Creative Learning Journey Teacher ResourcesThe Wolf and Peter

Stages 1 – 3

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IntroductionThese Creative Learning Journey Resources have been prepared to help you get the most out of The Wolf And Peter. These resources are full of activities and inspiration to prepare your students before coming to see the performance, what you can do on the way, what you can do at theSydney Opera House and then unpacking the experience back in the classroom.

You should adapt these Resources to suit the student age and stage of your class and thecurriculum foci and outcomes used in your school. These Resources are written as a creativedocument for you to bring to life. If you have questions about exercises or provocations please feel free to make contact to talk it through. We are always open to feedback, comments and working with you to assist and learn from you. Contact details are on the back page.

Some websites are suggested throughout this resource. It is recommended that you first visit the sites and assess the suitability of the content for your particular school environment before setting the activities based on these.

Performance Descriptionand SynopsisTold through the eyes of the Wolf, this energetic new work from internationally acclaimed CoisCéim Dance Theatre is inspired by one of Prokofiev’s most famous scores, Peterand the Wolf.

A contemporary twist on a timeless tale, The Wolf andPeter combines Prokofiev’s iconic score with modern sounds, contemporary movement and breakdancing, running in the Playhouse from 12 – 16 July. The internationally acclaimed CoisCẻim Dance Theatre literally turns this classic fable on its head, telling the story from the wolf’s perspective, combining themes of courage and imagination with contemporary dance at its best. Mateusz Szczerek who stars in the leading role of the Wolf embodies a quintessential showbiz story. Discovered busking and breakdancing on the streets of Paris, he is now hitting the floor of the iconic Sydney Opera House.

Presented by: CoisCéim Dance Theatre

Sydney Opera House Creativity FrameworkThese Creative Learning Journey Resources have been written using the Sydney Opera House Creativity Framework as the pedagogy. This Framework underpins much of what we do in our work with schools. More information can be found at the Sydney Opera House website. In short the Framework aims to define the creative process in a way that educators can use to teach and be inspired by.

At a glance this Creativity Framework is:

Prepare: Tools and PathwaysPreparing mind, body, space, materials and time.

Buy in: Presence and EnthusiasmConvincing students that they want to be there.

Imagine: The Fertile UnknownExploring a subject through arts practice.Using form to uncover content. Allowing uncensoredexpression to reveal new ways of seeing a subject.

Question: Analysis, investigation and revelation Creating new understanding by analyzing what justhappened when honing the imagination.

Make: forging form from contentPutting shape to content and moving towardsa project; scripts, composition, choreography,project design.

Show: Commit, frame, judgementPerforming and presenting the work.

Reflect: Remembering, Processing, exitingCreating understanding and healthy memories fromthe creative process and product.

Creative Learning Journey Resource Notes Conceived and illustrated by Lilly Blue

Lilly Blue is a visual artist, educator (BFA, Dip Ed) and publisher with a background inphysical performance, installation and community arts. She edits, curates and publishesBIG Kids Magazine together with dancer/writer Jo Pollitt, which features the work of children and artists side by side. Lilly worked as Head of Creative Learning with The Red RoomCompany and travels Internationally delivering arts residencies, professional development, creative commissions and exhibitions, as well as designing programming for young audiences drawn from a rigorous personal practice. Lilly Blue is one of the Sydney Opera HouseTeaching Artists and was instrumental in developing the Creativity Framework.

New NSW Syllabus The existing NSW K-6 Creative Arts Syllabus

The Wolfand Peter

Early Stage 1Overview of the show/performance

Outcomes Content General capabilities and cross-curriculumpriorities

English EN1-6BA student: recognises a range of purposes and audiences for spoken language and recognises organisational patterns and features of predictable spoken texts.

Speaking andlistening 2.

Intercultural understanding Critical and creativethinking Personal andsocial capability.

English EN1 - 8BRecognises that there are different kinds of texts when reading and viewing and shows an awareness of purpose, audience and subject matter.

Reading andViewing 2.

English EN1-10CThinks imaginatively and creatively about familiar topics, ideas and texts whenresponding to and composing texts.

Thinkingimaginativelyand creatively.

ACELT1586Critical and creativethinking.

English EN1 - 11D A student: responds to and composes a range of texts about familiar aspects of the world and their own experiences.

Expressingthemselves.

ACELT1590ACELT1587ACELY1655ACELT1582ACELT1583Critical and creativethinking Personal andsocial capability.

Creative Arts Music MUS1.4Responds to a range of music,expressing likes and dislikes and thereasons for these choices.

Listening.

Creative Arts Drama DRAS1.4Appreciates dramatic work during themaking of their own drama andthe drama of others.

Appreciating.

Creative Arts Dance DAS1.3Gives personal opinions about thedances and their purpose that they view and/or experience.

Appreciating.

Classroom Context andCurriculum LinksThis performance provides the classroom teacher withmany opportunities for learning activities that linkto the following curriculum

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Stage 2

Outcomes Content General capabilities& cross-curriculumpriorities

English EN2-6B A student: identifies the effect of purpose and audience on spoken texts,distinguishes between different forms of English and identifies organisationalpatterns and features.

Speaking andlistening 2.

Intercultural understanding Personal and socialcapability.

English EN2 - 8B A student: identifies and compares different kinds of texts when reading and viewing and shows an understanding of purpose, audience and subject matter.

Reading andViewing 2.

ACELY1678ACELY1690ACELA1478ACELA1492ACELT1599Critical & creative thinking.

English EN2 - 10C A student: thinks imaginatively, creatively and interpretively about information, ideas and texts when responding to andcomposing texts.

Thinkingimaginatively,creatively& interpretively.

ACELT1605ACELT1607ACELT1594ACELT1602Critical & creative thinkingPersonal & social capability.

English EN2 - 11D A student: responds to and composes a range of texts that express viewpoints of the world similar to and different from their own.

Expressingthemselves.

ACELT1596ACELA1489ACELY1675ACELT1603Personal& social capabilityCritical & creative thinking.

Creative Arts Music MUS2.4Identifies the use of musical concepts andmusical symbols in a range of repertoire.

Listening.

Creative Arts Drama DRAS2.4Responds to, and interprets dramaexperiences and performances.

Appreciating.

Creative Arts Dance DAS2.3Gives personal opinions about the useof elements and meaning in their ownand others’ dances.

Appreciating.

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Stage 3

Outcomes Content General capabilities& cross-curriculumpriorities

English EN3-5BA student: discusses how language is used to achieve a widening range of purposes for a widening range of audiencesand contexts.

Responding and composing.

Critical and creative thinking.

English EN3 - 7CA student: thinks imaginatively, creatively, interpretively and critically aboutinformation and ideas and identifiesconnections between texts when esponding to and composing texts.

Thinkingimaginatively,creatively,interpretively and critically.

ACELT1616ACELA1518ACELT1618ACELT1612Critical & creative thinking.

English EN3 - 8DA student: identifies and considers how different viewpoints of their world, including aspects of culture, are represented in texts.

Expressingthemselves.

ACELT1610ACELT1613ACELA1502ACELT1608ACELY1699Personal & social capabilityCritical & creative thinkingIntercultural understanding.

Creative Arts Music MUS3.4Identifies the use of musical concepts andsymbols in a range of musical styles.

Listening.

Creative Arts Drama DRAS3.4Responds critically to a range of dramaworks and performance styles.

Appreciating.

Creative Arts Dance DAS3.3Discusses and interprets the relationship between content, meaning and context in their own and others’ dances.

Appreciating.

“They showed it all by dancing, not by talking.” Young audience member

Creature Creative LearningResource Activities

Drawing Sounds

Close your eyes and concentrate on your breathing until everything becomes very still and quiet. Listen to as many different sounds as you can. Listen to the sounds in the classroom, inside your mind, in your body, above the roof and under the ground.Stretch your ears as far as you can to hear the furthest, quietest, tiniest far away sounds. Listen to your own heartbeat. See if you can hear your teacher breathing.

Do you think it is possible to draw sounds?

Draw as many different kinds of lines as you can on a page. Notice how each of these lines could represent a certain kind of sound. Close your eyes and listen deeply to every little sound near and far. Draw all the sounds you can hear. Keep your eyes closed while your are drawing.

Dotty, curly, curvy, jagged, straight, stretched, stumbling, squiggly, soft, rough, pressed, light, long, limp, wavy or wild.

Don’t draw the things you think are making the sounds. Draw the way the sounds feel. For example if you can hear a car don’t draw the car. Draw a line that looks like it is vrooooming across the page. If you can hear a bird singing don’t draw a bird.Draw a line that looks like it is tweeting and looping and swooping and soaring across your paper sky.

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Dancing Pencils

• Listen to a piece of music with your eyes closed.

• Let your hands and arms move to the rhythm and melodies.

• Choose a pencil and let it dance in the air to the sounds.

• Bring your pencil down to your page and let it slide, scratch, slip, tap and curl

lines across the paper in response to the sounds.

• Don’t draw hearts or faces or words or puppy dogs.

• It is important that you don’t try and draw something you can recognise.

• Allow the music to move your hand so it feels like the pencil is actually dancing,

flipping, dotting and spinning across the page like a dancer.

Musical Narratives

Instrumental music has the capacity to tell stories without any words and is a wonderful way to inspire imagined narratives, characters and storylines. Different genres create a particular ambiance, mood and feelings that can be great inspiration for art-making and storytelling. Choose a few pieces ofinstrumental, ambient, classical or world music and play small portions tostudents followed by some of the following questions.

Close your eyes and listen.

How does this music make you feel?If this song were a colour what would it be? If this music was an animal what might it be? Think of adjectives to describe this piece of music? If this music was a conversation what do you think it would be about? If these sounds were telling a story what do you imagine the story would be? Do the melodies remind you of something that happened or somewhere you once visited? If it were possible to swallow sounds what do you think this song would taste like? Why?

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A Story

Choose an emotional piece of instrumental music and play it a couple of times so that students can appreciate the way it shifts and changes in mood and feeling.

Imagine that you are actually listening to a story. Write the story in as muchdetail as possible. Where does it begin? What happens? How does it end?

Once upon a time..........

Ideas for Music

Flight of the Bumblebee, by Nikolai Rimsky-KorsakovWiyathul, by Gurrumul Fur Elise, by BeethovenTime Lapse, by Ludovico EinaudiThum Nyatiti, by Ayub OgadaSo Flute, by St Germain

Listen. Can you hear the music in the sounds of the world? Is the weather a song? Is the wind a melody? What music does the traffic make? Are the lilting, chattering, laughing, squealing voices a cacophony? How many rhythms can your hear right now? Your heart is always beating.

Make up a song with your friend about the trip to the Opera House. It might only have one sentence that you sing over and over and over. It might haverhyming lyrics. It might just be a melody that you hum in unison.Sing it together quietly...or loudly!

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Explore The Royal Botanic Garden.

• Take your shoes off and feel the grass between your toes.

• Lie down on your back in the shade and look up into the trees for a long time. Even when you feel like getting up stay a little bit longer. Imagine you are sinking into the ground or floating up into the branches. Breathe. Keep breathing. How do you feel?

• Follow the poetic pathways to find poems hidden by poets from The Red Room Company throughout the gardens. Find the map below.

Visit: New Shoots – Poems inspired by plants.

Reflections

How did you feel when the lights went out?

What adjectives would you use to describe what you noticed when theThe Wolf and Peter began?

Can you remember the very first thing you saw? Why do you think itwas memorable?

How did the actors and dancers respond to the music?

Did something surprise you, or make you laugh?

What did you think about the set? How did your imagination help you to seethe forest?

Did you notice how the dancers movements helped to portray something about their characters? How would you describe the Wolf’s personality? How would you describe Peter’s personality?

What was your favourite part of the show? Why?

Passing Faces

Sit in a circle. Take a minute to concentrate on your breathing. See if you can find a way for the whole class to breathe together without counting or talking. Listencarefully so that you all naturally take a few breaths together.

Someone thinks of a feeling and then makes a facial expression and gesture to show that feeling to the person next to them. Now pass it to the next person so the feeling travels all the way around the circle. Choose a new person to begin passing a different feeling around the circle from person to person.

Try adding sounds.

Try exaggerating the feeling as it moves around the circle.

Try making the gesture and sounds smaller and smaller so that by thetime it gets all the way around the circle it is only a trace of feeling thatis almost invisible.

Moving Sounds

Work in pairs.

One person makes a sound with their voice. The other person improvises a movement in response to that sound. Do this over and over again taking turns making strange and playful sounds, and responding with interesting movements.

How many different kinds of sounds can you make with your voice? How many parts of your body can your explore in your movements?

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