activity guide - Arkansas Arts Center

© David Hohn Illustration. davidhohn.com
AAC Children’s Theatre 2014-2015
ACTIVITY GUIDE
About this Guide
This ACTIVITY GUIDE includes exercises that align with the Arkansas Department of Education Curriculum
Frameworks and Common Core State Standards. The following icons provide an immediate recognition of the
curriculum connections.
ENGLISH LANGUAGE ARTS
FOREIGN LANGUAGES
LIBRARY MEDIA
MATH
MUSIC
PHYSICAL EDUCATION & HEALTH
SCIENCE
SOCIAL STUDIES
THEATRE
VISUAL ARTS
Enjoy!
“If you promise to be a good puppet and always tell the truth...”
About the Play
Once upon a time there was...a king? A beautiful princess? An evil wizard? No. Once upon a time there was...a block of
wood. One day, by a stroke of incredible luck, this commonplace piece of lumber found its way into the skilled hands of
Geppetto, the wood carver. And so, the world's most famous marionette, Pinocchio, was born. Come join the fun as the
little puppet runs away to discover the world and learns a lesson as plain as the nose on his face—no lie. Pinocchio is
adapted for the stage by Keith Smith.
About the Original Story
Pinocchio first appeared in 1883 in Italian author Carlo Collodi’s The Adventures of Pinocchio. The
story has since been retold countless times in books, theatre, television, and film. Though each story
varies somewhat from Collodi’s original tale, some characteristics stay the same: Pinocchio is
usually a wooden puppet with a nose that changes shape and size when he tells a lie. Though he
often learns a valuable lesson by the end of the story, Pinocchio is typically selfish and unruly. His
emotional and physical transformation throughout the story has entertained audiences for over one
hundred years and has provided a happy ending for all who encounter the little puppet. The original
story was first translated into English in 1892 and it is estimated that it has been translated into over
240 languages worldwide—making it one of the most translated books of all time.
Play Synopsis
Geppetto Pantalone, the poor woodcarver, wanders the streets at night. A passing fairy feels sorry for the lonely old
man and enchants a simple piece of wood, telling Geppetto that it will become something most precious to him—a little
boy. Geppetto is overjoyed, but alarmed when the log begins to speak! The block of wood introduces himself as
“Pinocchio.” Geppetto takes the log back to his shop. As he starts to carve, Pinocchio begins to shout and the people in
the town begin to gather outside the shop. They are worried, but do not understand that what they are hearing is the
enchanted block of wood rather than a real boy. Pinocchio immediately runs off, wreaking havoc throughout the town.
Fed up with all of the nonsense, the police captain arrests Geppetto and takes him to jail. The Talking Cricket visits the
puppet and warns him not to rebel against his father and run away. After all, there is more to life than having fun; the
easy path often leads to trouble.
Geppetto returns from prison the next morning. He continually makes sacrifices so his new son may have clothes, food,
and materials for school. Pinocchio, however, only wants to have fun. On his way to school, Pinocchio is lured into the
Great Puppet Theatre. He meets the Fire-Eater who at first threatens to burn him in the kitchen, but eventually gives
him a prize of five gold coins. Pinocchio is on his way home with the coins when he runs across Fox and Cat who trick
him into planting the coins in a field in order to turn the five coins into 5,000! The puppet sets off through the forest for
the so-called Field of Miracles.
Geppetto fears for his missing son and sets out to find him. He rents a boat to cross the sea. The fairy visits Pinocchio
and asks why he is so far from home and Pinocchio lies. The fairy—and the
audience— know he is lying, but she tells him to go to his father and save him
from the Dreaded Giant Dogfish. He is on his way to the sea when Fox and Cat
stop him again, reminding him of the fortune possible at the Field of Miracles.
Pinocchio learns that his father is lost at sea and asks the Coachman for a ride.
The Coachman offers to take him to the Land of Boobie Boys where he can have
fun all day long. Pinocchio goes along, but quickly realizes what happens when
you have too much fun. The little puppet is again visited by the fairy who tells
him that Geppetto has now been eaten by the Dogfish! This time, Pinocchio
heads straight for the sea to save his father. He is pleased to find his father alive
inside the fish’s stomach. Shortly after Pinocchio promises to never again leave
his father, they escape from the Dogfish and wash up on the beach. Pinocchio’s
adventures teach him the value of love, bravery, and sacrifice. Because he
learns to love his father and risks his life to save him, he is rewarded by
becoming a real boy.
Statement from the AAC Children’s Theatre
Keith Smith
Playwright & Director
When I first wrote and directed this adaptation of Carlos Collodi’s Pinocchio several years ago, I conceived it
within a story frame that involved a company of actors telling the tale of that most famous puppet in the style of the
commedia dell’arte. This 16th and 17th century Italian theatrical form was based on stock characters and action
improvised around a pre-set plot framework or scenario. Slapstick and physical comedy were also an important element
of commedia, making it a great fit for a play about a rambunctious, out-of-control marionette. Making it even more
appropriate is the fact that the stock characters of the commedia make an appearance in Collodi’s story at Fire-eater’s
Great Puppet Theatre where Pinocchio meets Arlecchino and Pulcinella among others.
Traditionally the characters of the commedia companies operated as types. That is to say, each played a
specific character with fixed iconic gestures, movement, costume, and (in most cases) a mask that the popular audience
would immediately recognize. The actor adapted this “stock” character to whatever story was being told. In this spirit our
play casts the old man character of Pantalone as Geppetto; the verbose and pedantic Dottore as the Talking Cricket;
the outwardly brave but inwardly craven Capitano as the pompous policeman; and the zanni (buffoonish, often
conniving, servants) Arlecchino and Pulcinella as the Lame Fox and the Blind Cat.
The Children’s Theatre has presented this take on Pinocchio twice before with great success. This time around,
however, we have decided to put a new twist on the old story. In order to punch up the fun for our contemporary
audience—and for our actors and designers—we have developed a comic book/graphic novel approach to the look and
feel of the commedia play. The connection may seem strange at first, but there were a number of justifications for this
choice based on shared traits we recognized between the commedia and comic book forms. The most obvious is the
mask—not just because it is worn by both the actor and the superhero or villain, but also because of the iconic purpose
it serves, identifying the character by type to clue the reader or play-goer in on what he or she might expect from that
character. The players in comic books can also tend toward the highly-stylized and broadly drawn—as are commedia
characters—and can be two-dimensional in a way that is also reminiscent of the Italian theatrical style. In the comic
book adventure setting, these stock heroes and villains play out action that is often hyperbolically graphic and packed
with surprising turns, a mode that we identified with the improvisational spontaneity of the commedia. And finally we
found a parallel between the framed presentational quality of the comic book and the proscenium presentation of the
play that lent itself to the storytelling path we wanted to take.
To accomplish this combination of styles, our designers have employed the line, shape, texture, and color
values from comic books along with their various presentational attributes to tell a story that is populated with character
types from the commedia dell’arte. The process has been an enjoyable artistic challenge for us, and we are certain that
the product it yields—the play Pinocchio as performed by The Commedia Pandemonia—will engage and delight our
young audiences every bit as much as it has energized our own theatre artists.
BEFORE THE PLAY
Review Theatre Etiquette
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Please turn off your cell phones so you can look at all the little things that make live theatre a great big
experience.
Save all food, gum, candy and drinks for after the performance. They are not allowed in the theater and can be
used as a reward for good behavior!
Sit like a grown up in your seat. That way you won’t miss a thing!
Great theatre audiences listen, laugh when something is funny, and clap at just the right time. They never talk out
loud during a performance.
Keep your cameras tucked away and turned off. Photography is not allowed. Camera flashes blind the actors
and can cause them to step off the stage.
When the play is over, enjoy talking with your friends and grownups about all the details. See who can
remember the most about the play. Start by sharing two things that an actor said that made you smile and two things
that you remember about the stage set. Parents: What a great time to have a conversation about the difference
between theatre, movies, and TV!
Read the Original Story
In order to prepare for the play, review the English version of The Adventures of Pinocchio by Carlo Collodi. Think about
how the original story was written. What language was used? How were the characters described? (Please consider that
the original version of the story is quite long and some subject matter may not be suitable for all ages. You may opt
instead for a version written especially for children.) It may also be helpful to review a sample of comic books in order to
get ideas about common design elements and storytelling methods.
CURRICULUM CONNECTIONS:
Library Media—Connection: Read; English Language Arts—Reading, Literature: Key Ideas and Details, Integration of Knowledge
and Ideas, Craft and Structure
About Adaptations
The performance that you will see at the AAC Children’s Theatre is a variation of the story, or an ADAPTATION. An
adaptation is a change made in something so that it can fit a new use. This performance of Pinocchio is an adaptation
of the book (which is meant to be read) into a play (which is meant to be performed and viewed). Keith Smith of the
AAC Children’s Theatre is the playwright (play-rite), meaning that he transformed the scenes from the original story
into a stage production which is now produced and performed by the Children’s Theatre.
Consider these questions for discussion before you attend the play:
? What kinds of things does a playwright have to consider when writing a script?
? What might the characters look like?
? What are some objects (props) that they might use to help tell the story?
? Draw a picture of one of the scenes in the original story and imagine how it might appear on the stage.
? If you were to write an adaptation of this story into a play, what choices would you make? How would you act
out the story?
CURRICULUM CONNECTIONS:
Library Media—Connection: Associate; Theatre Creating, Evaluating, Reading
Learn the Vocabulary
Pinocchio is a traditional Italian story. Though the play is performed in English, there are many Italian words and
phrases included in this performance. Below is a list of a few Italian words included in the play. Reviewing this list will
help you gain new vocabulary and also help you better understand the performance. Try saying these words out loud
so that you will know them when you hear the actors say them. Once you know how to say the words, read the
definition and try using them in a sentence.
Attenzione (ah-ten-zee-oh-nee) – “attention”
Signor (sin-yor) – mister; man
Signora (sin-yor-a) – lady
Bambini (bam-been-ee) – children
Grazie (graht-zee) – “thank you”
Mi scusi (me scoo-zie) – “excuse me”
WOW!
Buono notte (bwuh-no no-tay) – “good night”
Arrivederci (ah-ree-vuh-dar-chee) – “see you later”
Addio (ah-dee-oh) – “goodbye”
Dottore (do-torr-ay) – doctor
CURRICULUM CONNECTIONS:
English Language Arts—Reading, Foundational Skills: Phonological Awareness, Phonics and Word Recognition; Language:
Vocabulary Acquisition and Use; Foreign Language Experiences—Connections: Cross-Cultural Connections; Foreign Languages
Acquisition—Communication: Interaction; Listening and Reading
DURING THE PLAY
It wouldn’t be a play without you! Your part is to pretend that the play is
real. Part of this includes accepting certain things:
You have an
important role
to play!
1. Actors tell the story with words (dialogue), actions (blocking), and
songs.
2. Actors may sing songs that tell about the story or their feelings.
3. Actors may speak to the audience.
4. An actor may play several characters by changing their voice,
costume, or posture.
5. Places are suggested by panels on the set and by props.
HERE’S HOW TO PLAY YOUR PART: A play is different than television or a movie. The actors are right in front of you
and can see your reactions, feel your attention, and hear your laughter and applause. Watch and listen carefully to
understand the story. The story is told by the actors and comes to life through your imagination!
Thank you for being a great part of our audience and enjoy the show!
AFTER THE PLAY
Review
Do you remember what you learned about adaptations? Now that you have seen the play, discuss these questions.
Share your answers with friends or family that also saw the play and compare your experiences.
? In what ways was the play different than the original story?
? Were there any characters or events that were in the story but not in the play? Were any characters different?
Why do you think these choices were made?
? What did the set look like? Did it match the picture that you drew before the play? What do you think the set
and costume designers need to consider when bringing the story to the stage?
? What objects (props) helped tell the story on stage?
CURRICULUM CONNECTIONS:
Library Media—Connection: Associate; Theatre—Creating, Evaluating, Reading
Critical Thinking Questions
Read the following questions and either write your answers or tell someone in complete sentences. Make sure to use
correct grammar and spelling.
? Why does the Blue Fairy feel sorry for Geppetto?
? Why does Geppetto sell everything to send Pinocchio to school?
? Why doesn’t Pinocchio go to school after telling Geppetto that he would?
? Why do Fox and Cat tell Pinocchio to plant his coins in the Field of Miracles?
? What lessons does Pinocchio learn by the end of the play? What was his reward?
CURRICULUM CONNECTIONS:
English Language Arts—Writing: Text Type and Purposes; Speaking & Listening: Comprehension and Collaboration; Language:
Conventions of Standard English
Writing Exercise
Write a brief answer to the following question. Make sure to write in complete sentences and use correct grammar,
spelling, and organization.
Have you ever had to make a really difficult decision between doing something you really wanted to do and
what you knew was the right thing to do? Write or tell about this experience, making sure to answer the
following questions: What was the situation? Why were your choices? Why was it a difficult decision? How did
you make your choice? Did you ask anyone for help? If so, who? What did you learn from the experience?
CURRICULUM CONNECTIONS:
English Language Arts—Writing: Text Types and Purposes; Language: Conventions of Standard English
MAKING GOOD DECISIONS
In the play, Pinocchio often has to choose between two decisions: one good and one bad. Sometimes it can be tough to
make good choices. Ask yourself these questions when faced with a difficult decision.
Could it hurt anyone — including me?
Is it fair?
How would I feel if someone did it to me?
Have I ever been told that it’s wrong?
How will I feel about myself later if I do it?
What would adults I respect say about it?
** If you still can’t decide, talk it over with someone you respect and trust. **
ACTIVITY
Review the choices below and draw a circle around things that are GOOD decisions.
Going to bed on time
Talking to strangers
Eating a lot of sugar before bed
Stealing things from others
Being nice to your friends
Taking food from someone
Keeping your room clean
Sharing toys with others
Yelling at someone in your family
CURRICULUM CONNECTIONS:
Library Media—Connection: Associate
WHAT MAKES A REAL BOY?
In the beginning of the story, Pinocchio is a wooden boy. By the end, he has been transformed into a real boy. What are
some characteristics of a wooden boy (or puppet)? What are some characteristics of a real boy (or human)? Write these
qualities in the circles marked “Wooden Boy” or “Real Boy.” Can you think of anything that is the same? List these
shared characteristics where the two circles meet, marked “Both.”
CURRICULUM CONNECTIONS:
Library Media—Application: Organize; English Language Arts – Writing: Text Types and Purposes; Language: Conventions of
Standard English
THE LENGTH OF A LIE
Pinocchio is well-known for having a nose that grows when he tells a lie. But what can the length of his nose tell us
about how often he lies? Read the word problems carefully and write the correct answer in the blank.
You will need a ruler to complete this activity.
1. Pinocchio's nose was 2 inches long when he woke up this morning. How long is it now? _______________
(Use your ruler to measure.) How many inches has it grown today? _____________
2. If Pinocchio’s nose shrinks 1 inch each time he does a good deed, how many good deeds will he have to do to get
his nose back to its normal size? _______________
3. Pinocchio’s nose grows 2 inches each time he tells a lie. How many lies has he told today? _______________
4. If Pinocchio tells 6 lies in one day, how many inches will his nose grow? _______________
Answers: 1. 6 inches, 4 inches;
2. 4 good deeds; 3. 2 lies; 4. 18
CURRICULUM CONNECTIONS:
Math—Measurement & Data, Operations & Algebraic Thinking
DID YOU KNOW?
Even though our noses don’t grow like Pinocchio’s when we tell a lie, our bodies do often show other
signs. Just by paying attention to things like body language, speaking patterns, and facial expression, we
can often “read” whether someone is telling the truth an telling a lie.
5 TIPS FOR DETECTING LIES
1. Facial expression: Look for facial expressions that flash on a person’s
face for a fraction of a second and reveal the person’s true emotion underneath
the lie.
2. Eye movements: When people remember details, they move their eyes to their
eyes up and to the left if they are right-handed. When right-handed people make
something up, their eyes move up and to the right. (The reverse is true for lefthanded people)
3. Increased eye contact: Someone telling a lie usually makes more eye contact in
order to seem sincere.
4. Sweating: People tend to sweat more when they lie.
5. Breathing: A person telling a lie will often breathe faster.
*GULP*
Comics & commedia
The Children’s Theatre on Tour production of Pinocchio is based on the commedia
dell’arte (or “comedy of craft”) form. Commedia dell’arte (koh-mee-dee-ah dell-art-ay)
began in Italy during the 16th century, with performances in Rome as early as 1551.
Scenes were often improvised and played outside on temporary stages. Theatre troupes
relied on props instead of extensive scenery and wore costumes and masks to give
information about the characters. Some of the better troupes performed for royal
audiences.
This production has also incorporated traditional comic book design featuring sharp lines
and angles, blocks of solid color, and sets that are merely suggestive of a landscape
rather than the traditional Italian backdrop that is so familiar to Pinocchio fans.
Commedia dell’arte often uses masks that represent moods and are worn by stock characters (a standard set
of characters that appear in each play and are well-known to the audience). Comic books also use stock
characters that represent common values and goals. Can you think of some examples? What types of
information can you get from their costumes and masks? Keep reading for more information.
Bring the two worlds of comic books and commedia dell’arte together by creating a comic
book character and unique character mask. With adult supervision, design a mask to
represent a mood or emotion that will give the audience information about your
character.
CRE
ATE
!
Mask materials: aluminum foil, newspaper, paper mache paste (see recipe below), acrylic paint, paintbrush, decorations
Cover your workspace well because this is a very messy project! It will take a few days to complete the project due to
drying time.
1. Begin by thinking about the type of character you want to create. Look through sample comic books for inspiration.
Will your character be a hero, a villain, a sidekick, or another type of stock character? What facial characteristics will
you focus on? What colors will you use to bring your character to life? What types of decorations can you add to the
mask? Use the masks from the play for inspiration.
2. Make a mold. To make a mold, use a piece of aluminum foil at least twice as long as the subject’s face. Fold it in half
and gently press the double layer of foil over the face. Wad up newspaper and place it inside the curved section of
the foil mold and lay it on the work surface. Make sure not to press too hard when applying the paste so you don’t
crush the mold.
3. Cover the mold with at least 3-4 layers of paper mache, letting each layer dry before adding a new one. Follow these
steps:
 Buy or make your own paper mache paste (Recipe: 1 part four to two parts water. Stir very well. Add more
water or flour as needed. The mixture should be runny like white glue, not thick like paste.)
 Tear (do not cut) newspaper into strips (about 1” to 2” wide)
 Dip one piece at a time into the paste, make sure each strip is fully covered
 Hold the strip over the paste bowl and run it through your fingers to squeeze off any excess paste
 Apply the newspaper strip over your form and smoothe with fingers.
 Completely cover the form—layers should be overlapping and applied in different directions.
 Let each layer dry (this can take up to 24 hours)
4. Once the paper mache is dry, the mask can be painted and decorated. Use yarn, fabric, scraps, beads, glitter, and
paper to add personal touches to your mask.
ACTIVITY
Draw a sketch of your comic book character. Use this sketch to create a comic book panel complete with thought
bubbles or balloons to tell the story.
CURRICULUM CONNECTIONS:
Visual Arts—Creative Processes; English Language Arts – Writing: Text Types and Purposes; Language: Conventions of Standard
English
Further Reading
A Big Fat Enormous Lie by Marjorie Weinman Sharmat, illustrated by David McPhail (Ages 3-8)
An empty cookie jar and a small boy with a problem lead to one big, fat, enormous lie.
What If Everybody Did That by Ellen Javernick, illustrated by Colleen M. Hadden (Ages 3-7)
If you drop just one soda can out the window, it’s no big deal ... right? But what if everybody did that?
What if everybody broke the rules ... and spoke during story time, didn’t wash up, or splashed too
much at the pool? Then the world would be a mess. But what if everybody obeyed the rules so that
the world would become a better place?
Ruthie and the (Not So) Teeny Tiny Lie by Laura Rankin (Ages 4-8)
Ruthie loves little things—the smaller, the better. When she finds a teeny tiny toy on the school
playground, she can hardly believe her luck. There's just one problem: it belongs to somebody else!
Ruthie insists the toy is hers, but deep down, she knows better. How could one little toy turn into such
a great big problem?
Pinocchio: The Boy by Lane Smith (Ages 5+)
Everyone in town knows Pinocchio, the puppet, but what about Pinocchio, the boy? From Lane Smith
comes the story of what happens to Pinocchio on the very first day after his wish to be a real boy
comes true. The Pupeteer’s Apprentice by D. Anne Love (Ages 8-12)
The Doll People by Ann M. Martin and Laura Godwin, illustrated by Brian Selznick (Ages 8-12)
Annabelle Doll is eight years old-she has been for more than a hundred years. Not a lot has happened
to her, cooped up in the dollhouse, with the same doll family, day after day, year after year. . . until one
day the Funcrafts move in.
CURRICULUM CONNECTIONS:
Library Media—Connection: Read
Visit your local library for more suggestions!
What Was Your Favorite Part of the Play?
Did you know that the play you saw was the result of many people working together? There are many roles in the
theatre department and each of the people in charge of these tasks must do their very best as a team in order to
produce a great performance. Below is a list of some of these roles:
The DIRECTOR is the person responsible for the overall
artistic vision of a production.
The STAGE MANAGER is the person responsible for
overseeing all the backstage elements of a production
(scheduling, rehearsals, etc.)
The SET DESIGNER is the person responsible for
designing and overseeing the construction of the stage
setting.
The ACTOR is the one who performs a role or represents
a character in a play.
The COSTUME DESIGNER is the person in charge of the
clothing worn by the actors in a performance.
The CHOREOGRAPHER is the person who designs the
dance steps to be used in a play.
The TECHNICAL DIRECTOR is the person in charge of
the technical requirements of a production as well as the
equipment.
The MUSIC DIRECTOR is the person responsible for the
musical content of a production.
Which of these roles most closely matches your favorite part of the play?
WANT MORE INFORMATION?
If you would like more information about the Arkansas Arts Center Children’s Theatre, visit our website at:
WWW.ARKANSASARTSCENTER.ORG
or call
501-372-4000
We would love to hear from you! Write to us at::
ARKANSAS ARTS CENTER
CHILDREN’S THEATRE
P.O. BOX 2137
LITTLE ROCK, AR 72203
Sponsored by:
Little Rock Family
Arkansas Arts Center Children’s Theatre is supported in part by: The Shubert Foundation, the City of Little Rock; the
Little Rock Convention and Visitors Bureau; the City of North Little Rock; Arkansas Arts Center Board of Trustees; and
the Arkansas Arts Council, an agency of the Department of Arkansas Heritage and the National Endowment for the Arts.