STUDY GUIDE

Prepared by Dramaturg Kelly Miller, Literary Assistant Skyler Gray and Literary Intern Raechell Campbell

Part I: THE PLAYThe Characters

The StoryAbout playwright Greg Banks

Howard Pyle’s Merry Adventures of Robin HoodThe Legend of Robin Hood

About the Four Clowns

Part II: CLASSROOM ACTIVITIESBefore the Show

Vocabulary Word SearchIndoor and Outdoor GamesCritical Thinking Activities

After the ShowDiscussion about the Theatre

Discussion about the PlayDrawing ActivitiesLetters of Thanks

Part III: AT THE THEATREWelcome to the Argyros

Theatre EtiquetteStudent Tips for Theatre Trips

Theatre Etiquette QuizPrograms

Theatre Vocabulary

Part IV: EDUCATION STATIONFive Strands of Arts Education

California Visual and Performing Arts Framework

Part V: RESOURCESOther Study Guides and Lesson Plans

Other Fun LinksBibliographyAnswer Key

Table Of Contents

The Characters

A group of travelling minstrels and performers tell the story of Robin Hood. They start the story with a man named Much whose family is starving. Out of his desperation, Much breaks the law

and kills a King’s deer. He is caught by the Sheriff of Nottingham, and used to lure the great outlaw Robin Hood out of hiding. Much is killed before Robin Hood can save him, but Robin saves Much’s young son. Much’s son is so grateful to Robin that he joins his band of Merry Men and takes his father’s name “Much,” as his own.

Fueled by revenge and anger at his defeat, the Sheriff comes up with a plan to use the beautiful Maid Marian to discover where Robin Hood is hiding. Marian resists his plan, but the Sheriff threatens to kill her father if she’s doesn’t do as he says. The Sheriff leaves Marian at the edge of Sherwood Forest and hires men to pretend to attack her. Robin swoops in and saves her. Bewitched by her beauty, Robin goes against his better judgment and the advice of his men, and takes her to his hideout. Marian feels guilty about betraying Robin, but she doesn’t know what will happen to her family if she fails. As Robin takes her to his hideout, Marian leaves a trail of pebbles behind for the Sheriff’s men to follow.

After Marian arrives at Robin’s hideout, she realizes that she cannot betray Robin because she has fallen in love with him. She tells Robin about the Sheriff’s plans. Robin and his men are grateful and return her safely to Nottingham.

Meanwhile, Robin has fallen deeply in love with Marian and wanders in the forest dreaming of her

return. He comes upon a large man named John Little. To prove who is the greater man, Robin and John Little fight and Robin loses. Robin is good-humored about it and invites John Little to join his band of Merry Men, christening him Little John.

Back at Nottingham Castle, the Sheriff plans his worst scheme yet, but Marian outwits him and flees to the forest. In the forest, Little John tells Robin that Prince John is holding an archery tournament and that the winner of the tournament will receive a silver arrow.

Robin and Marian decide to disguise themselves so they both can compete for the prize, but just as Robin is about to win, the Sheriff recognizes him. The Sheriff attacks Robin, but Will Scarlett, Much, Little John, and Friar Tuck come to his aid and there is a terrific battle. Amidst the fighting, the Sheriff of Nottingham stabs himself with his own sword and Prince John goes into hiding.

Soon after, the good King Richard returns and forgives Robin and the Merry Men for all the wrong doing they committed in his absence. Maid Marian and Robin are married and they live happily … for a time.

Rumors begin to swirl that King Richard has died and Prince John is back on the throne. Robin goes to Nottingham to investigate, but is tricked and captured by Prince John. Once again, Robin’s Merry Men come to help him and Robin escapes … never to be seen again. The friends share their hopes of what could have happened to Robin Hood as the play ends.

ROBIN HOOD, an outlawMAID MARIAN, a maid in Prince John’s courtTHE SHERIFF, Prince John’s right-hand manA PEASANT, Much’s dadMUCH, one of Robin’s Merry MenWILL SCARLETT, one of Robin’s Merry Men

PRINCE JOHN, the self-appointed ruler of England KING RICHARD, the absent King of EnglandALAN A DALE, one of Robin’s Merry MenNAT THE WEAVER, one of Robin’s Merry MenLITTLE JOHN, one of Robin’s Merry Men

Part I: The Play

The Story

Costume sketch for Robin Hood by Leah Piehl.

R obin Hood is one of the most beloved legends of all time. The story has been adapted by many authors including Howard Pyle, author of The Merry Adventures of

Robin Hood of Great Renown in Nottinghamshire. Pyle’s novel served as the inspiration for playwright Greg Banks to write his play Robin Hood. Howard Pyle became a famous writer/illustrator in the 1880’s and is most renowned for his stories and drawings in The Merry Adventures of Robin Hood.

An excerpt from Howard Pyle’s The Merry Adventures of Robin Hood.

"Robin Shoots for the Golden Arrow" Then the Sheriff leaned forward, looking keenly among the press of archers to find whether Robin Hood was among them; but no one was there clad in Lincoln green, such as was worn by Robin and his band. “Nevertheless,” said the Sheriff to himself, “he may still be there, and I miss him among the crowd of other men. But let me see when but ten men shoot, for I wot he will be among the ten, or I know him not.”

And now but ten men were left of all those that had shot before, and of these ten, six were famous throughout the land, and most of the folk gathered there knew them. The last was a tattered stranger in scarlet, who wore a patch over one eye.

“Now,” quoth the Sheriff to a man-at-arms who stood near him, “seest thou Robin Hood among those ten?”

“Nay, that do I not, Your Worship,” answered the man. “Six of them I know right well. Of those Yorkshire yeomen, one is too tall and the other too short for that bold knave. Robin’s beard is as yellow as gold, while yon tattered beggar in scarlet hath a beard of brown, besides being blind of one eye. As for the stranger in blue, Robin’s shoulders, I ween, are three inches broader than his.”

“Then,” quoth the Sheriff, smiting his thigh angrily, “yon knave is a coward as well as a rogue, and dares not show his face among good men and true.”

Then the tattered stranger stepped forth, and all the people laughed as they saw a yellow patch that showed beneath his arm when he raised his elbow to shoot, and also to see him aim with but one eye. He drew the good yew bow quickly, and quickly loosed a shaft; so short was the time that no man could draw a breath betwixt the drawing and the shooting; yet his arrow lodged nearer the center than the other by twice the length of a barleycorn. No one spoke a word for a while and no one shouted, but each man looked into his neighbor’s face amazedly.

Then the Sheriff came down from his dais and drew near, in all his silks and velvets, to where the tattered stranger stood leaning upon his stout bow, while the good folk crowded around to see the man who shot so wondrously

Illustration from Pyle’s The Merry Adventures of Robin Hood.

Howard Pyle's Merry Adventures Of Robin Hood

well. “Here, good fellow,” quoth the Sheriff, “thou art the fairest archer that e’er mine eyes beheld. I trow thou drawest better bow than that same coward knave Robin Hood, that dared not show his face here this day. Say, good fellow, wilt thou join my service?”

“Nay, that will I not,” quoth the stranger roughly. “I will be mine own, and no man in all merry England shall be my master.”

Sheriff turned upon his heel and strode away. It was a right motley company that gathered about the noble greenwood tree in Sherwood’s depths that same day. Then, amidst a noise of talking and laughter, he took the patch from off his eye and stripped away the scarlet rags from off his body and showed himself all clothed in fair Lincoln green; and quoth he, “Easy come these things away, but walnut stain cometh not so speedily from yellow hair.” Then all laughed louder than before, for it was Robin Hood himself that had won the prize from the Sheriff’s very hands.

The full text can be found here.

The legend of Robin Hood is one of the most popular outlaw tales of all time. The character of Robin first appeared in 1450 in the story

Robin Hood and the Monk. His legend can be traced back to England during the Middle Ages—and tells

the story of an outlaw who defended the people of Nottingham against the evil Prince John. With his band of Merry Men, Robin stole from the rich to give to the poor – and inspired generations of future stories and films.

NOTTINGHAM CASTLE

Nottingham Castle was built in 1068 by William the Conqueror. The castle then served as the residence to countless kings during the Middle Ages, including Richard the Lionheart, Prince John, Henry III and Edward IV. The castle was destroyed by Parliament in 1651 and the grounds were purchased in 1663 by The First Duke of Newcastle. A large manor was built on top of the castle grounds and now serves as a Museum of Fine Art for the people of Nottingham.

The Legend of Robin Hood

Playwright and director Greg Banks was commissioned to write Robin Hood by The Children’s Theatre Company in Minneapolis, where he directed the play’s premiere in 2011.

Since then, Robin Hood has been performed for children at theaters across the country including Philadelphia’s Arden Theatre Company and Seattle Children’s Theatre.

Mr. Banks’ work as a writer, actor and director has taken him all over the world from Singapore to Seattle. In the United Kingdom, he has directed for many companies including The Unicorn Chil-dren’s Theatre London (The Wizard of Oz), The Birmingham Stage Company (Kenoukes Kingdom), The Bristol Old Vic (Endgame), Polka Children’s Theatre, Traveling Light (Tir Na N’og; winner of the Samuel Beckett award), Plymouth Theatre, and Royal Theatre (Why the Whales Came).

He is a frequent collaborator at many U.S. theaters including Min-neapolis’ The Children’s Theatre Company(CTC), Seattle Children’s Theatre and The New York State Theatre (Tempest, King of Shad-ows). He wrote and directed an adaptation of Pinnochio for Taurus Voice, and Salaam for Fair Game Theatre. Other projects include a Native Canadian adaptation of his production of Tir Na N’og, Treasure Island for The Birmingham Stage, and his own adapta-tion of Huck Finn for The Children’s Theatre Company. In addition to Robin Hood, Greg has directed Sleeping Beauty, Antigone, and John Glore’s adaptation of A Wrinkle in Time for CTC.

About the Playwright Greg Banks

Nottingham Castle as it is today.

SHERWOOD FOREST

Sherwood Forest is a real forest in Nottinghamshire located in the East Midlands of England. Deemed a National Park, Sherwood Forest hosts over 350,000 people a year who come from all around the world. Sherwood Forest now hosts the Robin Hood Festival every year which includes jousting, archery and an appearance from Robin Hood himself!

THE MONARCHS OF NOTTINGHAM

Prince John and King Richard are not only characters in Robin Hood, but were actual English kings in the late 1100’s. Even though Richard was the King, Prince John really did lead a rebellion while Richard was away fighting in the Third Crusade. It is also true that Richard was loved by the people and John was detested. Sadly, Prince John was crowned King in 1199 after Richard died from a war-related injury.

Because Robin Hood is the most celebrated outlaw of all time, there have been many stories, plays, and movies

that show his heroic deeds. There have been so many movies about Robin Hood that we could not list them all, but some of the most famous are:

1938 - The Adventures of Robin Hood with Errol Flynn & Olivia de Havilland

1949 - Looney Tunes “Rabbit Hood” with Bugs Bunny

1973 - Disney’s animated Robin Hood

1991 – Robin Hood: Prince of Thieves with Kevin Costner

1993 – Mel Brook’s Robin Hood: Men in Tights

2006 – The BBC’s TV Series “Robin Hood”

2010 - Ridley Scott’s Robin Hood with Russell Crowe

The Legacy of Robin Hood

Prince John (Left) and King Richard (Right)

Sherwood Forest

A simple green forest onstage; merry men and women; a violin, horn, trumpet and harmonica. And four clowns? Wait a minute…

that’s not the usual take on Robin Hood.

With this production of Robin Hood, South Coast Repertory is excited to introduce our TYA audience to the Los Angeles-based Four Clowns troupe—four actors and two musicians—who will be playing multiple roles. Jeremy Aluma directs.

The clowns will use physical comedy, mime, improvisation and jokes to tell Greg Banks’ Robin Hood—a revved-up look at the timeless tale of Robin and his band of Merry Men, with swashbuckling adventures and triumph against great odds.

Banks has skillfully refreshed the tale of Robin Hood with interactive opportunities that invite the audience into the world of the play so that they can be part of

the action, including jokes, fight scenes, jumps, tree climbing, flips, gags and maybe even the occasional red nose.

“Whether they’re reacting to a gag or a pratfall, you hear immediately how kids feel about something” said Aluma. “Children bring out some great creativity in us as performers and that’s wonderful.”

The cast includes clowns Amir Levi, Raymond Lee, Alexis Jones, Kevin Klein and musicians Daniel Hopkins and Julia Davis.

Four Clowns won the coveted Best of Physical Theatre award at the inaugural Hollywood Fringe Festival three times in a row in 2010, 2011 and 2012. The troupe also earned top nods at the Minnesota and San Francisco Fringe festivals and became Ovation Recommended in Los Angeles. In February 2012, Four Clowns took part in South Coast Repertory’s Studio SCR Series, a program that partners with SoCal’s most intriguing arts groups and presents a series of eclectic, contemporary theatre works.

Although Four Clowns’ work for adults has been edgy and sometimes risqué, this will be their second Theatre for Young Audiences show—and they’ve shown themselves to be quite adept at channeling their inner child.

Four Clowns In Sherwood Forest:A Fun And Fresh New Look At Robin Hood

Daniel Hopkins, Julia Davis, Kevin Klein, Alexis Jones and Raymond Lee in South Coast Repertory’s Theatre for Young Audiences production of Robin Hood by Greg Banks. Photo by Mustafa Sayed.

Before the Show1. Introduce the tale of Robin Hood by reading aloud

excerpts from Howard Pyle’s Robin Hood or watch excerpts from one of the films listed above. Please note that the films above may not be suitable for children of all ages. Ask students to:

a. Identify the main events of the plot, their causes, and their effects on future actions.

b. Discuss the traits of major characters, their motivations and contributions to the dramatic action.

c. Identify speakers or narrators.d. Determine underlying themes or messages.

2. Allow students to retell or dramatize this story by employing different vocal tones and attitudes to explore multiple possibilities in a live performance.

How do students think the world of England in the Middle Ages might be represented?

3. Make predictions about the play using information and ideas presented in the text, as well as prior knowledge of the conventions of live theatre. For example:

•How do you think the play will differ from the novel or movie?

•How do you think the world of the story will be recreated at SCR?

•What will the scenery, costumes, and props be like?

•How will the actors look and sound?

4. Ask the students to make comparisons between the characters in Robin Hood and other characters they have seen in movies or books. (Example: Robin Hood is an outlaw, just like Zorro, Han Solo, or Iron Man.)

Vocabulary Game WORD SEARCH WORDS

Part II: Classroom

D E Z I R A S C A L S M C P N E I B P P A S D O U T L A W I E A A E H N N T E I I R W L D O C O N O C N S A D U S C I R I E F U Q E M E R R Y I N R A C C L I E I N U T G D M R O Z P N C I R Y E T E B E T R A Y D U A N E D P I C K U N J U S T

BetrayCrept

CunningDecreeMerry

OutlawPersuadeRascalsSeize

Unjust

GamesOUTSIDE GAMES:

Robin Hood and his Merry Men. A variation on “fire in the jungle.” Students stand in two horizontal lines facing one another. “Robin Hood” and “The Sheriff of Nottingham” stand in the center and are “it.” All other students are dubbed “peasants,” “royalty,” “guards,” or “merry men.” Robin hood and the sheriff take turns calling out different groups of people. If your group is called you try to run to safety on the other side. If Robin Hood catches you then you stand in the center next to him and try to tag as many people as possible for the Robin Hood team. If the Sheriff catches you, you stand with him and try to catch as many people as possible for the Sheriff team. If either Robin or the Sheriff call out “Sherwood Forest” all students on ei-ther side have to try to switch sides safely. When all students have been tagged and are in the center the teacher counts the teams. The team with the most students wins. Victory for Robin Hood or victory for the Sheriff.

Sherwood Forest and the Castle of Not-tingham“Capture the flag” where one side is Robin Hood’s Merry Men and the other is the Sheriff ’s soldiers. The Merry Men are on The Sherwood Forest side and the Sheriff ’s soldiers are on the Castle of Not-tingham side.

INSIDE GAMES:

ArcheryIn pairs students make “arrowheads” (paper foot-balls) and “targets” (pieces of paper with targets drawn on them). Students take turns trying to shoot (punt) the arrowhead into the target while the other holds the target paper.

Hangman Play hangman on the board using the list of vocabu-lary words in the study guide

After the ShowDISCUSSION ABOUT THE THEATRE

Hold a class discussion when you return from the performance and ask students the follow-ing questions about their experience at SCR.

1. What was the first thing you noticed when you entered the theatre? What did you notice first on the stage?

2. What about the set? Draw or tell about things you remember. Did the set change during the play? How was it moved or changed? Was there any space besides the stage where the action took place?

3. How did the lights set the mood of the play? How did they change throughout? What do you think “house lights” are? How do they differ from stage lights? Did you notice different areas of lighting?

4. What did you think about the costumes? Do you think they fit the story? What things do you think the costume designer had to consider before creat-ing the costumes?

5. Was there music in the play? How did it add to the performance?

6. What about the actors? Do you think they were able to bring the characters to life? Did you feel caught up in the story? What things do you think the actors had to work on in order to make you believe they were the characters?

7. If you were an actor, which of the characters would you like to play and why?

8. Which job would you like to try? Acting, Directing, Lighting designer, Sound designer, Stage Manager, Set designer, Costume designer or Stage crew? What skills might you need to complete your job?

9. How was the play different from the way you thought it would be?

10. How is being at the theatre different from being at the movies?

DISCUSSION ABOUT THE PLAY

1. What do you think the main idea of the play is?

2. Have the students think of ways they can give back to the poor. Are there any activities you as a class can participate in? Examples: can drives, Toys for Tots, etc.

3. What are the three most important characteristics you think a heroine or hero should display? Why did you choose these particular characteristics?

4. The death of Robin Hood remains a mystery to this day. In the play the actors discuss that “some say he never recovered from his fall. That he died looking for Marian. That Little John was with him as he drew his bow for the last time and where the arrow landed was where they buried him. Some say he made that story up to stop King John’s men from chasing him.” What do you think happened to Robin Hood?

5. Describe the differences between Marian at the be-ginning of the play and Marian at the end. How has she changed in the course of the play?

6. Who is your favorite character and how would you describe him/her?

7. It is still unclear if Robin Hood was a real person, or if the story was fictional. Discuss with your class whether or not they think Robin Hood really wan-dered the Sherwood Forest.

8. Think about the set, lighting, costumes and music used in the play. If you were asked to design a produc-tion of Robin Hood, what would you do differently?

Drawing Activities1. Draw a picture of what the audience might look

like from the stage. Are you and your friends in the picture?

2. Draw a picture of yourself winning the silver arrow at the Grand Tournament.

Letters of Thanks

Write letters of thanks to SCR describing the most memorable aspects of attending a perfor-mance of Robin Hood, and what they enjoyed

most about their visit to SCR.

South Coast Repertory

Attn: TYA

PO Box 2197

Costa Mesa, CA 92628-2197

Welcome to the Argyros

T he 336-seat Argyros Stage is the newest theatre space at SCR. It opened in 2002 with a huge celebration and we are delighted

that thousands of Orange County school children fill this state-of-the-art facility each season to enjoy our Theatre for Young Audiences productions. The Argyros is a proscenium theatre designed to provide audiences a feeling of intimacy, with no seat more than 39 feet from the stage.

Theatre Etiquette

T heatre is an art form that depends on both the artists and the audience. A performance is influenced by an audience, just as an audience

is influenced by a performance. The artists and staff of South Coast Repertory are creating a special new world for you to visit. When you walk into the theatre, you will feel that behind the curtain lies the secret of that new world which is about to come to life before your eyes. Sometimes it’s so exciting, you can barely hold still. But remember that once the play begins, you have a very important job to do. Everybody in the theatre is a part of the play. You are connected to all the other people in the audience, as well as to the actors on the stage. Remember, you’re all in the same room. They can SEE you, HEAR you, and FEEL you, just as you can SEE, HEAR, and FEEL them. Your attention, involvement, responses, and imagination are a real part of each and every performance. The play can actually be made better because of you!

Student Tips for Theatre Trips• Stay with your group at all times and pay attention

to your teachers and chaperones.• Listen carefully to the SCR staff member who will

board your bus with last-minute tips.• Take your seat in the theatre before going to the

bathroom or getting a drink of water. • Make yourself comfortable while keeping

movement to a minimum. • Please do not stand up, walk around, or put your

feet on the seat in front of you.• Absolutely no chewing gum, eating, or drinking in

the building.• No backpacks, cameras, or electronic devices are

permitted in the theatre.• Feel free to talk quietly in your seats before the

show.• Show your appreciation by clapping for the actors

at the end of the play. • After the lights come back up, wait for the ushers

to escort your group out of the theatre.

Theatre Etiquette Yes/No GameAsk students the following questions to test their understanding of how to behave before, during, and after the performance.

Should you…• Try your best to remain in your seat once the

performance has begun? (Yes!)• Share your thoughts out loud with those sitting

near you? (No!)• Wave and call out to the actors on stage? (No!)• Sit on your knees or stand near your seat? (No!)• Bring snacks and gum to enjoy during the show?

Julianne Argyros Stage

Part III : At The Theatre

(No!)• Reward the cast and crew with applause when

you like a song or dance and at the end of the show? (Yes!)

• Arrive on time so that you do not miss anything or disturb other audience members while you are being seated? (Yes!)

• Keep all hands and feet and items out of the aisles during the performance? (Yes!)

Programs

Everyone who attends a Theatre for Young Audiences performance at SCR receives a program, also called a playbill. Patrons at

weekend public performances receive their programs from the ushers upon entering the theatre. At the conclusion of each weekday matinee, teachers will be given programs for their students which can be distributed back in the classroom. In addition to the customary information about the play and the players, the program contains features and activities that students will have fun working on after the show, either in class or at home on their own.

Basic Theatre VocabularyActing The process by which an individual interprets

and performs the role of an imagined character.

Action The core of a theatre piece; the sense of

forward movement created by the sequence

of events and the physical and psychological

motivations of characters.

Ad-Lib To improvise stage business or dialogue; to

make it up as you go along.

Apron The area of the stage that extends toward the

audience, in front of the main curtain.

Backstage The space behind the acting area, unseen

by the audience.

Balcony An upper floor of seats projecting out over

the main seating area of a theatre.

Blocking The movement and stage business, designed

by the director and performed by the actors.

Boxes Seats separated from the main seating area

located on the upper level near the stage.

Box office A windowed space at the front of the

theatre building where tickets are sold.

Business Any action performed on stage.

Character The role played by an actor as she or he

assumes another’s identity.

Choreography The art of creating and arranging

dances onstage.

Conflict The problem or incident that creates the

action and is resolved by the end of the play.

Costume The carefully selected or specially designed

clothing worn by the actors.

Cross The actor’s movement from one stage location

to another.

Cue The last words or action of an actor immediately

preceding the lines or business of another actor.

Dialogue The stage conversation between characters.

Diction The clarity with which words are pronounced.

Director The person who oversees the entire process

of staging a theatrical production.

Downstage The part of the stage closest to the

audience. At one time stages were raked, or

sloped, with the lower (“down”) part closest to

the audience, and the higher (“up”) part further

away.

Ensemble A cast of actors working together effectively

to present a theatrical performance.

Flats Canvas or wood-covered frames that are used for

the walls of a stage setting.

Green Room A room near the stage where actors

await entrance cues and receive guests. The

room’s name comes from Elizabethan times, when

actors waited on a real “green” (or patch of grass).

Improvisation The spontaneous use of movement and

speech, made up by an actor to create a character.

Lobby The public waiting area outside the theatre

space.

Mezzanine Lower level seating area beneath the

balcony overhang.

Monologue A solo speech during which the character

reveals personal thoughts.

Narrator A character who tells the story of the play

directly to the audience.

Orchestra Lower level seating area immediately in

front of the stage.

“Places” Direction given by the Stage Manager for

actors to be in position before each act begins

Plot The “what happens” in a story: beginning (the

setting, characters, and problem); middle (how the

characters work to solve the problem); and the

ending (resolution of the problem).

Project To speak loudly so the entire audience can

hear you.

Props All the stage furnishings, including furniture,

that are physically used by the actors.

Proscenium Stage A traditional theatre with the

audience seated in front of a proscenium arch

framing the stage. SCR’s Argyros Stage is a

proscenium stage.

Run Length of time the play will be presented (i.e two

weeks, two months, two years).

Script The text of the play, including dialogue and

stage directions, all written by the playwright.

Set All of the scenery that makes up the physical

environment of the world of the play.

Stagecraft The knowledge and skills required to create

the physical aspects of a production; i.e., scenery,

lighting, costumes, props and recorded sound and

music.

Stage Left That part of the stage to the actor’s left

when the actor faces the audience.

Stage Manager The person who supervises the

physical production of a play and who is in

charge of the stage during the performance.

Stage Right That part of the stage to the actor’s right

when the actor faces the audience.

Strike Dismantling the set, costumes and props at the

end of the run of a show.

Theme The central thought, idea, or significance of the

action of a play.

Upstage The area of the stage farthest way from the

audience and nearest to the back wall.

Five Strands of Arts EducationStudents in a comprehensive program are expected to master the standards of an arts discipline, which includes the following five strands:

1.0 Artistic Perception refers to processing, analyzing and responding to sensory information through the use of the language and skills unique to dance, music, theatre and visual arts.

2.0 Creative Expression involves creating a work, performing and participating in the arts disciplines. Students apply processes and skills in composing, arranging and performing a work and use a variety of means to communicate meaning and intent in their own original formal and informal works.

3.0 Historical and Cultural Context concerns the work students do toward understanding the historical contributions and cultural dimensions of an arts discipline. Students analyze roles, functions, development in the discipline, and human diversity as it relates to that discipline.

4.0 Aesthetic Valuing includes analyzing and critiquing works of dance, music, theatre or visual arts. Students apply processes and skills to productions or performances. They also critically assess and derive meaning from the work […] and from performances and original works based on the elements and principles of an arts discipline.

5.0 Connections, Relationships, Applications involves connecting and applying what is learned in one arts discipline and comparing it to learning in the other arts, other subject areas and careers. Students develop competencies and creative skills that contribute to lifelong learning.

http://www.caea-arteducation.org/www/pages/standards-prek-6.html

From the California And Visual Arts Framework

Education in the arts is essential for all students. California’s public school system must provide a balanced curriculum, with the arts as part of

the core for all students, kindergarten through grade twelve, no matter what the students’ abilities, language capacities or special needs happen to be. Each of the arts disciplines maintains a rich body of knowledge that enables the students to understand their world in ways that support and enhance their learning in other core subjects. In addition, through this rich body of knowledge, students learn how each of the arts contributes to their own sensitivity of the aesthetic qualities of life. Students learn to see what they look at, to hear what they listen to, feel what they touch and to understand more clearly what they integrate into their own experience.

http://www.cde.ca.gov/ci/cr/cf/documents/rlafw.pdf

Part IV: Education

Robin Hood-Other Adaptations and in Pop Culture

Complete list of Robin Hood films and television shows

Complete list of Robin Hood in Books, Music, Video Games, and Comic Books

Other Study Guides/ Lesson Plans

Children’s Theater Company Robin Hood: The Guide for Educators (2011)YouTube Clip of Production

Arden Children’s Theatre Robin Hood: Supplemental Study Guide (2012)

The Children’s Theatre of Cincinnati Study and Activity Guide

Seattle Children’s Theater Educator Resource Guide

Arkansas Art Center’s Children’s Theatre Study Guide for The Legend of Robin Hood adapted by Alan Keith Smith

More Information

Robin Hood and His Historical Context BBC article by Dr. Mike Ibeji The story behind the legend. The world Robin Hood lived in. The historical proof of whether or not Robin Hood is a real person.

The Merry Adventures of Robin HoodComplete text

King John I (Prince John)History LearningA brief explanation of the life and reign of King John I

Middle AgesAn in-depth history of King John I

King Richard the Lionheart The Middle AgesAn in-depth history of Richard the Lionheart

Nottingham and SherwoodNottinghamshireThe government site from UK about modern Sherwood Forest and Nottingham.

Part V: Resources