Prince Ivan & The Firebird

(A Russian Tale of Magic)

Teacher Resource Guide

Adapted
and
Directed by
Alison Garrigan

1
About Talespinner Children’s Theatre
Talespinner Children's Theatre is a Cleveland-based company that develops and produces highly imaginative,
original, collaborative and interactive professional works for children that also stimulate creative growth in its
artists. At any time, these pieces may involve acting, dance, music, puppetry, tumbling,
drumming, and numerous other artistic disciplines as imagined by the artistic teams working with and for
TCT, and are open to all creative possibility. TCT's aim is to bring theatre to the community in its fullest form
providing excitement, growth and joy for all who are involved in and/or touched by its work.

Talespinner Children's Theatre strives to reach across socio-economic, cultural and traditional boundaries to
help awaken and bring better understanding by opening eyes, ears, hearts and imaginations in the young
people (and artists) of Cleveland and its surrounds.

TCT creates work that remembers that children

are smaller people, not lesser people.

What to expect when seeing

a live theatrical production at
Talespinner Children’s Theatre
Going to see a live theatrical performance can be very exciting. It is very different from going to a movie or
watching a story on TV. In a movie, the story is always exactly the same. In live theater, the story can be
just a little bit different each time because there are live performers sharing their work with the audience.
Each performance is special and unique and made just for you, the audience, to take home with you and
relive in your memory.
In our theater, The Reinberger Auditorium, the actors are very close to the audience. They can see and
hear the audience just as well as you can see and hear the actors. This means that we want to make sure
that we don’t distract the actors with side conversations with our neighbors, unwrap candy, or play with
electronic devices. We want to make sure that the actors can concentrate on stage to give you their best
performance. However, this doesn’t mean that we don’t want you to enjoy the production you are seeing
and to react to the excitement on stage. If something makes you laugh, go ahead and laugh! If you really
like something that you see, it’s okay to clap for the actors. Actors love to hear applause. Sometimes our
actors will even need help from the audience to figure out what to do next. You can be a big help to our
production by participating when the actors ask you a question or give you a task to do from your seat in
the audience.
In this production we will be using many different elements of theater including music, dance, puppetry,
costumes, make-up, sound, lighting and scenery. It takes many people to put together a production like
this, and we are excited that you are going to be part of our experience today. If you have any questions
about anything that you see today, hold onto the questions until the end of the production and we will
bring the actors out to talk to you when the play is over. Enjoy your visit to Talespinner Children’s Theatre!

2
 Table of Contents
Page 2 About Talespinner Children’s Theatre &
What to expect when seeing a live theatrical production at
Talespinner Children’s Theatre
Page 3 Table of Contents & About the Executive Artistic Director
Page 4 The Acting Company and Staff
Page 5 What are Folktales? & What inspired the Production?
Page 6-8 The Story of The Firebird
Page 9 Who is Baba Yaga? & What is The Firebird?
Page 10 Vocabulary from Prince Ivan & The Firebird
Page 11 Brief History of The Firebird Ballet
Page 12-15 Russian Culture for Children
Page 16-20 Activities & Crafts for Prince Ivan & The Firebird
Page 21 Recycled Percussion
Page 22-28 Theater, Music, Movement, and Art Activities
Page 29 Discussion Questions & Writing Activities
Page 30 More about Talespinner Children’s Theatre
Page 31-32 Theater Glossary from Ohio Academic Standards

Russian Architecture
often looks as if it was
inspired by a Fairy Tale.

Image from The

About the Huffington Post
Executive Artistic Director
and Director, Alison Garrigan Ali is a long-time professional in the theatre who has worked locally,
regionally, and nationally as an actress, director, designer, puppet-
maker, and teacher. She became dedicated to creative, intelligent and
playful children's theatre in her late teens, and has returned to work
with children and students frequently throughout her career. Her
professional work in the Cleveland area has been seen and produced at
such venues as Cleveland Public Theatre, Cleveland Institute of Music's
Opera Stage, Beck Center for the Arts, Dobama Theatre, and Great Lakes
Theatre, to name a few. No stranger to starting up a new company, she
was one of the original members/board of the critically acclaimed Bad
Epitaph Theater Company. Alison has always felt that children's theatre
needs to be intelligent, creative, playful, and educational, and should
engage every aspect of its audience, and its artists — minds, eyes, ears,
hearts, imaginations… and energy.
3
Acting Company
Prince Ivan: Charles Hargrave
Wolf/Brothers: T. Paul Lowry
Tsar/Ensemble: Joseph Milan
Princess Helena/Ensemble: Andrea Belser
Puppeteer/Ensemble: Carrie Williams
Puppeteer/Ensemble: Elaine Feagler
Puppeteer/Ensemble: Khaki Hermann
Staff
Adapted & Directed by Alison Garrigan
Movement: Brittany Gaul
Lighting Design: Josh Heidinger
Costume & Mask Design: Melanie Boeman
Sets & Puppet Design: Alison Garrigan
Stage Manager: Bryan Ritchey

Sacramento Ballet

About the Director of Education,

Katelyn Cornelius

Katelyn is a proud graduate of the Cleveland State University Theater program, and passionate about
supporting arts in and around Cleveland. For the past four years, Katelyn has traveled North East Ohio as
an Actor-Teacher for Great Lakes Theater, where she worked with grades K through 12, bringing litera-
ture to life ranging from classic children's stories to Shakespeare. Prior to GLT, Katelyn taught for the East
Cleveland Adult Activities Center and directed quarterly performances with the residents. Katelyn is also
an actor, and has been seen onstage at such venues as Cleveland Public Theater, Theater Ninjas, Karamu
House, Ensemble Theater, The Bang and the Clatter, and of course, Talespinner Children's Theater. (Red
Beard in TCT's Aesop's Pirate Adventure will forever be a favorite role.) She is also a Movement Specialist
- recent work includes TCTs Loki & Lucy, The Silent Princess and Finn McCool.

4
What are Folk Tales?
Folk Tales are stories that have been told over and over throughout time and passed on from generation
to generation by oral tradition. Talespinner’s story of Prince Ivan & The Firebird is based on a Russian Folk
Tale. Folk tales often are timeless and are about a particular culture, but the themes are universal.
Folk tales are encompassed by Folk lore which often includes not only stories but legends, music, oral
history, proverbs, jokes, popular beliefs, fairy tales and more.

Many folk tales were not even written down until after the 1800”s.

These images are the inspirations for Talespinner Children’s Theatre production of Prince
Ivan & The Firebird. They are from RUSSIAN FAIRY TALES, translated by Marie Ponsot, pub-
lished in Italy by Golden Press, Inc. in 1960. The illustrations are by Benvenuti.

5
The Story of The Firebird

There was once a tsar of Russia who had three sons and was the richest tsar of all
the kingdoms. He owned the most beautiful garden, where he walked every day. In
the garden, there was a large tree with golden apples, the tsar’s favorite tree of all.

One morning as he was strolling through his garden admiring his gorgeous tree, the
tsar noticed that two of his golden apples were missing. “I know there were two more apples here yes-
terday,” he said to himself. “I counted them all.” That evening he hid by the tree to catch the thief. He
waited late into the night and finally saw a light flash across the garden. Surprised and stunned, he
watched a large flaming bird alight on the branch of his apple tree. The bird’s feathers were a brilliant
gold, so bright
that the light hurt the tsar’s eyes. He was too awed to move but whispered to himself, “The firebird.”

The next morning the tsar told his sons that whoever could capture the firebird alive would receive half
of the tsar’s kingdom at once and the other half when he died. The sons swore to do their best, not for
the reward, but because they loved their father.

That night, the eldest son, Sergei, waited in the garden. The soft night air soon put him to sleep, and the
firebird came and stole two apples without even being seen. In the morning, Sergei lied and told his fa-
ther that the Firebird never appeared.

The next night Dimitri, the second son, kept watch in the garden. He too fell asleep. The next morning,
he also lied to his father, claiming that the firebird never came.

The third night, Ivan, the third son, stood watch. He made himself uncomfortable, and if he started to
become drowsy, he splashed water in his eyes. Suddenly he saw a bright streak of gold. It was the fire-
bird! As it perched on a branch to snatch the apples, Prince Ivan quietly moved closer. He made a grab
for the firebird, but it was too fast and he only succeeded in grabbing one of the long, brilliant, tail feath-
ers.

The next morning, he told the tsar his tale and presented the feather to his father. The tsar was satisfied
for a while because the firebird didn’t come back to the garden. Soon, however, he became consumed
with the feather and looked at it everyday. He wanted the firebird so badly that he again told his sons
that whoever could bring him the firebird, alive, would be given half the kingdom then, and the other half
at the death of the tsar. The two oldest sons set out together immediately, but Prince Ivan waited for his
father’s blessing and set out on his own.

Ivan rode for a long time until he came to a sign that said, “He who continues this way shall lose his
horse.” There was no other way to go, so Ivan continued in that direction even though he loved his horse.
After a few days, his horse dropped dead beneath him. A gray wolf was standing by the roadside and as
Ivan cried, the wolf asked, “Ivan, if you so loved this horse, why did you continue in this direction?” Ivan
told him the story and then continued on his way. Three days later, the gray wolf showed up again and
offered to help Ivan.

6
The wolf took Prince Ivan to Tsar Darmot’s garden where the firebird was kept in a golden cage. He said to
Ivan, “Prince, you must jump this wall and take the firebird out of the golden cage. Do not touch any part
of the golden cage besides the spring. Promise me that you won’t touch it.” Ivan promised and hopped
over the wall.

Ivan immediately saw the firebird and took it out of the cage. He looked at the beautiful golden cage and
thought how nice it would be to carry the bird in, but as soon as he touched the cage, alarms went off all
over the garden and palace. Guards jumped out, grabbed Ivan, and carried him before the tsar. He told the
tsar his story.

Tsar Darmot asked why the son of such a powerful tsar had to resort to stealing, instead of just asking for
it. To redeem himself, Ivan had to do the tsar a favor. The tsar wanted the white horse with a golden mane
and tail and told Ivan that he would give him the firebird if he would bring back the horse.

Ivan sadly walked out and told the gray wolf his story. The gray wolf consented to take him to the golden-
maned horse if Ivan would follow his orders this time. After a day of running like the wind, they arrived at
Tsar Avron’s stables. The wolf pleaded with Ivan to follow his instructions carefully. “Go into the stables,”
he said, “take the golden-maned horse, but do not touch the golden bridle that is hanging on the wall.”

Ivan snuck into the stables where all the grooms were sleeping and took the horse. As he was turning to
leave, he noticed the golden bridle. It was so beautiful that he couldn’t resist touching it. As soon as he
took hold of the bridle an alarm rang out, and all the grooms awoke and seized Prince Ivan.

Tsar Avron decided to allow Ivan to redeem himself by bringing Helen the Beautiful to him. She was the
most beautiful tsarina (Russian princess), in the world, and if Ivan would bring her to Tsar Avron, he would
be given the golden-maned horse. In sadness Prince Ivan returned to the gray wolf and confessed his mis-
take. The wolf sighed and consented to take him to Helen the Beautiful. After running for two days
and nights, the wolf stopped under a tree and told Ivan to wait there.

The gray wolf snuck to the palace and waited by the garden gate. Soon Helen the Beautiful came out to
walk in her garden. Before the maids had a chance to sound an alarm, the wolf had jumped over the gate,
grabbed Helen the Beautiful, leaped back out of the garden, and ran out of sight.

Prince Ivan thought Helen was so beautiful that he had fallen in love with
her before they reached Tsar Avron’s palace. “Friend wolf,” he cried, “I do
not want to give up Helen the Beautiful for a horse with a golden mane
and tail. What shall I do?”

The gray wolf simply answered, “Trust me.” He gave Ivan instructions and
then changed himself into the form of a young woman exactly like Helen
the Beautiful. They walked into the tsar’s palace, and Tsar Avron was so
happy that he gave Ivan the golden-maned horse and the golden bridle.
Ivan took the horse back to the tree where he had left Helen, and they
proceeded on to Tsar Darmot’s kingdom.

7
After a time, Ivan missed his gray wolf and called to him. The wolf appeared by the golden-maned horse,
and Ivan joyfully leaped onto the wolf’s back. When they arrived at Tsar Darmot’s, Ivan was sad again. He
told the wolf how beautifully the horse suited Helen the Beautiful and how it would be a shame to give it
up. The wolf again consented to help Ivan.

The wolf changed himself into a golden-maned horse, and he and Prince Ivan went to Tsar Darmot’s pal-
ace. The Tsar was delighted and gave Ivan the Firebird and the golden cage. Ivan took them back to Helen
and the group again set out on their way.

Ivan started to miss his friend, the gray wolf, and he called for him. For several days, they all traveled to-
gether until they arrived at the place where Prince Ivan’s horse had fallen dead. Here the gray wolf said he
must leave them, for he could be of no more use. Then he vanished.

At this time, Ivan’s brothers caught up to him. They were very jealous of their younger brother, so they
tied him to a tree and stole everything he had gained. The evil brothers left him for dead and took Helen,
the bird, and the horse as their own.

For many days, Ivan was tied to the tree. He was almost dead, and the crows were flying around him,
waiting for him to finally die so they could have dinner. Suddenly, the gray wolf appeared again. He made
the crows fetch water for Ivan. They untied him, and when he was revived he hopped on the wolf’s back
and raced to his father’s palace.

Ivan walked into the palace hall where his brother was preparing to marry Helen the Beautiful. He threw
open the doors to see the shocked faces of his brothers who had been sure he was dead. Helen ran to him
crying, “This is the one; this is the prince who won me!” The tsar embraced his son who he had thought
was dead. Helen the Beautiful told the tsar the whole story and he learned that Ivan had not only brought
home the tsarina, but the horse with the golden mane and tail, and the firebird as well.

The tsar furiously ordered that his other sons be banished from the kingdom forever. He then ordered the
feast to continue, and in a short time Prince Ivan and Helen the Beautiful were married. They lived happily
ever after with the firebird in their garden and the golden-maned horse in their stables.
Excerpt from the International Outreach Guide
from Brigham Young University

Found on Pinterest.
Example of Russian
Folk Art.

Ivan Bilibin’s illustration

to a Russian fairy tale
about the Firebird, 1899.

8
Who is Baba Yaga?

Baba Yaga is a well-known witch in Easter folklore, especially famous in Russia. “Baba” means
“grandmother”, “Yaga” could come from several place, one of which being the Russian word “yagat” which
means “to find fault” or to “abuse”.
Baba Yaga is portrayed as a haggard old woman. She lives in a deep forest, in a hut that stands on chicken
legs. It is often portrayed without doors or windows because the entrances must be revealed by a magic
spell. She rides through the air, or across the forest floor, on a mortar, using a pestle to steer. She causes
storms and wind as she passes, but cleans up her trail with a broom made of silver birch.

“She is a very controversial character. Baba Yaga is not good, but is not entirely evil. She can't be portrayed
as a good mixer or a very easy-going person. She needs a special approach. In most Slavic folk tales, she is
portrayed as an antagonist. There are stories in which she kidnaps children and threatens to eat them.
There are also stories where she provides misleading information to strangers who were unlucky to lose
their way in the deep forest she lives. However, some characters in other mythological folk stories have
been known to seek her out for her wisdom, and she has been known on occasion to offer guidance to lost
souls, help people with their quests, although this is seen as rare.”

http://russiapedia.rt.com/of-russian-origin/baba-yaga/

http://russiapedia.rt.com/files/of-russian-origin/
baba-yaga/baba-yaga_3.jpg

https://hedgespoken.files.wordpress.com/2014/10/baba-yaga.jpg

What is The Firebird?

A mythical creature hailing from Russia, it is described as having

golden feathers that shone like sunlight, and eyes that sparkled
like crystal. There are some stories that claim the Firebird could
change into a beautiful woman, a tsarina in her own right.

The original legend of the Firebird introduces it as a thief, who snuck into the Tsar's orchard and ate his
golden apples. The Tsar sent his sons to investigate, and one by one the Firebird sang them to sleep and
devoured the apples. Ivan Vyslavovich, the youngest of the Tsar's sons, managed to stay awake; he told his
father of the Firebird, and was sent to find and capture it. He was forced to go through several quests:
stealing a beautiful horse and stealing a beautiful princess, with the help of a talking wolf.
http://mythicalmania.wikia.com/wiki/Firebird
9
Vocabulary from Prince Ivan & The Firebird
Brawn – muscular stregth
Clever – mentally bright ; having sharp of quick intelligence
Confident – sure of oneself
Conniving – to cooperate secretly
Courtier - a person who is often in attendance at the court of a king or other royal personage.
Czar – an emperor or king
Deprive - to remove or withhold something from the enjoyment or possession of a person or persons.
Effort – something done by hard work
Enormous – huge, large
Fascination - to be drawn in by a powerful attraction or charm
Glorious – delightful; wonderful; completely enjoyable
Harmonious – pleasing to the ear
Heir - a person who inherits or is entitled to inherit the rank, title, position, etc., of another.
Inadequate – not as good as needed, not sufficient
Inherit - to take or receive (property, a right, a title, etc.) by succession or will, as an heir.
Intruder – a person who enters without permission or an invitation
Mythical – from a traditional or legendary story
Negotiation - mutual discussion and arrangement of the terms of a transaction or agreement.
Prized - valued
Quest – a search made to find something great
Realm – a royal domain or kingdom
Riddle – a puzzling or confusing question
Scheming – to plan, often with ill intentions
Sly – mischievous; sneaky
Succeed – to accomplish what is attempted
Summon – to call upon someone or something
Swindle - to cheat (a person, business, etc.) out of money or other belongings.
Vain – overly proud of one’s appearance.

10
Brief History of the Creation of “The Firebird” as a Ballet

“In February, 1909 Sergey Pavlovich Diaghilev, an impresario (director, or manager) of The Ballets Russes
heard a young man name Igor Stravinsky play two short original works in concert and was incredibly im-
pressed with the 28 year old’s talent.
Diaghilev hired Stravinsky to write a new score for the ballet company’s upcoming season. His debut
score was for “The Firebird”, a job several other important composers had already turned down. This
ballet would really set off Stravinsky’s career, and create a great working relationship between Diaghilev
and Stravinsky. They would produce several more ballets together, such as the very famous “The Rite of
Spring”.
Stravinsky worked with choreographer Michel Fokine to create the ballet. Fokine incorporated many
traditional Russian folk-dance steps in the ballet’s choreography. These types of dance-steps were typi-
cally only found in very specific “comedic” or “character” parts of older ballets, so this was a very innova-
tive use.
“The Firebird” opened on July 25th, 1910, only after the original dancer to play the role of the Firebird
herself dropped out. She did not like Stravinsky’s music and refused to dance. She was replaced and the
ballet opened gaining Stravinsky’s music instant recognition.
“Michel Fokine costumed for the role of
Lucien d'Hervilly in Mar-
ius Petipa's production
of the ballet Paquita. St.
Petersburg, 1898”

Igor Stravinsky, c. 1920.

G. L. Manuel Freres—Hulton Archive/Getty
Images

The Royal Ballet

American Ballet Theater

11
Russian Culture for Children– fun facts, food, music, language & more…

3 Common Children’s Games of Russia

1) Brook: The children make pairs, and grab each other’s hands and hold them up. They create a brook,
and the child without a partner stays in the front, closes his or her eyes, and walks through the brook to
choose another partner. The two children walk to the end of the already formed brook, and they grab
hands and put them up into the air. This should add on to the brook, and the child without a partner must
do the same thing.

2) Wizards: For this game, four or more children must take part in it. One child runs after all of the other
children and tries to tag them. Whomever the tagger touches, they must freeze and scream “help me” until
a child who has not been tagged can touch them and free them. This game is over when all of the kids have
been tagged.

3) P’yanitsa: This game consists of two to four players for this card game. The players attempt to collect
all of the cards. One player lays down a high numbered card, and each player does the same thing. Whoev-
er has the highest number when they throw it down gets the pile. The child with the most cards at the end
of the game wins.

Common Russian Cuisine

1) Borsch: Beet soup. Extremely common, famous for being a base soup in Russia. It is packed with veg-
etables and meat, and topped with a spoonful of sour cream. It can be eaten for lunch or an appetizer for
dinner.

2) Pirozkhi: Little pastries full of potatoes, cabbage, cheese, or a meat of choice. It can be an appetizer,
a snack, or even dinner for small children.

3) Bilini: this appetizer is so important; it is served every year on the first day of spring, at a festival
called Maslenitsa. Bilini is served with jam, cheese, onions, caramel, or chocolate syrup. It is a pastry roll
that children love.

3 Famous Desserts

1) Morozhenoe: Russian ice cream. Children love ice cream in Russia, and it is often served with top-
pings like syrups, candy, nuts, or sprinkles. The ice cream comes in many flavors, and is a highlight for kids
in Russia.

2) Pashka: dried fruit, soft cheese almost like a marshmallow, combined with pastilla (candy, baked ap-
ples, honey).

3) Medovie: eight layered honey cake with a sour cream and milk mixture filling. This is typically a
pricey cake when made correctly, but a huge hit in Russia.

12
 3 Simple Recipes

1) Russian Pancakes

Ingredients: 1 cup whole wheat flour, ½ cup white flour, 1.5 cups buttermilk, 1 egg, ½ tsp baking soda,
½ tsp salt, 2 tsp sugar, 1 tsp vegetable oil
Directions:
1. Using a whisk, mix the egg, salt, and sugar in a bowl, then add buttermilk.
2. Combine flour and baking soda in another bowl, and then add to liquid mixture.
3. Mix until even, add vegetable oil to frying pan.
4. Scoop mixture with spoon, add circular size mixture to pan. Fry until one side is golden, flip, repeat.

2) Chicken Kabob

Ingredients: 2 lbs boneless chicken breast, ¼ cup vinegar, 11/4 cup red wine, 1 large sliced onion, salt
and pepper 4 bay leaves, red peppers, cherry tomatoes, zucchinis
Directions:
1. Cut meat in cubes, slice the onion, transfer into pot.
2. Add all remaining ingredients. Mix well.
3. Cover the pot, put in refrigerator for a few hours.
4. Transfer meat on to skewers, alternate with vegetables. Grill on Medium. Cook until brown. Serve.

3) Kasha Varnishkas

Ingredients: ¼ lbs bow tie pasta, 1 cup kasha, 1 ¾ cups water, 1 large onion, 3 tbsp extra virgin olive oil
Directions:
1. Cook pasta according to package instructions
2. Boil water; in the pot, toast kasha until heated, add boiling water And salt.
3. Cook until water evaporates, sautee onion in olive oil until caramelized.
4. Mix pasta, kasha, and onion. Serve.

http://
famousfashion-
ista.com/2011/04/
russian-chicken-shish-
https://hague6185.wordpress.com/2013/07/24/ kabob-recipe-shashlik/
russian-pancakes/

https://www.flickr.com/photos/
lonbinder/3436009909/

13
Children’s Day

June 1st, Russians honor small children and the youth with child proof, family oriented activities, speeches,
programs, and events to enlighten everyone on the well-being of Russia’s youth. There are charities and
events for abused children, and more child friendly shows on television on than any other day of the year.
This day is a holiday for all Children of Russia.

Festivals and Holidays

1) BeliyeNoche: Also known as white nights, Russians gather at the famous festival to celebrate the zen-
ith of summer, when nonstop 24 hours of sunshine covers the city of St. Petersburg. This day occurs from
June 11th to July 2nd. The tradition is to head to the rivers to watch the bridges raise, so that the boats can
pass through. According to Russians and tourists, it is truly a breath taking site.

2) New Year: The biggest celebration hands down, Russians prepare for this day weeks in advance. The
belief is that “the way you celebrate the New Year will indicate how you will fare in the remainder of that
year.” Russians bring in the New Year with their families, but after midnight is when they head to parties
and clubs.

3) Easter: A major holiday of Russia, Easter day changes each year depending on the lunar calendar.
There is a feast, egg paintings, and religious meeting as well. Easter in Russia is a lot like Easter in the
Western hemisphere.

Russian Attire

The traditional Russian women’s attire was created to shine a light on their dignity, and “emotional re-
straint.” Women work in their everyday clothing, but the clothing is still very beautiful. Red clothing is con-
sidered to be the most beautiful color. Canvas and wool clothing is decorated and embroidered with cross-
es, herring bones, and patterns of people and animals. The traditional colors are red, blue, green, white,
and yellow.

Mens dress attire in Russia have a major rule that t shirts and shorts are almost never appropriate to wear
in public unless you’re at a beach or a park. Denim jeans are way too casual for Russian men as well. Men
dress in long trousers with a button up shirt and dress shoes. Dark clothes are very common for men.

Customs and Culture

 Well-mannered Russians will not sit on the ground. In fact, it is against the law to sit on the grass in
some parks.
 Russians frown upon scratching any part of the body, blowing their nose without a handkerchief, litter-
ing, or standing with one hand in their pocket in public.
 When crossing past an already seated person, cross face front (face to face) and not backside to face. It
is rude.

The Russian Flag

14
Russian Fun Facts

 Hockey and soccer are popular sports in Russia

 Moscow is 3 hours ahead of London time, 8 hours ahead of New York
 There are 10 million more women than men in Russia
 The total length of the Kremlin walls is 2235 meters
 The official name for Russia is the Russian Federation
 Russia is the only country with 12 seas on its territory

3 Must See’s of Russia

1) Golden Ring Cities: a line of cities northeast of Moscow, also known previously as Zaleyse. This place
is home to monasteries, cathedrals, churches, and domes of the 18thcentury. It is one of the most beauti-
ful, antique, and unique places to take your children to learn about history.

2) Cat Theatre: a popular children’s theatre, a cast of home cats complete acrobatic tricks and stunts
for the liking of all young children. There are also clowns and other side acts featured in the show, but
most visitors come for the cats.

3) Gorky Park: This park features a Russian spacecraft area and many other play areas as well. Older
children come to Gorky Park for the rides, because there are plenty of them for everyone.

Sounds of Russia

Russian music is heterophonic; this means that there is one melody among different voices. It is diverse
in dialect, and the traditional music of Russia is folk music. There are ritual songs, nonritual songs, and
instrumental music as well. The main instruments used are the schwam, horn trumpet, svirel, and kugi-
kly. Most of the instruments are wind instruments, to create a specific sound. Russian music is typically
personal and religious.

http://dinolingo.com/blog/2012/04/04/russian-fun-facts-russian-children-fun-facts-for-kids/#.VlTMPmctAuQ

http://www.timeforkids.com/
destination/russia/sightseeing

15
Create You Own Firebird Images from:

http://twigandtoadstool.blogspot.com/2011/03/mardi-gras-masks.html

Directions
Materials
1. Gather materials.
2. Cut mask out of felt. Felt
3. Take apart silk flowers and cut in half. Silk Flowers
4. Begin gluing flowers on from the outside to the inside Ribbon
of mask on either side. Sequin Trim
5. Glue the sequin trim around the eyes. Glue
6. Glue smaller flowers in the top center of mask. Scissors
7. Turn over and glue the ribbon on the back, leaving
enough on each side to tie around the head.
8. Let dry.
9. Wear and Play!

16
Create Your Own Russian Matryoshka Dolls
The Russian Matryoshka Doll has come to be a symbol
of Russian Culture today. It goes back over 100 years
ago when first made as a toy. It is often painted like a
traditional Russian woman or Babushka.

Matryoshka means “little Mother”. The dolls are egg

shaped and each doll is smaller than the previous one
and fits inside each other so all of the “children” can
nest inside the mother. Often these dolls are referred
to as Russian Nesting Dolls.

Supplies: Directions:

 Paper cups Make copies of the template below. Color in the Matryoshka Dolls. Cut
 Markers or Crayons or out the dolls and then glue them onto the outside of paper cups that are
Paint turned upside down. Once the glue dries, you can stack your dolls as if
 Multiple copies of the they are nesting inside each other.
template of the 3 nesting Use different size paper copies and cups to create more than three dolls
dolls nesting.

http://www.activityvillage.co.uk/printable-russian-dolls 17
18
19
Classroom Firebird Bulletin Board Project
http://www.inkandglue.com/home/10-charming-chicken-crafts

Directions for Bulletin Board:

Have each student trace their hands on colorful
construction paper. Arrange on bulletin board in
the shape of the Firebird.

Activity Template on Previous Pages (18 & 19):

Use the Writing Templates on the previous pages to
write your own Russian Folk Tale. Refer to page 24 to
learn how to write a story. Or use one of the writing
prompts on page 29 to help inspire your creativity.

Songs from Prince Ivan & The Firebird with the Russian Translation

Yablochka (Little Apple) Yablochka (Little Apple)

Sung by Tsar Illych Russian Translation
Little Apple, Эх, яблочко,
Where are you rolling? Куда ты котишься?
You'll get into my mouth Ко мне в рот попадешь
And never come back Не воротишься
Little Apple Эх, яблочко,
On the little tree. На деревцочкe
You will fly away Yлетит ты и никогда
And never return не возвращаться

Eee Za Lesoo (Out From The Forest) Eee Za Lesoo (Out From The Forest)
Sung by Baba Yaga Russian Translation

Out from the dark forest Из -за лесу, лесу тёмного, да из- за тёмного лесу дремучего
Yes out from the dense dark forest

20
Recycled Percussion
Here are several ideas to make your own percussion instruments at school or at home.

Materials: Construction Paper, Crayons, Magic Markers, Paint, Tape, Glue, Stapler, Yarn, Bells, Rice, Beans,
Pencils, Used Thread Spools, Popsicle Sticks, Coffee Cans, Oatmeal Boxes, Pringles Cans, Plastic Pop Bottles,
Paper Plates, Mailing Tubes, Paper Towel Tubes

Illustration by

Geoff Slater

Drums
Using a coffee can, Quaker Oatmeal box or Pringles can, you can create a unique drum with a different
sound depending on shape and size. Decorate a piece of construction paper and wrap it around an old
coffee can with a lid. Secure construction paper with tape or glue. Use your hands for drumming or use a
set of homemade mallets. Make several different kinds and create a drum set.

Mallets
Using 2 pencils and 2 used spools of thread, glue 1 spool to 1 pencil and repeat. Paint the homemade
mallets to use with your drums.

Shakers
Using small or large plastic used pop bottles or Pringles can, fill each bottle with rice and beans. Secure with
cap. Cover with decorated construction paper or paint the bottle with vibrant paint colors.

Rain Sticks
Using a mailing tube, Pringles can or paper towel tube, cover one end with a lid or construction paper and
masking tape to make it secure. Cut slits in sides of tube big enough for a small popsicle stick. Fill tube with
rice. Slide popsicle sticks into the slits. Secure the other end with construction paper and masking tape or
lid. Decorate.
To make rain sound, slowly tip tube from one end to the other letting the rice hit the popsicle sticks as they
fall to the bottom.

Tambourines
Using two paper plates, staple the two fronts together. Use a hole punch to punch holes around the outside
of the plates. Tie a bell to a short piece of yarn and tie to the holes in the plates. Secure bells with a knot.
Decorate.

21
Theater, Music, Movement and Art Activities for the Classroom
These Activities can be adjusted for all ages for the Elementary School Classroom

Theater

Sensory Walk
Start with students in a circle. Create a calm and quiet atmosphere and dim the lights if possible.
Tell students this is a quiet exercise where they will be using their imaginations not their voices.
Ask students to listen to the sound of your voice and quietly begin to move about the room. Ask
students to respect each other’s personal space as they move about the room. Begin feeding the
students images and have them act out the image as they move about the space. For example:
You are walking through a forest. It is sunny and warm. How do you feel? Is the sun warm on
your face? What do you see? Are there flowers in the grass? What do you hear? Are there birds
singing a pretty melody? Etc. Continue feeding the students images and continue to get them to
act out what they experience as they walk about the room.

You may use a story or piece of literature as inspiration for the sensory walk.

When the exercise is done, bring students back to circle and debrief the exercise by asking about
their experience while doing the exercise.

Mirror Exercise
Students are paired up and each pair is spread around the classroom. Ask one student in each
pair to be player A and one person to be player B. Tell students this is a silent exercise. Have
player A and B face each other. Player A begins as the leader and Player B must follow. Explain to
students that they are looking into a mirror and seeing an exact mirror image of themselves. They
are to follow the leader’s movements exactly. Ask the leader to move slowly. Ask students to
maintain eye contact and try to match their movements so that the teacher cannot tell who is
leading and who is following. After a time, switch so that B is the leader and A is following.

When the exercise is done, bring students back to circle and debrief the exercise by asking about
their experience while doing the exercise.

22
Theater Activities Continued

Pass the Prop

Students gather in a standing circle. The teacher selects a prop such as a piece of fabric or a
foam noodle. The prop is passed to each student in the circle. As each student receives the
prop, they must come up with a way to use the prop as another object. For example: a piece
of fabric is passed to student A and they create a baseball bat with it. Student B creates a
lawn mower with the fabric. Student C creates a megaphone with the fabric. Each student
must show how their prop is used and the rest of the students may guess what the object is
supposed to represent.

Cross the Room

Divide the students into two lines facing each other at opposite ends of the room. Each line
takes a turn crossing to the other side of the room. The teacher calls out what each line is
crossing as. For example: Cross the room as if you were 2 years old. Now cross the room as
if you were 16 years old. Now cross the room as if you were 30 years old. Now cross the
room as if you were 60 years old. Now cross the room as if you were 100 years old.

Different categories can be explored depending on the story or theme that the students are
working on. You might use types of animals if you are working on fables. You might use
characters from a fairy tale such as a prince, queen, peasant, etc.

One Word Story

Students begin in a sitting circle. The teacher begins the story with one word. The object of
the exercise is to create a full story with each student only speaking one word at a time.
Students must complete full sentences that make sense and the story must have a beginning,
middle and an end. Go around the circle in the order that the students are sitting in. The
teacher may side coach if necessary to help decide where the sentences end or the story
itself ends. Example of prompting might be “and now we need a conflict, and now we need
to resolve the conflict, and now we need to bring our story to an end”. Encourage students
to use descriptive adjectives to make the story more interesting.

23
Theater Activities Continued

Write Your Own Folk Tale to Perform

The teacher sits students either on floor or in desks all facing the teacher. The teacher helps
guide students in creating a short play by using their suggestions. The teacher can make a copy of
the form on page 28 or use the dry erase/smart board to create story. The teacher starts by
asking who the characters are in the story. Get about five characters. Decide what lessen should
be learned from the story. Next, under opening of story, create a setting (where does the story
take place, why are the characters at this place). Under 1st incident, come up with a conflict
which is counter to the lesson to be learned using two of the characters. Next using another
character, come up with another complication or conflict which makes it even harder for the les-
son to be learned. Repeat for the subsequent complications. Next, find a resolution from the
conflicts that lets the characters resolve the story. Create a title for the story. The teacher should
read back the story adding exciting details to make the story come alive.

For older students you may divide them in groups of 3-5 and have students come up with their
own unique story. Then have students gather/create props, costumes and scenery for their story,
rehearse the stories as a play and perform them for each other. This may be
divided into multiple lesson days.

Example of Story Line

Title: Little Red Riding Hood

Lesson to be Learned: Listen to your parents
Characters: Little Red, Mother, Father, Grandmother, Wolf
Opening: Little Red’s mother is giving her a basket of food for her grandmother but
cautions her to not to talk to strangers as she crosses through the woods.
1st Incident A Wolf calls out to Little Red to stop for a while and chat.
1st Complication Little Red stops and talks to the wolf and tells him that she is on her way
to grandma’s house
2nd Complication The Wolf gets to grandma’s house first and gobbles up grandma
3rd Complication Little Red gets to grandma’s house and discovers that the wolf is dressed
as grandma and wants to gobble her up too.
Resolution Little Red screams and her father who is nearby chopping wood comes
and chops the wolf up and rescues Little Red and Grandma.

24
Music Activities
Sound Garden
Teacher gathers students in a sitting circle. Teacher explains that each student needs to come up
with a unique sound. It can be singing a note, making noises with the mouth, snapping,
clapping, anything that they like as long as they can produce the sound using their own voice and/or
body. Students then lay down in the circle with their heads all pointing to the center of the circle
and their feet to the outside of the circle. Teacher instructs students to close their eyes and one at
a time add their unique sound to the circle. When all have added their sound, the teacher can side
coach students to listen to the new sound that the class has created. The teacher can end the
exercise when all students have had a chance to participate. This can be repeated with students
choosing a new sound.

When the exercise is done, bring students back to circle and debrief the exercise by asking about
their experience while doing the exercise.

Vocal Orchestra
Arrange students in a group facing the teacher. Teacher asks each student to create a vocal sound
that is unique to the student. If teacher points to student, they must continue making their sound
until teacher gives them a stop signal. Teacher conducts students as if they were an orchestra
bringing students into the orchestra at the same time, bringing small groups at the same time,
having single students bringing their sound in. Teacher can use dynamics of louder, softer, faster,
slower, to help direct orchestra.

When the exercise is done, bring students back to circle and debrief the exercise by asking about
their experience while doing the exercise.

Pass the Rhythm

Arrange student in a circle. Teacher claps out a rhythm and passes it to the student on the right.
The student must then clap the same rhythm and pass it to the next student. This continues as each
student claps out the rhythm and passes it to the next student until it has gone all the way around
the circle. The teacher increases the difficulty of each rhythm pattern.

To make this exercise into a game students must clap the exact rhythm pattern or they will be elimi-
nated and must sit in the middle of the circle. The last student standing is the winner.

When the exercise is done, bring students back to circle and debrief the exercise by asking about
their experience while doing the exercise.

25
Movement Activities
Pass the Movement
The teacher gathers students in a standing circle. The teacher comes up with a gesture or
movement that is simple enough for all of the students to do. The teacher begins by showing the
students the movement. The teacher then passes the movement to the student next to them.
Each student in turn, passes the movement to the next person in the circle. The teacher
challenges the students to receive the movement exactly as they received the movement and
pass the movement on in the same way.

Variation: Instead of passing the movement to the student next in order, the teacher may use the
movement that they have created to move across the circle, continuing the movement as they
travel and pass the movement to the student across the circle. Each student in turn must pass the
movement to someone across the circle, using their movement to propel them across the room.
The teacher should make sure that each student has a chance to participate.

When the exercise is done, bring students back to circle and debrief the exercise by asking about
their experience while doing the exercise.

Sculptures
The teacher stands at the front of the room and spreads out the students in 4 lines facing the
front of the classroom. Have lines 2 and 4 take one step to the right or left so that all students can
see the teacher and the teacher can see all students. The teacher creates a calm, quiet space and
tells students that this is a quiet exercise and that each student must respect each other’s
personal space. Dimming the lights and/or adding music can help to create the right mood. The
teacher asks the students to close their eyes and the teacher gives the students a word. Students
are asked what image comes to mind when they hear that word. Students are then asked to open
their eyes and using their body, create a frozen sculpture of that word. Students are encouraged
to use their hands, arms, legs, facial expressions. Students are encouraged to try new levels.
Once students find their position, they are asked to freeze so that the teacher can view the
sculpture garden.

You can add many levels to this exercise, depending on the age of the class.
Students can work in pairs to create their word. Students can work in groups to create their word.
The teacher can give students a series of words and have each group of students perform each
word sculpture one after another so it looks as if it is a dance or story.

The teacher can also use phrases from texts of literature that they are working on to create
longer, sculpture movement stories. Sculpture words from Aesop’s Pirate Adventure are included
on page 27.

26
Sculpture Words for Prince Ivan & The Firebird

Apple Tree Magic Swamp To trick

Brothers Peacock To carry Witch
Czar Prince To help Wolf
Firebird Princess To play
Fox Royalty To read
Garden Sleep To run
Harp Slug To search
Horse Sneaky To sing
Kingdom Steal To travel

Art Activities

Design your own Mask

The Ancient Greeks used masks in their theatrical productions. Masks can hide or reveal our true
selves and masks can also help actors create or delineate characters.

Teachers can create mask templates using their own designs of find design templates on-line for
coloring or to create actual masks for students to decorate and wear. Teachers can also find mask
making supplies in local craft stores. Decorate with crayons, markers, paints, feathers, beads, se-
quins and anything else you can think of. Use yarn or elastic to tie masks on students.

Create your own Puppet

Puppets also date back to ancient civilizations and were also very popular during the Renaissance.

Puppets are great for story telling in the classroom. Puppets can be made out of socks, lunch bags,
clothes pins, gloves, tongue depressors, paper and much, much more. Puppet templates can also
be found at your local craft store.

Make Your Own Percussion Instruments

See page 21 for Recycled Percussion

27
TITLE OF FOLK TALE LESSON TO BE LEARNED

CHARACTERS

OPENING OF STORY

1ST INCIDENT

COMPLICATION 1

COMPLICATION 2

COMPLICATION 3

CONCLUSION

28
Post-Show Questions/ Writing Prompts for Prince Ivan & The Firebird

1. What made Prince Ivan change his mind about becoming the Czar?
2. Wolf was very helpful to his friend Prince Ivan on his quest. Have you ever had a friend help you with a
difficult situation or problem? Have you ever helped a friend in a difficult situation or with a difficult prob-
lem?
3. Prince Ivan learns that he can’t always do the things he would like to for fun. He learns he has to take
on some responsibilities as he gets older. Have you ever had a time where you were given a new responsi-
bility? Did you have to give up anything because of that responsibility?
4. Is having responsibilities important?
5. What are your biggest responsibilities now?
6. Is it possible to balance our responsibilities and the things we like to do?

1. Write a short story from the Firebird’s point of view. Where does to firebird come from? Why does the
Firebird steal the apples? Why does the firebird live in the swamp?
2. Write a news – paper article about the missing golden apples from the Czar’s garden, and imagine it is
before Prince Ivan discovers it is the Firebird who is stealing them. Who could the other suspects be?
3. Write a news-paper article about Prince Ivan returning to the kingdom after his journey. This could also
be an interview with Prince Ivan about his adventures.
4. Write a short story about the wolf’s life before we meet him. Why does he talk? Why is he a vegetari-
an? Why does he want to help Prince Ivan?
5. Imagine you go on an epic quest of your own. What are you searching for? Who do you meet? Do you
have travelling companions? What are the struggles you face?
6. Write a short stories about where the brothers go after they are banished from the kingdom. Do they
go on a quest? Do they learn a lesson? Do they ever become Czars?

29
 Don’t keep it a secret! Tell us about your experience
watching The Firebird. Our actors love to get letters
from our Talespinner fans. Send letters to:

Email: info@talespinnerchildrenstheatre.org
Mailing Address: The Reinberger Auditorium
5209 Detroit Ave.
Cleveland, Ohio 44102

Did you know Talespinner Children’s Theatre also

offers classes for students ages 3 to 14 years old at The
Reinberger Auditorium?
Talespinner Children’s Theatre can also bring a touring
production to your school along with workshops and
residencies.
For more information:
Email: info@talespinnerchildrenstheatre.org
Phone: 216.264.9680

30
Theater Glossary from Ohio Academic Content Standards

dra-ma \'dräm-.\ the-ater \'the-.t-.r\ n : a formal or informal process where the drama/
theatre experience (process) is tantamount to the performance (product); drama: plays, dramatic
literature and the works of authors providing literal dramatization of life; theatre: production
activities—acting, directing, designing, scene construction, operating and managing—in synthesis
for performance.

Action The unfolding events of a drama.

Actor A performer in a dramatic/theatrical work.
Art forms Forms (structures) germane to the fine arts—dance, drama/theatre, music and visual art.
Audience Those who participate in drama as spectators.
Basic acting skills Abilities such as changing voice, posture, movement and language, that are
fundamental to creating a character in a dramatic/theatrical work.
Block To determine the placement and movement of actors in a dramatic/theatrical
work.
Cast To assign the parts or roles of a play to actors (verb); the actors in a dramatic/
theatrical work (noun).
Character One of the people within a dramatic/theatrical work; the part or personality an
actor portrays.
Choreographer One who arranges or directs the movements and details of a dance or other
performance.
Conflict The struggle between opposing forces that brings about the action in a dramatic/ theatrical
work or story; can be internal (within a character) or external (between a character and an
outside force).
Costume designer A person who designs costumes.
Critique To evaluate a work (verb); an evaluation of a work (noun).
Design components Components such as clothing, props, sound or lighting that create the environment for a dra-
matic/theatrical work.
Dialogue A conversation between two or more characters in a work that is used by writers to give in-
sight into the characters themselves.
Director The person responsible for making decisions about the artistic interpretation and presenta-
tion of a dramatic/theatrical work.
Dramatization Events or actions presented in a dramatic manner or for theatrical presentation.
Elements of theatre The ingredients of dramatic/theatrical activity including space, time, imitation, action, lan-
guage and energy.
Exposition The information given to the audience about the characters and setting of a play.
Improvisation The spontaneous, unscripted use of words and actions to create a character or
represent an object.
Lighting designer A person who plans the lighting.
Makeup designer A person who designs an actor's makeup.
Monologue A scene written for one actor in which the actor speaks aloud to him/herself, to
another character or to the audience.

31
Theater Glossary from Ohio Academic Content Standards (Continued)

Mood The feeling or atmosphere that a writer creates for a reader; a reflection of an
author's attitude toward a subject or theme; the feeling or atmosphere created by a dramatic/
theatrical work.
Pantomime Acting without speaking.
Playwright A person who writes plays.
Plot pyramid A sequence of events that includes rising action, climax, falling action and
resolution.
Presentational Theatre Works of drama in which the audience is recognized, perhaps by actors speaking
directly to the audience.
Production staff Persons responsible for the design and production of a dramatic/theatrical work.
Prompt A cue or suggestion for action.
Properties master A person who selects props.
Props From the word properties. The objects used on stage to enhance the believability of charac-
ters and action.
Reflection The process of thinking about one's own thinking, thought processes and actions or products.
Resolution The point in a dramatic/theatrical work when the main conflict is resolved.
Scenic designer A person who designs the setting.
Script Written dialogue and directions for a dramatic work.
Setting Time and place of the action of a dramatic/theatrical work; the scenery used to
represent a time and place.
Sound designer A person who plans sound effects.
Stage directions Directions in a script written to tell how to perform the action on stage.
Stage manager A person responsible for maintaining the stage.
Tableau A scene or picture depicted by silent and motionless actors.
Technical crew A group of people responsible for technical aspects of production such as sound
and lighting.
Technical elements Components, such as scenery, sound, lighting, costume design, props and makeup, which are
used to develop setting, action and characters in dramatic/theatrical works.
Theme Meaning or message of a literary or dramatic work.
Time period A time period recognized for its distinct characteristics. In drama, recognized
historical time periods include Origin, Greek/Roman, Medieval, Renaissance,
Restoration, 17th Century, 18th Century, 19th Century, 20th Century and
Contemporary.
Email: info@talespinnerchildrenstheatre.org
Phone: 216.264.9680
Mailing Address: The Reinberger Auditorium
5209 Detroit Ave.
Cleveland, Ohio 44102

Resource Guide prepared by Katelyn Cornelius, Director of Education

and Lisa Ortenzi, TCT Board Member
32