A Note from the Education

Department

Dear Educator,

Welcome to the Center for Puppetry Arts and our production of Anne Frank: Within & Without, written and directed by Bobby Box. Founded in 1978, the Center is a cherished cultural and educational resource in Atlanta. We value your patronage and are delighted that you have chosen us as a teaching resource. Your students are in for a unique learning experience.

This study guide was designed to enhance student learning before and after your visit to the Center for Puppetry Arts. Inspired by Anne Frank’s indomitable spirit, Anne Frank: Within & Without is a celebratory piece that is not just about death, war or “that poor little girl,” but rather a meditation on hope and all that is good in humankind.

All three areas of programming at the Center for Puppetry Arts (performance, puppet-making workshops and Museum) meet Georgia Quality Core Curriculum Standards (GA QCCS) and Georgia Performance Standards (GPS) where applicable. To access the GA Performance/QCC Standards that have been correlated to each programming area according to grade level, click the links below:

To access a complete list of GA Performance/ QCC Standards for all grades and subjects, please visit www.glc.k12.ga.us.

Thank you for choosing the Center for Puppetry Arts for your study trip. We hope that your students’ experience here will live on in their memories for many years to come.

Sincerely,

Alan LouisDirector of Museum and Education Programs

Anne Frank: Within & Without, Grade 6

Anne Frank: Within & Without, Grade 7

Anne Frank: Within & Without, Grade 8

Anne Frank: Within & Without, Grade 9-12

Show presented in cooperation with:

Center for Puppetry Arts Study Guide

2007-08 New Directions Series sponsored by:

Additional support provided by:

Puppets: The Power of Wonder Exhibit sponsored by:

Season sponsored by:

Education programs supported in part by:

Atlanta Foundation • Georgia Health Foundation • Georgia Power Foundation, Inc.Herman Miller Foundation • The Imlay Foundation, Inc. • Kraft Foods

Pittulloch Foundation • The Rich Foundation, Inc. • Travelers Foundation

The original production of Anne Frank: Within & Without

made possible in part by grants from the Jim Henson

Foundation and The Rich Foundation, Inc.

and the Anne Frank in the World: 1929-1945 exhibit, under the auspices

of the Anne Frank Center USA. Photos and text courtesy of the Anne Frank

Center, USA - New York; the Anne Frank House - Amsterdam; and the Anne Frank - Fonds, Basel.

January 22 - February 17, 2008

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Anne Frank:Within & Without

By Bobby Box of the Center

Bibliography • Adler, David A. The Number on My Grandfather’s Arm. UAHC Press, 1987. • Arbiser, Pola. Give Me the Children: How a Christian Woman Saved a Jewish Family During the Holocaust. Friesens 2002. * • Bitton-Jackson, Livia. I Have Lived a Thousand Years: Growing up in the Holocaust (Paperback). Simon Pulse 1999. • Boas, Jacob. We Are Witnesses: Five Diaries of Teenagers Who Died in the Holocaust (Paperback). Scholastic Paperbacks 1996. • Brown, Gene. Anne Frank: Child of the Holocaust (Hudson Valley Heritage Series) (Hardcover). Rosen Publishing Group 1991. • Feldman, Ellen. The Boy Who Loved Anne Frank: A Novel. W.W. Norton & Co., 2005. • Frank, Anne, et al. The Diary of Anne Frank: The Revised Critical Edition (Hardcover). Doubleday, 2003. • Gies, Miep with Alison Leslie Gold. Anne Frank Remembered: The Story of the Woman Who Helped to Hide the Frank Family.

Transworld Publishers Ltd. 1988. • Goodfriend, Cantor Issac. By Fate or By Faith. The Saga of a Survivor. Longstreet Press 2001. * • Gross, Alex. Yankele. A Holocaust Survivors Bittersweet Memoir. The University Press of America 2001. * • Hurwitz, Johanna. Anne Frank: Life in Hiding (Paperback). Harper Trophy, 1999. • Korn, Abram. Abe’s Story. Longstreet Press 1995. * • Lee, Carol Ann. Roses from the Earth: The Biography of Anne Frank (Paperback). Penguin Books, 2000. • Lewyn, Bert and Bev Saltzman. On the Run in Nazi Berlin. Xlivris Corporation 2001. * • Lindwer, Willy. The Last Seven Months of Anne Frank. Anchor (reprint edition) 1992. • Lipstadt, Deborah E. Denying the Holocaust: The Growing Assault on Truth and Memory (Paperback). Plume, 1994. * • Meltzer, Milton Rescue: The Story of How Gentiles Saved Jews in the Holocaust. Perfection Learning Prebound, 1991. • Metselaar, Menno, et al. Inside Anne Frank’s House: An Illustrated Journey through Anne’s World (Hardcover). Overlook

Hardcover 2004. • Perl, Lia and Marion Blumenthal Lazan. Four Perfect Pebbles: A Holocaust Story (Paperback). Harper Trophy 1999. • Polak, Sir Jaap. Steal a Pencil for Me. Lion Book Publisher 2000. • Rosenberg, Maxine B. Hiding to Survive: Stories of Jewish Children Rescued from the Holocaust. Clarion Books, 1998. • Schoenfeld, Dr. Eugen. My Reconstructed Life. The Kennesaw State University Press 2005. * • Verhoeven, Rian, et al. Anne Frank: Beyond the Diary — A Photographic Remembrance (Paperback). Puffin, 1995. • Wygoda, Mark (Editor). In the Shadow of the Swastika. University of Illinois Press. Urbana and Chicago 1998. * * Books by Georgia authors

Special thanks to The Breman for providing educational consulting and resources.

Online Resourceshttp://holocaust.georgia.gov/02/gch/home/0,2454,24114746,00.htmlVisit the Georgia Commission on the Holocaust online. The work of the Georgia Commission on the Holocaust is to take lessons from the history of the Holocaust and use them to help lead new generations of Georgians beyond racism and bigotry.http://holocaust.georgia.gov/00/article/0,2086,24114746_24128649_24185778,00.htmlEnter the Georgia Commission on the Holocaust’s Art and Writing Contest 2006 for middle and high school students. The contest, sponsored by Ford Motor Company, encourages students to learn the lessons of the Holocaust, as well as the nature and repercussions of unchecked hate and prejudice taken to their ultimate extremes.http://www.thebreman.org/Visit the Breman, Atlanta’s Jewish Heritage and Holocaust Museum, teaching tolerance and personal responsibility. Located across the street from the Center for Puppetry Arts in Midtown.http://www.annefrank.com/Visit the Anne Frank Center, USA online.http://www.ushmm.org/Visit the home page of the United States Holocaust Memorial Museum in Washington, DC.http://www.echoesandreflections.org/Purchase “Echoes and Reflections” a multimedia curriculum on the Holocaust. One package contains all the materials an educator needs to teach the complex issues of the Holocaust.http://www.pbs.org/auschwitz/ Visit the Web site for the PBS series Auschwitz: Inside the Nazi State. Airing during the 60th anniversary year of the death camp’s liberation, this series is a chronological portrait of history’s largest mechanized mass murder site, focusing on the people involved and the evolution of their goals and decisions. Wednesdays, beginning January 19, 2006, 9-11 PM.http://en.wikipedia.org/wiki/Anne_FrankRead about the life of Anne Frank online at Wikipedia: The Free Encyclopedia.http://www.holocaust-trc.org/lesson.htmPurchase holocaust lesson plans and curricula for the classroom.http://www.tolerance.org/index.jspVisit Tolerance.org, a Web project of the Southern Poverty Law Center. 2

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The Life of Anne FrankAnne Frank was born Annelies Marie Frank on June 12, 1929. She was a German-Jewish teenager who was forced into hiding during the Holocaust. She and her family, along with four others, spent 25 months during World War II in an annex of rooms above her father’s office in Amsterdam, the Netherlands. After being betrayed to the Nazis, Anne, her family, and the others living with them were arrested and deported to Nazi concentration camps. In March of 1945, nine months after she was arrested, Anne Frank died of typhus at Bergen-Belsen near Hanover in northwest Germany. She was fifteen years old.

Her diary, saved during the war by one of the family’s helpers, Miep Gies, was first published in 1947. Today, her diary has been translated into 67 languages and is one of the most widely read books in the world.

Synopsis“I do not think of all the misery, but of the glory that remains. Go outside into the fields, nature and the sun, go out and seek happiness in yourself and in God. Think of the beauty that again and again discharges itself within and without and be happy.” - Anne Frank

In Anne Frank: Within & Without, Bobby Box, Associate Producer at the Center for Puppetry Arts, offers a new and fresh perspective on the true story of the young girl who, along with her family and others, hid from the Nazi army in a secret apartment in Amsterdam during World War II. Following a brief prologue, the show begins with Anne’s birth in Frankfurt and follows her normal childhood set against the backdrop of the gathering storm clouds that became Nazi Germany. Anne and her family flee to Amsterdam, where they believe that they will be safe. But in a short time, Germany invades Holland, trapping the Frank family in an occupied country where they must hide from the authorities because they are Jews. Otto Frank, along with the help of his friends, transforms a part of a warehouse that he owns into a small apartment where his family, another family, and a Jewish dentist spend the next two years. Eventually they are discovered by the Gestapo, arrested, and sent to various concentration camps where each person finds their destiny. Following the Liberation, Otto Frank returns to Amsterdam and is given the diary that Anne kept during their years in hiding, and he publishes it as a testament to the strength of the human spirit.

Style of PuppetryAnne Frank: Within & Without is performed with a variety of puppetry styles. Principle characters appear as doll-like puppets in 12-inch and 24-inch versions performed on a table top stage. In contrast to other styles of puppetry, here there is no attempt to hide the puppeteers as they manipulate the objects in front of them. The puppeteers in this show wear period costumes and remain in full view of the audience throughout the show. The show also features puppets fashioned after traditional Sicilian Rod Marionettes from Italy. These characters are puppets on strings but with a metal rod that serves as a direct control to the puppet’s head. You will also see hand puppets – puppets worn on a puppeteer’s hand like a glove and rod puppets – puppets supported by poles, or rods. Slide projections and live music performed by Chip Epsten help to create the mood of the performance.

Musician and puppeteers performing a scene with the doll house

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Frequently Asked Questions About the Holocaust * from A Study Guide on the Holocaust prepared by the Georgia Commission on the Holocaust

What was the Holocaust?The Holocaust was the systematic, bureaucratic annihilation of six million Jews by the Nazi regime and their collaborators as a central act of state during World War II. In 1933, approximately nine million Jews lived in the 21 countries of Europe that would be occupied by Germany during the war. By 1945, two out of every three European Jews had been killed. Although Jews were the primary victims, hundreds of thousands of Roma (Gypsies) and at least 250,000 mentally or physically disabled persons were also victims of Nazi genocide. As Nazi tyranny spread across Europe from 1933 to 1945, millions of other innocent people were persecuted and murdered. More than three million Soviet prisoners of war were killed because of their nationality. Poles, as well as other Slavs, were targeted for slave labor, and as a result, tens of thousands perished. Homosexuals and others deemed “anti-social” were also persecuted and often murdered. In addition, thousands of political and religious dissidents such as communists, socialists, trade unionists, and Jehovah’s Witnesses were persecuted for their beliefs and behavior, and many of these individuals died as a result of maltreatment.

Who were the Nazis?“Nazi” is a short term for the National Socialist German Workers’ Party, a right-wing political party formed in 1919 primarily by unemployed German veterans of World War I. Adolf Hitler became head of the party in 1921, and under his leadership, the party became a powerful political force in German elections by the early 1930s. The Nazi party ideology was strongly anti-Communist, anti-Semitic, racist, nationalistic, imperialistic and militaristic. In 1933, the Nazi Party assumed power in Germany and Adolf Hitler was appointed Chancellor. He ended German democracy and severely restricted basic rights, such as freedom of speech, press and assembly. He established a brutal dictatorship through a reign of terror. This created an atmosphere of fear, distrust and suspicion in which people betrayed their neighbors, and which helped the Nazis to obtain the acquiescence of social institutions such as the civil service, the educational system, churches, the judiciary, industry, business and other professions.

Why did the Nazis want to kill large numbers of innocent people?The Nazis believed that Germans were “racially superior” and that there was a struggle for survival between them and “inferior races.” Jews, Roma (Gypsies), and the disabled were seen as a biological threat to the purity of the “German (Aryan) Race” and therefore had to be “exterminated.” The Nazis blamed the Jews for Germany’s defeat in World War I, for its economic problems and for the spread of Communist parties throughout Europe. Slavic Peoples (Poles, Russians, and others) were also considered “inferior” and destined to serve as slave labor for their German masters. Communists, Socialists, Jehovah’s Witnesses, homosexuals and Free Masons were persecuted, imprisoned, and often killed on political and behavioral (rather than racial) grounds. Sometimes the distinction was not very clear. Millions of Soviet Prisoners of War perished from starvation, disease and forced labor or were killed for racial or political reasons.

How did the Nazis carry out their policy of genocide?In the late 1930s, the Nazis killed thousands of disabled Germans by lethal injection and poisonous gas. After the German invasion of the Soviet Union in June 1941, mobile killing units following in the wake of the German Army began shooting massive numbers of Jews and Roma (Gypsies) in open fields and ravines on the outskirts of conquered cities and towns. Eventually, the Nazis created a more secluded and organized method of killing enormous numbers of civilians – six extermination centers were established in occupied Poland where systematic large-scale murders by gas and body disposal through cremation were carried out. Victims were deported to these centers from Western Europe and from the ghettos of Eastern Europe which the Nazis had established. In addition, millions died in the ghettos and concentration camps as a result of forced labor, starvation, exposure, brutality, disease and execution.

How did the world respond to the Holocaust?The United States and Great Britain, as well as other nations outside Nazi Europe, received numerous press reports in the 1930s about the persecution of Jews. By 1942, the governments of the United States and Great Britain had confirmed reports about “The Final Solution” – Germany’s intent to kill all the Jews of Europe. However, influenced by anti-Semitism and fear of a massive influx of refugees, neither country modified its refugee policies. Their state of intention to defeat Germany militarily took precedence over rescue efforts, and therefore no specific attempts to stop or slow the genocide were made until mounting pressure eventually forced the United States to undertake limited rescue efforts in 1944. In Europe, rampant anti-Semitism incited citizens of many German-occupied countries to collaborate with the Nazis in their genocidal policies. There were however, individuals and groups in every occupied nation who, at great personal risk, helped hide those targeted by the Nazis. One nation, Denmark, saved most of its Jews in a nighttime rescue operation in 1943 in which Jews were ferried in fishing boats to safety in neutral Sweden. Bulgaria saved most of its Jews by defying orders to turn them over to the Nazis. However, they were not willing to defy those orders for non-Bulgarian Jews.

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Learning ActivitiesSixth Grade: Online at the Anne Frank House Museum, AmsterdamGA QCC Standards covered: Grade 6, Language Arts (Reading): 32, 34, 36, 37. Georgia Performance Standards covered: Grade 7, ELA6R1 a, b, c, d (Informational Texts), ELA6R2 a, b, c, d.

Objective: Students will visit the official Web site of the Anne Frank House Museum in Amsterdam (English version) to read about the life of Anne Frank and then answer questions from the text.

Materials: Computers with Internet access, handouts (see next page), pens or pencils.

Procedure: 1. Students should go to http://www.annefrank.org and click on “The Story of Anne Frank.” (Link will appear

in the upper right portion of screen after a brief “flash” introduction of diary pages)

2. Students should read all four sections: “Childhood,” “In Hiding,” “Betrayed,” and “Diary.”

3. Distribute handouts. Ask students to answer the questions, referring back to the Web site if necessary.

Evaluation: Discuss questions and answers with students. Collect handouts and review for completeness and correct answers.

Seventh Grade: Keeping a DiaryGA QCC Standards covered: Grade 7, Language Arts (Writing): 67, 70, 71. Georgia Performance Standards covered: Grade 7, English/Language Arts (Writing): ELA7W1, ELA7W2.

Objective: Students will first visit the Web site of the United States Holocaust Memorial Museum in Washington, DC to view the online exhibit “Anne Frank the Writer — An Unfinished Story.” Then, students will keep a diary of their personal thoughts and feelings for at least one week.

Materials: Computer with Internet connection, notebook or diary.

Procedure: 1. Have students log on to http://www.ushmm.org/, the Web site of the United States Holocaust Memorial Museum in Washington, DC and view the online exhibit “Anne Frank the Writer — An Unfinished Story.” This can be shown to the entire class on the teacher’s computer with the necessary projection equipment.

2. Discuss the exhibit with students. Why did Anne value her diary so much? Why is it important for writers to keep diaries? Why is it beneficial to have your diary with you at all times instead of keeping it at home or at school? What can be gained from having a place to record your most personal thoughts and feelings without fear that someone will laugh or judge you?

3. Ask students to keep a diary for one week. Explain that although this is a writing assignment to be taken seriously, their privacy will be respected — no one will read their diary entries unless they volunteer to share portions of their diaries with the class. They are, however, expected to write. Allow class time for diary writing.

4. When one week has passed, ask students how they felt about the experience. Ask how many think they will continue writing in their diaries even though it is no longer a class assignment.

Assessment: Check to see that students are writing in their diaries each day without reading their personal entries. Sharing must be strictly voluntary. Check back after a few months to see how many students have continued to keep a diary beyond the length of the assignment.

Sixth Grade Learning Activity

Name _______________________________________________ Date ________________________

Anne Frank Online: The Anne Frank Museum, Amsterdam

Directions: Go to http://www.annefrank.org and click on “The Story of Anne Frank.” (Link will appear in the upper right portion of screen after a brief “Flash” introduction of diary pages). Read all four sections: “Childhood,” “In Hiding,” “Betrayed,” and “Diary” and then answer the questions below.

1. What does the word “scapegoat” mean?

2. What is “anti-Semitism”?

3. Why did the Frank family leave Germany? Where did they go when they left?

4. What did Anne receive as a gift for her thirteenth birthday?

5. What did Anne do to pass the time while in hiding?

6. What was the date that the Frank family was discovered and arrested? How long had they been in hiding?

7. What happened to Anne and her sister Margot in March 1945?

8. Why did Otto Frank decide to publish Anne’s diary?

9. When The Diary of Anne Frank was turned into a stage play, why did Otto Frank refuse an invitation to attend the performance?

10. What happened to the building in Amsterdam where the Frank family hid?

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Learning Activities (continued)Eighth Grade: Write a Review of the Film The Diary of Anne Frank (1959)GA QCC Standards covered: Grade 8, Language Arts (Writing): 65, 66, 67, 68, 69, 70; (Listening): 15. Georgia Performance Standards covered: Grade 8, English/Language Arts (Writing): ELA8W1, ELA8W2.

Objective: Students will watch the 1959 film The Diary of Anne Frank and write a review comparing the film adaptation to the book.

Materials: Video tape or DVD of The Diary of Anne Frank (1959) directed by George Stevens, sample reviews of films from newspapers or magazines, computers with word processing software or pen and paper.

Procedure: 1. Give students copies of sample film reviews written by critics for newspapers or magazines. Discuss the

content of the reviews. What does a reader expect in a film review? Is a review simply a retelling of the film’s storyline? Make a list of aspects of a film that are addressed in a review such as: effectiveness of storytelling (Is it true to the source? Did anything not make sense or seem hard to believe?), conveying of emotion, quality of acting (Are the characters believable?), look and feel of the film, effectiveness of music used in the film, authenticity of the film (Do the sets and props reflect the time period when the story is supposed to place?), etc.

2. After students have read the sample reviews and the book The Diary of Anne Frank, show the 1959 film The Diary of Anne Frank.

3. Ask students to write a review of the film, taking into account the era in which the film was made (late 1950s). Students can look up specific production details, a complete cast list, etc. for The Diary of Anne Frank on the Internet.

Assessment: Ask students to share their reviews in class. Ask them to rate each other’s reviews based on the criteria that were established when reading the sample reviews.

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1404 Spring Street, NW at 18th • Atlanta, Georgia USA 30309-2820Ticket Sales: 404.873.3391 • Administrative: 404.873.3089 • www.puppet.org • info@puppet.org

Headquarters of UNIMA-USA • Member of Atlanta Coalition of Performing Arts and Theatre Communications GroupText by Alan Louis • Copyright © Center for Puppetry Arts Education Dept., December 2007.

Learning Activities (continued)Ninth through Twelfth Grades: Enter the Lessons of the Holocaust Art and Writing ContestGA QCC Standards covered: Grades 9-12, Language Arts, Advanced Composition (Writing/Usage/Grammar): 29, 30, 31, 32. Fine Arts, Comprehensive (Artistic Skills and Knowledge: Creating, Performing, Producing): 1, 2, 3, 4; (Sculpture): 1, 2; (Video/Film): 2, 3. Georgia Performance Standards covered: Grade 9, English/Language Arts (Reading and Literature): ELA9RL4; (Writing): ELA9W1, ELA9W2; Grade 10, English/Language Arts (Reading and Literature): ELA10RL4; (Writing): ELA10W1, ELA10W2; Grade 11, English/Language Arts (Writing): ELA11W1, ELA11W2; Grade 12, English/Language Arts (Writing): ELA12W1, ELA12W2.

Objective: Students will write a poem, newspaper article, story, play/dialogue, research paper or essay or, create a sculpture, drawing, painting, poster, video or collage to answer the question “What are the Lessons of the Holocaust?”

Materials: Students will supply their own materials once they have selected their medium.

Procedure: 1. Students should visit

http://holocaust.georgia.gov/00/article/0,2086,24114746_24128649_24185778,00.html (the Georgia Commission on the Holocaust Web site) to read the rules and regulations for the 2008 Art & Writing Contest. The theme of the contest is What are the Lessons of the Holocaust?

2. When students have acquainted themselves with the rules of the contest, ask them to select a project to enter. They may enter a piece of writing or a piece of art.

3. The deadline for entries is March 25,2008. All entries become property of the Georgia Commission on the Holocaust which reserves the right to publish or display them in their entirety with credit to the author/artist. Since only three entries may be submitted from each school, students should vote on the pieces that they feel are strongest and best capture the spirit of the theme. This will create an initial school-wide contest within the state-wide contest. Mail final three entries to:

Anne Frank Exhibit101 E. Court SquareDecatur, GA 30030

Phone: 404.370.3058

Evaluation: Check to see that each student has created something for the contest. Create a display of entries in your school. Engage students in the evaluation of the entries to choose the final three that will be sent in to represent their school. How well does each piece address the theme? Which are the most compelling to listen to, read or watch? Why?

© 2007 AT&T Intellectual Property. All rights reserved. AT&T, AT&T logo and all other marks contained herein are trademarks of AT&T Intellectual Property and/or AT&T affiliated companies.

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Study Guide Feedback FormThe following questions are intended for the teachers and group leaders

who make use of the Center for Puppetry Arts’ study guides.

1. In what grade are your students?

2. Which show did you see? When?

3. Is this your first time at the Center?

4. Was this the first time you used a Study Guide?

5. Did you download/use the guide before or after your field trip?

6. Did you find the bibliography useful? If so, how?

7. Did you find the list of online resources useful? If so, how?

8. Did you reproduce the activity sheet for your grade?

9. Additional information and/or comments:

Please fax back to the Center for Puppetry Arts at 404.873.9907. Your feedback will help us to better meet your needs. Thank you for your help!