7906 Bayshore Drive

Seminole, FL 33776

Phone: (727) 399-1020

Fax: (727) 399-1027

Email: stagesprd@aol.com

Website: www.stagesproductions.com

An Educators Guide to:

Cinderella CINDERELLA is probably the most popular and best loved fairy tale

ever written. Stages Productions original musical version takes all the traditional

elements of the classic Brothers Grimm story and adds all the humor, action and

romance of the Disney film. The timeless themes of sibling rivalry, the humble

being elevated and virtue being rewarded relate to every child. Join us as

The Fairy Godmother takes on the infamous Evil Stepmother to assure that

Cinderella and Prince Charming are reunited for the happiest of endings.

STAGES PRODUCTIONS

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Throughout the study guide, this symbol means that specific Sunshine State Standards are

being addressed that directly correlate activities to FCAT testing.

As new standards are created and approved by the Florida Department of Education,

this may change. The Standards listed here are currently the most up to date.

Please visit www.floridastandards.org for more information.

THE THEATRE IS A SPECIAL TREAT

Let us concentrate for a moment on a vital part of youth theatre: the young people. Millions of

youngsters attend plays every season, and for some the experience is not particularly memorable or

entertaining. The fault may lie with the production - but often the fault lies in the fact that these

youngsters have not been properly briefed on appropriate theatre manners. Going to the theatre is not a

casual event such as flipping on the TV set, attending a movie or a sports event. Going to the theatre is a

SPECIAL OCCASION, and should be attended as such. In presenting theatre manners to young people we

take the liberty of putting the do’s and don’ts in verse, and hope that concerned adults will find this a

more palatable way of introducing these concepts to youngsters.

MATINEE MANNERS

By PEGGY SIMON TRAKTMAN

The theatre is no place for lunch, But if you like something you clap

Who can hear when you go “crunch?” Actors like to hear applause.

We may wear our nicest clothes If there is cause for this applause.

When we go to theatre shows. If a scene is bright and sunny,

Do not talk to one another And you think something is funny

(That means friends or even mother) Laugh- performers love this laughter

When you go to see a show, But be quiet from thereafter.

Otherwise you’ll never know Don’t kick chairs or pound your feet

What the play is all about And do not stand up in your seat,

And you’ll make the actors shout Never wander to and fro -

Just to make themselves be heard. Just sit back and watch the show.

So, be still - don’t say a word And when the final curtain falls

Unless an actor asks you to… The actors take their “curtain calls”

A thing they rarely ever do. That means they curtsy or they bow

A program has a special use And you applaud, which tells them how

So do not treat it with abuse! You liked their work and liked the show.

Its purpose is to let us know Then, when the lights come on, you go

Exactly who is in the show Back up the aisle and walk - don’t run

It also tells us other facts Out to the lobby, everyone.

Of coming shows and future acts. The theatre is a special treat

Programs make great souvenirs And not a place to talk or eat.

Of fun we’ve had in bygone years If you behave the proper way

Keep your hands upon your lap You really will enjoy the play.

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THE STORYTELLERS

The Brothers Grimm

We can imagine the sense of revelation and delight fairy tales must have offered to the

generations of folk who originally heard them told aloud at firesides. But these stories fell into

disrepute with the educated classes, ashamed of reminders of what they imagined to be a barbaric

past. It was Jacob and Wilhelm Grimm who brought these stories into print, revealing their beauty

and strength.

Jacob and Wilhelm were born in 1785

and 1786 in the small German principality of

Hesse-Cassel, and spent their later childhood

in Steinau, a small town dotted with medieval

monuments. Theirs was a tightly knit family,

and the two brothers, who were unusually

close, developed a deep love of tradition. As

adults, they collected the fairy tales mostly

from friends and neighbors.

Although the Grimm brothers did not,

technically speaking, write any of the tales,

they altered them to make them more

suitable for you readers. Their alterations

were prompted, in part, by Wilhelm’s

puritanical leanings. But commercial

concerns also played a role. The children’s

market for fairy tales, fueled by a growing

recognition that children had their own

unique interests, was growing tremendously, and publishers were more willing to invest money in

books that parents found acceptable. The first volume of these stories was published by Christmas,

1812, and the second appeared in 1814. Jacob’s belief was that the fairy tale “is a poetry which

belongs to the childhood of the race – and therefore children take to it so readily.”

THE EXPERT

Child Psychologist Bruno Bettelheim

In this day of heightened sensitivity to the effects of culture (both classical and popular) on the

psychological development of young people, the fairy tale has come under scrutiny by many concerned

educators, parents, and psychologists. Many feel that fairy tales enforce negative stereotypes and

establish unrealistic expectations in children. Others voice concern over the violence exhibited in many

stories. Still others find fairy tales relatively harmless while questioning their relevance to today’s youth.

One current work by a noted psychologist attempts to rewrite and update fairy tales to embrace

contemporary social situations, perceptions and concepts.

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Perhaps the most important and insightful work on the subject is “The Uses of Enchantment” by

psychoanalyst Bruno Bettelheim. Bettelheim maintains that, like all lasting legends and folklore, fairy

tales contain universal symbols of human experience and, for children, a safe arena for dealing with the

complexities of their own needs. He recognizes that the content of fairy tales has significance to all

persons, regardless of age, but points out that children are more open in their responses than are adults.

THE MESSAGE From Bruno Bettelheim’s award-winning book:

The Uses of Enchantment: The Meaning and Importance of Fairy Tales

Cinderella, as we know it, is experienced as a story about the agonies and hopes that form the

essential content of sibling rivalry, and about the degraded heroine winning out over her siblings who

abused her. Long before Perrault gave Cinderella the form in which it is now widely known, "having to

live among the ashes" was a symbol of being debased in comparison to one's siblings. There are many

examples throughout literature of how being forced to dwell among the ashes was a symbol not just of

degradation, but also of sibling rivalry, and of the sibling who finally surpasses the brother or brothers

who have debased him.

No other fairy tale renders so well as the Cinderella stories the inner experiences of the young

child in the throes of sibling rivalry, when he feels hopelessly outclassed by his brothers and sisters.

Cinderella is pushed down and degraded by her stepsisters; her interests are sacrificed to theirs by her

stepmother; she is expected to do the dirtiest work and although she performs it well, she receives no

credit. When a story corresponds to how the child feels deep down- as no realistic narrative is likely to

do - it attains an emotional quality of "truth" for the child. The events of Cinderella offer him vivid

images that give body to his overwhelming emotions; so these episodes seem more convincing to him

than his life experiences. That is why he believes in the inherent truth of Cinderella, and then he also

comes to believe in her eventual deliverance and victory.

Despite the name "sibling rivalry," this miserable passion has only incidentally to do with a

child's actual brothers and sisters. The real source of it is the child's feelings about his parents. When

a child's older brother or sister is more competent than he, this arouses only temporary feelings of

jealousy. However, fearing that in comparison to them he cannot win his parents' love and esteem is

what inflames sibling rivalry. Cinderella can help parents accept that as an inescapable step in their

child's development toward true maturity, they must seem for a time to have turned into "bad parents."

Thus Cinderella offers parents much-needed comfort, for it can teach them why and for what good

purposes they are seen temporarily in a bad light by their child. The child learns from Cinderella that

to gain his kingdom he must be ready to undergo a "Cinderella" existence for a time, not just in regard

to the hardships this entails, (parent's expectations) but also in regard to the difficult tasks he must

master on his own initiative.

Cinderella is a fairy tale which makes nearly as strong an appeal to boys as to girls, since

children of both sexes suffer equally from sibling rivalry, and have the same desire to be rescued from

their lowly position and surpass those who seem superior to them. Cinderella tells about the agonies

of sibling rivalry, of wishes coming true, of the humble being elevated, of true merit being recognized

even when hidden under rags, of virtue rewarded and evil punished. These are some of the great

attractions of this fairy tale.

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Another aspect which holds large appeal for the child is the vileness of the stepmother and

stepsisters. Whatever the shortcomings of a child may be in his own eyes, these pale into

insignificance when compared to the stepsisters' and stepmother's falsehood and nastiness. Further,

what the stepsisters do to Cinderella justifies whatever nasty thoughts one may have about one's

siblings. So the child, on hearing her story, realizes he need not feel guilty about his angry thoughts.

One of the greatest merits of Cinderella is that, irrespective of the magic help Cinderella

receives, the child understands that essentially it is through her own efforts, and because of the person

she is, that Cinderella is able to transcend magnificently her degraded state, despite what appear as

insurmountable obstacles. It gives the child confidence that the same will be true for him.

Overtly the story helps the child to accept sibling rivalry as a rather common fact of life and

promises that he need not fear being destroyed by it. On the contrary, if these siblings were not so

nasty to him, he could never triumph to the same degree at the end. Further, it tells the child that if he

was once considered dirty and uncouth, this was a temporary stage with no adverse consequences for

the future. There are also obvious moral lessons; that surface appearances tell nothing about the inner

worth of a person; that if one is true to oneself, one wins out over those who pretend to be what they

are not; and that virtue will be rewarded, evil punished.

Openly stated, are the lessons that to develop one's personality to the fullest, one must be able

to do hard work and be able to separate good from evil. Cinderella sets forth the steps in personality

development required to reach self-fulfillment, and presents them in fairy-tale fashion so that every

person can understand what is required of him to become a full human being. Even out of lowly

matter like ashes, things of great value can be gained, if one knows how to do it.

THE EXPERT

Dr. Sheldon Cashdan

What accounts for the enduring charm of fairy tales? Why are generations of children drawn to

stories such as Hansel and Gretel, Snow White, and Cinderella? In The Witch Must Die: How Fairy Tales

Shape Our Lives, Dr. Cashdan explores how fairy tales help children deal with psychological conflicts

by projecting their own internal struggles between good and evil onto the battles enacted by the

characters in the stories. Rumpelstiltskin, Pinocchio and Rapunzel vividly dramatize lust, envy, avarice

and sloth on a safe stage, allowing children to confront their own "deadly sins."

“Fairy tales are ultimately a celebration of life. Both enchanting and empowering, they are as

timely today as they were hundreds of years ago. The underlying dynamic—the age-old struggle

between good and evil—resonates between the lines of Snow White, Hansel and Gretel and The

Emperor’s New Clothes, as it will in the as yet unwritten stories of the twenty-first century. For this

reason, the witch will continue to be a major presence in fairy tales, sensitizing us to forces within

ourselves that pose a challenge to our sense of who we are. Her destruction is not an act of

vengeance, nor even cruelty. It merely reminds us that sinful tendencies are a part of everyday

existence, and that we must do battle with them if we wish to have a fairy-tale ending.”

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THE MESSAGE From Sheldon Cashdan’s highly-praised best-seller:

The Witch Must Die: How Fairy Tales Shape Our Lives

Children nowadays tend to be more familiar with the Perrault version, not only because it has been

reproduced countless times in storybooks, but because it formed the inspiration for Walt Disney’s full-

length feature film. The pumpkin-coach and glass slipper—invented by Perrault—have become cultural

icons, largely owing to the films popularity. The Grimm version, however, titled Aschenputtel, is infinitely

richer and delves into matters the Perrault version barely touches upon.

The Grimm’s Cinderella takes as its point of departure a dying mother’s promise to keep watch

over her daughter. Just before the mother succumbs, she admonishes the girl to be good and assures her

that she will look after her from heaven. After the mother dies, the father soon remarries. A graveside

scene reiterates the deep immutable bond that exists between mother and child. Sitting beneath the

hazel tree, watered by her many tears, the child longs for the love she once knew, for the mother who

nurtured her and protected her.

Both Perrault’s Cinderella and the Disney film omit the mother’s deathbed vow and the graveside

scene and take as a starting point a motherless Cinderella. This conveniently does away with the pain of

separation brought about by the mother’s death. But it also deletes an important psychological dimension

from the story: the child’s experience of loss and desire to reclaim the missing mother. The psychological

import of Cinderella thus is diminished in favor of an opening sequence that purportedly is less disturbing.

In the Grimm version, envy emerges as a conspicuous dynamic, surfacing in both the stepmother’s

envy of Cinderella’s initial position in the family and in Cinderella’s envy of the privileges usurped by her

sisters. The stepmother’s envious nature emerges full blown later in the story. Here is a woman so

determined to become queen-mother that she will stop at nothing to make sure one of her daughters

marries the prince. Her ambition is so great, her envy of Cinderella so compelling that she is willing to

mutilate her daughters to make sure one of them ascends the throne. Her total disregard for her own

flesh and blood marks her as one of the most wicked women in fairy tales, the quintessential bad mother.

If the child’s predicament is to be successfully resolved—if the story is to have a happy ending—envy must

addressed and destroyed or, at the very least, condemned. If allowed to go unchecked, envy can have

serious consequences.

It is the stepsisters who are punished at the end of the Grimm brother’s tale, rather than the

stepmother who escapes unharmed. The question is, why? Perhaps blinding the daughters is the story’s

way of punishing her. After all, they are her flesh and blood. But there may be other reasons the

stepmother’s life is spared. For one, she never actually tried to kill Cinderella, even though the ill

treatment she meted out came close to destroying the young girl’s spirit. Furthermore, the stepmother is

a real mother. Unlike witches who reside in dark corners of the forest and are childless, the stepmother in

Cinderella has children of her own. The violent death of a bona fide mother—though she has all the

characteristics of a witch—hits too close to home. This helps explain why the stepsisters are spared death.

Though they are self-absorbed and mean-spirited, they nevertheless are real children, born of a real

mother. In fairy tales, witches and ogres die, not children.

But someone in the story has to pay the piper, and it is the sisters. The price they pay, while

draconian, is nevertheless consistent with the sin in the story. Envy is often dubbed “the green-eyed

monster,” and the word itself derives from the Latin videre, to see. By being deprived of their ability to

see, the stepsisters are forever deprived of their ability to envy.

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THE ACTIVITIES

BEFORE THE PLAY:

1. Read Cinderella to your students. Explain to them that there are countless adaptations of this story

from various cultures all over the world and the version they will see will not be exactly like the one

they have read.

TH.C.1.1.2 (PreK-2) The student understands how we learn about ourselves, our relationships and our

environment through forms of theater (e.g., film, television, plays, and electronic media)

TH.E.1.2.2 (3-5) The student understands the artistic characteristics of various media and the advantages

and disadvantages of telling stories through those artistic media.

READING/LANGUAGE ARTS (K-5) Reading Process Standard 7: Reading Comprehension

The student uses a variety of strategies to comprehend grade level text.

2. Ask your students to discuss the difference between television and live theatre. It is important that

they know about “theatre etiquette,” or manners. Refer to the poem “Matinee Manners” listed above.

TH.E.1.2.3 (3-5) The student understands theatre as a social function and theatre etiquette as the

responsibility of the audience.

3. Have the students learn the following vocabulary words and listen for them during the play. See how many

words they can recall and how the characters used them in the context of the play.

acquainted ancient anticipation appreciation bureau caribou

chores cinders conquer countess deserving duchess

expedition gaze generosity graceful heir indigestion

inspiration legends linens misery ode perseverance

petit fours pleasant poise polite proper pseudonym

quiver reproach responsibility romance serene smitten

sonnet spleen stench succession swoon tragedy

velvet wench wretched yearn

READING/LANGUAGE ARTS (K-5) Reading Process Standard 6: Vocabulary Development

The student uses multiple strategies to develop grade appropriate vocabulary.

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4. Every classic fairy tale lets the child see that all triumphs (the overcoming of poverty) come not merely

by magic but from the hero's (thus the child's) accomplishment of a seemingly impossible task. Talk

to your class about their secret dreams and enchanted worlds, for that is where they will begin to

discover themselves and ultimately set the goals that they will strive for.

READING/LANGUAGE ARTS (K-5) Literary Analysis Standard1: Fiction

The student identifies, analyzes, and applies knowledge of the elements of a variety of fiction and

literary texts to develop a thoughtful response to a literary selection.

AFTER THE PLAY:

Part I

1. Ask your students to write letters, or draw pictures, to send to the cast of Cinderella. What did they

like about the play? Who was their favorite character? What did they learn from the story?

READING/LANGUAGE ARTS (K-5) Writing Process Standard5: Publishing

The student will write a final product for the intended audience.

Part II

Relevant Themes: 1. Sibling rivalry

2. The humble being elevated

3. Cinderella morals

Refer to the themes listed above. Ask the following questions to relate the themes to everyday life:

1. Cinderella did not live in a traditional family. Sibling rivalry is a universal problem in all households.

Family compositions can be explored as well as the interaction of family members.

a. Have you ever been jealous of a brother or sister?

b. Are there things that your brother or sister can do better than you? What can you do

better than them?

c. Do you ever argue about silly things to get your parents attention?

d. Many problems within the family unit are related to sharing chores, being a part of a

group, or being left out. How can you overcome these problems.

*Have your students write a brief story about an argument between two fictional siblings. Read the

stories to the class and find creative ways to resolve the conflicts.

READING/LANGUAGE ARTS (K-5) Writing Process – Standard 1: Prewriting

The student will use prewriting strategies to generate ideas and formulate a plan.

READING/LANGUAGE ARTS (K-5) Writing Applications – Standard 1: Creative

The student develops and demonstrates creative writing.

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READING/LANGUAGE ARTS (K-5) Writing Applications - Standard2: Informative

The student develops and demonstrates informative writing that provides information related to real-

world tasks.

READING/LANGUAGE ARTS (K-5) Communication – Standard 2: Listening and Speaking

The student effectively applies listening and speaking strategies.

2. The story of Cinderella recognizes true merit even when hidden beneath rags and dirt.

a. Humility is a quality that seems to be quickly disappearing in our world of celebrity

“bling” and endless self-promotion. Discuss with your students the concept of humility

and other qualities that make up a good citizen. Why are these qualities important?

b. Discuss with your students other examples of a humble or persecuted person being

elevated to greatness? (world leaders, religious, civil rights, etc.)

c. In Cinderella, countries all over the world share the same fondness for this lonely,

unloved person. Help your students to realize that although there are differences

among all peoples, there are just as many similarities among them.

READING/LANGUAGE ARTS (K-5) Literary Analysis – Standard 1: Fiction

The student identifies, analyzes, and applies knowledge of the elements of a variety of fiction and

literary texts to develop a thoughtful response to a literary selection.

READING/LANGUAGE ARTS (K-5) Communication – Standard 2: Listening and Speaking

The student effectively applies listening and speaking strategies.

SOCIAL STUDIES (K-5) Civics and Government – Standard 2: Civic and Political Participation

3. There are many moral lessons in Cinderella that are common in every translation.

a. Hard work always pays off in the end.

b. Outer appearance is nothing without inner worth.

c. Dreams really can come true.

d. One overriding theme that is often missed is that of forgiveness. Why is there such

great virtue in forgiving someone that has not been kind to you? When Cinderella

becomes engaged to the Prince, she can easily have her stepmother and stepsisters

thrown into the dungeons. Instead, she forgives them and invites them to live at the

royal palace.

* Have your class sit in a circle and talk about someone they are angry or upset with. Discuss the

concepts of forgiveness and apologizing. Learning to forgive in small circles moves us one step

closer to world-wide peace and harmony.

READING/LANGUAGE ARTS (K-5) Information and Media Literacy – Standard 2: Research Process

The student uses a systematic process for the collection, processing, and presentation of

information.

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READING/LANGUAGE ARTS (K-5) Communication – Standard 2: Listening and Speaking

The student effectively applies listening and speaking strategies.

READING/LANGUAGE ARTS (K-5) Writing Applications - Standard3: Persuasive

The student develops and demonstrates persuasive writing that is used for the purpose of

influencing the reader.

The Art of FCAT Contributed by Patricia Linder

Visual and Performing Arts Field Trips provide an excellent source of support for the development of skills

necessary for success on the FCAT. We invite you to use these instructional strategies to enhance FCAT

preparation through your theatre field trip.

Theatre Activities

FCAT Cognitive Level 1

Read the story (or play) your field trip performance is based on.

Name the main character.

List all the characters.

Identify the setting.

List the story events in the order they happened.

Describe a character (or setting).

Explain the problem (or conflict) in the story.

Explain how the actors used stage props to tell the story (or develop characterization).

Discuss how the blocking, or positioning of the actors on stage affected the performance.

Discuss how unusual technical elements (light, shadow, sound, etc.) were used in the performance.

Draw a picture of a character.

Illustrate or make a diorama of a scene from the performance.

Draw a poster to advertise the performance.

Work with other students to act out a scene.

Demonstrate how an actor used facial expression to show emotion.

Write a narrative story to summarize the plot of the performance story.

Use a map and/or timeline to locate the setting of the story.

Make a mobile showing events in the story

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FCAT Cognitive Level II

Would the main character make a good friend? Write an expository essay explaining why or why not.

Create a graph that records performance data such as: female characters, male characters, animal

characters or number of characters in each scene, etc.

Compare/Contrast a character to someone you know or compare/contrast the setting to a different

location or time.

Solve a special effects mystery. Use words or pictures to explain how “special effects” (Lighting, smoke,

sound effects) were created.

Image the story in a different time or place. Design sets or costumes for the new setting.

You’re the director. Plan the performance of a scene in your classroom. Include the cast of characters,

staging area, and ideas for costumes, scenery, and props in your plan.

Create a new ending to the story.

Did you enjoy the performance? Write a persuasive essay convincing a friend to go see this production.

Write a letter to the production company nominating a performer for a “Best Actor Award.” Explain why

your nominee should win the award.

Create a rubric to rate the performance. Decide on criteria for judging: Sets, Costumes, Acting,

Lighting, Special Effects, Overall Performance, etc.

THE PRODUCER

STAGES PRODUCTIONS is a professional theatre ensemble that specializes in bringing classic fairy tales

to over 150,000 young people each year throughout the Southeast.

STAGES' show credits include critically acclaimed performances of: Mother Goose, Sleeping Beauty, Let

Freedom Sing, The Velveteen Rabbit and the Three Little Pigs as well as our water conservation shows –

Aesop’s Aqua Adventure, the Prince of Frogs and The Water Pigs. Be sure to join us for our 22nd Season

featuring Pinocchio, Cinderella, Santa's Holiday Revue, and The Emperor’s New Clothes.

Stages Productions is dedicated to making drama an integral part of education, and lesson plans are

available to incorporate these plays into the student's curriculum. Thank you for supporting this mission

by choosing a STAGES PRODUCTIONS play!

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THE REFERENCES

Sunshine State Standards [Online] Available: http://www.firn.edu/doe/menu/sss.htm

Revised Sunshine State Standards [online] Available: www.floridastandards.org

Bettelheim, B., (1975). The Uses of Enchantment: The Meaning and Importance of Fairy Tales. (Vintage

Books Edition, 1989). Random House.

Cashdan, Sheldon, (1999). The Witch Must Die: How Fairy Tales Shape Our Lives. (First Edition, 1999), Basic

Books

Grimm, Jacob & Wilhelm. Grimm’s Fairy Tales. (1987). Longmeadow Press.

Microsoft Encarta ‘98 Encyclopedia . (1998)

Traktman, P., Matinee Manners.

Linder, P., The Art of FCAT.