Center for Puppetry Arts Study Guide Education Directorpuppet.org/pdf/SG_DonQuixote.pdf · Welcome...

Dear Educator,

Welcome to the Center for Puppetry Arts and our production of Don Quixote, adapted and directed by Bobby Box of the Center for Puppetry Arts in collaboration with Manuel Moran of Teatro SEA. Founded in 1978, the Center is celebrating 30 years as 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. Don Quixote is a clever adaptation of the classic novel by Miguel de Cervantes performed with beautifully handcrafted string puppets.

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 QCC/Performance Standards that have been correlated to each programming area according to grade level, click the links below:

To access a complete list of GA QCC/Performance 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

A note f rom our

Education Director

Don Quixote, Grade 6Don Quixote, Grade 7 Don Quixote, Grade 8Don Quixote, Grade 9-12

2008-09 Season supported in part by:

Education Program supported in part by:

2008-09 New Directions Series sponsored in part by:

Puppets: The Power of Wonderexhibit sponsored by:

Official Airline Partner:

Official Hotel Partner:

Official IT Partner:

Official Catering Partner:

Performance supported in part by:

The Jim HensonFoundation

This show is supported in part by an award from the National Endowment for the Arts.

Jan 8 - Mar 22, 2009Performances Tuesday - Sunday

Jan 8 - Mar 22, 2009Performances Tuesday - Sunday

Center for Puppetry Arts Study Guide

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

Kraft Foods • Livingston Foundation, Inc. • Pittulloch Foundation • The Rich Foundation, Inc.

Miguel de Cervantes Saavedra is considered to be one of the greatest figures in Spanish and world literature. He was born in Alcala de Henares, a Spanish province of Madrid on September 29, 1547 – the same year as William Shakespeare. He was the fourth of seven children. His father was an itinerant surgeon, who struggled to maintain his practice by traveling the length and breadth of Spain.

Little is known about his early life, but in 1569 Cervantes traveled to Italy to serve in the household of an Italian nobleman, and he joined the Spanish army a year later. He fought bravely against the Turks at the Battle of Lepanto in 1571, where he received serious wounds and lost the use of his left hand. After a lengthy period of recovery and further military duty, he departed Italy for Spain in 1575, only to be captured during the return journey by Barbary pirates. He was taken to Algiers and imprisoned for five years until Trinitarian friars paid a considerable sum of money for his ransom. This experience was a turning point in his life, and numerous references to the themes of freedom and captivity later appeared in his work. Upon returning to Madrid, Cervantes married and worked a variety of odd jobs. He often got into trouble over illegal seizures of property and was sent to jail. In 1585 he published his first work in prose, La Galatea, a pastoral romance which had attracted qualified praise from some of his contemporaries. He was also writing for the theater, and at this time he began to write short stories, some of which were later included in his Exemplary Tales. His most famous work, Don Quixote de la Mancha, was published in two parts in Madrid. Part I appeared in 1605; the second part in 1615. The novel was an immediate success. The first part went through six editions the year of its

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ABOUT THE AUTHOR

© 2009 Center for Puppetry Arts. All Rights Reserved.

Don Quixote is performed with puppets fashioned after traditional Sicilian rod marionettes from Italy. These characters are puppets on strings but include a metal rod that serves as a direct control to the puppet’s head. The puppeteers in this show wear period costumes and remain in full view of the audience throughout the show. The puppeteers provide all of the characters’ voices live. Each puppeteer wears a cordless microphone to amplify her/his voice. A musician provides Spanish guitar accompaniment on stage throughout the performance.

STYLE OF PUPPETRY

Our story takes place in sixteenth century Spain, when an elderly gentleman named Don Quijano has apparently gone mad from reading too many books on chivalry. Proclaiming himself a knight, he sets out with his obedient squire, Sancho Panza, to reform the world and revive the age of chivalry, choosing a woman of loose morals to be his noble lady Dulcinea. This lighthearted comedy presents an alternate reality that unfolds into a hysterical tale of enchantment and madness. Don Quixote mistakes inns for castles, a play about chivalry for the real thing, flocks of sheep for armies, wine casks for monsters, and windmills for giants. Fantasy and Reality collide as windmills, giants, armies and monsters take center stage in this fantastic tale of a man who searches for nobility and finds, instead, himself.

SYNOPSIS

publication, and was soon translated into English and French. Although written as a satirical romance, it contained fiction’s first “fun” characters, Don Quixote and his old horse Rosinante, whose bumbling exploits were not only read and re-read by a delighted public but inspired innumerable imitations. Cervantes died in Madrid on April 22, 1616. William Shakespeare died the same day. Cervantes was buried in a Trinitarian monastery a few blocks from his house, but the specific location of his tomb is unknown.

Miguel de Cervantes SaavedraThere is no authentic portrait of Cervantes.

This is an artist’s conception of what he might have looked like.

3© 2009 Center for Puppetry Arts. All Rights Reserved.

• Amorós, Pilar and Paco Parico. Títeres Y Titiriteros: El lenguaje de los Títeres. Mira Editores, 2000.

• Bell, John. Strings, Hands, Shadows: A Modern Puppet History. The Detroit Institute of Arts, 2000.

• Burton, David G. Anthology of Medieval Spanish Prose (Cervantes & Co. Spanish Classics) (Spanish Edition). Juan de la Cuesta, 2005.

• Calderon de la Barca, Pedro. La Vida Es Sueno / Life is a Dream (Cervantes & Co. Spanish Classics) (Spanish Edition). European Masterpieces, 2006.

• Cascardi, Anthony J. The Cambridge Companion to Cervantes (Cambridge Companions to Literature). Cambridge University Press, 2002.

• Cervantes, Miguel de. Don Quijote de la Mancha (Clasicos Inolvidables). Edimat Libros, 2007.

• Chandler, Richard E. and Kessel Schwartz. A New History of Spanish Literature. Louisiana State University Press, 1991.

• Dore, Gustave. Dore’s Illustration for Don Quixote: A Selection of 190 Illustrations by Gustave Dore. Dover Publications, Inc., 1990.

• Flores, Angel. Nine Centuries of Spanish Literature : Nueve siglos de literatura española : A Dual-Language Anthology. Dover Publications 1998.

• Fong, Kuang-Yu and Stephen Kaplin. Theatre on a Tabletop: Puppetry for Small Spaces. New Plays Incorporated, 2003.

• Gasset, Angeles. Títeres con Cabeza. Aguliar, 1967.

• Gies, David Thatcher. Theatre and Politics in Nineteenth-Century Spain : Juan De Grimaldi As Impresario and Agent (Cambridge Iberian and Latin American Studies). Cambridge University Press, 1988.

• Keller, Daniel S. Historical Notes on Spanish Puppetry. (Unknown Binding) 1959.

• Kidd, Michael. Stages of Desire: The Mythological Tradition in Classical and Contemporary Spanish Theater. Pennsylvania State University Press, 1995.

• Lorca, Federico Garcia. Four Puppet Plays: Play Without a Title, The Divan Poems and Other Poems, Prose Poems, and Dramatic Pieces. Sheep Meadow, 1990.

• McCrory, Donald P. No Ordinary Man: The Life and Times of Miguel de Cervantes. Dover Publications, 2006.

• Neruda, Pablo (Donald D. Walsh, translator). Spain in Our Hearts/Espana en el corazon (New Directions Bibelots). New Directions (Bilingual Edition), 2005.

• Resnick, Seymour and Jeanne Pasmantier. Nine Centuries of Spanish Literature : Nueve siglos de literatura española : A Dual-Language Anthology. Dover Publications, 1994.

• Serrano, Juan and Susan Serrano, eds. Nine Centuries of Spanish Literature : Nueve siglos de literatura española: A Dual-Language Anthology. Hippocrene Books, 1995.

BIBLIOGRAPHY

© 2009 Center for Puppetry Arts. All Rights Reserved.4

http://www.h-net.org/~cervantes/csapage.htmVisit the Cervantes Society of America, founded to advance the study of the life and works of Miguel de Cervantes.

http://cervantes.tamu.edu/V2/CPI/index.htmlVisit the website for the Cervantes Project.

http://www.online-literature.com/cervantes/Explore The Literature Network’s Cervantes site.

http://quixote.mse.jhu.edu/index.htmlInvestigate a digital exhibit of translations and illustrations of Miguel de Cervantes Saavedra’s novel Don Quixote de la Mancha.

http://www.puppetbooks.co.uk/Search this site for out of print and hard to find puppetry books.

http://www.titiriteros.comExplore the website of Los Tititeros de Binéfar, a puppet company from Spain.

http://www.sea-ny.org/SEA_ArtsInEducation.htmlVisit the website of the Society of the Educational Arts, Inc. (SEA), a Bilingual Arts-in-Education Organization & Latino Theatre Company for Young Audiences dedicated to the empowerment and educational advancement of children and young adults. SEA creates educational theater and arts programs specifically designed to examine, challenge and create possible solutions for current educational and social issues affecting our communities.

INTERNET RESOURCES

Scene from Don Quixote

6th Grade: Tilting at Windmills: Uncovering the Origins of Common Expressions

Georgia Performance Standards covered: Grade 6, ELA6R1 a, b, c, (for informational texts), ELA6RC3 a, b, c, ELA6RC4 a, b, c, ELA6LSV1 c.

Objective: Students will reference an online database of common expressions to determine their origins. Students will record their findings on a worksheet.

Materials: Computers with Internet access, worksheets from this study guide, and pens or pencils.

Procedure:1. Have students go to http://users.tinyonline.co.uk/gswithenbank/sayindex.htm

2. Distribute worksheets. Ask students to use the online database to look up each of the 10 expressions listed on the worksheet and read what each one means and where it came from. 3. Ask students to match the corresponding expression to its origin by placing the number of the expression from the first column in the blank in front of the description in the second column. 4. Answers in “Origins” column from top to bottom: 5, 7, 9, 2, 10, 4, 1, 6, 3, 8.

Evaluation: Discuss the expressions, their meanings and their origins with students. Review worksheets for completeness and correct answers.

LEARNING ACTIVITIES


Puppets from Don Quixote

Name________________________________________________________ Date____________________

Tilting at Windmills: Uncovering the Origins of Common Expressions

Directions: Go to http://users.tinyonline.co.uk/gswithenbank/sayindex.htm. Look up each expression listed on this sheet and read where it comes from. Then match each expression to its origin. Write the number of the expression in the blank next to its origin.

Expression Origins 1. get down to brass tacks _____ This expression is actually a misquotation from Shakespeare’s King John.

2. Grand Pooh-Bah _____ This expression comes from Don Quixote de La Mancha by Miguel Cervantes.

3. spin doctor _____ This expression is named for a Norse warrior renowned for his 4. save for a rainy day fury in fighting.

5. guild the lily _____ This expression comes from a character in Gilbert and Sullivan’s The Mikado.

6. don’t look a gift-horse in the mouth _____ This expression comes from the game of golf.

7. tilt at windmills _____ This expression comes from the days when most people were 8. a wolf in sheep’s clothing farmers relying on good weather for their survival. 9. go berserk _____ This expression comes from a technique used by textile merchants to measure lengths of fabric and negotiate a price.

10. par for the course _____ This expression is related to the length of a certain animal’s teeth.

_____ This expression comes from a type of pitch in a baseball game.

_____ This expression comes from one of Aesop’s Fables.


7th Grade: Chivalry Today: Seven Knightly Virtues

Georgia Performance Standards covered: Grade 7, English/Language Arts, Reading and Literature, ELA7R1 (for informational texts) a, b, c, d, e, f; ELA7R2 a, b, c, d.

Objective: Students will visit a website to define the seven knightly virtues identified by http://www.chivalrytoday.com.

Materials: Computers with Internet access, worksheets from this study guide, and pens or pencils.

Procedure:1. Discuss the meaning of chivalry and virtues with students. How do these ideas relate to the

story of Don Quixote? 2. Distribute worksheets to students. 3. Have students go to http://www.chivalrytoday.com/.

4. Ask students to read the content on the page titled “Seven Knightly Virtues” and then fill in the definitions of each virtue in the space provided on the worksheet.

LEARNING ACTIVITIES


Assessment: Collect student worksheets and check for completeness and reading comprehension.

Scene from Don Quixote

Name____________________________________________________ Date_____________________

The Seven Knightly Virtues Directions: Go to http://www.chivalry.today.com/. Look up the meaning of each of the terms and give the definition in the space provided.

1. Courage –

2. Justice –

3. Mercy –

4. Generosity –

5. Faith –

6. Nobility –

7. Hope –


Name______ANSWER KEY______________________ Date_____________________

The Seven Knightly Virtues Directions: Go to http://www.chivalry.today.com/. Look up the meaning of each of the terms and give the definition in the space provided.

1. Courage - More than bravado or bluster, today’s knight in shining armor must have the courage of the heart necessary to undertake tasks which are difficult, tedious or unglamorous, and to graciously accept the sacrifices involved.

2. Justice - A knight in shining armor holds him — or herself — to the highest standard of behavior, and knows that “fudging” on the little rules weakens the fabric of society for everyone.

3. Mercy - Words and attitudes can be painful weapons in the modern world, which is why a knight in shining armor exercises mercy in his or her dealings with others, creating a sense of peace and community, rather than engendering hostility and antagonism.

4. Generosity - Sharing what’s valuable in life means not just giving away material goods, but also time, attention, wisdom and energy — the things that create a strong, rich and diverse community.

5. Faith - In the code of chivalry, “faith” means trust and integrity, and a knight in shining armor is always faithful to his or her promises, no matter how big or small they may be.

6. Nobility - Although this word is sometimes confused with “entitlement” or “snobbishness,” in the code of chivalry it conveys the importance of upholding one’s convictions at all times, especially when no one else is watching.

7. Hope - More than just a safety net in times of tragedy, hope is present every day in a modern knight’s positive outlook and cheerful demeanor — the shining armor that shields him or her and inspires people all around.


LEARNING ACTIVITIES


8th Grade: Write a Film Review of Man of La Mancha (1972)

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 read Don Quixote de la Mancha, watch the 1972 film Man of La Mancha and write a review comparing the film adaptation to the book.

Materials: Video tape or DVD of Man of La Mancha (1972) directed by Arthur Hiller, sample reviews of films from newspapers or magazines, and 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, have them read the book Don Quixote de la Mancha, and then show them the 1972 film Man of La Mancha. 3. Ask students to write a review of the film, taking into account the era in which the film was made (early 1970s). Students can look up specific production details, a complete cast list, etc. for Man of La Mancha on the Internet. (www.IMDB.com)

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.

9th-12th Grades: Idealism – A Double-Edged Sword?

GA QCC Standards covered: Grades 9-12, Language Arts, Advanced Composition (Writing/Usage/Grammar): 29, 30, 31, 32. 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 to answer the question: When should idealism be tempered?

Materials: Computers with word processing software and printers.

Procedure:1. Discuss with your students the meaning of idealism. Idealism is holding on to a set of beliefs

which are a rigid system of the way life is “supposed to be” or “should be.” How can idealism be a positive force in a person’s life?

2. Next, discuss the possible negative aspects of being too idealistic: a. The belief system you have adopted about how things “should be done’’ often gets challenged by the way things are in reality. b. You could become distracted by a fantasy or dream of how your life should be which often interferes with your accepting the “here and now’’ realities of life. You may become out of touch with reality or too “pie in the sky.” c. You may experience disappointment about others not accepting or living up to your ideals. d. You might become very disillusioned, depressed or despondent and therefore despair over how imperfect life is at home, school, work, or in the community. e. You may experience a lowering of your self-esteem because you are not capable of living up to your ideals. f. You may be so blinded by your “shining’’ ideals that you forget others are free to have their own opinions.

3. Ask students to write an essay, poem or short story on the theme of idealism. Have them brainstorm ideas, write a first draft, revise their paper and finally produce a final product.

Assessment: Collect student writing for Language Arts portfolios. Review work for clarity and relevance to the assigned theme.

LEARNING ACTIVITIES

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Center for Puppetry Arts is a non-profit, 501(c)(3) organization and is supported in part by contributions from corporations, foundations, government agencies, and individuals. Major funding for the Center is provided by the Fulton County Board of Commissioners under the guidance of the Fulton County Arts Council. Major support is provided by the City of Atlanta Office of Cultural Affairs. These programs are supported in part by the Georgia Council for the Arts (GCA) through the appropriations from the Georgia General Assembly. GCA is a Partner Agency of the National Endowment for the Arts. The Center is a participant in the New Generations Program, funded by the Doris Duke Charitable Foundation/The Andrew W. Mellon Foundation and administered by Theatre Communications Group (TCG), the national organization for the American Theatre. The Center is a Member of TCG and the Atlanta Coalition of Performing Arts. The Center also serves as headquarters of UNIMA-USA, the American branch of Union Internationale de la Marionnette, the international puppetry organization.

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

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

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

Headquarters of UNIMA-USA • Member of Atlanta Coalition of Performing Arts and Theatre Communications GroupText by Alan Louis • Design by Melissa Sims • © Center for Puppetry Arts Education Department, January 2009.

1. In what grade are your students?

2. Which show did you see? When?

3. Was this your first time at the Center?

4. Was this the first time you used a Center 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 grade-appropriate activity sheet for your class?

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!

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