Download study guide - South Coast Repertory

STUDY GUIDE
Prepared by Dramaturg Kelly Miller, Literary Assistant Skyler Gray
and Literary Intern Raechell Campbell
Table Of Contents
Part I: THE PLAY
The Characters
The Story
About playwright Greg Banks
Howard Pyle’s Merry Adventures of Robin Hood
The Legend of Robin Hood
About the Four Clowns
Part II: CLASSROOM ACTIVITIES
Before the Show
Vocabulary Word Search
Indoor and Outdoor Games
Critical Thinking Activities
After the Show
Discussion about the Theatre
Discussion about the Play
Drawing Activities
Letters of Thanks
Part III: AT THE THEATRE
Welcome to the Argyros
Theatre Etiquette
Student Tips for Theatre Trips
Theatre Etiquette Quiz
Programs
Theatre Vocabulary
Part IV: EDUCATION STATION
Five Strands of Arts Education
California Visual and Performing Arts Framework
Part V: RESOURCES
Other Study Guides and Lesson Plans
Other Fun Links
Bibliography
Answer Key
Part I: The Play
The Characters
ROBIN HOOD, an outlaw
MAID MARIAN, a maid in Prince John’s court
THE SHERIFF, Prince John’s right-hand man
A PEASANT, Much’s dad
MUCH, one of Robin’s Merry Men
WILL SCARLETT, one of Robin’s Merry Men
PRINCE JOHN, the self-appointed ruler of England
KING RICHARD, the absent King of England
ALAN A DALE, one of Robin’s Merry Men
NAT THE WEAVER, one of Robin’s Merry Men
LITTLE JOHN, one of Robin’s Merry Men
The Story
A
group of travelling minstrels and
performers tell the story of Robin Hood.
They start the story with a man named
Much whose family is starving. Out of
his desperation, Much breaks the law
and kills a King’s deer. He is caught by the Sheriff of
Nottingham, and used to lure the great outlaw Robin
Hood out of hiding. Much is killed before Robin Hood
can save him, but Robin saves Much’s young son.
Much’s son is so grateful to Robin that he joins his
band of Merry Men and takes his father’s name “Much,”
as his own.
Fueled by revenge and anger at his defeat, the Sheriff
comes up with a plan to use the beautiful Maid Marian
to discover where Robin Hood is hiding. Marian resists
his plan, but the Sheriff threatens to kill her father if
she’s doesn’t do as he says.
The Sheriff leaves Marian at the edge of Sherwood
Forest and hires men to pretend to attack her. Robin
swoops in and saves her. Bewitched by her beauty,
Robin goes against his better judgment and the advice
of his men, and takes her to his hideout. Marian feels
guilty about betraying Robin, but she doesn’t know
what will happen to her family if she fails. As Robin
takes her to his hideout, Marian leaves a trail of
pebbles behind for the Sheriff’s men to follow.
After Marian arrives at Robin’s hideout, she realizes
that she cannot betray Robin because she has fallen in
love with him. She tells Robin about the Sheriff’s plans.
Robin and his men are grateful and return her safely to
Nottingham.
Meanwhile, Robin has fallen deeply in love with
Marian and wanders in the forest dreaming of her
return. He comes upon a large man named John Little.
To prove who is the greater man, Robin and John Little
fight and Robin loses. Robin is good-humored about it
and invites John Little to join his band of Merry Men,
christening him Little John.
Back at Nottingham Castle, the Sheriff plans his worst
scheme yet, but Marian outwits him and flees to the
forest. In the forest, Little John tells Robin that Prince
John is holding an archery tournament and that the
winner of the tournament will receive a silver arrow.
Robin and Marian decide to disguise themselves so
they both can compete for the prize, but just as Robin
is about to win, the Sheriff recognizes him. The Sheriff
attacks Robin, but Will Scarlett, Much, Little John,
and Friar Tuck come to his aid and there is a terrific
battle. Amidst the fighting, the Sheriff of Nottingham
stabs himself with his own sword and Prince John
goes into hiding.
Soon after, the good King Richard returns and
forgives Robin and the Merry Men for all the
wrong doing they committed in his absence.
Maid Marian and Robin are married and they
live happily … for a time.
Rumors begin to swirl that King Richard has
died and Prince John is back on the throne.
Robin goes to Nottingham to investigate,
but is tricked and captured by Prince John.
Once again, Robin’s Merry Men come to
help him and Robin escapes … never to be
seen again. The friends share their hopes
of what could have happened to Robin
Hood as the play ends.
Costume sketch for Robin Hood by Leah Piehl.
Howard Pyle's Merry Adventures
Of Robin Hood
R
obin Hood is one of the most beloved
legends of all time. The story has been
adapted by many authors including Howard
Pyle, author of The Merry Adventures of
Robin Hood of Great Renown in Nottinghamshire.
Pyle’s novel served as the inspiration for playwright
Greg Banks to write his play Robin Hood. Howard Pyle
became a famous writer/illustrator in the 1880’s and
is most renowned for his stories and drawings in The
Merry Adventures of Robin Hood.
An excerpt from Howard Pyle’s The Merry Adventures
of Robin Hood.
"Robin Shoots for
the Golden Arrow"
Then the Sheriff leaned forward, looking keenly among
the press of archers to find whether Robin Hood was
among them; but no one was there clad in Lincoln
green, such as was worn by Robin and his band.
“Nevertheless,” said the Sheriff to himself, “he may still
be there, and I miss him among the crowd of other
men. But let me see when but ten men shoot, for I wot
he will be among the ten, or I know him not.”
And now but ten men were left of all those that
had shot before, and of these ten, six were famous
throughout the land, and most of the folk gathered
there knew them. The last was a tattered stranger in
scarlet, who wore a patch over one eye.
“Now,” quoth the Sheriff to a man-at-arms who stood
near him, “seest thou Robin Hood among those ten?”
“Nay, that do I not, Your Worship,” answered the man.
“Six of them I know right well. Of those Yorkshire
yeomen, one is too tall and the other too short for that
bold knave. Robin’s beard is as yellow as gold, while yon
tattered beggar in scarlet hath a beard of brown, besides
being blind of one eye. As for the stranger in blue,
Robin’s shoulders, I ween, are three inches broader than
his.”
“Then,” quoth the Sheriff, smiting his thigh angrily, “yon
knave is a coward as well as a rogue, and dares not show
his face among good men and true.”
Then the tattered stranger stepped forth, and all the
people laughed as they saw a yellow patch that showed
beneath his arm when he raised his elbow to shoot, and
also to see him aim with but one eye. He drew the good
yew bow quickly, and quickly loosed a shaft; so short
was the time that no man could draw a breath betwixt
the drawing and the shooting; yet his arrow lodged
nearer the center than the other by twice the length of a
barleycorn. No one spoke a word for a while and no one
shouted, but each man looked into his neighbor’s face
amazedly.
Then the Sheriff came down from his dais and drew near,
in all his silks and velvets, to where the tattered stranger
stood leaning upon his stout bow, while the good folk
crowded around to see the man who shot so wondrously
Illustration from Pyle’s The Merry Adventures of Robin Hood.
well. “Here, good fellow,” quoth the
Sheriff, “thou art the fairest archer
that e’er mine eyes beheld. I trow
thou drawest better bow than that
same coward knave Robin Hood, that
dared not show his face here this day.
Say, good fellow, wilt thou join my
service?”
“Nay, that will I not,” quoth the
stranger roughly. “I will be mine own,
and no man in all merry England shall
be my master.”
Sheriff turned upon his heel and
strode away. It was a right motley
company that gathered about the
noble greenwood tree in Sherwood’s
depths that same day. Then, amidst
a noise of talking and laughter, he
took the patch from off his eye and
stripped away the scarlet rags from
off his body and showed himself all
clothed in fair Lincoln green; and
quoth he, “Easy come these things
away, but walnut stain cometh not so
speedily from yellow hair.” Then all
laughed louder than before, for it was
Robin Hood himself that had won the
prize from the Sheriff’s very hands.
About the Playwright Greg Banks
P
laywright and director Greg Banks was commissioned to
write Robin Hood by The Children’s Theatre Company in
Minneapolis, where he directed the play’s premiere in 2011.
Since then, Robin Hood has been performed for children at theaters
across the country including Philadelphia’s Arden Theatre Company
and Seattle Children’s Theatre.
Mr. Banks’ work as a writer, actor and director has taken him all
over the world from Singapore to Seattle. In the United Kingdom,
he has directed for many companies including The Unicorn Children’s Theatre London (The Wizard of Oz), The Birmingham Stage
Company (Kenoukes Kingdom), The Bristol Old Vic (Endgame),
Polka Children’s Theatre, Traveling Light (Tir Na N’og; winner of
the Samuel Beckett award), Plymouth Theatre, and Royal Theatre
(Why the Whales Came).
He is a frequent collaborator at many U.S. theaters including Minneapolis’ The Children’s Theatre Company(CTC), Seattle Children’s
Theatre and The New York State Theatre (Tempest, King of Shadows). He wrote and directed an adaptation of Pinnochio for Taurus
Voice, and Salaam for Fair Game Theatre. Other projects include
a Native Canadian adaptation of his production of Tir Na N’og,
Treasure Island for The Birmingham Stage, and his own adaptation of Huck Finn for The Children’s Theatre Company. In addition
to Robin Hood, Greg has directed Sleeping Beauty, Antigone, and
John Glore’s adaptation of A Wrinkle in Time for CTC.
The full text can be found here.
The Legend of Robin Hood
T
he legend of Robin Hood is one of the most
popular outlaw tales of all time. The character
of Robin first appeared in 1450 in the story
Robin Hood and the Monk. His legend can be traced
back to England during the Middle Ages—and tells
Nottingham Castle as it is today.
the story of an outlaw who defended the people of
Nottingham against the evil Prince John. With his
band of Merry Men, Robin stole from the rich to
give to the poor – and inspired generations of future
stories and films.
NOTTINGHAM CASTLE
Nottingham Castle was built in 1068 by William the
Conqueror. The castle then served as the residence
to countless kings during the Middle Ages, including
Richard the Lionheart, Prince John, Henry III and
Edward IV. The castle was destroyed by Parliament
in 1651 and the grounds were purchased in 1663 by
The First Duke of Newcastle. A large manor was
built on top of the castle grounds and now serves as
a Museum of Fine Art for the people of Nottingham.
The Legacy of Robin Hood
B
ecause Robin Hood is the most
celebrated outlaw of all time, there have
been many stories, plays, and movies
that show his heroic deeds. There have been so
many movies about Robin Hood that we could
not list them all, but some of the most famous
are:
1938 - The Adventures of Robin Hood with Errol
Flynn & Olivia de Havilland
1949 - Looney Tunes “Rabbit Hood” with Bugs
Bunny
1973 - Disney’s animated Robin Hood
1991 – Robin Hood: Prince of Thieves with
Kevin Costner
1993 – Mel
Brook’s Robin
Hood: Men in
Tights
Sherwood Forest
2006 – The
BBC’s TV Series
“Robin Hood”
SHERWOOD FOREST
2010 - Ridley
Scott’s Robin
Hood with Russell
Crowe
Sherwood Forest is a real forest in Nottinghamshire
located in the East Midlands of England. Deemed a
National Park, Sherwood Forest hosts over 350,000
people a year who come from all around the world.
Sherwood Forest now hosts the Robin Hood Festival
every year which includes jousting, archery and an
appearance from Robin Hood himself!
THE MONARCHS OF NOTTINGHAM
Prince John and King Richard are not only characters
in Robin Hood, but were actual English kings in
the late 1100’s. Even though Richard was the King,
Prince John really did lead a rebellion while Richard
was away fighting in the Third Crusade. It is also
true that Richard was loved by the people and John
was detested. Sadly, Prince John was crowned King
in 1199 after Richard died from a war-related injury.
Prince John (Left) and
King Richard (Right)
Daniel Hopkins, Julia Davis, Kevin Klein, Alexis Jones and Raymond Lee in South Coast Repertory’s Theatre for Young Audiences
production of Robin Hood by Greg Banks. Photo by Mustafa Sayed.
Four Clowns In
Sherwood Forest:
A Fun And Fresh New
Look At Robin Hood
A
simple green forest onstage; merry men
and women; a violin, horn, trumpet and
harmonica. And four clowns? Wait a minute…
that’s not the usual take on Robin Hood.
With this production of Robin Hood, South Coast
Repertory is excited to introduce our TYA audience
to the Los Angeles-based Four Clowns troupe—four
actors and two musicians—who will be playing
multiple roles. Jeremy Aluma directs.
The clowns will use physical comedy, mime,
improvisation and jokes to tell Greg Banks’ Robin
Hood—a revved-up look at the timeless tale of Robin
and his band of Merry Men, with swashbuckling
adventures and triumph against great odds.
Banks has skillfully refreshed the tale of Robin Hood
with interactive opportunities that invite the audience
into the world of the play so that they can be part of
the action, including jokes, fight scenes, jumps, tree
climbing, flips, gags and maybe even the occasional
red nose.
“Whether they’re reacting to a gag or a pratfall, you
hear immediately how kids feel about something”
said Aluma. “Children bring out some great creativity
in us as performers and that’s wonderful.”
The cast includes clowns Amir Levi, Raymond Lee,
Alexis Jones, Kevin Klein and musicians Daniel
Hopkins and Julia Davis.
Four Clowns won the coveted Best of Physical
Theatre award at the inaugural Hollywood Fringe
Festival three times in a row in 2010, 2011 and
2012. The troupe also earned top nods at the
Minnesota and San Francisco Fringe festivals and
became Ovation Recommended in Los Angeles. In
February 2012, Four Clowns took part in South Coast
Repertory’s Studio SCR Series, a program that partners
with SoCal’s most intriguing arts groups and presents
a series of eclectic, contemporary theatre works.
Although Four Clowns’ work for adults has been
edgy and sometimes risqué, this will be their second
Theatre for Young Audiences show—and they’ve
shown themselves to be quite adept at channeling
their inner child.
Part II: Classroom
How do students think the world of England in the
Middle Ages might be represented?
Before the Show
1. Introduce the tale of Robin Hood by reading aloud
excerpts from Howard Pyle’s Robin Hood or watch
excerpts from one of the films listed above. Please
note that the films above may not be suitable for
children of all ages.
Ask students to:
a. Identify the main events of the plot, their
causes, and their effects on future actions.
b. Discuss the traits of major characters,
their motivations and contributions to the
dramatic action.
c. Identify speakers or narrators.
d. Determine underlying themes or messages.
2. Allow students to retell or dramatize this story by
employing different vocal tones and attitudes to
explore multiple possibilities in a live performance.
Vocabulary
Game
WORD SEARCH
WORDS
Betray
Crept
Cunning
Decree
Merry
Outlaw
Persuade
Rascals
Seize
Unjust
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3. Make predictions about the play using information
and ideas presented in the text, as well as prior
knowledge of the conventions of live theatre. For
example:
•How do you think the play will differ from the
novel or movie?
•How do you think the world of the story will
be recreated at SCR?
•What will the scenery, costumes, and props
be like?
•How will the actors look and sound?
4. Ask the students to make comparisons between
the characters in Robin Hood and other characters
they have seen in movies or books. (Example: Robin
Hood is an outlaw, just like Zorro, Han Solo, or Iron
Man.)
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Games
After the Show
OUTSIDE GAMES:
DISCUSSION ABOUT THE THEATRE
Robin Hood and his Merry Men.
A variation on “fire in the jungle.” Students stand
in two horizontal lines facing one another. “Robin
Hood” and “The Sheriff of Nottingham” stand in the
center and are “it.” All other students are dubbed
“peasants,” “royalty,” “guards,” or “merry men.”
Robin hood and the sheriff take turns calling out
different groups of people. If your group is called
you try to run to safety on the other side. If Robin
Hood catches you then you stand in the center next
to him and try to tag as many people as possible for
the Robin Hood team. If the Sheriff catches you, you
stand with him and try to catch as many people as
possible for the Sheriff team. If either Robin or the
Sheriff call out “Sherwood Forest” all students on either side have to try to switch sides safely. When all
students have been tagged and are in the center the
teacher counts the teams. The team with the most
students wins. Victory for Robin Hood or victory for
the Sheriff.
Sherwood Forest and the Castle of Nottingham
“Capture the flag” where one side is Robin Hood’s
Merry Men and the other is the Sheriff ’s soldiers.
The Merry Men are on The Sherwood Forest side
and the Sheriff ’s soldiers are on the Castle of Nottingham side.
INSIDE GAMES:
Archery
In pairs students make “arrowheads” (paper footballs) and “targets” (pieces of paper with targets
drawn on them). Students take turns trying to shoot
(punt) the arrowhead into the target while the other
holds the target paper.
Hangman
Play hangman on the board using the list of vocabulary words in the study guide
H
old a class discussion when you return from
the performance and ask students the following questions about their experience at SCR.
1. What was the first thing you noticed when you
entered the theatre? What did you notice first on
the stage?
2. What about the set? Draw or tell about things you
remember. Did the set change during the play?
How was it moved or changed? Was there any space
besides the stage where the action took place?
3. How did the lights set the mood of the play? How
did they change throughout? What do you think
“house lights” are? How do they differ from stage
lights? Did you notice different areas of lighting?
4. What did you think about the costumes? Do you
think they fit the story? What things do you think
the costume designer had to consider before creating the costumes?
5. Was there music in the play? How did it add to the
performance?
6. What about the actors? Do you think they were able
to bring the characters to life? Did you feel caught
up in the story? What things do you think the actors
had to work on in order to make you believe they
were the characters?
7. If you were an actor, which of the characters would
you like to play and why?
8. Which job would you like to try? Acting, Directing,
Lighting designer, Sound designer, Stage Manager,
Set designer, Costume designer or Stage crew?
What skills might you need to complete your job?
9. How was the play different from the way you
thought it would be?
10. How is being at the theatre different from being at
the movies?
DISCUSSION ABOUT THE PLAY
1. What do you think the main idea of the play is?
2. Have the students think of ways they can give
back to the poor. Are there any activities you as
a class can participate in? Examples: can drives,
Toys for Tots, etc.
3. What are the three most important characteristics
you think a heroine or hero should display? Why
did you choose these particular characteristics?
4. The death of Robin Hood remains a mystery to
this day. In the play the actors discuss that “some
say he never recovered from his fall. That he
died looking for Marian. That Little John was
with him as he drew his bow for the last time and
where the arrow landed was where they buried
him. Some say he made that story up to stop
King John’s men from chasing him.” What do you
think happened to Robin Hood?
5. Describe the differences between Marian at the beginning of the play and Marian at the end. How has
she changed in the course of the play?
6. Who is your favorite character and how would you
describe him/her?
7. It is still unclear if Robin Hood was a real person,
or if the story was fictional. Discuss with your class
whether or not they think Robin Hood really wandered the Sherwood Forest.
8. Think about the set, lighting, costumes and music
used in the play. If you were asked to design a production of Robin Hood, what would you do differently?
Drawing Activities
1. Draw a picture of what the audience might look
like from the stage. Are you and your friends in the
picture?
2. Draw a picture of yourself winning the silver arrow
at the Grand Tournament.
Letters of Thanks
W
rite letters of thanks to SCR describing the
most memorable aspects of attending a performance of Robin Hood, and what they enjoyed
most about their visit to SCR.
South Coast Repertory
Attn: TYA
PO Box 2197
Costa Mesa, CA 92628-2197
Part III: At The Theatre
Julianne Argyros Stage
Welcome to the
Argyros
T
he 336-seat Argyros Stage is the newest
theatre space at SCR. It opened in 2002 with
a huge celebration and we are delighted
that thousands of Orange County school children
fill this state-of-the-art facility each season to enjoy
our Theatre for Young Audiences productions. The
Argyros is a proscenium theatre designed to provide
audiences a feeling of intimacy, with no seat more
than 39 feet from the stage.
Theatre Etiquette
T
heatre is an art form that depends on both
the artists and the audience. A performance is
influenced by an audience, just as an audience
is influenced by a performance. The artists and staff
of South Coast Repertory are creating a special new
world for you to visit. When you walk into the
theatre, you will feel that behind the curtain lies the
secret of that new world which is about to come to
life before your eyes. Sometimes it’s so exciting, you
can barely hold still. But remember that once the
play begins, you have a very important job to do.
Everybody in the theatre is a part of the play. You are
connected to all the other people in the audience,
as well as to the actors on the stage. Remember,
you’re all in the same room. They can SEE you, HEAR
you, and FEEL you, just as you can SEE, HEAR, and
FEEL them. Your attention, involvement, responses,
and imagination are a real part of each and every
performance. The play can actually be made better
because of you!
Student Tips for
Theatre Trips
• Stay with your group at all times and pay attention
to your teachers and chaperones.
• Listen carefully to the SCR staff member who will
board your bus with last-minute tips.
• Take your seat in the theatre before going to the
bathroom or getting a drink of water.
• Make yourself comfortable while keeping
movement to a minimum.
• Please do not stand up, walk around, or put your
feet on the seat in front of you.
• Absolutely no chewing gum, eating, or drinking in
the building.
• No backpacks, cameras, or electronic devices are
permitted in the theatre.
• Feel free to talk quietly in your seats before the
show.
• Show your appreciation by clapping for the actors
at the end of the play.
• After the lights come back up, wait for the ushers
to escort your group out of the theatre.
Theatre Etiquette
Yes/No Game
Ask students the following questions to test their
understanding of how to behave before, during, and
after the performance.
Should you…
• Try your best to remain in your seat once the
performance has begun? (Yes!)
• Share your thoughts out loud with those sitting
near you? (No!)
• Wave and call out to the actors on stage? (No!)
• Sit on your knees or stand near your seat? (No!)
• Bring snacks and gum to enjoy during the show?
(No!)
• Reward the cast and crew with applause when
you like a song or dance and at the end of the
show? (Yes!)
• Arrive on time so that you do not miss anything
or disturb other audience members while you are
being seated? (Yes!)
• Keep all hands and feet and items out of the aisles
during the performance? (Yes!)
located on the upper level near the stage.
Box office A windowed space at the front of the
theatre building where tickets are sold.
Business Any action performed on stage.
Character The role played by an actor as she or he
assumes another’s identity.
Choreography The art of creating and arranging
dances onstage.
Programs
E
veryone who attends a Theatre for Young
Audiences performance at SCR receives a
program, also called a playbill. Patrons at
weekend public performances receive their programs
from the ushers upon entering the theatre. At the
conclusion of each weekday matinee, teachers will
be given programs for their students which can be
distributed back in the classroom. In addition to the
customary information about the play and the players,
the program contains features and activities that
students will have fun working on after the show, either
in class or at home on their own.
Conflict The problem or incident that creates the
action and is resolved by the end of the play.
Costume The carefully selected or specially designed
clothing worn by the actors.
Cross The actor’s movement from one stage location
to another.
Cue The last words or action of an actor immediately
preceding the lines or business of another actor.
Dialogue The stage conversation between characters.
Diction The clarity with which words are pronounced.
Director The person who oversees the entire process
of staging a theatrical production.
Basic Theatre
Vocabulary
Acting The process by which an individual interprets
and performs the role of an imagined character.
Action The core of a theatre piece; the sense of
forward movement created by the sequence
of events and the physical and psychological
motivations of characters.
Ad-Lib To improvise stage business or dialogue; to
make it up as you go along.
Apron The area of the stage that extends toward the
audience, in front of the main curtain.
Backstage The space behind the acting area, unseen
by the audience.
Balcony An upper floor of seats projecting out over
the main seating area of a theatre.
Blocking The movement and stage business, designed
by the director and performed by the actors.
Boxes Seats separated from the main seating area
Downstage The part of the stage closest to the
audience. At one time stages were raked, or
sloped, with the lower (“down”) part closest to
the audience, and the higher (“up”) part further
away.
Ensemble A cast of actors working together effectively
to present a theatrical performance.
Flats Canvas or wood-covered frames that are used for
the walls of a stage setting.
Green Room A room near the stage where actors
await entrance cues and receive guests. The
room’s name comes from Elizabethan times, when
actors waited on a real “green” (or patch of grass).
Improvisation The spontaneous use of movement and
speech, made up by an actor to create a character.
Lobby The public waiting area outside the theatre
space.
Mezzanine Lower level seating area beneath the
balcony overhang.
Monologue A solo speech during which the character
reveals personal thoughts.
Narrator A character who tells the story of the play
directly to the audience.
Orchestra Lower level seating area immediately in
front of the stage.
stage directions, all written by the playwright.
Set All of the scenery that makes up the physical
environment of the world of the play.
Stagecraft The knowledge and skills required to create
“Places” Direction given by the Stage Manager for
the physical aspects of a production; i.e., scenery,
actors to be in position before each act begins
lighting, costumes, props and recorded sound and
Plot The “what happens” in a story: beginning (the
setting, characters, and problem); middle (how the
characters work to solve the problem); and the
ending (resolution of the problem).
Project To speak loudly so the entire audience can
hear you.
Props All the stage furnishings, including furniture,
that are physically used by the actors.
Proscenium Stage A traditional theatre with the
audience seated in front of a proscenium arch
framing the stage. SCR’s Argyros Stage is a
proscenium stage.
Run Length of time the play will be presented (i.e two
weeks, two months, two years).
Script The text of the play, including dialogue and
music.
Stage Left That part of the stage to the actor’s left
when the actor faces the audience.
Stage Manager The person who supervises the
physical production of a play and who is in
charge of the stage during the performance.
Stage Right That part of the stage to the actor’s right
when the actor faces the audience.
Strike Dismantling the set, costumes and props at the
end of the run of a show.
Theme The central thought, idea, or significance of the
action of a play.
Upstage The area of the stage farthest way from the
audience and nearest to the back wall.
Part IV: Education
Five Strands of Arts
Education
Students in a comprehensive program are expected
to master the standards of an arts discipline, which
includes the following five strands:
1.0 Artistic Perception refers to processing, analyzing
and responding to sensory information through
the use of the language and skills unique to
dance, music, theatre and visual arts.
2.0 Creative Expression involves creating a work,
performing and participating in the arts
disciplines. Students apply processes and skills in
composing, arranging and performing a work and
use a variety of means to communicate meaning
and intent in their own original formal and
informal works.
3.0 Historical and Cultural Context concerns the work
students do toward understanding the historical
contributions and cultural dimensions of an arts
discipline. Students analyze roles, functions,
development in the discipline, and human
diversity as it relates to that discipline.
4.0 Aesthetic Valuing includes analyzing and
critiquing works of dance, music, theatre or
visual arts. Students apply processes and skills to
productions or performances. They also critically
assess and derive meaning from the work […] and
from performances and original works based on
the elements and principles of an arts discipline.
5.0 Connections, Relationships, Applications involves
connecting and applying what is learned in one
arts discipline and comparing it to learning in
the other arts, other subject areas and careers.
Students develop competencies and creative skills
that contribute to lifelong learning.
http://www.caea-arteducation.org/www/pages/
standards-prek-6.html
From the California
And Visual Arts
Framework
E
ducation in the arts is essential for all students.
California’s public school system must provide
a balanced curriculum, with the arts as part of
the core for all students, kindergarten through grade
twelve, no matter what the students’ abilities, language
capacities or special needs happen to be. Each of the
arts disciplines maintains a rich body of knowledge
that enables the students to understand their world
in ways that support and enhance their learning in
other core subjects. In addition, through this rich
body of knowledge, students learn how each of the
arts contributes to their own sensitivity of the aesthetic
qualities of life. Students learn to see what they look at,
to hear what they listen to, feel what they touch and to
understand more clearly what they integrate into their
own experience.
http://www.cde.ca.gov/ci/cr/cf/documents/rlafw.pdf
Part V: Resources
Robin Hood-Other
Adaptations and in
Pop Culture
Complete list of Robin Hood films and television shows
Complete list of Robin Hood in Books, Music, Video
Games, and Comic Books
Other Study Guides/
Lesson Plans
Children’s Theater Company
Robin Hood: The Guide for Educators (2011)
YouTube Clip of Production
Arden Children’s Theatre
Robin Hood: Supplemental Study Guide (2012)
The Children’s Theatre of Cincinnati
Study and Activity Guide
Seattle Children’s Theater
Educator Resource Guide
Arkansas Art Center’s Children’s Theatre
Study Guide for The Legend of Robin Hood adapted by
Alan Keith Smith
More Information
Robin Hood and His Historical Context
BBC article by Dr. Mike Ibeji
The story behind the legend. The world Robin Hood
lived in. The historical proof of whether or not Robin
Hood is a real person.
The Merry Adventures of Robin Hood
Complete text
King John I (Prince John)
History Learning
A brief explanation of the life and reign of King John I
Middle Ages
An in-depth history of King John I
King Richard the Lionheart
The Middle Ages
An in-depth history of Richard the Lionheart
Nottingham and Sherwood
Nottinghamshire
The government site from UK about modern Sherwood
Forest and Nottingham.