

Students will each need a journal to take notes, plan scenes, and respond to prompts, videos, and articles.

We encourage students to gather ideas and observations as part of their field research on dance theatre as seen through Invertigo and the upcoming show Formulae & Fairy Tales.

STANDARDS: National Core Arts Standards, Theatre, Grades 9-12: CREATING—Anchor Standard 3: Refine and complete artistic work.

National Core Arts Standards, Theatre, Grades 9-12: PERFORMING—Anchor Standard 4: Select, analyze, and interpret artistic work for presentation.

National Core Arts Standards, Theatre, Grades 9-12: CREATING—Anchor Standard 1: Generate and conceptualize artistic ideas and work.

National Core Arts Standards, Dance, Grades 9-12: RESPONDING—Anchor Standard 7: Perceive and analyze artistic work.

CCSS.ELA-LITERACY.SL.9-10.1: Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 9-10 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively.

CCSS.ELA-LITERACY.SL.9-10.1.A: Come to discussions prepared, having read and researched material under study; explicitly draw on that preparation by referring to evidence from texts and other research on the topic or issue to stimulate a thoughtful, well-reasoned exchange of ideas.

CONCEPTS/VOCABULARY Artificial Intelligence - the theory and development of computer systems able to perform tasks that normally require human intelligence, such as visual perception, speech recognition, decision-making, and translation between languages.

Conflict - a struggle between opposing forces or characters; conflict is known to be a driving force in the drama of stories, theatre and dance. It has been said that without conflict, a story would have not point.

Costume - an actor’s stage clothing.

Chant - singing or speaking that repeats itself.

Choreography - the art or practice of designing and creating movement sequences for a dance or scene in theatre; the physicality of bodies, space and sometimes props and sets are used to create a choreographic composition; motion and form are specified through notation.

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LESSON AT A GLANCE, CONT’D Cryptography - the art of writing or solving codes; a method of protecting information and communications through the use of codes so that only those for whom the information is intended can read and process it.

The pre-fix “crypt” means “hidden” or “vault” and the suffix “graphy” stands for “writing.”

Cue - a signal; in theatre and dance a cue is the trigger for an action to be carried out at a specific time which can include a lighting change, a sound effect, or a movement in the set or props, and of course, a shift or change between bodies, characters, or dialogue.

Dance - All dance — whether it is about a story, a culture, a specific style, a feeling, or movement for movement’s sake — involves a body in motion. All styles of dance communicate using the basic elements of time, space, and shape.

Dance Theatre - The most universal definition that the term Tanztheater (“dance theater”) brings to mind is: the union of genuine dance and theatrical methods of stage performance, creating a new, unique dance form (especially in Germany), which, in contrast to classical ballet, distinguishes itself through an intended reference to reality. German choreographer Pina Bausch established this artform in 1975.

Dialogue - a literary or theatre technique in which two or more characters or people engage in conversation, exchange of ideas, debate, feelings or action.

Elements of drama - plot, character, theme, dialogue, music, and spectacle, according to Aristotle.

Freeze - stopping all movement; to create a stilled physical position or gesture in theatre and dance.

Fourth Wall - the space which separates a performer or performance from an audience; the conceptual barrier between any fictional work and its viewers or readers.

Genre - a category of artistic, musical, or literary composition characterized by a particular style, form, or content, examples: epic poetry, symphonic music, and dance-theatre!

Morphogenesis - the biological process that causes an organism to develop its shape. It is one of three fundamental aspects of developmental biology along with the control of cell growth and the formation and differentiation of tissues and organs, unified in evolutionary developmental biology.

Plot - the structure of the action of a play.

Script - the written dialogue, description, and directions provided by the playwright.

Setting - the time and place in which the dramatic action occurs.

Shape - using the body, space, movement, or objects to create patterns, lines, and composition.

Space- the available, unlimited, or incalculably great three-dimensional realm or expanse in which all material objects are located and all events occur; the locations occupied by the body; for example, low, middle, and high levels or negative and positive space.

Theatre - Theatre can take many forms — everything from a Shakespearean drama staged before an audience of thousands to a group improvisation in an elementary school classroom. All forms of theatre, however, include three essential elements: an actor, a story with a conflict, and an audience.

Time - the cadence or meter that determines the motion, which can be slow, medium, or fast.

Transition - the passage among ideas, places, thoughts, and stage.

Turing Test - A test for intelligence in a computer, requiring that a human being should be unable to distinguish the machine from another human being by using the replies to questions put to both.

GUIDING QUESTIONS What is the value in telling a story through movement in dance?

What is a story you would like to tell?

How do we tell stories with our bodies in the day to day?

How can we use the elements of dance to tell a story?

What is the significance of the storyline of Formulae and Fairy Tales?

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2019/20 SEASON INVERTIGO DANCE THEATRE: FORMULAE & FAIRY TALES

LESSON AT A GLANCE, CONT’D Note to Teachers This curriculum engages concepts of dance theatre as a genre at large as well as powerful traditions such as Theatre of the Oppressed. Invertigo’s specific methodology, Storytelling Through Movement, will be offered as a through line in the “Mini Lessons” section of each of the four lessons. The sequence of information and exercises offered in the Mini Lessons, along with the other components of the curriculum will provide a foundation of techniques for you and the students to build upon and expand from as the lessons progress.

A number of strategies will be used to teach storytelling through movement -- the tableaux, known as the living picture, will be a primary recurring technique. Tableaux is a theatre activity which enables people to tell a story through physicality and gestures. Often a specific theme, subject or prompt is explored in the tableaux and people use their bodies to create a frozen --yet seemingly moving -- image. It’s as if a person has taken a picture of a collective moment in the making. Tableaux are most powerful when students are able to maintain strong, emotional facial expressions and when students are able to remain perfectly still.

The goal is to have students create a scene with a group of people making symbolic gestures that interlock and tell a larger story about the theme being explored. This calls upon the group to work as an ensemble -- the tableaux is a call to action to be responsive and attentive to how each part connects to create something larger.

Often we will ask that 1-2 students work as the “sculptors” of the tableaux. You can identify students as the sculptors from the start, and they work to curate the image, adjusting and moving people to strengthen the story. The other option is to have all of the students in the tableaux -- they each step in adding themselves to the collective one or two at a time so the image builds. Then once the image is complete, you can ask a student to step out, review the image from all sides, and then make edits to further curate the tableaux.

It’s most effective to have the sculptors adjust people without using words. They can find simple ways to gesture to students to move to a new place and gently adjust people’s arms or head so the image becomes sharper, more dramatic.

We will also sometimes ask that the class be broken up into 2-3 groups with each group creating their own tableaux. After, you can do a kind of class review where each group presents their tableaux and the rest of the class reviews and discusses what they see in the tableaux. After that, have the students in the tableaux -- and the sculptors -- say what they were intending or shooting for in curating their tableaux. When there are social or cultural themes in the tableaux the discussion can be quite expansive and revealing. Leave enough discussion time to allow the conversation to unfold. ALSO: we highly recommend taking photos of each tableaux your class creates. (And psst...we’d love to see any of these if you are moved to send them on to us!).

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LESSON PLAN In this lesson students will be introduced to Alan Turing and Invertigo’s performance, Formulae and Fairy Tales, within the larger lesson of the dance theatre genre. Students will begin building an understanding of the elements of dance, including exercises for students to explore dance theater techniques and start creating their own practice of storytelling through movement.

Warm-Up: Meet Alan Turing Read Handout 1: Hi, I’m Alan Turing! as a class. Then, watch a scene from Formulae & Fairy Tales which introduces Alan Turing through a monologue.

Morphogenesis, Monologue, Playground: (cue 6:12 - 9:50 for Monologue, and continue playing the clip to the end for the Playground scene; if you are short on time play a couple of minutes for context) https://vimeo.com/315718736 Password: steve If you watch to the end of the scene, mention to the students The Turing Test named after Alan Turing.

Review the definition: Turing Test- a test for intelligence in a computer, requiring that a human being should be unable to distinguish the machine from another human being by using the replies to questions put to both.

THINK, PAIR, SHARE: Students will find a partner in the room. They will choose who is A and who is B. Start to call out the questions, have A ask B and give time for B to answer.

• What do you know about Alan Turing?

• What do you find interesting about his life?

• In the monologue, did you see a thought process in motion? Describe what you saw.

• What did you make of the dancer’s hand gestures?

• Why do you think Turing was so intrigued by Snow White?

• What do you think the playground scene is showing? What stories are being told and what feelings are evoked in this scene?

• Did the playground scene remind you of being on a playground when you were a kid? How so?

• What do you think of the Turing Test moment and an audience member being brought on stage?

Next, have students continue to be A and B as they were previously assigned. Have only the A’s move (B’s should stay put) and find a new B to partner up with. Now B’s will ask A’s the same questions. (Again, read the questions out one by one, giving time for discussion.)

Mini Lesson: An Introduction to Storytelling Through Movement This mini lesson will introduce students to “Storytelling Through Movement,” one of the core methodologies of Artistic Director, Laura Karlin in teaching and creating dance theatre. A video and interactive exercise allows students to learn about these ideas in an embodied way.

Watch Invertigo Curriculum Video, Part 1: Storytelling Through Movement as a class.

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After watching the curriculum video, engage students with the movement activity called, Cross the Room. Cross The Room is an exercise that allows students to use movement as a way to express who they are, what they identify with, and to discover what they have in common. This is the first of a series of curricular components where we invite students to be aware of and learn to cultivate the ways we tell stories about ourselves and our lives through movement.

The first part of the exercise is a warm-up with a series of statements that invite the students to cross the room. The main part of the exercise uses a dance methodology called the Elements of Dance or BASTE -- Body, Action, Space, Time, and Energy.

As you call out the movement instructions, tell students to consider these items: • Use your body to express your response to each item and how you feel about it • Make eye contact and engage with each other as you pass each other in crossing the room • Move as regular pedestrians sometimes, and at other moments utilize the elements of dance.

1) Cross the Room: Warm Up! Split the class in half, two lines facing each other. Say the following phrases and then come up with your own -- they don’t all need to be dance related. You could start out with “cross the room if you like ice cream” or incorporate elements from what you teach them day to day or Instructions for Crossing: “Cross the room if you are able to dab” “Cross the room if you have taken a dance class before” “Cross the room if you are always on the dance floor at a social event” “Cross the room if you are familiar with dance theatre” “Cross the room if you’ve ever seen Michael Jackson’s, Thriller video” “Cross the room if you tell stories with how you move through the world” “Cross the room if……”

Then, you will introduce the elements of dance by having students experience them in the following BASTE activity: Body: Have the students cross the room as if… “…they have injured their right ankle. “….”as if their knees don’t bend “…” as if they are being pulled by a string at the end of their nose from across the room.

Action: Have the students cross the room as if…

They are very pleased with everyone they encounter They have seen someone before but cannot remember where They are reaching for something they really want at the other end of the room Space: Have the students fill up the space evenly when you call stop Have the students walk in a grid (only 90*angles) Have students choose one person to mirror and continue to walk on a grid Have students mirror one person, walk on a grid and continue to fill up the space on the floor evenly

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Time:

Walk the space with a steady beat. Instructor will call out “one two three four five six seven eight” in a steady rhythm Walk through the space as slowly as you can while still moving through space Walk around the space as if you are in a hurry and you need to get to something important Energy: Walk around the space as if you are as light as a feather Walk around the space as if you are being held down by something (this could be physical or a heavy emotion) Walk around the space with erratic emotion and jerking in every direction.

OPTIONAL POST-EXERCISE REFLECTION

Have students pair up and discuss the following prompt: What did you notice about using your body rather than your voice to express your answers to questions. Out of Body, Action, Space, Time, Energy -- what did you enjoy the most & why?

Then, ask students to get with a new partner and discuss the following prompt: What is a dance performance or video you’ve seen that tells a good story. How do the dancers use their bodies and space to tell a story? Describe to each other and share what you enjoyed and why.

MAIN LESSON: Introducing Alan Turing & the formulae of Invertigo’s Storytelling PART 1: Learn the Elements of Dance Theatre DEFINE: Before watching the next scene from Formulae & Fairy Tales, tell students they will see a dance scene entitled “Morphogenesis,” named after a biological process which Alan Turing was deeply fascinated by.

Go over the definition of Morphogenesis as a class: the biological process that causes an organism to develop its shape. It is one of three fundamental aspects of developmental biology along with the control of cell growth and the formation and differentiation of tissues and organs, unified in evolutionary developmental biology.

Now that you have introduced BASTE to the students through movement, we’ll do an exercise to build their awareness of dance-theatre by watching, reflecting on, and discussing a dance video. The idea is to do this in two parts to help them build their abiliy to see and understand dance-theatre first from their own lens, and then through BASTE. Please read below before starting the video as we’re asking you to watch, pause, discuss and then watch, pause, discuss.

First, watch a scene from Formulae & Fairy Tales titled, “Morphogenesis, Monologue, Playground.” https://vimeo.com/315718736 (watch from the beginning to 6:43) Password: steve Next, have students answer the questions on Handout 2: Elements of Dance- BASTE, drawing from the video and from their experience doing movement based on BASTE in the Cross the Room activity.

Next, read Handout 3: What is Dance Theatre?, an article from Dance Magazine. The text from the article is included in the handout, but follow this link to view different Dance Theatre excerpts.

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Start the video and watch for 2-3 minutes. Then pause and ask the students what they saw. Perhaps put some examples on the board of what you saw, maybe descriptors like: flowy, jagged, spirals, air lifts, flying, etc. The point is to get them to describe to identify the qualities of the movement, the patterns and shapes, the overall feel or even meaning of the dance-theatre scene. They can use adjectives, metaphors, phrases, stories -- whatever works for them to show what they saw.

Watch the rest of the scene -- up until 6:50. Now, you will guide the students in learning to see dance through BASTE. Have them reflect on what they noticed for each part of BASTE -- Body, Action, Space, Time, Energy -- in the prompts below. If they are struggling with it, invite them to think back on the exercise of Cross the Room where they learned BASTE through their own movement choices.

Formulae & Fairy Tales Field Notes, Journal Entry #1: In your Formulae and Fairy Tales Field Notes Journal, respond to the following prompt: Imagine that you are describing what dance theatre is to another student who has never heard of it, write a description of the genre in your own words.

PART 2: Creative Process through The Socratic Seminar Task: Students will engage in a Socratic Seminar to demonstrate their understanding of the content explored in this Lesson including: Alan Turing’s life, the Elements of Dance (BASTE), dance theatre and themes in Formulae and Fairy Tales.

First, have each student generate at least five open-ended questions for Formulae & Fairy Tales Field Notes, Journal Entry #2 on the following topics below. Give them an example of an open-ended question.

• Alan Turing • BASTE • Dance Theatre • Formulae and Fairy Tales Next, you will create a Socratic Seminar in response to the questions that the students came up with.

The following is a brief description of Socratic Seminar for those who find it useful.

Have students move their chairs (or chair desks) into two circles; one in the center and one directly behind. Count the students off into two groups based on the number of students you have. For example; if you have 30 students, count them off by 15. Both 1’s are a pair, 2’s are a pair, etc. Have each pair discuss the questions that they came up with. Call on each group to contribute an open-ended question. Write them down- you will use them during the Socratic Seminar.

Explain the Socratic Seminar to students using Handout 4: Socratic Seminar Rules, and introduce to the students the rules of Socratic Seminars. Explain that the seminar is only interesting if there is no one person dominating the circle, if everyone contributes and that questions are open-ended.

Time the Socratic Seminar: each group gets 15 minutes to speak. The teacher is only a facilitator and poses the open-ended questions that the students came up with. In addition, try to make sure that students are not speaking too long and that each student has contributed. If the questions die down, you can pause and have them discuss a question with their partners and resume the seminar.

Assessment Criteria: • Students listen closely and speak to the group.

• Students ask for clarification.

• Students invite, allow, and consider all viewpoints.

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Purpose: To have an introduction to Alan Turing’s life, the Elements of Dance (BASTE), dance theatre and Formulae and Fairy Tales.

Reflection: Formulae & Fairy Tales Field Notes, Journal Entry #3 Students will write in their FFT journal to reflect on their experiences in the exercises and lessons of today. Invite them to share their observations, feelings and ideas and ask them to write about at least two questions in each of the sections below: Morphogenesis: In the last video, what shapes did you see the dancers making in space?

What did you think was happening in this scene? What did you see?

How do you think the biological term Morphogenesis was tied into this scene?

Why do you think the dancers mark out space with the tape? What happens with the space?

How do you think bodies and movement show the human mind?

Turing Monologue: In the Alan Turing monologue, why do you think the dancer mentions the fourth wall and restarts the story over and over?

What symbolism was created with gestures of numbers? Why are numbers mysterious?

In what ways can a computer think like a human being? In what ways can it not?

Why do you think truth, lies, story and fairy tales were important to Alan Turing?

Overall: How do you think movement can tell a story in a way that language can’t?

What is your overall impression of the performance your class will see?

What kind of storyline do you think the performance will create based on what you know about Alan Turing so far?

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HANDOUT 1: HI, I’M ALAN TURING! Hey dude. You look familiar, do I know you?

Yeah, I’m your Daddy! In theory...

I’m Alan Turing the father of artificial intelligence and theoretical computer science!

I’m a cryptographer and inventor from England from way long ago before there were computers or internet or iPhones or apps.

I cracked the enigma code of the Nazi’s in World War II which helped to end the war.

Haha cool! But um, who are you?

Lol yeah. Also, I’m gay which is cool, but the terrible inhuman laws in England in the early 20th century, I was arrested for what was called at the time acts of gross indecency.

Weird. Also, this might seem random, but I love fairy fairy tales...especially Snow White. The technicolor disney movie came out in 1937 when I was 25. It was so rad I could never get it out of my mind.

Whoa homie!

Dude, I mean, Dad...I’m sorry that happened. But uh, I love movies too!

Also apples are my favorite fruit so I guess I like Snow White too! Alan Turing is fun for the youth.

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HANDOUT 2: ELEMENTS OF DANCE - BASTE BASTE stands for: Body, Action, Space, Time and Energy WATCH: From Formulae & Fairy Tales, a scene called Morphogenesis, Monologue, Playground https://vimeo.com/315718736 (beginning-6:50) Password: steve Instructions: Below are prompts for you to describe the dance scene we saw through the dancetheatre lens: BASTE. In your own words, metaphors, descriptions, write what you see happening in this scene with Body, Action, Space, Time, Energy. Remember the scene in Formulae & Fairy Tales is called Morphogenesis -- a vocabulary word for this lesson!

BODY: (How do the performers use their bodies? What is their movement quality?)

ACTION: (What does it seem that the performers are doing? What is their action in this clip?)

SPACE: (How are the performers using the space? Are they walking on a grid? Are they moving fluidly from place to place? Are they covering the entire area? Describe what you see.)

TIME: (What is the tempo of the movement? Does it match the music? Does it change?)

ENERGY: (What is the energy of the movements of the performers? Are they light, heavy, stiff? Are their movement erratic or smooth? Describe what you see.)

In what ways does this dance tell a story through movement?

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HANDOUT 3: WHAT IS DANCE THEATRE? What is “dance theater”? Is it Pina Bausch’s raw examinations of everyday life? Is it performance that mixes movement and text? Is it dance that tells a story? Dance Magazine talked with four choreographers who use elements of dance and theater—but whose work escapes easy categorization—about playing with narrative, integrating movement and words, and what “dance theater” means to them.

Annie-B Parson: Dance theater, to me personally, means that there’s no hierarchy of materials you can use to make a piece. Movement is not more important; text and narrative aren’t more important. I feel this complete free range as I try to express something, to use a whole variety of theatrical elements, like relationship, cause and effect, clothes, dance, singing, talking, found text, plays, literature—this cornucopia of theatrical possibilities.

Having said that, the contradiction is that I think dance is the most important thing. Dance is sacred. So even though everything’s equal, what really needs to be preserved is dance, because it’s the most fundamental element at hand.

I don’t know why dance and theater ever separated in the first place. Since the ancient Greeks, they’ve been united. That theater became this thing where people sit on couches and move their mouths—to me it’s insane, so unexpressive. One thing that attracted me to Samuel Pepys [the 17-century English diarist and inspiration for Big Dance Theater’s new work, 17c] is that when he went to the theater, he described the dances. He’s seeing Shakespeare, first- and secondgeneration Shakespeare, and he’s saying, “Well, the play was bad, but the dances were really good.” It didn’t look like theater does now. They danced!

Okwui Okpokwasili: I don’t call my work dance theater, but I am borrowing super-liberally from both disciplines. Both have to do with language, embodied language, these multiple utterances that have different forms and shapes that I hope will collide with each other.

Generally I start with text. Once I’ve written something, I try to think about particular gestures or if there’s some kind of movement that resonates with what I’ve been writing. In working on my piece Bronx Gothic, I came out with this vibrating gesture, something related to a twerk and a twerk gone wrong and the question of how long can that be sustained.

When I move away from written language and go into a space of movement, it’s a very open and yummy space where I just follow my body, but it’s anchored somewhere in this text that I have floating in the back of my mind, a word or an idea. It’s like going into a really wide field, and you don’t know which way you’re going to go. You can stay in one place, but it’s quite spacious.

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2019/20 SEASON INVERTIGO DANCE THEATRE: FORMULAE & FAIRY TALES

HANDOUT 3: WHAT IS DANCE THEATRE?, CONT’D Faye Driscoll: I find dance theater to be a difficult term. When theater-based people use movement, they don’t call it “theater dance.” They might say “physical theater” or “experimental theater.” It’s funny, the qualifications that seem to happen when dance-based artists work outside of dance. I relate more to the word performance—it’s more open—and the idea of grabbing from whatever’s needed to make the work.

Whether there are words or no words, music or no music, it’s all interrelated and coming from a similar source of a desire to create. I’m really interested in story, but I have very little interest in plot or telling a story. I’m more concerned with the efforts of storytelling, the labor to convey meaning, the sense of going on a journey through something and just riding that feeling, without necessarily a linear comprehension of it.

Patricia Hoffbauer: When I came here [to New York, from Brazil] I started studying with the people from Twyla Tharp’s company. The investigation of movement and the problems it would offer up, like your arms do 7 counts, your legs do 3, the impossibility of those coordinations—that was my first love.

At the same time I was very attracted to humor and interested in process, exposing the process of making something and the accidents in a rehearsal and the absurdity of it. Early on I did a piece based on an Ionesco play, in which Peter Richards and I were two old ladies. We were looking at absurd theater as a way to break from formal movement, which seemed like it was done, exhausted. I don’t know if you’d call what we did dance theater, but it was very theatrical.

If I wasn’t borrowing from famous playwrights, I was repeating verbatim what had happened in the studio; I wasn’t trying to be a writer. But in 1993 I got together with George [Emilio Sanchez], an actor and writer doing solo performance at this moment of identity politics. I was interested in that, too, so the work became much more political. We’ve worked together for over 20 years, and it’s the most excruciating difficulty—the competition between us, and the difficulties of what’s more important, the words or the movement?

https://www.dancemagazine.com/dance-theater-2440402975.html

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HANDOUT 4: SOCRATIC SEMINAR RULES

Speak so that all can hear you.

Listen closely.

Speak without raising hands.

Refer to the text.

Talk to each other, not just to the leader.

Ask for clarification. Don’t stay confused.

Invite and allow others to speak.

Consider all viewpoints and ideas.

Know that you are responsible for the quality of the seminar.

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LESSON 2: SYMBOLISM, FAIRY TALES, & TRANSFORMATION LESSON AT A GLANCE LESSON OBJECTIVE: : To deepen the understanding of dance theatre through analyzing symbolism, fairy tales, and myths, and studying how Invertigo Dance Theatre re-tells myths through movement. Students will create their own narrative inversions by re-imagining symbols and rewriting a classic fairy tale.

DURATION: 120 minutes MATERIALS: An apple or two, Space for movement exercises, Internet to view Formulae & Fairy Tales Videos, Handout 5: Apple Talk, Handout 6: Symbolism in Snow White, Handout 7: Transforming Fairy Tales Scene Writing Worksheet STANDARDS: National Core Arts Standards, Theatre, Grades 9-12: CREATING—Anchor Standard 3: Refine and complete artistic work.

National Core Arts Standards, Theatre, Grades 9-12: PERFORMING—Anchor Standard 4: Select, analyze, and interpret artistic work for presentation.

National Core Arts Standards, Dance, Grades 9-12: CREATING—Anchor Standard 1: Generate and conceptualize artistic ideas and work.

National Core Arts Standards, Dance, Grades 9-12: RESPONDING—Anchor Standard 7: Perceive and analyze artistic work.

CCSS.ELA-LITERACY.SL.9-10.1: Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 9-10 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively.

CCSS.ELA-LITERACY.SL.9-10.1.A: Come to discussions prepared, having read and researched material under study; explicitly draw on that preparation by referring to evidence from texts and other research on the topic or issue to stimulate a thoughtful, well-reasoned exchange of ideas.

CONCEPTS/VOCABULARY: Archetype - a typical character, an action, or a situation that seems to represent universal patterns of human nature. An archetype, also known as “universal symbol,” may be a character, a theme, a symbol, or even a setting.

Collaboration - the action of working with someone to create or produce something.

Curate - to select themed art pieces and design through a specific order or arrangement how the art is presented in relation to the theme or concept of a show; typically in a museum or performance piece.

Exquisite Corpse - a game created from the Surrealist movement to sequence words or images Fairy Tales - a fictional story about magical events, symbols and beings; fairy tales are in the folklore genre and often take the form of a short story featuring symbolic, imaginative creatures and characters; in most cultures there is not clear line separating myth from folk or fairy tales and are part of the literary traditions of preliterate, pre-digital societies across the globe.

Invert - to put upside down or in the opposite position, order, or arrangement.

Symbolism - when something represents a bigger idea or “truth” than what the actual definition or physical object is; the art or practice of using symbols is to invest objects or iconic images with symbolic meaning through often invisible, immaterial, intangible, states or truths.

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LESSON AT A GLANCE, CONT’D Tableaux - a theatre technique where actors create a frozen stage picture through gesture, physicality, space, costume, props to express and explore a theme or prompt, often with a cultural, social or political context. (see Note to Teacher in Lesson 1 Lesson at a Glance for a fuller definition).

Myth - a traditional story, especially one concerning the early history of a people or explaining some natural or social phenomenon, often rooted in folklore or the supernatural or metaphysical; often expresses the history, cultural beliefs, or practices of a group of people or culture; also defined as a widely held but false belief or idea.

Metaphor - a figure of speech in which a word or phrase is applied to an object or action is given meaning by being directly compared or related to another unrelated thing; the use of metaphor in drama is a complex device used by playwrights to draw a comparison between two seemingly dissimilar things; dramatic metaphor should not be confused with symbol, although the two are similar. Symbol often, but not always, involves an object that is substituted for something else.

Stereotype - an oversimplified image of a particular group of people that is developed through false societal expectations and often spins meaning around cultures and communities in derogatory ways.

Surrealism - an art movement in the early 20th century that focused on an artist’s subconscious or imagination.

Guiding Questions What symbols do you most remember from your childhood?

What symbols do you think are most prevalent in our society today?

How does the power of symbolism create the foundation for storytelling? For Fairy Tales?

What is a story in your life that you could tell through a symbol?

What symbols are most important in your family? In your culture/s? Your neighborhood?

In what ways does Snow White portray women in unappealing ways?

How would you like to transform the storyline to include more cultures and the LGBTQ community?

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LESSON PLAN Overview In looking at symbolism, fairy tales, and transformation, we will incorporate these elements into a sequence of lessons where the students will re-imagine symbols, build their own movement story tableaux, and rewrite a classic fairy tale. Students will examine the use of symbolism in everyday life and literature and come to understand that a symbol is a representation of a bigger idea or “truth.” Students will be given tools to see and utilize symbolism as a transformative element in creating their own stories and expressing their worlds.

Warm-Up: Symbolism through the Exquisite Corpse This is a group writing and imagination exercise to create a playful exploration of how symbols can work and transform in our storytelling. Tell students they will be using a creative game from the Surrealists called the Exquisite Corpse, and each student will add a new symbol to the story.

Note: the game can be played as a writing or drawing game; to do the writing version of the game the students won’t fold the paper in thirds like the drawing game, they’ll fold the paper over just enough so it covers their first line and leaves the second line visible as a prompt for the next person. What’s visible might be a few words, a phrase or a whole sentence.

For background & a how-to on the Exquisite Corpse: https://tampabay.aiga.org/diy-how-to-exquisite-corpse/ https://www.youtube.com/watch?v=py_xXvJoYcQ https://poets.org/text/play-exquisite-corpse To start, have each student think of a symbol in their life, culture or family that is meaningful or important to them -- it could be an object, a place, a thing, or an iconic image. Ask them to think of how they might tell a story, even an unexpected one, with this symbol.

Next, tell the students that they will be writing a collective story of symbols. Everyone will write just a sentence or two. Invite the students to enter this exercise as a creative, collaboration where they are in a call and response with each other.

Take a piece of paper and give it to the person who wants to start the story. They will write two lines -some kind of storyline or even poetry using their symbol. Then have them fold the paper so that only the second line of their writing is showing.

Then, the next person takes the paper, reads the second line of the previous student, and uses that as a prompt. The student writes a couple of lines, adding their storyline with their symbol in response to the previous student’s symbol and story. And so on.

As the paper is passed through the circle of students, encourage them to let their imaginations go -- to expand their idea of their own symbol. Invite them to see how their symbol story might be transformed in the writing process because of how the previous student told the story of their symbol. In this way, the piece shows how stories, images, and our own ideas can be transformed through the power of collaboration. The exquisite corpse is like an ensemble-mind made visible!

To end, have a student read the exquisite corpse. Or you can have the whole class read it with each student reading a couple of lines -- but not their own!

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Mini Lesson: Storytelling Through Movement: Symbols & Gestures Part 1: As Apple as Apple Pie Place an apple in a central, visible place in the classroom. Ask all of the students to open their Formulae & Fairy Tale Field Notes and create a word cloud or journal entry on what associations they have with the apple from their lives, stories, myths, tv, daily speech, etc. Remember apples from childhood moments, and how apples are eaten, talked about, or symbolized in their families or cultures. Ask them to explore their thoughts on what the apple symbolizes and to add their own ideas on what else it could mean or be.

Part 2: The Apple Remixed Now, tell the students they will each get to tell a simple, symbolic story with the apple.

Ask them to think of how the apple could be used or shown as something NOT apple. Invite them to use their imaginations and think outside of the box and to let the apple be something new and unexpected.

It can be silly or serious or inventive. For example, it could be a hair comb, a mirror, a phone.

Part 3: The Apple: Strike a Pose Choose a place in the classroom where students can, one by one, present a still life portrait of themselves striking a gestural pose with the apple as their chosen symbol. Ask the students to go to the “stage area” and hold the apple in an exaggerated symbolic pose so that the apple reads as an object with a function other than apple. Each student freezes and holds their not-apple pose for at least twenty seconds so everyone can take in the new symbolism of the apple. The students strike a pose one after the other until the whole class has struck an apple pose.

Part 4: Apple to Apple Now, the students will create a tableaux -- a collective story of the apple retold. Their job is to find how their twist on the apple symbol can connect to another person’s apple symbol -- and then create a larger story of the not-apple. Tell them the goal is to create a group sculpture and to experiment with the practice of being a dance theatre ensemble working in a call and response to each other’s movements and gestures.

To start, have on student go into an open space and strike their apple pose and freeze. This is where the ensemble work comes in: it’s up to the students to witness the story being told and listen to their instincts about when to add their image to the tableaux. At some points, a couple of students might move to the tableaux at the same time -- that’s ok, dance theatre allows multiple stories and movements to take place at the same time.

Once the image is complete, choose a student to step out and be the sculptor. Ask them to review the image from all sides, consider how connections could be made stronger, clearer, or more of a twist in meaning or story. The sculptor make edits to curate the tableaux -- adjusting people’s arms or head, moving some people into totally new connections -- and then the sculptor adds themselves back into the image. You can have two students step out and be a co-sculpting pair -- inviting them to discuss what they’re thinking as a collaborative duo. This amplifies the artistic process as everyone in the tableaux can hear what their sculptors are thinking and how they’re refining or twisting the apple to apple story.

Part 5: Apple Talk If there is time, have a class discussion about the tableaux of re-imagined apples and how the students’ different symbols work together. Have them discuss the tableaux as a piece of art -- like a dance theatre sculpture. Also ask them to analyze the cultural relevance of their apple to apple story. How many different kinds of objects were conjured and what sectors of life and culture they are from (technology, beauty, sports, cooking, nature, art, childhood, etc)?

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How does the re-symbolized apple tableaux tell a larger story about humanity?

Note: We recommend you take a photo of each student when they freeze. This will add a dramatic effect, a kind of still life, and it will create an archive for you and them to look at later. Make sure to also take a picture of the whole class in the tableaux at the end.

MAIN LESSON: Fairy Tales Transformed In this series, the students will watch scenes from Formulae & Fairy Tales and look at Snow White with the goal of understanding -- and also challenging -- the myths that fairy tales create. In Part 1, there are two five minute videos of FFT; watching and discussing Invertigo’s transformation of myths, symbols and stereotypes will create a foundation for Part 2, where students will transform Alan Turing’s favorite fairy tale by writing their own scene, with a twist.

PART 1: Invertigo’s Spin on Fairy Tales & Myths Read Handout 5: Apple Talk as a class.

Watch the scene “Circuitry in the Park” from Formulae & Fairy Tales https://vimeo.com/315739236 (5 minutes) Password: steve Lead a class discussion on myths twisted & turned using the following prompts.

Alan Turing predicted the following, “One day, ladies will take their computers for walks in the park and tell each other, ‘My little computer said such a funny thing this morning.’”

Ladies: What myth about women or ladies is depicted in this scene? How does the movement, costume and characterization invert and challenge traditional notions of the feminine?

The High Heel: How does the invisible high heel work as a symbol in the movement in this scene? What myth or stereotype does the high heel create about women? Dancers of different genders enact the high-heeled lady walk -- how does the dance company play with gender assumptions by rotating and inverting roles?

The computer: What image does “computer” connotate for you? How does the apple play with our ideas and myths about the computer? How does Invertigo spin a fairy tale about Alan Turing’s prediction that women will take their computers for a walk in the park? In what ways was Alan Turning correct? In what ways was he incorrect? Explain.

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Watch the scene “Giggling Trio and Princess/Queen/Witch” from Formulae & Fairy Tales: https://vimeo.com/315743800 (5 minutes) Password: steve Have a class discussion on feminine archetypes, stereotypes & more.

If you want to vary the discussion format, do these questions in Think, Pair, Share. And then return to a full class discussion at the end if there is time.

What do you make of the terms Princess, Queen and Witch? What are your associations with these figures? How is each figure depicted in the video?

What myths do you think society tells about these three feminine archetypes? What power are they seen as having? What negative stereotypes are spun about the Princess, Queen and Witch?

How does Invertigo play with and transform these symbolic figures? Do you see a critique of society’s stereotypes and sexism in this scene? If so, how? And how is movement, costume, symbols and characterization used to achieve this?

Was this intended to be a comedy or drama? Explain what is funny about the video clip. Explain what is tragic or sad about it. Turing was known for his high-pitched laugh. How does laughter help a person through a tough time?

PART 2: Transform a Fairy Tale: Scene Writing Alan Turing was obsessed with the fairy tale of Snow White. With his life, he twisted the tale of Snow White in his own way. We invite you to take this tale -- a white, American tale from almost a century ago -- and invert it, twist it, make it yours. How can you alter the symbolism, challenge the myths, reclaim the story, diversify the characters, push the borders on who Snow White can be? Draw from your own stories, heritage, culture, identities -- or come up with your own imaginative world beyond what anyone else might expect Snow White to be. We’re quite sure Alan Turing would be pleased with your pretzel twist of this classic old tale.

Part 1: Unpack Snow White Symbolism and Brainstorm.

See Handout 6: Symbolism in Snow White.

For quick reference, a brief synopsis of the story of Snow White: The Grimm fairy tale gets a Technicolor treatment in Disney’s first animated feature. Jealous of Snow White’s beauty, the wicked queen orders the murder of her innocent stepdaughter, but later discovers that Snow White is still alive and hiding in a cottage with seven friendly little miners. Disguising herself as a hag, the queen brings a poisoned apple to Snow White, who falls into a death-like sleep that can be broken only by a kiss from the prince.

Students will utilize the symbolism they have learned and will take this into a writing exercise where they will write their own scenes.

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Part 2: Scene Writing: Invert your own tale of Snow White!

Task: Students will write an original scene inspired by the symbolism in Snow White.

Pass out Handout 7: Transforming Fairy Tales Scene Writing Worksheet and ask students to write their own original scenes by following the directions.

Assessment Criteria: • Students will utilize the symbolism provided in their writing. • Students will write a scene which transforms a fairy tale.

Purpose: Students will be able to identify the themes in Formulae and Fairy Tales and better understand symbolism.

Student Reflection: Formulae & Fairy Tales Field Notes, Journal Entry Students will write in their FFT journal to reflect on their experiences in the exercises and lessons of today. Invite them to share their observations, feelings, and ideas. They can also respond to the following: Questions to consider: How does symbolic imagery have the power to limit or expand how we see others or ourselves?

How can we change our relationship to objects? How can we transform symbols?

How does Invertigo create unusual narratives to tell the life story of Alan Turing?

What are the different meanings the apple might hold for Alan Turing?

How is a human being a symbolic figure that can be seen in many different ways depending on how the story is told?

What symbol most speaks to who you are? What stories and myths do you create about yourself?

How could you re-tell that story? How would you like to transform myths about yourself?

How does their re-symbolized apple to apple tableaux tell a larger story about humanity?

What symbols in our world do you think are the most urgent for us to transform?

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HANDOUT 5: APPLE TALK Hey, yo! Alan Turing, I’m trying to talk to you!

I just hear a lot of crunching.

I don’t think you see me for my true potential.

I’m into hard math.

All I see is 0s & 1s.

Not fruit.

Wellll, in the future I am hardware & software. So touché!

You won’t even recognize me.

So maybe my love of snow white and computer science theory might form a union of true love...?

Pick me up, put me to your ear, and call Steve Jobs.

Must be a bad connection. Did someone take a bite out of you?

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HANDOUT 6: SYMBOLISM IN SNOW WHITE Symbolism in Snow White: Colors: White, Red, Black No Mother The Poison Apple The Significance of Seven The Names of the Dwarfs The Seven Deadly Sins The Seven Holy Virtues Resurrection The Work Ethic Colors: Skin as white as snow Lips as red as blood Hair as black as ebony These colors provide a direct indication that Snow White is a “coming of age” story.

White represents innocence (birth) Red represents life and passion Black represents death.

No Mother: The absence of a mother in The absence of the birth mother makes it possible for storytellers to introduce the role of the evil stepmother. The evil stepmother is a common element of many fairy tales: Snow White, Cinderella, Hansel and Gretel. The lack of a mother at all is also common, because if a mother were present, the series of events would not unfold as they do in stories where there is no maternal influence.

This element of storytelling aims to engage the readers sympathy and it does that very well.

The poison apple: This would seem to point all the way back to the biblical reference of the apple which was offered to Eve by the serpent (evil/Satan). The evil queen offers Snow White the apple in much the same way. Snow White knows she should not be speaking to strangers, but she does it anyway and she pays for that mistake by falling under the spell.

The significance of seven: The number seven was used many times in the Bible for signifying perfection. The book of Revelation contains numerous groups of sevens such as angels, churches, trumpets, crowns, mountains, stars, and kings. It is one of the most significant numbers in Christianity in the sense that “God created the world in seven days”, or rather he created the world in six days and on the seventh he rested.

The names of the dwarfs: The names of the seven dwarfs are: Dopey, Grumpy, Doc, Happy, Bashful, Sneezy and Sleepy. These names are more aptly “the seven moods of man” rather than sins.

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HANDOUT 6: SYMBOLISM IN SNOW WHITE, CONT’D The Seven Deadly Sins: The Seven Deadly Sins are represented in the story of Snow White, but not in the form of the seven dwarfs.

Pride/Vanity: Clearly the vanity of the Evil Queen. The mirror is clearly a direct reference to vanity.

Lust/Extravagance: Again, the Queen as royalty is extravagant.

Gluttony: The seven dwarfs eating (maybe a stretch). Or in the original tale, the Queen actually eats the heart of Snow White.

Greed: The Queen again.

Sloth: Originally meant sadness, melancholy, apathy, depression, and joylessness which would distract from attention to god. This applies to the dwarfs after Snow White dies and sloth in the form of sloppiness certainly applies to the seven dwarfs in their manner of housekeeping.

Wrath: The wrath of the seven dwarfs upon the witch after they discover Snow White dead.

Envy: The Queen (again).

The seven deadly sins have opposites in the seven holy virtues: Humility, Chastity, temperance, charity, diligence, patience, kindness. All of these are characteristics of Snow White.

Resurrection: Snow White “dies” and comes back to life.

The Work Ethic: Snow White cleans the little house without prompting and cooks without being asked. The seven dwarfs also are hard at work in the mines (Hey Ho...).

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HANDOUT 7: TRANSFORMING FAIRY TALES SCENE WRITING WORKSHEET You will rewrite the fairy tale of Snow White in a scene format. You will use the symbols provided on the Symbolism in Snow White Worksheet. Utilize at least one of the following symbols in your scene: Colors: White, Red, Black No Mother The Poison Apple The Significance of Seven The Names of the Dwarfs The Seven Deadly Sins The Seven Holy Virtues Resurrection The Work Ethic Overview: write a 2-4 page (total- including setting and character descriptions) scene with strong character development, clear plot, and use the format provided.

1. Brainstorm and idea for the scene. Must be appropriate for school. It might help to think of a location that your scene takes place, the characters and their relationship first. It might help to decide on the era that the scene takes place- feel free to set it to any era that you see fit. Decide if there is a style that you would like the scene to be in ex: Horror, Mystery, Novela, Royal Family, Space Age, Stone Age, 1980’s Disco era. You decide.

The scene could be a drama or a comedy or a romance.

2. Write the scene with the following format: Must be typed.

Setting: Describe the setting in detail so that someone who has never been to this location can see visualize it.

Character Descriptions: Write a 1-2 line description of each character. Describe their appearance, age, personality type and anything that might make them stand out.

Character’s Name: Dialogue (stage directions). Skip a line after each character speaks. (See example below.)

3. To get an excellent grade, your scene will be appropriate for school. Your setting will be descriptive.

It will have a clear plot that is easy to follow. Do not jump around too much. You will develop strong, believable characters through character description and dialogue. Your dialogue will be believable and engaging. You will have a climax (the point that all of the action in the scene reaches a peak) and the scene will have a resolution. There will be a clear and believable conflict in the scene. Please note that you should not jump from scene to scene or location to location. Keep the scene short. You are not re-writing the whole fairy tale story- just a moment.

THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

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2019/20 SEASON INVERTIGO DANCE THEATRE: FORMULAE & FAIRY TALES

HANDOUT 7: TRANSFORMING FAIRY TALES SCENE WRITING WORKSHEET, CONT’D Example of a Scene Below: Waiter- A person with an accent. It could be any accent that the actor could do (a French accent would be preffered). The waiter will be dressed nicely and have a professional manner about them.

Guest- The guest is the most normal person you could imagine. Gender does not matter. They will be dressed in a boring way, demonstrating little personality. They are looking for a “normal” meal and seem in a rush.

Waiter: Are you ready to order?

Guest: (Looking at the menu and referring to a part of it.). I am, but I have a question about one thing on the menu. What is Spicy Pony Head?

Waiter: It is a pony head, but spicy. Imagine a pony, without the body. (Demonstrates their idea of what a pony looks like. Uses a lot of gestures.)

Guest: I know what a pony is I just...

Waiter: Spicy is, make your mouth on fire. (Gestures the mouth on fire.)

Guest: I know what spicy is too, it’s just when I see a pack animal on the menu in a fancy restaurant…

Waiter: It is a lot of food eh? We have also a demi-pony head this is one half pony.

Guest: No I don’t want a demi-pony head, I don’t want any pony head. I try not to eat thing I would ride at the fair.

Waiter: Oh! So you would not eat a monkey?

Guest: I wouldn’t ride a money at the… okay touche. Just, you know what bring me flank steak, medium rare, side salad blue cheese. (Puts menu down.)

Waiter: Spicy Pony head flank steak, salad, blue cheese.

Guest: No… What did you just say?

Waiter: Cheese.

Guest: No, before that.

Waiter: Blue.

Guest: No… You said spicy pony head, are all of your steaks pony head meat.

END SCENE. THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

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