School Dates:February 29 – march 20, 2008
EnrichmEnt GuidE
Please be sure to share this guide with all teachers who are taking
their students to see this production. Photocopy or download additional copies from
FirstStage.org
For additional materials, visit FirstStage.org!
By charles Way
Sponsored by:
Media Sponsor:
SLEEPING BEAUTY
Once upon a time, when fairies and witches lived among humans, in a land far away, where magic
showed its power over all things both living and dead, is where this story of SLEEPING BEAUTY begins.
Charles Way’s SLEEPING BEAUTY is not the well-known tale made popular by Disney. Instead, it is a
mixture of many accounts and translations of the fairy tale, who’s primary origin can be traced back to
the French author, Charles Perrault, in 1697. In our telling of SLEEPING BEAUTY, the princess Briar Rose
is a strong, clever and determined young girl, who bestows courage and bravery in her friend, Prince
Owain. Through their friendship, Prince Owain discovers his own strengths and valor, and proves his
genuine love and devotion to his friends by saving Briar Rose and, ultimately, her entire kingdom.
Enclosed in this enrichment guide is a range of materials and activities intended to help you discover
connections within the play through the curricula. It is our hope that you will use the experience of
attending the theater and seeing SLEEPING BEAUTY with your students as a teaching tool. As educa-
tors and parents, you know best the needs and abilities of your students. Use this guide to best serve
your children—pick and choose, or adapt, any of these suggestions for discussions or activities. We
encourage you to take advantage of the enclosed student worksheets—please feel free to photocopy
the sheets for your students, or the entire guide for the benefit of other teachers.
Enjoy the show!
Julia NewbyEducation Director [email protected]
SETTING ThE STAGEpreparing for the play
Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . 2-3Pre-Show Questions . . . . . . . . . . . . . . . . 4About the Author . . . . . . . . . . . . . . . . . . . 5Suggested reading . . . . . . . . . . . . . . . . . 4
For TEAchErSCurriculum connectionsbefore or after the play
LANGUAGE ArTShow clever are You? . . . . . . . . . . . . . . . . 5the Origin and Evolution ofFairy tales . . . . . . . . . . . . . . . . . . . . . . . . 6-7the Origins of Sleeping Beauty . . . . 8-9Fairy tales come to Life . . . . . . . . . . . .10A Personal Fairy tale Journey . . 11-12tylweth tegs the mystical creatures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18Fairies today. . . . . . . . . . . . . . . . . . . . . . .19
SocIAL STUDIESBravery Badges . . . . . . . . . . . . . . . . . . . .13
hISTorYSpinning Wheel Specifics . . . . . . . . . . .14Parts of a Spinning Wheel . . . . . . . . . .15different Styles of Spinning Wheels 16
ScIENcEthe magic of nature all Around us . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20-21From Seed to Plant. . . . . . . . . . . . . . . . .23
ArThow to make a drop Spindle . . . . . . .17A natural color Garden . . . . . . . . . . . .22
MAThAdventures with numbers . . . . . . . . .24
cUrTAIN cALL Post-Show discussion Questions . . . . . . . . . . . . . .25Who Said it! . . . . . . . . . . . . . . . . . . . . . . . .25
ANSwErSAdventures with numbers . . . . . . . . .26Who Said it! . . . . . . . . . . . . . . . . . . . . . . . .27how clever are You? . . . . . . . . . . . . . . .28
First Stage Policies• Because of union regulations the use of recording equipment and cameras is strictly forbidden in the theater. • Food, drink, candy and gum are not permitted in the theater. • Any portable radios brought to the theater by students will be kept by the house manager during the performance and returned to the group leader at the conclusion of the play. • there is no smoking in the theater, by order of the Fire marshal.• Should a student become ill, suffer an injury or have another problem, please escort him or her to the theater lobby and ask an usher to notify the house manager immediately. • in the unlikely event of a general emergency, the theater lights will go on and someone will come on stage to inform the audience of the problem. remain in your seats, visually locate the nearest exit and wait for First Stage ushers to guide your group from the theater.
Seating for people with disabilities: if you have special seating needs for any student(s) and did not indicate your need when you ordered your tickets, please call the Box Office at (414) 267-2962 nOW. Our knowledge of your needs will enable us to serve you better upon your group’s arrival at the theater.
Inside the Guide A Note to Teachers and Parents
Once upon a time, long ago in a time when fairies, spider kings,and witches inhabited this world, there was a King and Queen who were very unhappy because they were unable to have children.
Everyday, the King and Queen take a walk through the forest surround-ing their kingdom, where two witch sisters live—Modron, the evil witch, and Branwen, the good and kind witch. Seeing how miserable the King and Queen are, Branwen takes a baby that was given up by a poor peasant girl who could not care for the child and placed it in the for-est for the King and Queen to find. When King Peredur and Queen Guinevere find this beautiful little girl, they are thrilled beyond belief and, with magical guidance from Branwen, name the child Briar Rose. When Modron discov-ers that Branwen gave the baby to the King and Queen, she is enraged. Modron feels she is treated with less importance and respect than her sister by the King and Queen, as well as the entire kingdom, and wants to revenge the kingdom and her sister for this treatment.
Queen Guinevere refuses to invite Modron to Briar Rose’s christen-ing, even though King Peredur warns her of this action in fear that she will be hurt by not being invited and may react by cursing their kingdom, or worse, by cursing their child. However, Queen Guinevere does not back down from her stance. At the christen-ing, Branwen bestows Briar Rose with the traditional thirteen magic gifts to keep her happy, healthy and safe for the rest of her days. Yet, before Branwen gives Briar Rose the last gift, Modron appears. Modron convinces the King and Queen to allow her to grant Briar Rose’s final gift, and Modron instead puts a spell on Briar Rose claiming if Briar Rose pricks her finger on the needle of a spindle before her sixteenth birthday, she will die. The King and Queen are devastated by this spell and do not know what to do. Branwen combats this spell by changing it so that Briar Rose will not die if she is pricked by a needle but will instead fall asleep for 100 years, or until someone who truly loves her wakes her with
a kiss. Branwen attempts to calm the King and Queen, but they can-not let go of their fear and terror. King Peredur orders all spindles in the kingdom to be burned, and the King and Queen begin moni-toring Briar Rose’s every action by not allowing her out of the castle walls, ever.
As Br iar Rose grows up, she becomes more and more curious about the world outside the castle walls. Her only friends are her par-ents and Gryff, a half-dragon half -man whom Branwen sent to keep Briar Rose company through her childhood. However, Briar Rose is
the only person who can see Gryff. As Briar Rose becomes more curious, she also become more frustrated, and this frustration quickly turns into anger and resentment. Seeing this, Branwen sets up a plan with King Peredur and another King from a distant kingdom. This other King has a son, whom he believes is worth-less and not talented or skillful at anything. The Kings believe it would be a wise decision to have Prince Owain spend the sum-mers with Briar Rose, with the hope that he will provide friendship for Briar Rose and, as a result, grow up to be a courageous man. Briar Rose is thrilled to have a friend, and is even more excited to discover that Owain also can see her dragon friend, Gryff.
Over the years, Briar Rose and Owain become the best of friends, spending every summer together throughout Briar Rose and Owain’s childhood. Briar Rose’s sixteenth birthday quickly approaches, and her parents are thrilled that they have been able to keep her safe from any spindles. Her parents also assume that because Briar Rose has been safe for all these years, Modron has forgotten about the curse she placed on Briar Rose at her birth. However, they are deeply mistaken. One day, as Briar Rose, Gryff, Owain and her parents are all playing a game of hide-and-seek throughout the castle, Briar Rose comes upon Modron, dressed in disguise as a dressmaker. Modron informs Briar Rose that she was hired by her parents to make a beautiful gown for Briar Rose’s sixteenth birthday and that she would like Briar Rose to try on the
Setting the Stage Synopsis
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dress. Briar Rose is delighted by the gorgeous gown, but is even more taken back by the spinning wheel that is located next to the dress. Briar Rose has never seen a spinning wheel, and seems to be quite fascinated by this device. Modron urges Briar Rose to look closer at the spinning wheel, and allows her to try the device. As Briar Rose is about to take the needle into her hand, Owain and Gryff discover Briar Rose with Modron and immediately try to stop her. However, it is too late, and Briar Rose pricks her finger with the needle and abruptly falls into a deep sleep. Discovering this, the King and Queen are devastated, but Branwen suddenly appears and reminds them both that Briar Rose is not dead, she is just in a deep sleep. Branwen places a spell on the entire kingdom that will make them all fall asleep for as long as Briar Rose is asleep.
Modron is furious at her sister for changing her spell so that Briar Rose does not die, but is simply in a deep sleep for 100 years. Branwen reminds her sister that unless someone can save Briar Rose and wake her before 100 years pass, she will die. Branwen also lets Modron know that she expects Prince Owain to save Briar Rose. Modron laughs at this possibility, for Owain lacks courage and appears utterly useless. However, Branwen does not give up hope for Owain. Branwen finds Owain and informs him of the quest he must take to save his best friend. She also tells him that Gryff will join him on his journey and, if they prove to be successful, she will turn Gryff into a full dragon that can breathe fire! Owain boldly takes on this quest and promises to save Briar Rose…and Modron promises to stop him.
Modron places a spell on the castle, hiding it deep within the for-est, so it is almost impossible for anyone to find. As Owain and Gryff begin their journey and enter the forest, they encounter fairies, the Tylweth Tegs. Gryff and Owain hope the Tylweth Tegs can help them find the castle, however, these fairies can be dan-gerous. Gryff advises Owain not to eat or drink any of their food, and never to kiss them, for if he does he will be forced to stay with the Tylweth Tegs forever. The Tylweth Tegs are playful, and they entice Owain. He is tempted to eat their food and drink their drink and, because they are so mystical and beautiful, he begins to think about kissing them and staying with them for the rest of his days. Luckily, Gryff discourages him and helps him stay strong against their magic powers. The Tylweth Tegs finally help Owain by telling him that he must go to the Spider King to find the castle. However, while Owain and Gryff were among the Tylweth Tegs, fifty years had passed—they only have another fifty years to find the castle and save Briar Rose. Owain is beginning to loose hope, but the Tylweth Tegs remind him: a man’s heart is his mightiest weapon and love laughs at locks and keys. With this new hope, Owain and Gryff go to find the Spider King.
Owain and Gryff suddenly find themselves in the presence of the Spider King, and they are quickly trapped in his enormous web. The Spider King informs Owain that he knows exactly where the castle is, but will not tell him without receiving something
in return. Owain asks the King what he wants, and the Spider King tells him that he wants Gryff…to eat as his dinner. Owain cannot allow his dear friend to be sacrificed, and is unable to choose which friend to save—Briar Rose or Gryff. So the Spider King makes an agreement with Owain: if Owain can answer the King’s riddles, he will let Gryff go and tell him where the castle lies. Owain does not think he is clever enough to answer the riddles, but Briar Rose always told him riddles when they played together, and he decides he must do this to save both of his dear friends. The King gives Owain three riddles to answer correctly and, after much time, Owain answers all three riddles! Owain saves Gryff and the Spider King sticks to his part of the bargain and tells them where the castle is hidden. However, while with the Spider King, almost another 50 years have passed.
Owain has spent 99 years, 51 days, 23 hours, and 59 minutes in the forest. Owain suddenly begins to grow old and ill. Modron watches from a distance, pleased that Owain could not save Briar Rose. However, from a distance, Owain hears Branwen as she encourages Owain to continue on and find Briar Rose. Although Modron’s evil power is stronger than Branwen’s good power, he resists the evil power and courageously continues his journey. With the little energy he has left, Owain finds Briar Rose and, with only a second left, kisses her. Slowly, Briar Rose wakes and breaks out of the spell. With this, Owain regains his strength and his youth and the kingdom awakens as if nothing had ever hap-pened! Finally, Gryff is turned into a real dragon, just as promised. Briar Rose and Owain, for the first time together, leave the castle and venture out into the forest to live happily ever after.
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Suggested ReadingThe Sleeping Beauty Ballet Theatre by Jean Mahoney and Viola Anne Seddo
Beauty Sleep: A Retelling of “Sleeping Beauty” (Once Upon a Time) by Cameron Dokey and Mahlon F. Craft
Waking Sleeping Beauty: Feminist Voices in Children’s Novels by Roberta S. Trites
Sleeping Beauty: A Fairy Tale by the Brothers Grimm (The Little Pebbles) by Nathalie Novi
About the Sleeping Beauty by P. L. Travers and Charles Keeping
La Bella Durmiente / Sleeping Beauty (Bilingual Tales) by Luz Orihuela and Macarena Salas
Twice Upon a Time, No. 2: Sleeping Beauty, the One Who Took the Really LongNap (Twice Upon a Time) by Wendy Mass
Sleeping Beauty and Other Classic French Fairy Tales by Charles Perrault
5 Cheesy Stories: About Friendship, Bravery, Bullying, and More (Tails from the Pantry) by Patsy Clairmont
The Book of Bravery: Being True Stories in an Ascending Scale of Courage. Third Series by Henry Wysham Lanier
Fairy Collection - Willow, the Fairy of Bravery (Fairy Friends Collection) by Helen Parker and Helen Prole
Confessions of an Ugly Stepsister: A Novel by Gregory Maguire
In the Realm of the Never Fairies: Secret World of Pixie Hollow, The (Disney Fairies) by Monique Peterson
The Red Fairy Book by Andrew Lang
1. Prince Owain admits that he is scared to make the journey to save Princess Briar Rose. What scares you? What do you do to help yourself in situations where you might have to do something that scares you?
2. In the play, the Prince and the Princess become best friends before she falls under the witch’s spell. Who is your best friend and what do you like about them?
3. The Spider King challenges Owain with riddles. Can you solve these riddles? a. What runs without feet? b. What is most like a half moon? c. What are two things we are doing all the time?
4. Briar Rose says, “Everyone’s good at something.” What are you really good at and how do you share your talent with others?
Pre Show Questions
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About the Author
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Charles WayTaken directly from: http://www.playsforyoungaudiences.org/playwrights/way_charles.html
Charles began writing plays professionally in 1978 when he joined Leeds Playhouse TIE team. He has now written over 40 plays, many of them for young people, and his work has been produced all over the world. These include SLEEPING BEAUTY, THE SEARCH FOR ODYSSEUS and A SPELL OF COLD WEATHER - which were all nominated as Best Children’s Play by the Writer’s Guild of Great Britain. He has recently published his Classic Fairytales, Retold for the Stage which includes CINDERELLA and BEAUTY AND THE BEAST, which were specially commissioned by The Library Theatre Manchester. His play about the percussionist Evelyn Glennie, which was first produced at the Polka Theatre for Children, was nominated as Best Children’s Show by the TMA. Other plays include THE FLOOD, RED RED SHOES, [Unicorn Theatre] ONE SNOWY NIGHT [Chichester Festival Theatre] THE TINDERBOx [Gwent theatre] and THE NIGHT BEFORE CHRISTMAS. [Polka Theatre]. He was recently commissioned by the National Theatre to write ALICE IN THE NEWS, which children all over Britain have performed. Charles has won several awards and was last years recipient of the Children’s Award given by the Arts Council of England for RED
RED SHOES [Unicorn Theatre and The Place] as best play for young people 2004. His play MERLIN AND THE CAVE OF DREAMS, for Imagination Stage, was nominated for a Helen Hayes award for the Outstanding New Play of 2004.
Charles’ plays for adults include a well-known version of Bruce Chatwin’s ON THE BLACK HILL and an adaptation of INDEPENDENT PEOPLE by Halldor Laxness. In Wales he has had long associations with Gwent Theatre, the Sherman Theatre and Hijinx Theatre, for whom he has written IN THE BLEAK MIDWINTER, and I’LL MET BY MOONLIGHT, both set on the welsh borders.
Recent new plays include STILL LIFE, about genetic science for The Plymouth Theatre Royal; THE LONG WAY HOME, for New Perspectives Theatre in collaboration with the CIAO Festival, which has been performed in Croatia, and THE DUTIFUL DAUGHTER, which has been per-formed in China. Charles has written many plays for radio, and a TV poem for BBC2, No Borders, set on the Welsh borders, where he lives and has spent most of his creative life.
You say you like riddles...I will answer any three riddles you care to set me. If I do, you will free my friend and show me where the castle is. - Prince Owain
how many riddles can you figure out?
• Where do fish keep their money?
• What do you get when you cross an automobile with a household animal?
• What three numbers have the same answer when added together and multiplied together?
• What force and strength can not get through, I with a gentle touch can do, and many in the streets would stand, were I not as a friend in hand.
• I have many eyes but cannot see. I have no mouth or nose, but always smell. Do not eat my tree or you will be, a very rare FATALITY!
How Clever are You?Reasoning & Problem Solving Clasroom Activity
• What happens twice in a week, and once in a year, but never in a day?
• I have a little house in which I live all alone. My house has no doors or windows, and if I want to go out I must break through the wall. What am I?
• What is is that you will break every time you name it?
• I am the beginning of sorrow, and the end of sickness. You cannot express happiness without me, yet I am in the midst of crosses. I am always in risk, yet never in danger. You may find me in the sun, but I am never seen out of darkness.
• What’s full of holes but still holds water?
• What has four fingers and one thumb, but is not alive?
• Name three keys that unlock no doors.
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The Origin and Evolution of Fairy Tales Language Arts/Historical Classroom Information
AFolk Tale is a story that has been handed down from person to person for generations and generations. Therefore, one of the most important identifying features of a folk tale is that it belongs to an entire culture, rather than to an individual. For this reason, folk tales give us many insights into the cultures from which they spring. While some of the stories may have originated as literary tales, they became part of the oral tradition as they were told over and over. The characters tend to be somewhat one-dimensional, stereotypes of ordinary people (for example, an evil old man or a wise woman). However, extraordinary things do happen to them. The themes in folk tales are uni-versal and timeless.
Folk tales generally lack descriptive passages and rely almost exclusively on plot. A Fairy Tale is sub-type of folk-tale where it tends to be the longest, most descriptive, and most complicated compared with other types of folktales, like legend, myth, and fable.
The Origin of Fairy Tales
“Once Upon a Time” fairy tales weren’t written for children. In spite of their name, the popular fairy tales usually have very little to do with fairies. This name was taken from the French “contes des fee”, and the French literary fairy tales of the 17th century do feature far more fairies than the tales that are best-known today. The Grimm brothers collected the folk tales of the German people to make up their volume, but fairy tales are more than just folk tales. The German term for them is “Märchen”, a word for which there is no satisfactory English equivalent - it is the diminutive of Mär, a story or a tale, and has come to mean a story of wonder and enchant-ment, as the fairy tale is.
Although large numbers of literary fairy tales were written in 17th century France, most of the tales which are still told and retold now are far older in origin. Many of the stories were edited and changed as they were written down, removing the darker and more gruesome elements of the stories. The intended audience of the stories has also changed. Perrault’s collection of tales were written to be presented at the court of Versailles, and each tale ended with a moralistic verse. At the same time, literary fairy tales of great imagination and invention, often quite cruel and gruesome, were being cre-ated by the women secretly rebelling against the constraints placed on them by their restrictive society.
The Tellers of Fairy Tales
Today, when asked to name authors of fairy tales, most people now would answer the Grimm Brothers or Charles Perrault, and perhaps Hans Christian Andersen.
Yet, throughout history, fairy tales have been women’s sto-ries, passed down orally by the mothers and grandmothers. When the tales began to be a literary form, the number and output of female authors vastly exceeded that of the males. The Grimm brothers collected their tales from peasants and edited them to suit their audience; most of Perrault’s sto-ries are retellings of old tales. Although the female authors included familiar elements, their now-forgotten tales were largely more inventive, original and fantastical than their male counterparts - and frequently nastier, too.
Taken directly from: http://www.geocities.com/WallStreet/Floor/2391/essays/essay22.htm
The Origin and Evolution of Fairy Tales Language Arts/Historical Classroom Information
Voicing the Unspoken
In a time of political censorship, where women had few rights, fairy tales were one way that they could make their opinions known. The fairies themselves in the tales often stand for the aristocrats, having power over many but often caring little, bickering amongst themselves, concerned with their own power struggles. The heroines comment on the double-standards of the times, arranged marriages, and the false glory of war; the tales also illustrate the authors’ ideas on the standards of correct manners, justice and love.
The tales were also written in opposition to the literary establishment at the time, which championed Classical literature as the standard for French writers to follow. Fairy tales were modeled on French folklore and the courtly love of medieval literature. When Perrault joined them in writ-ing fairy tales, he was taking a stand for the modern style and for women’s tales. The “Quarrel of the Ancients and the Moderns” was part of the society which the fairy tales rebelled against - for most women there was no choice over which side to take, as they weren’t thought worth educating in Latin and Greek anyway. Instead of being forced out, they formed their own style.
Womens Tales
Women’s talk has been frightening and dangerous since even before the Church taught that Eve’s words tempted Adam and led to the fall. St Paul wrote that women should be silent, and warned against their idle gossip. The talk of women was seductive and wicked.
Fairy tales and their relatives, myth and folklore, have always been tied in with women’s wisdom and power. The tell-ers of the tales were often the older women, passing on experience to the young, telling tales which outlined social functions and places, which saw the virtuous rewarded, and adversity overcome. While people worked at boring tasks, at sewing and spinning, tales would be told. While the voices of the women were unheard politically, they were passing on knowledge to the young.
The best-known tales today are the ones collected by the Grimms and written by Perrault, changed to favor the charming Prince rather than the clever heroine. Even so, throughout the tales still read today can still be found
traces of messages about the lives the tellers read, from step-mother to mother-in-law to childbirth, their greatest killer for many years. Modern writers are returning to fairy tale themes to produce great works, taking them out of the children’s nursery and back where they belong.
The Authors of the Literary Fairy Tale
In 1634, a cycle of fifty tales was published by Giambattista Basile, from Italy, in which can be found some of the earli-est written versions of familiar stories like “Sleeping Beauty”. Basile’s tone is bawdy and comic; his narrators within the tale are old women, hags, crones and old gossips, the ste-reotypical tellers of the “old wives’ tale”.
The women who brought the literary fairy tale to popularity fifty years or so later were anything but “old wives”. The story which marked the beginning of the “fairy tale form” was writ-ten by the Countess d’Aulnoy, an aristocratic woman who tried to implicate her husband in a crime of high treason, but was discovered, and managed to flee Paris. She had been married to the husband at the age of 15; he was 30 years her senior, and a gambler and libertine. The cruelty of enforced marriages is remarked on by the heroines of many of her stories, and the tales of other women of the time.
The Countess de Murat was banished from Louis xIV’s court in Paris for publishing a political satire about him; she then shocked the people of Loches, where she had her house, by holding gatherings where she and her friends would dance, talk, and tell fairy tales, as in the salons of Paris. Her tales con-cern marriage, the power struggles of the aristocracy, and true love. They do not always have a happy ending, either.
Marie-Jeanne L’ Heritier led a less controversial life. She did not marry, choosing to dedicate herself to writing. Her father was a historian and writer, and her sister was a poet. She was also the niece of Charles Perrault, and quite likely influenced his interest in fairy tales. Her “Adventures of Finette” features a heroine who wins by her wits, in spite of two lazy sisters and an evil prince.
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The Origins of Sleeping BeautyLanguage Arts Classroom information
Taken directly from: http://www.balletmet.org/Notes/Sleeping.html#anchor350983
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A wedding brings many a fairy tale to a successful, if open ended, conclusion and such is the case of the ballet The Sleeping Beauty. However, looking back at the original Charles Perrault version of the tale on which the ballet is based, and versions prior to that, the meeting of the Prince and Beauty is but the halfway mark of the story. Details even before that point have changed over the course of time.
Perrault published La Belle au bois dormant (The Sleeping Beauty) in Paris, in January 1697, as the first of eight stories in a book titled Histoires ou Contes du temps passé: Avec de Moralitez. As with many of his other tales, he owes a great deal to a collection of fairy tales published by the Italian Giambattista Basile sixty years earlier. In the case of The Sleeping Beauty, they both tell variations of the 1528 romance Perceforest.
Giambattista Basile, born in Naples about 1575, was a much traveled poet, soldier and administrator. He died in 1632 while serving as Governor of the Giugliano district near Naples. Some 50 of his tales were published and became known in the 1674 edition as The Pentamerone. His version of The Sleeping Beauty is tale five from Day Five. In addition The Pentamerone includes original versions of Cinderella, Snow White, Beauty and the Beast and Puss in Boots.
In Basile’s version, a great king commands the wise men of his country to confer about the destiny of his daughter, Talia. They conclude she will meet her peril from a splinter of flax. The king therefore bans flax from his castle. However, when the young princess sees an old woman spinning, she is intrigued as she has never seen such a thing before. On touching the yarn she gets a splinter of flax under her nail
Once upon a time, a long long time ago, in a land so very far away. Once upon a time…twice upon a time…and all the times together as ever I heard of but be sure it was a long time ago. When the ploughs were pulled
across the earth by strong horses, and water was drawn from the well. When the woods were full of Fairy Folk, and Spider King,s and Witches bright and Witches dark who could fly in and out of moments and round the world in
less time than it takes to say, good morning. In this time there was a castle with three towers… -Branwen and Modron
and falls dead. Grief stricken, her father places her in a velvet chair, locks her in the castle and abandons it. An unspecified time later, another king who is already married to another woman is out hunting. He comes upon the sleeping prin-cess, Talia. However much he tries, she will not awaken and so, in Basile’s words, he “plucked from her the fruits of love,” thus fathering two children, Sole and Luna. He then departs and returns to his wife, the queen. In trying to suckle the breast of the comatose mother, one of the children instead sucks on her finger, thereby removing the splinter of flax that had enchanted her and allowing Talia to awaken. The king returns to the forest one day and discovers his forgotten second family awake. Suspicious of her husband, the queen summons Sole and Luna to the court and orders the cook to butcher them and serve them to their father as delicacies. The cook cannot bring himself to do this, hides the children and instead prepares two goat kids. The king finds the food delicious and his wife encourages him saying “Eat up, you’re eating what’s your very own.” He replies “I know very well I’m eating what’s my own, because you have brought nothing to this house.”
The wife, now furious, summons Talia to the court and pre-pares to burn her on a pyre. Talia protests that she was asleep during the whole episode and therefore blameless. Partially in response to Talia’s wishes and mostly to gain her rival’s fine clothes, the queen allows Talia to undress, which she does slowly, playing for time and screaming all the while. As she gets down to her last garment, the king finally responds to her cries. He demands the whereabouts of his children, and when told that he has eaten them he throws the queen into the fire. As the cook is about to meet a similar fate for complicity, he tells where he has hidden the children. The family is reunited, Talia and the king marry, and the cook is promoted.
Charles Perrault (1628 - 1703) was a retired civil servant and member of the Académie Française. He begins his version of the story by telling us, in detail, the difficulties Beauty’s parents had in conceiving a child. The old fairy arrives at the party, but she is upset by not receiving the same gold cutlery the other fairies received. She therefore delivers her curse. Now Beauty pricks her finger on the spindle to be caste into
The Origins of Sleeping BeautyLanguage Arts Classroom information
her sleep. Perrault turns the vengeful wife into the Prince’s mother who, as Perrault puts it, “is of the Ogre race, a group known for eating the meat of young children.” The story fol-lows as in Basile’s, the children are now Aurora and Jour. The mother is somewhat more of a gourmand and demands that Aurora be prepared with a Sauce Robert. Again the cook spares the children and substitutes goat and lamb. The mother now wishes to eat the once sleeping beauty, who meekly agrees to her fate believing that her children have already perished. The cook once again intervenes and serves up a deer in her place. When the ogress finds out, she is furi-ous and prepares a cauldron of toads, eels, vipers and snakes for all to be disposed into. The Prince, who has been absent at war, arrives in the nick of time to save his young fam-ily. His mother dives into the cauldron and is “immediately devoured by the horrible creatures she had put into it.”
Since Perrault, the Grimm brothers (Jacob & Wilhelm), who were avid fans of fairy tales, published their collection of stories in three volumes, in 1812, 1815 and 1822. They presented The Sleeping Beauty as the less gruesome but more romantic (Little Briar Rose). Here the Prince awakens Sleeping Beauty with a kiss, they are married and live happily
ever after. g
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Fairy Tales Come to LifeLanguage Arts Sequencing Classroom Activity
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Adapted from: http://www.crayola.com/lesson-plans/detail/sleeping-beauty-story-board-lesson-plan/
Bring Sleeping Beauty and other stories to life as young readers track plot and characters with imaginative illustrations.
Activity:
1. Have students read a version of Sleeping Beauty or another fairy tale, either in small groups, individually, or as an entire class. Identify and talk about the main ideas, themes and characters in the story.
2. As a class, or in their small groups, ask students to list several of the most important events, characters and facts from the story. Write this list out on the board, if possible.
3. Explain to students that they are going to be using these key factors of the fairy tale to create a storyboard, which is similar to a comic strip, for this story.
4. Either individually or with a partner, provide students with a sheet of white paper (or a small poster board) and have them divide the paper into 8—10 squares. a. The paper can be divided into these squares by either folding the paper into equal squares or by having the students use their rulers to create even squares on the paper.
5. Inform students that they must come up with the eight (or 10) key events, characters and facts from the fairy tale, from beginning to end. Once this has been done, they will then draw and color in pictures in each square section of their paper to depict these important aspects of the story from beginning to end. a. Remind students to include important details in their drawings, to show that they fully understood the sequence of the story, which characters were involved in each part of the story, and how the story ends. b. Students may also write one sentence directly under each section picture, describing the action and events occur ring in the section.
6. Once completed, have students practice their storytelling skills by having them retell Sleeping Beauty in small groups, using their storyboard as a prop to show important events in the plot.
Adaptation for older students…
7. For older students, take the same fairy tale and have them storyboard the story from another character’s point of view.
8. Additionally, they can design scenery and costumes for the story.
9. Instead of retelling the story, challenge older students to divide the key plot events into “scenes”. Place students into small groups and give each group a different scene to write a script for and then act out. a. All the scenes can be acted out in sequential order, and then hold a discussion with the class focusing on the similarities and differences between the depiction and representation of the main characters, their relationships with one another, and how that affects the portrayal of events in the story and, ultimately, the plot.
A Personal Fairy Tale JourneyLanguage Arts/Creative Writing Classroom Activity
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Adapted from: http://www.eduref.org/cgi-bin/printlessons.cgi/Virtual/Lessons/Language_Arts/Writing/WCP0042.html
In this creative writing activity, students will assume the role of the main character in a fairy tale and use fantasy to change the ending of a familiar tale!
Activity:
1. Begin by reading as a class a familiar fairy tale. After reading the story, ask students to identify the main characters, setting, and sequence the plot. List these elements on the board.
2. Next, take the main character from the fairy tale just read and, as a class, create a character map to identify the key traits of the main character. Write this charac - ter map on the board, as well. a. A character map is a brainstorming tactic that can look similar to a brain storming web. Place the main character’s name in the center of the board or a piece of paper and circle this name. Then, create branches off this circle with words, phrases or sentences that describe this main character.
3. Provide students with copies of a number of short fairy tales. Individually, have them choose one fairy tale to work with, in which they will change the main character to themselves.
4. Have students fill out the Venn diagram (worksheet included in this Enrichment Guide), using themselves and the traditional main character as the two key topics—recognizing the contrasting and similar character traits between them- selves and the main character.
5. Once these character have been explored, paying specific attention to similar and contrasting character traits between them- selves and the main character, have students begin brainstorming how events and the overall plot of the fairy tale they chose may change if they replace the main character with themselves.
6. Have students create a list of at least four elements of their story that could change by inserting themselves into the story as the main character. a. Remind students that they have the option of changing the setting and time period the fairy tale if they so desire.
7. Once this is completed, place students into small groups and have them share their story changes, modifications and ideas with other students. Other students may give them further ideas for changes and new scenarios that could occur in their fairy tale.
8. Have students create a rough draft of their new story. With a partner, allow students to read one another’s story and provide suggestions to each other that can be made as an improvement to the fairy tale. a. Students should them make any changes or corrections necessary to their story.
9. Allow students who wish to do so to read their “new” fairy tale to the class.
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A Personal Fairy Tale JourneyLanguage Arts/Creative Writing Student Worksheet
Directions:Fill in the Venn diagram below, using the main character in your chosen fairy tale and yourself as
the two topics of your diagram. How are you and the main character alike, and how are you different?!
Main character Myself
Bravery BadgesEthics/Social Studies/Art Classroom Activity
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Taken from: http://www.crayola.com/lesson-plans/detail/bravery-badges-lesson-plan/
Don’t hesitate Owain—for in that moment evil puts its foot in the door and enters. Believe in yourself for Briar Rose’s sake. She believes in you. Good luck. –Branwen
Activity:
1. As a class, discuss and define the term hero(ine). On the board, create a graphic organizer web chart of hero characteristics. a. Make a list of heroes from history, everyday heroes, fictional heroes, and heroes from other countries. Your list may include people such as: Anne Frank, Che Guevara, Helen Kenner, Martin Luther King Jr., Mother Teresa, Charles Lindbergh.
2. Place students in small groups and have each group research one of the heroes listed on the board. Each group should write a short biography and draw a portrait of their chosen hero(ine).
3. Ask groups to share their hero(ine) research with the class. Afterwards, compare what the groups learned about each of these heroes to the previously created web of hero characteristics. Add characteristics as needed.
4. Hold a class discussion based on times when students saw or participated in acts of bravery.
a. What does it mean to be brave? What are the different ways we can show bravery? What is courage and how does courage and bravery relate to one another? b. Add any new characteristics of courage and bravery mentioned to the web organizer on the board.
5. Ask students to think about different symbols that represent courage or bravery, and how these symbols represent any of the characteristics of bravery listed on the board. a. Examples of symbols of bravery include: a Purple Heart, an American Eagle, the Scouts Cross, eagle talons, St. George and the St. George Cross, a lion.
6. Provide each student with a blank index card (or a 4x6 piece of card stock). Inform them that they are going to create their own unique badge of bravery and courage, using the characteristics of bravery listed on the board to assist them in their badge creation. Along with the badge, they must write a definition of bravery and how their badge represents acts or courage and bravery.
7. Display these badges throughout the classroom to remind students of the honor and nobility that go along with making brave and courageous decisions in our daily life, even when it can be challenging.
Spinning Wheel SpecificsHistorical Classroom Information
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Truly as the sun and moon pass each day across the sky, before you are sixteen you shall prick your finger on a spinning wheel—and die. – Modron
History of the Spinning WheelTaken directly from: http://www.geocities.com/ryn910/drspin.html
In the very beginning, prehistorically, spinning was done without tools. The thread was drawn out of a bundle of fibers and twisted between the palm of the hand and thigh of the leg. The length of the spun or twisted fibers was wound onto a short, straight stick. The process was then repeated. The hand spindle developed from the short straight stick.
Over time the stick was notched to hold the thread and a weight was added to give momentum to the stick as it whirled. The weight, known as a “whorl”, was made of clay, a round piece of wood, or a flat rock. Thus was born the hand spindle or drop spindle. Much later the wheel was added to the spindle to keep it spinning. It was found that the larger the wheel, the faster the spindle would turn. The size of the drive wheel grew to six feet and larger. This type of wheel became known as the “Great Wheel” or as the “Walking Wheel.”
Even later the foot peddle or “treadle” was added to the wheel. This allowed the spinner to sit instead of walking back and forth to wind the spun woolen fiber onto the spindle. With a treadle on the wheel one could also keep the wheel going without using ones hands. With ones hands freed one can spin more smoothly.
Until the mid 19th century, most households kept two wheels: a great wheel for the household woolens and a smaller treadle type for the linens. This was so one would not get the natural grease of the wool on the flax making it more difficult to spin.
How the Spinning Wheel WorksTaken directly from: http://www.joyofhandspinning.com/wheel-drives.shtml
The spindle and the drive wheel are rotated by a drive band. The spindle whorl is either on the flyer or attached to the spindle. It has two to three different pulley sizes which controls the speed of the flyer. The flyer has a row of hooks on one or both sides of the U-shaped arms to guide the yarn onto the bobbin evenly. On double drive wheels, the bobbin is rotated by its own pulley. On single drive wheels the bobbin has a separate brake to control its speed. The fiber is twisted as the flyer rotates and the spinner holds the yarn. One revolution of the flyer puts one twist into the yarn. The longer the yarn is held before letting it wind onto the bobbin, the more twist it will receive.
Taken directly from: http://www.joyofhandspinning.com/wheel-parts.shtml
These are the common parts found on a traditional spinning wheel. The arrangement of these parts may vary from wheel to wheel.
A. Fly wheel - The wheel that rotates when treadling and causes the other various parts to operate.
B. Drive Band - A cord that goes around the fly wheel and the flyer whorl.
c. Flyer - A U-shaped piece of wood with hooks lined up on one or both arms. The hooks are used to store the yarn evenly on the bobbin. The flyer is rotated by the drive band which as a result puts the twist into the fiber.
D. Flyer whorl - A pulley attached to the flyer and operated by the drive band. The different sized grooves on the flyer whorl determine how fast the wheel will spin.
E. Maidens - The upright posts that hold the flyer and the bobbin.
F. Mother-of-All - The bar that mounts the maidens, flyer, bobbin, and tension knob.
G. Tension Knob - Used to adjust the tension of the drive band by lowering or raising the mother-of-all.
h. Bobbin - Rotates on the spindle along with the flyer and stores the yarn. It can operate with or independent of the drive band.
I. Treadle - The pedal(s) that operates the wheel by using your feet.
J. Footman - The bar the connects the treadle to the fly wheel and causes it to turn.
K. orifice - The opening at the end of the spindle where the yarn goes through to connect to the hooks of the flyer.
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Parts of a Spinning Wheel
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Different Styles of Spinning Wheels
Taken directly from: http://www.joyofhandspinning.com/wheel-styles.shtml
There are several brands of spinning wheels on the market today. Although they have different names, they basically follow the traditional styles of spinning wheels from the past. The Saxony wheel is the most popular style of wheel for beginners, while
the Great Wheel is generating new interest from advanced handspinners. The upright wheel, known as the castle wheel is a popular choice for spinners who want to be able to transport their wheels.
Great wheelThe most commonly known version of the spindle wheel is the Great Wheel. The spindle wheel played a very important role in the development of spinning for several years. It was designed specifically as a device to rotate the spindle, which had been previously been done by hand. Spindle wheels were used to spin fine fibers, like cotton and silk, into thin thread and yarn.
Saxony wheelsWhen most people think of spinning wheels, the saxony style is the most familiar. It is often referred to as the “Cinderella” wheel. The elements of a saxony wheel are arranged horizontally, with a large wheel at one end and the flyer at the other, and normally have three legs.
castle wheelsThe component parts of a castle wheel are stacked vertically with the flyer being positioned above the wheel.
Norwegian wheelsThe norwegian wheel looks similar to the saxony wheel. It usually has a large wheel and four legs, and a horizontal bench.
Modern wheelsThe modern wheels take advantage of technology for enhancing performance and have a more advant-garde appearance.
The charkha wheelThe Charkha wheel gained popularity in India, by Mahatma Gandhi, because of its practical use for spinning cotton, and its portrayal of economic independence. It is still being used in parts of India today.
The box style is one variation of the Charkha wheel. It is small, very compact, and it folds up into a box that can be easily transported. The method used for spinning on a Charkha wheel is similar to spinning on the Great Wheel. The spinner sits on the ground and rotates the wheel with one hand while drafting the fiber with the other hand. The Charkha wheel is ideal for spinning very fine fibers like cot-ton, silk, angora, and cashmere.
Norwegian Wheel
How to Make a Drop SpindleSocial Studies/Art Classroom Activity
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Taken directly from: http://www.joyofhandspinning.com/make-dropspin.shtml
For centuries, the hand spindle played a role in producing thread and yarn. It is still a tool used in parts of the world today. The form and function of the spindle is basically the same everywhere. It has a very simple design consisting
of a shaft and a weight. The materials used to make the spindle in the past consisted of whatever was readily available at the time. The majority of the spindles available, today, have wooden shafts with a wooden disc as the whorl (weight).
If you would like to learn how to spin, but buying a wheel just isn’t in your budget, then here’s an easy and economical way to make you own drop spindle!
MaterialsWooden car wheelDowel rod5/64” drill bit¼” cup hookYarn
1. Go to a craft shop that sells wooden products and buy a wooden car wheel about 2-3 inches in diameter, this will be the whorl part of the spindle. a. The wheel has already been drilled with a hole in the exact center, which will keep the spindle from wobbling when it spins.
2. Next, find a dowel rod that will fit snugly in the center hole of the wheel. This will be the shaft of your spindle. a. The dowel rods are 3 feet long when you purchase them. Cut the shaft at 9 or 12 inches, so 3 or 4 spindles can be made with one dowel rod.
3. After the dowel rod is cut, push it into the center hole of your whorl (wheel) allowing about 1 to 1 1/2 inch to stick out the bottom. a. This is know as a low-whorl or bottom-whorl spindle.
4. Now, drill a small hole in the center of the shaft, in the end at the top (a 5/64” drill bit is recommended).
5. Purchase a 1/4” cup hook and screw it into the top of the shaft. This acts as a “catch” for the yarn so that it doesn’t slip off the end while you are spinning. a. If possibly, sharpen the bottom end of the shaft to a dull point with a pencil sharpener so the spindle can spin on a table top or in a small bowl like a top, if extra support is needed.
6. Now, add the “leader” yarn, to start your fiber on the spindle. a. Use some home spun or store bought yarn around 12 to 14 inches in length. Tie this tightly to the shaft right above the whorl.
7. Next take the leader yarn over the side of the whorl, looped over the bottom inch that is sticking out, (this helps stabilize the yarn and balances the spin of the whorl) then back up over the side of the whorl and loop it onto the hook. a. Leave a couple of inches of yarn to start your fiber on.
8. Now you have an inexpensive tool to start learning to spin. Once you have mastered spinning on the spindle, learning to spin on the wheel will become much easier.
Tylweth Tegs The Mystical CreaturesLanguage Arts Student Information
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Taken directly from: http://www.geocities.com/Athens/Forum/4611/fairyT.html
Fairies, aye, difficult creatures too—what call themselves the ‘Tylwyth Tegs’—no taller than your hand, no wider than your smile. – Gryff
Land of Origin- Wales.
Element- Earth.
Appearance and Temperament- Tylweth Tegs are small anthropomorphic fairies of all ages and genders. They are trooping fair-ies and appear to be friendly towards humans, though they seem to want little to do with us.
Time Most Active - All year.
Lore- The term Tylweth Teg is sometimes used as a generic name for all the fairies in Wales, but this is an improper use of the label. The name roughly translates as “fair family,” and they live in family structures not unlike our own were several thousand years ago. The principal difference would be that the female Tylweth Tegs are equal to males in both stature and in their society. They live in clan groups, which are determined by the eldest female member of the family, and the eldest male is the primary defender of the clan and its namesake, much like the ancient Celts of Wales.
The Tegs’ children mature at age one hundred and go off to live in small groups with other young people until they pick mates. Tylweth Tegs have intermarried with other Welsh fairies, and their offspring are known as the Bendith and Mauman, the native elves of Wales.
The Tegs live off the Welsh coast on fairy islands which are connected to the mainland by deep tunnels. They, or a patron Goddess, protect their islands with fog and storms. They are harmless unless you attempt to invade their islands, in which case they will try to defend themselves. These fairies love to garden, and their islands are said to be a paradise of flowers and foliage. Night Raids to the mainland are common occurrences and have been observed by travelers. On the main-land they have burghs which they stay in, rather like fairy hotels, until they are ready to return to their islands. One of the reasons given for their Raids to the mainland is that they come in search of food and fresh water. At one time the Tylweth Tegs were accused of stealing children, especially the fair-haired, fair-skinned ones, but this does not seem to be some-thing that interests them anymore.
Welsh folklore says their chief ruler is Gwyn ap Naud, an ancient British God of the Dead.
Where to Find Them- At the Welsh seashore.
How to Contact - Evoke them to a circle on the beach. Use food and fresh water as an inducement and a sign of friendship.
Magical and Ritual Help - Undetermined, but they may be useful in weather spells and in protection rituals.
Fairies TodayLanguage Arts/Art History Classroom Activity
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Taken directly from: http://www.artic.edu/aic/education/mural_project/pages/M_LP_armstrong.html#
Activity:
1. Show students Marion Mahony Griffin’s painting, Fairies and Woodland Scenes, c. 1932. (http://www.artic.edu/aic/education/mural_project/pages/M_armstrong.html) Ask students: What do you see? What is happening in this painting? What do you think may be about to happen in this picture?
2. Ask students to write out a list of words that come to mind when viewing the painting. Have students share these words with the class.
3. Discuss Marion Mahony Griffin’s beliefs about the nature of fairies and their function in everyday life: a. Fairies and Woodland Scenes is an expression of the artist’s belief in the existence of fairies in everyday life. In her unpublished autobiography Magic in America, Griffin wrote that fairies existed as helpers to humans and that teaching children to believe in fairies would expand their creativity and imagination. On the left side of the mural, a group of fairies feeds a nest of young herons. On the right, another set of fairies assists the male heron in securing food for his young.
4. As a class, in small groups, with a partner, or individually have students read other tales that include fairies as main characters, such as Peter Pan, Cinderella, Sleeping Beauty, A Midsummer Night’s Dream. a. Ask students to answer the following questions after reading these other tales: How do fairies help the main characters in the story? How are they different from, or similar to the fairies in Marion Mahony Griffin’s painting? b. Develop a Venn diagram comparing and contrasting the fairies in the chosen stories and those illustrated by Griffin.
5. Brainstorm with students what other functions fairies could have in today’s world. How could fairies help us today in our daily chores, or through challenging situations?
6. Have students create their own fairy. a. Encourage students to think about what their fairy would look like, their fairy’s name, and what special skills these fairies have.
7. Have students create a dictionary definition for their fairy. a. The definition should include a pronunciation guide, part of speech, definition, and a brief paragraph summarizing one of the fairy’s adventures. b. Students may refine and develop their entries through peer editing and critique.
8. Next, have students create a detailed drawing of their fairy.
9. Once the fairy definitions and drawing are completed, collect these and create a “Class Fairy Dictionary.”
Marion Mahony Griffin, Fairies and Woodland Scenes, c. 1932 | Photograph by James Prinz Photography for Mary Gray
The Magic of Nature all Round usScience Classroom Activity
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Sometimes I climb up to a room at the top of the third tower, the tallest tower, and look out over the trees. It’s like looking over the sea. And I try to force my imagination down, down to the forest floor
but I can’t. There are some things you can’t imagine. You have to see them for yourself, and not seeing them is like being half alive. –Briar Rose
There are beauties of magic and wonder in nature continually surrounding us. however, sometimes we need to look closer to discover all enchantment around us, every day. Spring is a particularly magical time in nature, when new life arises and becomes part of our existing landscape.
Activity:
1. Ask students to make a list off the top of their heads of all the sights, sounds, smells and feelings they can recall from nature. Remind them that there are no right or wrong answers, they are simply brainstorming and trying to spark ideas and memories. a. Inspire them to think about the different seasons, and what they may have noticed about their environment the last time they were playing or doing an activity outside.
2. Allow students a few minutes to create their lists and then ask students to share some of these sights, sounds, smells and feelings with the class. Write this list on the board.
3. Once this class list has been generated, provide students with the definition of biotic and abiotic items. Have students then classify the items listed on the board as either biotic or abiotic. a. Biotic-- Of or having to do with life or living organisms. Produced or caused by living organisms. b. Abiotic-- Nonliving: The abiotic factors of the environment include light, temperature, and atmospheric gases.
4. Pass out the worksheet to students (enclosed in this Enrichment Guide) and bring students outside to a grassy or woodsy area close to the school, along with their worksheet and a pencil.
5. Inform students that it is their task to fill out the worksheet, making sure they find at least 10 items for each sensory category. Encourage students to observe their surroundings carefully and thoroughly, as wonders and magic are sometimes hidden and not found directly out in the open! a. Allow 15-30 minutes for these outside observations.
6. Once students are back in the classroom, have them get into small groups and share their observations. Are there similarities or differences in each person’s nature sensory lists?
7. Next, in their groups, have students identify the product of each sight, sound, smell or feeling as biotic or abiotic.
8. As a class, ask groups to share their similar observations, as well as those more unique and ask them to classify the observation as biotic or abiotic. Write this list on the board.
Lesson Extension and creative writing Extension:
9. Have student look at the list written on the board of all the unique nature observations made by the class. Inform students that before science and research was able to help people identify and understand unknown elements of nature, people used to make up stories of magic and enchantment to explain these creatures and phenomena.
10. Allow students to choose one unique observation from the list and create a fantasy tale explaining that element or occurrence in nature.
11. Ask student to share their stories with the class.
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Taken directly from: http://sciencespot.net/Media/ncsenses.pdf
The Magic of Nature all Round usScience Classroom Student Worksheet
A Natural Color GardenScience/Art Classroom Activity
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Taken from: http://www.proteacher.com/cgi-bin/outsidesite.cgi?id=462&external=http://www.eduplace.com/rdg/gen_act/color/garden.html&original=http://www.proteacher.
com/110013.shtml&title=Color%20Garden
And the friendship between Prince and Princess took root behind the high walls of the castle garden, and grew tall and flowered in the long sunny, summer days. – Branwen
Materials
Construction paper of various colorsScraps of fabric in solid colors (optional)Books and pictures of flowers
Activity:
1. Ask students to name as many different flowers as they know. Ask them to identify what colors those flowers can be. On the board, record the names of the flowers and the colors they can be. a. Point out that flowers can come in many different colors. A rose, for example, can be red, pink or white.
2. Inform students that the class is going to make a paper flower garden on the wall (or bulletin board) of the classroom. The goal will be to include as many different colors of flowers as they can. a. Explain that the flowers they make must be a color that the real flower can be (a red rose, a blue morning-glory, a white daisy, an orange tiger lily, a purple pansy, a yellow marigold), and some flowers are more than one color (many marigolds are both yellow and orange, and some tulips are both yellow and red).
3. Distribute books and magazines with pictures of flowers in them, and have students search through the publications to find different colored flowers. If available, students may also research flowers on the internet. Ask students to find at least one new flower that hasn’t been listed on the board already. a. Add these new flowers and their colors to the list on the board.
4. Have students each chose one flower to make. If possible, have each student chose a different flower so many flowers will be rep resented in the garden. Ask students to research their flower so they are familiar with how it looks, the colors it is made up of, and to find one interesting fact about their flower (for example, the wood violet is the Wisconsin state flower).
5. Next, ask students to create their flower, using classroom resources of construction paper, markers and crayons, fabric scraps, etc.
6. Once the flowers are completed, have students create a label for their flower, including the flower’s name, the variety of colors their flower can be found in, and the interesting fact about their flower.
7. Place these flowers, along with their labels, in the designated “classroom garden” area and enjoy a blooming garden all year round!
From Seed to PlantScience Classroom Activity
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Taken from: http://www.proteacher.com/cgi-bin/outsidesite.cgi?id=1534&external=http://www.eduref.org/cgi-bin/printlessons.cgi/Virtual/Lessons/Science/Agriculture/AGR0010.
html&original=http://www.proteacher.com/110013.shtml&title=From%20Seed%20to%20Plant
Materials
Lima beansA few clear glasses filled with waterOther seeds—sunflower, watermelon, marigold, popcorn, acorn, riceHand lensLunch boxPeanut (still in the shell)
Activity:
1. Begin by asking students what they wear to keep them warm in the cold weather. a. Such as coats, hats and gloves.
2. Inform students that seeds from flowering plants have seed coats to protect them. a. Show students a closed lunchbox and a peanut still in its shell. Ask students what these two things have in common. Explain that the shell of the peanut is the box and the inside is the lunch!
3. Bring lima beans and other assorted seeds (such as a watermelon seed, sunflower seeds, a marigold seed, popcorn kernel, etc.) to class and pass a few of these seeds around for students to closely look at and touch.
4. The night before, take a few lima beans and soak them in water overnight so they are ready to go the day of the lesson.
5. Split the class into small groups and provide each group with a soaked lima bean. Take the soaking lima beans out of the water and have students examine the outside of the seed with a hand lens.
6. Ask small groups to try to peel off the seed covering and then split the seed in halves.
7. Have students draw the lima bean and write in the names of the parts of the seed, making sure to note the seed coat, root, leaves, food storage and embryo.
Art Activity Lesson Extension
8. Show students pictures of plants that grow from seeds and, if possible, display for them the seed that the plant originally grows from.
9. Ask students to choose one flowering plant to draw a picture of. On a blank sheet of paper, have student draw out their flowering plant with pencil only.
10. Next, provide students with a number of different seeds. Have students fill in their plant picture by gluing seeds on their picture to create a Flowering Plant seed collage.
Adapted from: http://www.syvum.com/math/wordproblems/level1.html
Use your skills in addition, subtraction and multiplication to answer the following questions.
1. Prince Owain and Gryff meet up with the King Spider on their journey to save Briar Rose. If the Spider King is perched on his web, along with two other smaller spiders, how many spider legs are standing on the web?
________________________________________________________________________________
2. Tylweth Tegs are fairies that live with their large families in the forest. If the forest contains two families of Tylweth Tegs, each comprised of 52 fairies, and all the fairies in both families are dancing except for 15 fairies, how many fairies are dancing?
________________________________________________________________________________
3. Prince Owain spends 99 years, 51 days, 23 hours and 59 minutes in the forest with both the Tylweth Tegs and the Spider King. He is only given 100 years to find Briar Rose and free her from the spell. How much time does Prince Owain have left to save Briar Rose?
________________________________________________________________________________
4. During the summer days Prince Owain and Briar Rose spend together in her garden, they play a special board game. This board game contains 40 coins total. There are 11 blue coins and three white coins. How many coins are there of other colors?
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5. Briar Rose plays hide-and-seek in her garden almost every day! If Briar Rose plays hide-and-seek with Gryff for 10 minutes before breakfast and 17 minutes after dinner for four days in a row, how many minutes total does Briar Rose play hide-and-seek?
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6. The castle has two dining halls. Each dining hall has six tables. If the King and Queen throw a dinner party at the castle and place four guests at each table, how many guests are at the dinner party?
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7. Briar Rose has a garden filled with many flowers. She has 12 roses in her garden. However, she has eight times as many tulips as roses in her garden. How many tulips are in Briar Rose’s garden?
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Adventures With NumbersMath Student Worksheet
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1. “This isn’t talking, it’s bickering.”
2. “I’ll just close my eyes. Gather my powers.”
3. “Come-we should return to the castle. The forest is full of strange creatures.”
4. “We’re not permitted to change each other’s spells. You broke the law.”
5. “Please do not reject me- my blessing will be a generous one.”
6. “But Peredur, the people of your kingdom rely on their spindles to make clothes.”
7. “I want to be a real DRAGON that can breathe real fire and fly around the world in four and a half minutes.”
8. “She really ids too old for that kind of nonsense. What she needs is a real friend. Someone to talk to, share things, someone who’ll understand.”
9. “Because in her heart she knows who he is, and what he may do-one day.
10. “You must be good at something. Everyone’s good at something.”
11. “ He’s very good at being rude.”
12. “Hold your sword like this. Trust me, I’ve had loads of lessons. The secret is, don’t watch the other person’s sword, watch their eyes.”
13. “Come on let’s go kissing in the moat. I meant fishing-fishing.”
14. “I gave him his chance to save Briar Rose. He didn’t take it. I won’t give him a second.”
15. “I hate kissing.”
16. “We’re always vile when we’re scared.”
17. “This one’s got a face like a cow pat.”
18. “You’re a dragon. Dragons aren’t afraid of spiders.”
19. “ I have eyes and spies in every corner of every cottage and castle in the kingdom. The tiniest vibration of a web is to me, a message. Therein lies my power.”
20. “You’ve grown strong Owain. Very strong.”
21. “Well kiss her you stupid lumpkin. Kiss her. Time is running out.”
22. “I’m so scared, but happy.”
Who Said It
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1. Before you came to see Sleeping Beauty at First Stage Children’s Theater, did you see a Sleeping Beauty movie? How was the movie different from the play?
2. When Owain meets Tylweth Teg, they tell him, “A man’s heart is his mightiest weapon.” What do you think that means?
3. Even though Prince Owain is scared to save the Princess, he finds the courage within himself to help her. What does cour age mean? What kinds of courageous acts does the prince do? When have you needed to be courageous?
4. Prince Owain’s father says that he is useless, but he ends up saving Briar Rose at the end of the play. How does he demon strate his different skills throughout the play?
Post Show Questions
Adapted from: http://www.syvum.com/math/wordproblems/level1.html
Use your skills in addition, subtraction and multiplication to answer the following questions.
1. Prince Owain and Gryff meet up with the King Spider on their journey to save Briar Rose. If the Spider King is perched on his web, along with two other smaller spiders, how many spider legs are standing on the web? a. Answer: 24 spider legs are on the web
2. Tylweth Tegs are fairies that live with their large families in the forest. If the forest contains two families of Tylweth Tegs, each comprised of 52 fairies, and all the fairies in both families are dancing except for 15 fairies, how many fairies are dancing? a. Answer: 89 fairies are dancing
3. Prince Owain spends 99 years, 51 days, 23 hours and 59 minutes in the forest with both the Tylweth Tegs and the Spider King. He is only given 100 years to find Briar Rose and free her from the spell. How much time does Prince Owain have left to save Briar Rose? a. Answer: Prince owain has 15 seconds left to save Briar rose
4. During the summer days Prince Owain and Briar Rose spend together in her garden, they play a special board game. This board game contains 40 coins total. There are 11 blue coins and three white coins. How many coins are there of other colors? a. Answer: There are 26 coins of other colors
5. Briar Rose plays hide-and-seek in her garden almost every day! If Briar Rose plays hide-and-seek with Gryff for 10 minutes before breakfast and 17 minutes after dinner for four days in a row, how many minutes total does Briar Rose play hide-and-seek? a. Answer: Briar rose plays hide-and-seek for 108 minutes
6. The castle has two dining halls. Each dining hall has six tables. If the King and Queen throw a dinner party at the castle and place four guests at each table, how many guests are at the dinner party? a. Answer: 48 guests are at the dinner party
7. Briar Rose has a garden filled with many flowers. She has 12 roses in her garden. However, she has eighty times as many tulips as roses in her garden. How many tulips are in Briar Rose’s garden? a. Answer: 96 tulips
Adventures With NumbersMath Student Worksheet
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Who Said It Answers
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1. “This isn’t talking, it’s bickering.” (GUINEVErE)
2. “I’ll just close my eyes. Gather my powers.” (BrANwEN)
3. “Come-we should return to the castle. The forest is full of strange creatures.” (PErEDUr)
4. “We’re not permitted to change each other’s spells. You broke the law.” (MoDroN)
5. “Please do not reject me- my blessing will be a generous one.” (MoDroN)
6. “But Peredur, the people of your kingdom rely on their spindles to make clothes.” (BIShoP)
7. “I want to be a real DRAGON that can breathe real fire and fly around the world in four and a half minutes.” (GrYFF)
8. “She really ids too old for that kind of nonsense. What she needs is a real friend. Someone to talk to, share things, someone who’ll understand.” (PErEDUr)
9. “Because in her heart she knows who he is, and what he may do-one day. (BrANwEN)
10. “You must be good at something. Everyone’s good at something.” (BrIAr roSE)
11. “ He’s very good at being rude.” (GrYFF)
12. “Hold your sword like this. Trust me, I’ve had loads of lessons. The secret is, don’t watch the other person’s sword, watch their eyes.” (BrIAr roSE)
13. “Come on let’s go kissing in the moat. I meant fishing-fishing.” (BrIAr roSE)
14. “I gave him his chance to save Briar Rose. He didn’t take it. I won’t give him a second.” (MoDroN)
15. “I hate kissing.” (owAIN)
16. “We’re always vile when we’re scared.” (TYLwETh TEG 1)
17. “This one’s got a face like a cow pat.” (TYLwETh TEG 2)
18. “You’re a dragon. Dragons aren’t afraid of spiders.” (owAIN)
19. “ I have eyes and spies in every corner of every cottage and castle in the kingdom. The tiniest vibration of a web is to me, a message. Therein lies my power.” (SPIDEr KING)
20. “You’ve grown strong Owain. Very strong.” (MoDroN)
21. “Well kiss her you stupid lumpkin. Kiss her. Time is running out.” (GrYFF)
22. “I’m so scared, but happy.” (BrIAr roSE)
How Clever Are You? Answers Where do fish keep their money?
A: In a river band, or course
What do you get when you cross an automobile with a household animal?
A: A carpet
What three numbers have the same answer when added together and multiplied together? A: 1, 2, 3
What force and strength can not get through,
I with a gentle touch can do,
and many in the streets would stand,
were I not as a friend in hand.
A: A key
I have many eyes but cannot see.
I have no mouth or nose, but always smell.
Do not eat my tree or you will be,
a very rare FATALITY!
A: A potato
I have a little house in which I live all alone. My house has no doors or windows, and if I want to go out I must break through
the wall. What am I?
A: A chicken in an egg
What is is that you will break every time you name it?
A: Silence
I am the beginning of sorrow, and the end of sickness. You cannot express happiness without me, yet I am in the midst of crosses.
I am always in risk, yet never in danger. You may find me in the sun, but I am never seen out of darkness.
A: The letter S
What’s full of holes but still holds water?
A: A sponge
What has four fingers and one thumb, but is not alive?
A: A glove
Name three keys that unlock no doors.
A: Monkey, donkey turkey
What happens twice in a week, and once in a year, but never in a day?
A: The appearance of the letter E
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