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In 1883, Italian writer Carlo Collodi
published a children’s novel called The
Adventures of Pinocchio, about a
mischievous puppet and his poor wood-
carver father. The story began as a serial
publication in 1881 and was later
expanded into the completed book by
February 1883. Unlike many of his
nineteenth-century contemporaries,
Collodi did not employ many of the fairy-
tale devices with which readers had
become accustomed. Instead, Collodi’s
Pinocchio is set in a non-traditional fairy-
tale world, where hard realities of daily life
are presented with serious themes.
Collodi did not intend for Pinocchio to be
a children’s story; at the request of his
editor, he made the story appropriate for
children by expanding the role of the Blue
Fairy to rescue Pinocchio from his many
troubles. Written Florence, the story is set
in the Tuscan countryside and features
unique regional specificity. The story was
translated into English after Collodi’s death
in 1892 and is embraced as a notable
classic of children’s literature.
In 1937, during the production of Snow
White and the Seven Dwarfs, Walt Disney
Studios’ first feature-length animated film,
Walt was introduced to Collodi’s story. The
tale sparked his interest, and plans began
to animate it. Disney’s Pinocchio is based
loosely on Collodi’s novel and features an
expanded and now well-loved Jiminy
Cricket, originally a minor role in the book.
Due to the overwhelming success of Snow
White, Walt Disney chose to hire famous
voices for Pinocchio, including the child
star Dickie Jones as Pinocchio. At the time
of its release in 1940, Pinocchio was
regarded for its realistic animation and won
two Academy Awards: Best Original Score
and Best Original Song, for the now-classic
“When You Wish Upon a Star” by Leigh
Harline and Ned Washington.
S o u r c e M a t e r i a l T H I S I S S U E
C O N T A I N S :
Source Material
About the Authors
Theatre Vocabulary
words
Curriculum Corner
After the show
A b o u t t h e a u t h o r s
O L D T O W N P L A Y H O U S E Y O U N G C O M P A N Y
Disney’s My Son Pinocchio Educational Materials
November 12-15, 2015 Disney’s My Son Pinocchio
Educational Materials
for Disney’s My Son
Pinocchio are provided
through a grant from
the Worthington Fami-
ly Foundation. We
thank them for their
support.
Stephen Schwartz (Music and Lyrics) has contributed music and/or lyrics to Godspell, Pippin, The Magic Show, The Baker’s
Wife, Working, Rags, Children of Eden, My Fairytale and the current Broadway hit, Wicked. A book about his career, Defying
Gravity, has recently been released by Applause Books. Mr. Schwartz has recently been given a star on the Hollywood Walk of
Fame and inducted into the Theatre Hall of Fame and the Songwriters Hall of Fame. Other awards include three Academy
Awards, four Grammy Awards, four Drama Desk Awards, and a tiny handful of tennis trophies. www.stephenschwartz.com
David I. Stern (Book) has written numerous movies including: Geppetto, Open Season 2 & 3. He has contributed to the writing
of The Smurfs, Cloudy with a Chance of Meatballs, Tinkerbell 3 and The Hotel Transylvania. www.davidistern.com
David Weinstein (Music Adaptation & Arrangements) has served as composer, orchestrator, arranger and producer for many of
the MTI Broadway Junior series of musicals.
Act: 1) The process of
performing as a character.
2) A main section of a play.
Actor: A person who
performs as a character in
a play or musical.
Antagonist: The opponent
to the protagonist (or hero)
of the story. An antagonist
may sometimes be called
the “villain.”
Audience: The people who
gather to watch the
performance. The
audience sits in the house.
Auditions: Tryouts held for
actors who want to
perform in a show. Actors
auditioning for a musical
may be asked to sing and
read a particular
character’s lines from a
scene as well as learn a
short dance sequence.
Author: A writer of a play
or musical, which is also
known as a playwright. A
musical’s authors include
the book writer, the
composer and the lyricist.
Backstage: The area out of
view of the audience that
include the wings and
dressing rooms as well as
the lounge area or “green
room.”
Blocking: The actors’
movement in a play or
musical, not including the
choreography. The
director usually assigns
blocking during rehearsals.
Curtain Call: The entrance
of the company at the end
of the show to bow and
acknowledge the
audience’s applause.
Designers: The people who
create the sets, costumes,
lighting and sound for a
production.
Company: All of the people
who make a show happen:
actors, musicians, creative
team, crew, producers, etc.
Crew: A team of people who
move scenery, operate lights
and sound, handle props or
work backstage during a
production.
Dialogue: A conversation
between two or more
characters.
Diction: The articulation, or
clearness of speech, while
delivering one’s lines. Also
known as “enunciation.”
Cast: 1) noun The
performers in a show, “We
have a great cast.” 2) verb
The act of the selection of
an actor for a play, “I hope
I get cast in the next play.”
Character: A human (or
animal) represented in a
play. Each actor plays a
character, even if that
character doesn’t have a
name in the script. An actor
may play many characters
in the same play.
Choreographer: A person
who creates the dance
numbers in a musical or
combat sequences in an
adventure story.
Climax: The height of the
dramatic action in a play.
Break a leg: A wish of
“good luck” in the theatre,
which comes from a
superstition that saying
“good luck” is actually bad
luck!
Broadway: The theatre
district in New York City
that is home to 40
professional theatres and
one of the world’s great
capitals of live theatre.
GLOSSARY OF THEATRE TERMS
P a g e 2
“More studies are finding what we already know in our hearts—the arts DO make a
positive impact on our youth!
Individually. Socially.
Academically.”
D i s n e y ’ s M y S o n P i n o c c h i o E d u c a t i o n a l M a t e r i a l s
Director: A person who provides
the artistic vision, coordinates the
creative elements and stages the
play.
Dress Rehearsal: A run-through of
the show that includes costumes,
props and technical elements.
Ensemble: 1) A group of people
who work together to create a
show. 2) The chorus, or members
of the cast other than the leads.
Entrance: When a character steps
onto the stage from the wings or
other offstage area.
Exit: When a character leaves the
stage.
Follow Spot: Large, movable light at
the back of the house that follows
an actor as he or she crosses the
stage. Also called a spotlight.
Play: A type of dramatic writing
meant to be performed live on
a stage. A musical is one kind
of play.
Plot: The chain of events that
occur during the play.
Producer: The person in charge
of a production who oversees
budget, calendar, marketing
and the hiring of the creative
team, cast and crew.
Production: This term refers to
everything about a show
onstage and off, every given
night of the run. A production
includes the performing and
Offstage: Any area out of
view of the audience.
Onstage: Anything on the
stage and within view of the
audience is said to be
onstage.
Pantomime: To act
something out without
words.
Performance: 1) A single
showing of a production. 2)
An actor’s interpretation of a
character in front of an
audience.
technical aspects of the show, which means
that each group that presents a show will
have a unique production.
Program: A booklet that lists the entire
company of a production and may include
other information about the play.
Prop: Anything an actor holds or carries
during a performance. Short for “property.”
Proscenium: A type of theatre in which a
large frame, or arch, divides the stage from
the house.
theatres this break is called
“the Interval.”
License: Permission, or the
rights, to produce a play in
exchange for a fee which
covers script copies and
royalties for the authors.
Light Board: A computerized
board that controls all of the
theatrical lights for a show.
Lines: The dialogue spoken
by the actors.
Matinee: A performance of a
show held during the day.
Mic: Short for “microphone,”
a device that electronically
amplifies the voices of the
actors.
Monologue: A large block of
lines spoken by a single
character. When spoken
alone onstage or directly to an
audience, a monologue
reveals the inner thoughts of a
character.
Front of House: Any part of
the theatre that is open to
the audience, including the
box office, lobby, restrooms
and concession area.
Improvisation: When an
actor performs something
not written in a script.
Intermission: A break
between acts when the
audience gets a snack or
uses the restroom while the
company changes the set
and costumes. In European
P a g e 3
“Independent studies show increased years of enrollment in arts courses are positively correlated with higher SAT verbal and math scores.”
Protagonist: The main character or
hero of a story.
Raked Stage: A stage that is raised
slightly upstage so it slants towards
the audience.
Rehearsal: A meeting during which
the cast learns and practices the
show.
Rights: Permission to perform a show
that is obtained through a license and
payment of a fee called royalties.
Role: The character that an actor
plays.
Scene: A section of a play in one
particular location and time.
Script: 1) The written words that
make up a show, including
dialogue, stage directions and
lyrics. 2) The book that contains
those words.
Set: The entire physical
environment onstage, which may
include backdrops, flats, furniture,
props and projections.
Set Change: A change in scenery,
often between scenes or acts.
Set Designer: A person who
creates the scenery.
Setting: The location, environment
and time period of a play.
Sound Board: An electronic board
or computer that controls the
mics, sound cues and any other
audio in a production. Also called
a sound console.
Stage: The area where the actors
perform in a theatre.
Stage Business: Small actions
performed by actors that make a
play more realistic and believable.
Stage Directions: Words in the
script that describe the actions for
the characters that are not part of
the dialogue.
Stage Left: The left side of the
stage, from the actor’s
perspective.
Stage Manager: A person
responsible for keeping all
rehearsals and performances
organized and on schedule, and for
calling sound and light cues during
the show.
Stage Right: The right side of the
stage, from the actor’s
perspective.
Strike: 1) To remove a prop or set
piece from the stage. 2) To clean
up the stage after closing.
Tableau: A frozen image made up of actors, usually showing a specific mood or idea.
Technical Director: A person who coordinates the construction and painting of the sets, the hanging of the lights and
the setup of the sound system.
Technical Rehearsal: A rehearsal when the crew begins adding sets, lights, sound etc., to the show once the
performers know the lines, songs and blocking. Also called “tech.”
Theatrical Lights: Lights that hang from the ceiling of a theatre or on poles, or “booms” above or on the side of the
stage. These lights illuminate the actors and convey time of day
GLOSSARY OF THEATRE TERMS, cont.
P a g e 4
D i s n e y ’ s M y S o n P i n o c c h i o E d u c a t i o n a l M a t e r i a l s
Understudy: An actor who learns a character other than his
own and is able to play that character if the other actor is sick.
Upstage: The part of the stage furthest from the audience.
Usher: A person who shows the audience to their seats and hands out programs.
Warm-up: Exercises at the beginning of a rehearsal or before a performance that prepare
actors’ voices and bodies.
Wings: The area to the side of the stage just out of the audience’s view.
P a g e 5
6 Benefits Associated with the study of Arts
Higher reading and language skills
Improved math skills
Developed thinking skills
Increases social skills
Positive school environment
Motivation to learn
“When students have the opportunity to engage in a dramatic enactment of a story, their overall under-
standing of the story improved...Drama can also be an effective method to develop the quality of
a child’s narrative writing.”
Types of Stages
Arena: The audience is seated on
all four sides of the performance
space. Also called “in the round.”
Proscenium: The audience is
seated on one side, facing the
stage. The arch or frame around
the stage is called the proscenium
arch.
Stadium: The audience is seated
on two opposite sides of the per-
formance space.
Thrust: The audience is seated on
three sides of the performance
space in a U-shape. The stage
itself can be shallow or very deep.
Theatre versus Theater: The word
“theatre” can also be spelled
“theater” and is defined in two
ways. The first definition is the art
of producing plays and musicals
for a live audience. The second
definition is the building or place
in which a show is performed in-
cluding stage, backstage and
house. Often the word is spelled
with an “er” when it describes a
cinema or movie theater. For the
purposes of this glossary, we are
using the “re” spelling throughout
to refer to both the practice of
theatrical activity and the physical
building in which it takes place.
Curriculum Corner
P a g e 6 D i s n e y ’ s M y S o n P i n o c c h i o E d u c a t i o n a l M a t e r i a l s
The Curriculum Corner activities fulfill many of the standards set forth in the Common Core State Standards. Through these
lessons students can:
Demonstrate independence
Build strong content knowledge
Comprehend as well as critique
Value evidence
Come to understand other perspectives and cultures
Make sense of problems and persevere in solving them
PLANETARY PUPPETS
SOCIAL STUDIES: Cultures of the World
Use this lesson to: explore performance cultures and traditions around the world and to connect My Son Pinocchio, Jr. to your social studies curriculum.
MATERIALS:
Printed images of Balinese shadow puppets, Austrian string puppets, British Punch & Judy puppets, American protest pup-pets, Japanese Bunraku puppets and European marionettes
Internet access and/or reference books
Colored pencils and paper
OBJECTIVES: Students can:
Critically analyze and observe pieces of art from around the world
Employ research skills to make sense of their observations
Work in groups to reapply their learning in novel and creative ways
Present ideas and findings to their peers
Work individually to bridge research-based learning and original creative content
My Son Pinocchio, Jr. is the story of a toy maker who becomes a father to a marionette. Puppets are pieces of art that can be found around the world and are used in many different ways. Let’s explore the puppetry of the world.
BEGIN: Break your students into small groups. Give one printed image of puppet to each group but don’t identify type. Have groups discuss their observations. Side-coach with questions like: What is the puppet made of? What do you notice about its design style? How is it operated? Is it simple or elaborate? What do the colors tell you? What does its size tell you? Does it look serious, funny, artistic, or scary?
NEXT: Provide access to internet or reference books and give students 15 minutes to identify and discover all they can about their type of puppet. Now that students have an understanding of the puppetry style they are investigating, distribute paper and colored pencils to each group and allow students to sketch a puppet inspired by their studies.
PRESENT: At the end of the activity, have each group present and share their findings.
REFLECT: Remind students that puppetry is a type of theatre. Using what they learned through their group work and their classmates’ presentations, instruct the students to write a short scene in which two styles of puppets interact. Use prompts to encourage deep reflection: What might a Balinese shadow puppet say or do to a Punch puppet? Etc.
ENGLISH LANGUAGE ARTS: Voice and Perspective
USE THIS LESSON TO: explore character, voice and perspective in expository writing to examine concepts of theme and to connect My Son Pinocchio Jr. to your English Language Arts curriculum
TIME: 45 minutes
MATERIALS:
Index cards
“Fairy Tale Form” worksheet (on following page)
OBJECTIVES: Students can:
Connect themes from My Son Pinocchio Jr. to their own lives.
Collaborate with their peers to write an original story.
Examine concepts of voice, character and perspective by telling a story from a different point of view.
Connect concepts of perspective to their own lives.
INTRODUCTION: My Son Pinocchio Jr. explores a classic story from a new and unexpected point of view. And it all starts when Geppetto wishes upon a star…
WARM-UP: Be Careful What You Wish For... (10 minutes)
1. Distribute index cards to your class.
2. Tell your class to think about something they might wish for if there was a chance their wish could come true. Inform students that they will be sharing these ideas.
3. Have the class write their wishes on their note cards.
4. Divide your class into small groups and instruct the students to share their wishes with the others in their group.
5. Ask each group to select one wish that they would like to explore further.
HOOK: Fairy Tale Form (15 minutes)
1. With their wish selected, give each group a few minutes to document the pros and cons of their wish coming true. What are the potential repercussions of their wishes? What are the benefits?
2. Next, distribute the “Fairy Tale Form” worksheet. Working as a team, each group should complete the form with ideas based on their wish.
3. Allow the groups to share their stories with the class.
MAIN ACTIVITY: Fractured Fairy Tale (15 minutes)
1. Collect the worksheets from the groups and redistribute them so that each group receives another group’s story.
2. Tell the class to write the opening of a play or story told from another point of view. Who or what else in the original story might have a different take on things?
3. Allow the groups to brainstorm and to write their scenes/stories.
4. After the scenes/stories have been written, give the class time to share their work with the class.
REFLECTION: When You Wish… (5 minutes)
Encourage the class to think back to their original wishes, and lead the students in a discussion using these prompts:
What changed when you ad o weave your wish into a story?
What was it like iving your story to another group?
What was it like working on another group’s story?
Did you prefer the original tale or the new perspective?
In life is there ever more than one version of an event?
P a g e 7
CURRICULUM CORNER
P a g e 8 D i s n e y ’ s M y S o n P i n o c c h i o E d u c a t i o n a l M a t e r i a l s
THEATRE GAMES
Count to Ten
Use this exercise to develop group cooperation and non-verbal communication.
1. Have students sit in a circle. Explain that they are going to count to ten.
2. Set the limitations: Only one person may say a number at a time. If more than one person says the same number simulta-
neously, the circle will need to start over at one.
3. Allow the students to try to count to ten. Generally, the first attempt will be unsuccessful.
4. Encourage the students to look each other in the eye and make it clear that they are about to “make an entrance” with a
number. They should take deep breaths and focus on the energy in the circle.
5. For more of a challenge, have students count to a higher number or say the alphabet. For a real challenge, have the stu-
dents close their eyes. This will force them to listen and feel the energy of the group without visual cues.
FAIRY TALE FORM WORKSHEET
Use in the Langueage Arts Exercise on previous page
Directions: Work with your group to fill in the blanks and create an original story based on your wish.
Once upon a time, __________________, a______________________, wished _____________.
(main character name) (main character description) (wish)
When ___________ came true, _________________ was thrilled! But _____________________
(wish) (main character) (secondary character)
warned ______________ that _____________. ________________ insisted that ____________,
(main character) (con) (main character) (pro)
but sure enough, ___________________was right. ________________ tried ________________ ,
(secondary character) (main character) (potential solution)
but it only made matters worse. Finally, _____________________________________________.
(moment of conflict)
So _______________ decided to ___________________________________________________.
(main character) (resolution)
_____________ and __________________ realized that ________________________________.
(main character) (secondary character) (moral of the story)
P a g e 9 D i s n e y ’ s M y S o n P i n o c c h i o
SCIENCE: Anatomy and Life Science
USE THIS LESSON TO: explore the skeletal, muscular, circulatory and nervous systems, and to connect My Son Pinocchio Jr. to your science curriculum
TIME: 45 minutes
MATERIALS: Internet access and/or reference books
OBJECTIVES: Students can:
Kinesthetically identify the ways in which the human body functions.
Identify components to the skeletal, circulatory, muscular and nervous systems.
Work in groups to research anatomy and present their research to their peers.
Understand how science can be applied to the arts, and how the arts can be applied to science.
INTRODUCTION: My Son Pinocchio Jr. is the story of a marionette and his father. Marionettes are built to resemble the human body; we are going to investigate the similarities and differences between marionettes and the human body.
WARM-UP: I’ve Got No Strings (10 minutes)
Clear desks and furniture to make a wide-open space in your classroom.
Have students stand in a neutral position throughout the room.
Tell the class they are going to come to life as marionettes, one joint at a time.
Use these prompts to explore joints with your students: Good news! The puppet master has finished your hip joint. You may move your hips only. The hips are a ball and socket joint. Identify components to the skeletal, circulatory, muscular and nervous systems.
The puppet master has now finished your neck joint. This is a pivot joint, which allows you to turn your head from side to side.
Your feet have been attached at your ankle joint. These gliding joints allow you to move your feet.
He has also completed your knee joint. These hinge joints allow you to walk about the space.
Remember, you are marionettes. How do the strings cause you to move differently than a real human?
Prompt the students to find their way back to their starting place and neutral position.
HOOK: Systems of Life (10 minutes)
Engage the class in a discussion about the activity. What were the limitations of being a marionette? What do humans have that marionettes don’t? Write students’ ideas on the board (ideas may include: bones, muscles, brains, blood, organs, skin etc.).
Categorize the students’ ideas into these classifications: skeletal system, muscular system, circulatory system, nervous system etc.
MAIN ACTIVITY: A Real Boy! (15 minutes)
Break your class into four groups. Assign each group to investigate one of the primary systems identified in the previous discussion.
Using the internet and reference books, prompt students to investigate their respective anatomical system.
Have each group share its findings with the class. These are some of the systems Pinocchio would need to become a real boy!
REFLECTION: Journal on Acting (5 minutes)
Your students have explored life science through the lens of a piece of theatre. Have you students respond to one of these ques-tions in their notebooks:
Why might an actor playing Pinocchio investigate the skeletal, muscular, circulatory or nervous systems?
Why might a scientist or doctor use a model – similar in shape and function to a marionette – to investigate the human body?
Show Glossary Arbitrary: determined by chance, whim, or impulse, and not by necessity, reason or principle; random Benissimo: the Italian word for “very good” Coffers: traditionally an antique chest used for storing valuable items Cud: partially digested food regurgitated from the first stomach of cattle to the mouth for a second chewing Delinquent: a person who neglects or fails to do what law or duty requires Dovetail: to follow or connect closely; a woodworking method for joining lumber without fasteners Eclat: praise and applause; brilliance or flashiness Felice: the Italian word for “happy” Gratis: free of charge; complimentary Jackass: a male donkey Kindling: easily ignited material, such as dry sticks of wood, used to start a fire Maestro: a master musician Marionette: a puppet manipulated from above by strings attached to its jointed limbs Miracolo: the Italian word for “miracle” or “wonder” Molto stupendo: an Italian phrase meaning “very beautiful” Parchesi: an ancient game of India similar to backgammon that uses cowrie shells instead of dice Pinochle: a game of cards played with a special deck of 48 cards Pistachio: an edible nut Professore: the Italian word for “professor” Roustabout: a circus laborer Signora: an Italian word used as a courtesy title for a married woman. Equivalent to “Mrs.”
Signori: the plural of signor and signore Signor, signore: an Italian word meaning “nobleman” Tempus figit: a Latin expression meaning “time flies”
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