Jason and the Argonauts

Transcription

Jason and the Argonauts - Tilles Center for the Performing Arts

Teacher’s Guide For
JASON AND THE ARGONAUTS
Two actors, 65 minutes, one golden fleece . . . an energec and irreverent telling of the ancient Greek myth.
Playing with scale, invenon, acon figures and a transformave cart, this piece is a great adventure story with
monsters, romance, desny, heroism and revenge. Visible Ficons is one of the United Kingdom’s leading theatre companies. Their dedicaon to placing both audience and parcipants at the heart of all they do has allowed
Visible Ficons to build an internaonal reputaon for engaging, high quality arsc experiences for young people and adults alike.
Dear Teacher,
Thank you for taking the me to bring your students to Tilles Center.
Never has there been a more important me for creavity and innovaon in
educaon. Bringing students to live performance helps them to view the world
through a new lens, to use their senses in different ways and to appreciate a
wide array of art forms and different cultures.
This season marks the 25th year of bringing K-12 students to Tilles Center’s
school-me manee series. We are proud to offer professional performances of
the highest caliber of arsc excellence. Each program is carefully chosen to
both educate and entertain students. We are honored to welcome over 13,000
students through our doors each year.
In order to give your group the richest experience possible, please read and
share this guide with all teachers and students who will a.end the performance. Addional study guides can be downloaded from llescenter.org.
Thank you again for your support. See you at the theater!
Ellio. Sroka
Execuve Director
Stephanie Turner
Director of Arts Educaon
Deborah Robbins
Assistant Director of Arts Educaon
Emily Lembo
Arts Educaon Associate
Table of Contents
Objecves of the Performance ....................................................... 4
A.ending a Performance at Tilles Center....................................... 5
Your Role As an Audience Member ................................................ 7
About The Performance .................................................................. 9
The Company ................................................................................ 11
Cultural Context ............................................................................ 13
Acvies Before The Performance ............................................... 17
Acvies A8er The Performance .................................................. 21
Elements of a Show....................................................................... 30
Places in the Theater..................................................................... 32
Glossary of Terms.......................................................................... 33
Resources ...................................................................................... 35
Emergency Cancellaon................................................................ 36
OBJECTIVES OF THE PERFORMANCE
Standard 2: Knowing and Using Arts
Materials and Resources
Students will be knowledgeable about and
make use of the materials and resources
available for parcipaon in the arts in various
roles.
Theater: Students will know the basic tools,
media, and techniques involved in theatrical
producon. Students will locate and use
school, community, and professional
resources for theater experiences. Students
This teacher’s guide is designed to extend the will understand the job opportunies available
in all aspects of theater.
impact of the performance by providing
discussion ideas, experienal acvies, and
Standard 3: Responding to and Analyzing
further reading that can promote learning
Works of Art
across the curriculum. This program can be
Students will respond crically to a variety of
incorporated into study addressing the
Learning Standards for the Arts as spulated works in the arts, connecng the individual
work to other works and to other aspects of
by the N.Y. State Educaon Department.
human endeavor and thought.
Detailed informaon is available at:
Theater: Students will reflect on, interpret,
www.emsc.nysed.gov/ciai/arts/pub/
and evaluate plays and theatrical
artlearn.pdf .
performances, both live and recorded, using
the language of dramac cricism. Students
Learning Standards for the Arts (Theater):
will analyze the meaning and role of theater in
society. Students will idenfy ways in which
Standard 1: Creang, Performing, and
drama/theater connects to film and video,
Parcipang in the Arts
Students will acvely engage in the processes other arts, and other disciplines.
This performance serves to:
• Introduce students to the environment
of a professional performing arts center;
• Expose students to a live performance
with high caliber performers;
• Maximize students’ enjoyment and
appreciaon of the performing arts;
• Help students develop an understanding
of the arts as a means of expression and
communicaon.
that constute creaon and performance in
the arts (dance, music, theater, and visual
arts) and parcipate in various roles in the
arts.
Theater: Students will create and perform
theatre pieces as well as improvisaonal
drama. They will understand and use the basic
elements of theatre in their characterizaons,
improvisaons, and play wring. Students will
engage in individual and group theatrical and
theatre-related tasks, and they will describe
the various roles and means of creang,
performing, and producing theatre.
Standard 4: Understanding the Cultural
Dimensions and Contribuons of the Arts
Students will develop an understanding of the
personal and cultural forces that shape arsc
communicaon and how the arts in turn
shape the diverse cultures of past and present
society.
Theater: Students will gain knowledge about
past and present cultures as expressed
through theater. They will interpret how
theater reflects the beliefs, issues, and events
of sociees past and present.
ATTENDING A PERFORMANCE AT TILLES CENTER
The concert hall at Tilles Center seats 2,200 people. Hillwood Recital Hall seats 500 people.
When you a.end a performance at Tilles Center for the Performing Arts, there are a few
things you should remember.
ARRIVAL AND DEPARTURE
• Groups will be seated in the theater on a first-come, first-serve basis.
• Tilles Center cannot reserve seats for school performances.
• Plan to arrive approximately 30 minutes prior to the show.
• Performances cannot be held for late buses.
• C. W. Post Public Safety will direct buses to parking areas.
• Remain seated on the bus unl instructed to unload.
• Shows generally last one hour.
ENTERING THE THEATER
• Please stagger chaperones throughout the group to help keep students in line and moving quickly to the seang area.
• Groups are directed into the theater in the order that they arrive.
GETTING SEATED
• Upon entering the theater for seang, ushers will direct students and teachers row by
row. It’s possible that classes may be split up into two or more rows. With adequate
adult supervision, a group split into two or more rows should have enough chaperones
to ensure safety.
• Please allow ushers to seat your group in its enrety before making adjustments. This
allows us to connue seang groups that arrive a8er you. You are free to rearrange students to new seats and to go to restrooms once the group is seated.
ENJOY THE SHOW
So that everyone can enjoy the performance:
• There is no food or drink permi.ed in the theater or lobby areas.
• Photography and audio/video recording is not permi.ed during the performance.
• Please turn off (or leave behind) all walkmans, pagers, cell phones. The devices may interfere with the theater’s sound system and ringing, alerts, etc. are extremely disrupve to
both the audience and the actors.
• Please do not talk, whisper, shuffle or ra.le papers or candy wrappers during the performance.
• Please do not leave and re-enter the theater during the performance. There is no intermission so make sure you visit the restroom prior to the start of the show.
Jason and the Argonauts
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DISMISSAL
• A Tilles Center representave will come onstage following the performance to provide direcons for dismissal. Please remain seated unl you have received these direcons.
_____________________________________________
Please Note:
⇒
CHILDREN UNDER THE AGE OF 4 WILL NOT BE PERMITTED IN THE THEATER UNDER ANY
CIRCUMSTANCES – PLEASE MAKE CHAPERONES AWARE OF THIS POLICY.
⇒
TILLES CENTER RESERVES THE RIGHT TO REMOVE STUDENTS (UNDER SUPERVISION OF
THEIR TEACHER OR CHAPERONE) FROM THE VENUE SHOULD THEY BE OF INAPPROPRIATE AGE OR A DISRUPTION TO THE PERFORMANCE.
⇒
FOOD AND DRINK ARE NOT PERMITTED IN THE LOBBY AREAS OR THE THEATER. UNFORTUNATELY, WE CAN NOT PROVIDE SEATING IN THE BUILDING FOR STUDENTS TO EAT
BAGGED LUNCHES.
Thank you and enjoy the show!
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YOUR ROLE AS AN AUDIENCE MEMBER
TO THE TEACHER:
The audience is a very important part of the performance. Please talk to your students about
what it means to be an audience member and how a “live” performance is different from TV
and movies. Please share the following informaon with your students prior to your visit to
Tilles Center. Some performances may involve audience parcipaon so students should be
prepared to behave appropriately, given the nature of the performance and the requests of
the arsts on the stage.
BEING AN AUDIENCE MEMBER:
A theater is an energecally charged space. When the “house lights” (the lights that illuminate the audience seang) go down, everyone feels a thrill of ancipaon. By discussing appropriate audience behavior as a class ahead of me, the students will be much be.er
equipped to handle their feelings and express their enthusiasm in acceptable ways during the
performance.
Audience members play an important role— unl an audience shows up, the performers are
only rehearsing! When there is a “great house” (an outstanding audience) it makes the show
even be.er, because the arsts feel a live connecon with everyone who is watching them.
The most important quality of a good audience member is the ability to respond appropriately
to what’s happening on stage… somemes it’s important to be quiet, but other mes, it’s acceptable to laugh, clap, or make noise!
GOOD AUDIENCE MEMBERS KNOW THESE KEY WORDS:
Concentraon: Performers use concentraon to focus their energy on stage. If the audience
watches in a concentrated, quiet way, this supports the performers and they can do their best
work. They can feel that you are with them!
Quiet: The theater is a very “live” space. This means that sound carries very well, usually all
over the auditorium. Theaters are designed in this way so that the voices of singers and actors
can be heard. It also means that any sounds in the audience - whispering, rustling papers, or
speaking - can be heard by other audience members and by the performers. This can destroy
everyone’s concentraon and spoil a performance. Do not make any unnecessary noise that
would distract the people siQng around you. Be respecRul!
Keep in mind that somemes the performers will request the audience to take part in the acon by coming on stage, asking quesons, or calling out answers. At these mes, it is appropriate to respond in the manner in which you are directed. Above all, listen to the performer
(s) on stage and follow direcons.
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Respect: The audience shows respect for the performers by being a.enve. The performers
show respect for their art form and for the audience by doing their best possible work. Professional actors and musicians always show up for work ready to entertain you. As a good audience member, you have a responsibility to bring your best behavior to the theater as well.
Doing so shows respect for the actors—who have rehearsed long hours to prepare for this
day—and the audience around you.
Appreciaon: Applause is the best way for an audience in a theater to share its enthusiasm
and to appreciate the performers. In a musical or opera, it is not usually acceptable to applaud in the middle of a song. However, it is appropriate to applaud a8er each song has finished.
If the program is of classical music, applaud at the conclusion of the enre piece, not between
movements.
At the end of the performance, it is customary to connue clapping unl the curtain drops or
the lights on stage go dark. During the curtain call, the performers bow to show their appreciaon to the audience. If you really enjoyed the performance, you might even thank the arsts
with a standing ovaon!
Common Sense: The same rules of behavior that are appropriate in any formal public place
apply to the theater. If audience members conduct themselves in orderly, quiet ways, with
each person respecng the space of those around him or her, everyone will be able to fully
enjoy the performance experience.
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About the Performance
Jason and the Argonauts is a Greek myth about
a young man, Jason, whose uncle isn’t exactly
lovable. . . He’s murdered his brother (the king)
and stolen the kingdom and now nobody dares
stand up to him. Things are about to get a major shake up though because Jason is BACK!
A8er being banished as a baby, our wannabe
hero returns to claim his righRul throne and
make some big changes.
However, in ancient mes nothing’s that
straighRorward. Jason and his crew must sail in The Argo to the other side of the world to find
the Golden Fleece and bring it back in order to unite the people again. As if that wasn’t difficult enough, the odd monster, sleeping dragon and clashing rock endeavor to ruin his trip and
spice things up on this most fantasc of journeys!
Two actors and a big wooden cart on the bare stage will recreate the thrills, spills and monsters that make the quest for the Golden Fleece capture the human dilemmas about love, war,
family and a host of other preoccupaons of our existence which recur in most cultures.
The cart funcons as a vehicle for young Jason to set out on his epic journey by transforming
into a giant paper boat, a perfect size for a crew of acon men, Argonauts. It conceals the various props as it goes and again transforms into a chamber where the valiant Jason is imprisoned, as well as a receptacle for the prize fleece.
In this producon, Jason makes both a physical journey to another land and a personal journey
of self belief and self esteem. Together Jason and his team of Argonauts negoate and overcome different problems. Jason and the Argonauts are an inspiraon for exploring themes of
transion, self awareness, independence and interdependence.
Cast of characters:
Jason—Jason wants to take the kingdom back from Pelias, his evil uncle
Aeson—Jason’s father who appears to him in a dream
Chiron—Jason’s stepfather, who looked a8er him a8er Jason’s father was killed
Pelias—Jason’s evil uncle who murdered Jason’s father and who Jason fights for the throne
Hera—the queen of Heaven, who appears to Jason as an old woman who he carries across
the river of blood
Hercules—the strongest man in the world who thinks he should be the captain of the Argo
Educational materials provided, in part, by Visible Fictions.
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Mopsus, an Argonaut—a natural philosopher who studies beasts and birds and plants
Orpheus, an Argonaut—the greatest musician and poet in the world
Hylas, an Argonaut—beauful and wise and an expert with a bow and arrow
Medea—the witch princess, one of the guardians of the fleece who falls in love with and
runs away with Jason
Aeetes—the King of the End of the World, guardian of the fleece and Medea’s father.
Ceto—the sea monster
Phineas—the wise King, blinded by the Gods for seeing the future too clearly and
tormented by the harpies
Harpy—the half woman, half bird creature sent by the gods to torment Phineas.
The Dragon—who guards the fleece
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About the Company
Visible Ficons creates vibrant, high quality and accessible theatre for young people and adults alike. For over 16 years, our
work has inspired and entertained audiences across the world –
from Broadway to schools in the ScoQsh Highlands – always
aiming to challenge, excite and thrill. No two Visible Ficons performances are alike but all guarantee an equally memorable and
powerful experience.
Alongside our professional performance work, the company produces dynamic educaon and
parcipaon projects which also enthuse all who connect to them, helping parcipants to discover their own arsc potenal and inspire their own learning.
Visible Ficons is regularly invited to perform at the Bank of Scotland Imaginate Fesval and
other fesvals across the world. They have collaborated with BBC Panorama and co-produced
with BBC Scotland for BBC Radio 4.
Abroad, they have co-produced with Danish ASSITEJ and we were thrilled to be the first
ScoQsh theatre company to be invited to perform on Broadway with our producon of The
Red Balloon. We have collaborated with The Sea.le Children’s Theatre, The Mark Taper Forum
in Los Angeles and The Children’s Theatre Company, Minneapolis.
Douglas Irvine - Director
Douglas Irvine is the Arsc Director of Visible Ficons and has directed many producons for
the company - last year he directed Peter Pan, a co-producon with the Children's Theatre
Company Minneapolis which toured across the UK and Ireland while Jason and the Argonauts
performed in the USA, Canada and Australia. Currently Douglas is direcng a large-scale out
door producon with Iron-Oxide and the Edinburgh Mela. Most recently he directed Poem in
October - an Oran Mor/Traverse Theatre co-producon and Zorro, in co producon with Traverse Theatre. Douglas was also the co creator of Bill's New Frock, The Red Balloon and Shopping for Shoes which have toured the USA and Canada extensively.
Robert Forrest - Writer
Robert has been a professional writer for more than twenty years. Theatre tles include Guizer Mar)n, Kepler, Lucia, Nova and The Book Of Love. His previous work for Visible Ficons
was the BBC Radio Drama co-producon Prince Unleashed. He has worked extensively in radio, having produced 15 original plays - including Shanidar, Entertaining Unawares and Summersets - and many dramasaons by authors such as George Eliot, R L Stevenson, Ford Madox Ford and Nabokov.
Robin Peoples - Designer
Robin is a graduate of the University of St. Andrews and taught at the University of ErlangenNurnberg, Germany. He was the holder of the first ScoQsh Arts Council Director's Bursary and
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is the former Arsc Director of ScoQsh Youth Theatre and the Brunton Theatre. Guest direcon/design work includes the Tron, Mull Theatre Co, Whitehall Theatre, 7:84, Theatrebabel,
the Byre, The Singing Ke.le, Perth Theatre and the Traverse. He has directed and designed
over 250 producons ranging from the classics to new ScoQsh wring to panto. He has also
commissioned a wide range of new wring.
Paul Ancell - Lighng Designer
Paul has worked as a lighng designer for a number of years and has lit many producons for
Visible Ficons. These include: Big Baby, Prince Unleashed, Shopping for Shoes, Monster, The
Pearl, Emily's House, Beethoven's Brother and Henry and the Seahorse.
Daniel Padden - Music
Daniel is a composer and musician based in Glasgow. Over the last few years he has composed music for theatre, film and television. In addion he has run music workshops for children and adults, reflecng his beliefs that learning and creang music should involve improvising and experimenng. He is a member of the groups Volcano The Bear and The One Ensemble and has performed extensively around the UK and Europe.
Simon Donaldson - Actor
Simon trained at the RSAMD (Royal ScoQsh Academy of Music and Drama.) Theatre credits
include Don Quixote (Theatre Modo), Big Baby, Into The Dark (Visible Ficons), Use Once &
Destroy (Squidge Producons), Zlata’s Diary (Communicado), Fly (Liverpool Everyman) and
The Tempest (Creaon Theatre Co). Simon won the Carleton Hobbs Award 2002 for BBC Radio
drama. Radio 4 credits include Almost Blue, McLevy, The Great Escape, The Gowk Storm, Dr
Korczak’s Example, His Dark Materials, The Old Curiosity Shop, Maigret and Belonging (Book
At Bedme). He is also involved in BBC7’s award-winning The Poetry Pod.
Tim Se.le - Actor
Tim has previously worked for Visible Ficons on Where The Wild Things Are and The Pearl.
Other theatre work includes Kes (Perth Theatre), As You Like It (Oxford Shakespeare Fesval)
and Comedy Of Errors (Cambridge Shakespeare Fesval). He has also worked with ScoQsh
Opera on their producon of Twelve Days Of Christmas. Radio includes The Home Front (BBC).
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Cultural Context
The word “myth” comes from the Greek “mythos” which originally meant “speech” or
“discourse” but later came to mean “fable” or “legend.” It can be defined as a story of forgo.en or vague origin, basically religious or supernatural in nature, which seeks to explain or
raonalize one or more aspects of the world or society. All myths are, at some stage, actually
believed to be true by the peoples of the sociees that used or originated the myth.
Some myths describe an actual historical event, but have been embellished and re-fashioned
by various story tellers over me so that it is impossible to tell what the original story was.
Myths have a legendary and historical nature.
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Myths raonalize and explain our universe; they sasfy our natural, healthy craving to live
in a world which is understandable and entertaining.
Myths grant connuity and stability to a culture. They foster a shared set of perspecves,
values, and history. We are connected to one another, to our ancestors, to the natural
world around us, and to society, as well as other cultures.
Myths present guidelines for living. When myths tell about the acvies and aQtudes of
deies, the moral tone implies society's expectaons for our own behaviors and standards.
Myths jusfy a culture’s acvies. Through their authoritaveness and the respected
characters within them, myths establish a culture’s customs, rituals, religious tenets, laws,
social structures, power hierarchies, territorial claims, arts and cra8s, holidays and other
recurring events, and technical ps for hunng, warfare, and other endeavors.
Myths give meaning to life. We transcend our common life into a world in which deies
interact with humans, and we can believe that our daily acons are part of the deies’
grand schemes. In our difficules, the pain is more bearable because we believe that the
trials have meaning; we are suffering for a bigger cause rather than being ba.ered randomly.
Myths explain the unexplained. They reveal our fate a8er death, and the reasons for crises or miracles and yet they retain and even encourage an aura of mystery. Myths also
sasfy our need to understand the natural world; for example, they might state that a
drought is caused by an angry deity.
Myths offer role models. In parcular, children pa.ern themselves a8er heroes; comic
books and Saturday morning cartoons depict many archetypal characters, such as Superman and Wonder Woman.
For thousands of years, the myths from ancient Greece have intrigued people. Their stories
have enthralled us with tales of brave heroes, savage monsters and powerful gods. Myths
blend fact and ficon that can help us to be.er understand the behaviors, customs, and way
of life of the people of ancient Greece.
We can learn a great deal about the ancient Greek ideas of what constutes a good person if
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we explore the heroes from their myths. A8er all, these heroes are the people that the ancient Greeks felt to be their greatest role models.
These heroes o8en faced a quest that looked like it could never be overcome but, by relying
on their strengths, they o8en won and completed their quests. We can learn many important
lessons by focusing on these heroes’ acons and behavior through myths.
In studying Greek myths the most memorable characters are the Greek gods. The Greeks believed that there were many gods and each god played an important role in keeping everything running smoothly. For example, Zeus is the king of all the gods, Aphrodite is the goddess of love, Ares is the god of war, and there are many more gods.
The Greeks believed that these gods were similar to humans in many ways but they held
amazing powers, were unbelievably beauful, and they were immortal (they could not die.)
Also, the Greeks could relate to their gods because they believed their gods had human emoons. In myths, the gods could get angry, sad, jealous, happy, or even fall in love.
Throughout history, people have looked up to others who are especially good. We have
called these good people heroes. Heroes have always shown the behaviors that the people of
the me felt to be important and honorable. To really understand why the people looked up
to their heroes we must understand what behaviors their society felt to be important. The
ancient Greeks equated heroism with physical strength and raw courage in the face of danger, such as Zeus or Hercules. Today, new definions of heroism and new kinds of heroes
have emerged. Research scienst Jonas Salk, astronaut John Glenn and civil rights leader
Marn Luther King are contemporary heroic types on the American scene. In another sense,
prisoners of war, sports figures, actors and actresses and some persons of high office are
looked at as heroes.
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The earliest Greek civilizaons thrived nearly 4,000 years ago. Ancient Greece was split into
many different states, each one was ruled in its own way. The ancient Greece civilizaon lasted from about 800 BC, when the Greeks began to set up city-states, to 146 BC when the Romans invaded Greece. A small country in southeast Europe, Greece has an area of mainland,
which is very mountainous, and hundreds of small island do.ed around in the Aegean and
Ionian seas. The largest island is Crete which is in the Mediterranean Sea. The island locaons coupled with a warm, sunny climate produces a most desirable vacaon spot.
The highest mountain in Greece is Mount Olympus (9,754 feet) the seat of the gods of Greek
mythology. The largest city and capital of Greece is Athens, with a populaon of over three
million.
Influence of the Ancient Greeks
The influence of the ancient Greeks are sll felt by us today. Museums display ancient Greek
sculpture, painng, po.ery, metalwork, jewelry, weaving and embroidery emphasizing how
important these myths were in the lives of the people.
Some famous buildings of ancient Greece are the Parthenon and Knossos. Even today, classic
architecture is built on the Doric, Ionic and Corinthian styles.
Doric
Ionic
Corinthian
If you had lived in any ancient Greek city-state, even in Sparta, you would have seen these
three column designs all over town. Today, these column designs are used on buildings all
over the world.
The word “democracy,” which means “government by the people,” is an example of the influence the ancient Greeks had on our language and governing system. Democracy around the
world is a legacy of the Athenians and their assemblies and councils.
The first two le.ers of the Greek alphabet—alpha and beta—have given us the word
“alphabet.” The word “theatre” is Greek and most modern theatres are styled on the Greek
plan. We draw upon myth-oriented adjecves or idioms in our daily reading and wring.
Achilles was a Greek hero whose enre body was protected from assault except for his heel,
thus a weak spot is called an “Achilles Heel.” King Midas had the power to change all he
touched to gold which became a curse, thus “ the Midas touch.” Pan, the shepherd god, with
legs and the horns of a goat was considered to be the cause of a sudden fear that comes for
not reason, known as “panic.” The Titans, an ancient race of giants, were overcome by Zeus
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in a struggle that shook the world, hence tanic.
The first Olympic Games were held in 776 BC at the Greek city of Olympia. Winners were
awarded a silver medal and an olive branch and the people of Athens greeted the games with
great enthusiasm. The games ended around 393 AD.
The revival of the ancient Olympics in April 1896
a.racted athletes from 14 naons, with the largest
delegaons coming from Greece, Germany, France
and Great Britain. Today, the Olympic Games are
internaonal, mul-sport events subdivided into
summer and winter events. The summer and winter
events are each held every four years, separated by a two year gap. The 2010
Winter Olympics was held in Vancouver, Canada. It featured 2,600 athletes
from 82 different naons who parcipated in 86 events in 15 disciplines.
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Activities
Before the Performance
These acvies are drama based but could be used as the basis for group discussion or wring
exercises. The exercises build on each other and work as a complete unit but you are encouraged to use the ideas as a starng point and adapt them to best suit the needs of your students.
1. Ask the group to walk around the room at a steady pace without talking to or bumping into
anyone else. Ask them to try and fill any space they see. When the group is focused and
walking fluidly explain that you are going to call out a word and that you want them to
freeze like a statue in response to that work, and that when you call out “come to life”
they are to bring that statue to life and walk around the room unl you call out “normal
walking.”
Work through the following words:
• Hero
• Villain
• Frightened
• Brave
• Adventure
• Hero on a Mission
Highlight some of the “Hero on a Mission” statues and discuss:
• What makes a hero?
• What sort of things do heroes do?
• Is it easy to be a hero?
2. Divide the group into teams of 4 or 5 students. Tell them that they are going to invent a
mission where something important has to be achieved. Give them a sheet of paper with
the following headings to complete:
a. Mission
b. Why is this mission important
c. What are the dangers of this mission
Have each team present their mission to the rest of the class.
Ask the teams to come up with the “Ideal Hero” by showing a series of three or four sll
pictures or tableaux that demonstrate the key skills of their “Ideal Hero.” Inform the
teams that one person should introduce each sll picture and explain how it demonstrates
why their hero is ideal for the mission. Have each team present their hero to the rest of
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the group. If the whole class is not working on the same mission then re-cap what the mission is before each team presents.
Discuss the presentaons focusing on how suitable the “Ideal Hero” is for the mission.
3. Arrange the group so half are siQng in an inner circle and half are siQng in an outer circle.
The inner circle people should be facing outwards and the outer circle people should be facing inwards, so everyone is opposite a partner. Tell the students in the inner circle that they
are to be a Hero character that is about to set off on a mission and they need to recruit a
team to go with them. Give them a moment to decide what their Hero is called and what
the mission is.
Explain that they are to interview the people opposite them for the posion of team member. Tell them that when you shout “go” they have one minute to introduce themselves,
explain what the mission is and to ask the person opposite quesons to see if they are the
kind of person they want on their team. Explain that the person being interviewed always
wants to try and get on to the team and they have to persuade the hero that they would be
a good team member.
Shout “go” and let the interviews commence. A8er a minute or so stop them and ask the
outer circle to move around one space clockwise, so everyone has a new partner. Connue
to let the hero’s interview new people for as long as it seems useful to do so. On the last
“go” ask for volunteers to re-run their interviews for the rest of the group to watch. Re-run
the exercise with the roles reversed. The people on the outer circle are now being the heroes interviewing potenal team members for their mission.
Discuss the exercise focusing on:
• What kind of person did people need for their missions?
• How do you know if you will be able to work well with someone?
• What makes a good team?
4. Students will research three mythological heroes as a character study to generate a definion of the word “hero.”
Introduce this lesson with a discussion about heroism. Ask each student who their hero or
heroine is and why they chose that person. Who would they consider a modern-day hero/
heroine? Discuss characteriscs their hero/heroine displays. Remind students that myths
were the main form of educaon for Greeks long ago, and that they carried significance for
humankind. Humans have emulated other people or “heroes” through me.
Divide the students into three groups; each group will research one of the characters/
myths. Print and duplicate the myths from the following websites:
Perseus and Medusa
Page 18
www.arthistory.sbc.edu/imageswomen/papers/ko.kegorgon/gorgonmyth.html
Hercules Twelve Labors
h.p://www.k12.hi.us/~skiyonag/12Labors.html
The Story of Jason and the Argonauts
www.mythweb.com/heroes/jason/
Distribute copies of the Mythological Hero Chart on page 21. Each group will record/
respond for the myth they are assigned. Remind the students of the need to look for the
specific examples from the chart to complete the column.
Discussion:
Have students from each of the groups share what they recorded on the chart for their hero. Students from the other groups can add informaon for this hero on their chart.
Create a general definion for a mythological hero, based on all three myths.
On chart paper record the definion.
Addional:
Students will write an essay idenfying a popular character from a book/movie/TV show,
like Harry Po.er, as a hero. All evidence in the essay should be based on the definion and
traits from the class discussion.
Argo
Page 19
Mythological Hero Chart
Directions: Fill in the examples of heroism from each of the myths.
Perseus
Hercules
Jason
Which gods help the
hero?
What is the goal of
each hero’s quest?
What superhuman
qualities, strengths,
or talents does the
hero have?
List a few heroic
acts performed by
each character.
What are his personality quirks or
flaws?
Which heroes experience a “happy ending?”
Educational materials provided, in part, by Scholastic.
Page 20
Acvies
ADer the Performance
1. Reflecon: in discussing a theatre performance, it is o8en more producve to ask the queson “What did you see in the producon?” or “What do you remember most strongly
about the play?” rather than “Did you like the play?” The first two quesons lead to observaon or analysis of the performance, encouraging recall of details, while the third queson encourages more judgmental responses. Although audience members respond posively and/or negavely to a work of art, crique should come in later in the discussion process. Discussion of which aspects of a play remain in one’s memory o8en reveals the arsc choices at the heart of a work. Have students describe a memorable moment from the
play in various ways —verbally, in wring, by drawing, or through movement.
2. Ask the group to walk around the room at a steady pace without talking to or bumping into
anyone else. Ask them to try and fill any space they see.
When the group is focused and walking fluidly explain that you are going to remind them
of a character from the play and that when you call “freeze” they are to make a statue of
that character, when you call “come to life” they are to walk around the room as that character, and when you call “normal walking” they are to connue to walk around the room
as before.
Work through the following characters:
Jason
Aeson—Jason’s father who appears to him in a dream
Chiron—Jason’s stepfather, who looked a8er him a8er Jason’s father was killed
Pelias—Jason’s evil uncle who murdered Jason’s father and who Jason fights for the throne
Hera—the queen of Heaven, who appears to Jason as an old woman who he carries across
the river of blood
Hercules—the strongest man in the world who thinks he should be the captain of the Argo
Mopsus, an Argonaut—a natural philosopher who studies beasts and birds and plants
Orpheus, an Argonaut—the greatest musician and poet in the world
Hylas, an Argonaut—beauful and wise and a dab hand with a bow and arrow
Medea—the witch princess, one of the guardians of the fleece who alls in love with and
runs away with Jason
Aeetes—The King of the End of the World, guardian of the fleece and Medea’s father.
Ceto—the sea monster
Phineas—The wise King, blinded by the Gods for seeing the future too clearly and tormented by the harpies
Harpy—The half woman, half bird creature sent by the gods to torment Phineas
The Dragon—who guards the fleece
Page 21
Discuss, focusing on:
• Which characters did you remember most clearly? Why do you think this is?
• Which characters did you like the most? Why?
• Were there any characters you didn’t like? Why?
3. Divide the students into pairs. Explain that they are going to act out a conversaon between Jason and one of the other characters from the play and, like the actors did in the
play, they are going to swap roles. Encourage each pair to find a good space to work in; it
might be a good idea to get them to draw around their “acng area” with a piece of imaginary chalk. They need to define an area where they have space to move but won’t be entering other pair’s “acng area.” Ask each pair to choose one of the other characters from
the play for Jason to have a conversaon with. Tell them they can chose one of the characters who didn’t talk in the play (e.g. the dragon) but for this exercise they will need to imagine that their character can talk.
They must keep within their acng area and there should be no physical contact (thus no
chasing about the room or fights). Ask them to choose who is going to start as Jason and
who is going to start as the other character they have chosen.
Explain they are to have a conversaon and that when you call “swap characters” they
should switch roles just like the actors did in the play. Keep the conversaon running as
smoothly as possible.
Run the exercise, and then watch some (or all) of the pairs. Discuss and focus on:
• How smoothly did they manage the change over?
• What was the conversaon about?
• How would you describe Jason’s relaonship with this character?
4. Ask the group to recall what Medea says to Jason near the end of the play, just before he is
going to fight Phineas:
“If you’re not afraid of anything, you can’t really be brave—you’re just stupid. And if you’re
not brave you can’t be a hero. So to be a hero you have to be afraid.”
Divide the class into groups of 4 or 5. Ask them to choose a moment from the story when
Jason needed to be brave but he was feeling afraid. Explain that they are to create two
“tableaux” (sll pictures) of that moment, one where Jason is feeling afraid and one when
he is feeling brave. The groups will need to think about who else is in the picture and how
they are feeling when Jason is feeling afraid and when he is feeling brave.
Explain that when they show the tableaux, you are going to come round and tap each character on the shoulder and they are to say what they are thinking at that moment. This is
called “thought track.” Give them me to prepare and then ask each group to show the
“afraid tableaux,” “thought track” it and then discuss:
• Why is Jason afraid?
Page 22
•
•
How is Jason’s fear affecng the others in the tableaux?
What could help Jason be brave?
Next show the “brave tableaux,” “thought track” it and then discuss:
• Why does Jason need to be brave?
• What is helping Jason be brave?
• How is Jason’s bravery affecng the others in the tableaux?
Jason and the Bulls
Page 23
Student Acvity
Idenfy the role each Greek god portrayed by drawing a line from the Greek god in the first
column to the role in the second column.
Greek gods
1. Zeus
2. Poseidon
3. Athena
4. Aphrodite
Role
Goddess of Love
Messenger of the gods
Goddess of Harvest
God of the Sea
5. Ares
Goddess of Wisdom
6. Eros
Goddess of the Moon
7. Hermes
God of War
8. Artemis
King of the gods
9. Cronus
God of Love
10. Demeter
God of Time
Answers on page 29.
Page 24
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
DOWN
2. The king of Colchis
3. The bulls that Jason used to plow the field could
breathe ______.
4. What did Jason lose when crossed the river?
7. Seeds that Jason had to plant.
8. Jason’s crew.
9. Two of the Argonauts were sons of the ____Wind.
11. The person who built Jason’s ship.
12. The centaur that raised Jason.
16. The hero known for his great strength who joined
the Argonauts.
17. What did the dragon teeth become when planted in
the field.
19. The wise old man who warned Jason about the
crashing rocks.
20. Animal that was guarding the Golden Fleece.
22. The kind of bird that Jason used to trigger the clashing rocks so that his ship could go through.
25
ACROSS
1. 1.The goddess disguised as an old woman that Jason helped across the river.
5. What Medea gave to Jason to protect him from the
fire-breathing bulls and to make the dragon sleep.
6. The princess who helped Jason.
10. The famous huntress who joined the Argonauts.
13. The name of Jason’s boat.
14. Monsters with the head of a woman and the body of
a bird.
15. The land where the golden Fleece was.
18. The famous musician who joined the Argonauts.
21. Goddess who helped build the boat and gave Jason
a branch to protect it.
23. The treasure that Jason’s uncle sent him to fetch.
24. Jason’s wicked uncle.
25. What did Jason throw at the soldiers that came out
of the ground?
Answers on page 29.
Page 25
Find the words from the list below in the puzzle. Words can be across, down or at an angle.
Y
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Argo
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Argus
Atalanta
Athena
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K
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Colchis
Dragon Teeth
Fire-breathing Bulls
Golden Fleece
Harpes
Hera
A
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Jason
Medea
Orpheus
Phineas
Polydeuces
Uncle Pelias
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Answers on page 29.
Page 26
The heroes who sailed with Jason on the Argo were called the Argonauts. How
many words can you find in the word “ARGONAUTS”?
A R G O N A U T S
_____________________________________________ _____________________________________________
_____________________________________________ _____________________________________________
_____________________________________________ _____________________________________________
_____________________________________________ _____________________________________________
_____________________________________________ _____________________________________________
_____________________________________________ _____________________________________________
_____________________________________________ _____________________________________________
Page 27
Create sentences to describe the characters in the story of Jason and the Golden Fleece. Use
one word in each of the character box and acon box to fill in the blanks.
(search the internet for research)
Character Box
Acon box
PRINCESS
CAPTAIN
WICKED UNCLE
WIST OLD MAN
HUNTRESS
GODDESS
SHIPBUILDER
KING
MONSTERS
MIGHTY HERO
WARNED
SENT
RETRIEVED
HELPED
ASKED
JOINED
BUILT
OWNED
BOTHERED
ROWED
1. Jason was the ___________ who __________the Golden Fleece.
2. Medea was the ________ who ________ Jason get the Golden Fleece.
3. Pelias was the _________ who _____________ Jason to find the Golden Fleece.
4. Phineas was the _______________ who _____ Jason of the clashing rocks.
5. The Harpies were the __________ that _____ Phineas.
6. Hera was the ____________ who ______ Jason for help crossing the river.
7. Argus was the _______ who ______ the Argo.
8. Aeetes was the ___ who _______ the Golden Fleece.
9. Atalanta was the ____ who _____ the Argonauts.
10. Heracles was the ______ who ________ the Argo.
Answers on page 29.
Page 28
Key page 25
Crossword Puzzle
DOWN
2. Aeetes
3. fire
4. sandal
7. dragon teeth
8. Argonauts
9. north
11. Argus
12. Chiron
16. Heracles
17. soldiers
19. Phineus
20. dragon
22. dove
Key page 24
Role of the Greek gods
1. King of the gods
2. God of the Sea
3. Goddess of Wisdom
4. Godess of Love
5. God of War
6. God of Love
7. Messenger of the gods
8. Goddess of the Moon
9. God of Time
10. Goddess of Harvest
ACROSS
1. Hera
5. poons
6. Medea
10. Atalanta
13. Argo
14. Harpies
15. Colchis
18. Orpheus
21. Athena
23. Golden Fleece
24. Pelias
25. stone
Key page 26
Word Find
1.
2.
3.
4.
5.
6.
7.
G[\]
N^]_
R^`
S[à
G\_
S[`
S^`
8.
9.
10.
11.
12.
13.
14.
S]\b
_\à
S\]
a[
S[b]
R\a
ab^`]
Apollo
Key page 28
Create a Sentence
Jason and the Golden Fleece
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
Captain/retrieved
Princess/helped
Wicked/uncle sent
Wise old man/warned
Monsters/bothered
Goddess/asked
Shipbuilding/built
King/owned
Huntress/joined
Mighty hero/rowed
Argo
Page 29
ELEMENTS OF A SHOW
choreography—pa.erns of movement and sllness
classic—having lasng significance or worth; enduring
climax—the crucial moment, turning point, or dramac high point in the acon of a play,
book, story, or film that can bring the previous events together, usually at the end
costumes—what the performer wears to help enhance qualies of the character that they are
portraying
curtain call—the appearance of performers or a performer at the end of the show to receive
applause from the audience. They enter in order of importance, with the stars coming last and
usually taking more than one bow
dialogue—conversaon in a play, usually between two or more characters
director—a person who creates an overall concept for a producon, supervises all elements of
the producon and guides the performers in the show
dramazaon—a work adapted from another medium, such as a novel, for dramac presentaon
interpretaon—the expression through performance of a parcular concept of a role, scene,
play, or musical composion
lighng effects—the atmosphere, moods, and me of day created by the use of light
monologue—a form of dramac entertainment or comedic solo by a single speaker
music—pa.erned sound changes in pitch, rhythm, loudness, melody and other qualies, capable of seQng mood, me, or atmosphere
narrator—a person who reads or speaks lines that advance a story, apart from the characters’
lines
producer—a person responsible for mounng and financing a producon, selecng the material, choosing the creave arsts, staff, and administraon, arranging the publicity
props—a property which a performer handles on stage, ex: a wallet, an umbrella, or a le.er
Page 30
scene—unit within a play
scenery—onstage decoraon to help show the place and period of the show
script—the wri.en text of a play. It includes what is said and what is to happen
sketch—a hasty or un-detailed drawing or painng o8en made as a preliminary study
sound effects—sounds characterisc of humans, animals, objects, and forces of nature (e.g.
wind, rain) that can be performed live or pre-recorded
storyteller—one who relates stories or anecdotes
translaon—changing the text from one language to another by selecng words that have the
same meaning and retains the spirit and tone of the text
Page 31
PLACES IN THE THEATER
lobby—this is the first place you walk into, where the audience waits before the show
box office—this is where audience members can buy ckets to shows
house—the auditorium or area where the audience sits
orchestra seats—seats nearest the stage
balconies—upper levels of seang
light booth and sound booth—located at the top of the balcony or toward the back of the
house, the lights and sound for the producon are controlled from these booths
stage—area where the performance takes place, o8en raised
wings—area to the right and le8 of the stage that the audience can’t see, somemes scenery
is stored here, and performers come on and off stage from here
dressing room—place where performers put on makeup, change clothes, and store their costumes for a show
Page 32
GLOSSARY OF TERMS
archetypal-an original model or type a8er which other similar things are pa.erned
aura– a disncve and pervasive quality or character; air; atmosphere
authoritaveness-having authority; supported by documentary evidence and accepted by
most
authories in a field
banished-force to leave a country or place by official decree; exile
chamber-a room, usually private, in a house or apartment
civilizaon-an advanced state of human society, in which a high level of culture, science,
industry, and government has been reached
crises-the stage in a sequence of events of decisive change; a dramac emoonal or
circumstanal upheaval in a person’s life
deies-a god or goddess
dilemma-a situaon requiring a choice between equally undesirable alternaves
embellished-to make beauful by adding ornamental or ficous details
enthralled-to hold spellbound; capvate
hierarchies-any system of persons or things ranked one about another
independence-freedom from the control, influence, support, of others
interdependence-mutually dependent; a reciprocal relaon between objects or individuals or
groups
myth-any invented story, idea, or concept
negoate-to deal or bargain with another or others
quest-a search to find or obtain something
receptacle-a container that holds something
Page 33
refashioned-to make new
self awareness-aware of oneself, including one’s traits, feelings, and behaviors
tenets-an opinion, doctrine, or principle held as being true by a person or expecially by an
organizaon
transcend-to rise about or go beyond; exceed
transform-to change in form, appearance, or structure; metamorphose
transion-movement, passage, or change from one posion to another
Page 34
RESOURCES
TEACHER RESOURCES
Bellingham, David. An Introduc)on to Greek
Mythology. Grange Books, 1989.
STUDENT RESOURCES
Evslin, Bernard. Jason and the Argonauts.
Harpercollins Childrens Books, 1986.
Clayton, Peter. Great Figures of Mythology.
Brompton Books, 1990.
Hunter, Ma.hew. Jason and Medea: A
Whirlwind of Ruin. Paradoxal Press,
2005.
Colum, Padriac. The Golden Fleece: And the
Heroes Who Lived Before Achilles.
Scholasc, 1921.
Co.erell, Arthur. The Macmillan Illustrated
Encyclopedia of Myths & Legends.
Macmillan, 1989.
Kingsley, Charles. Jason and the Golden
Fleece. Nelson Doubleday, 1960.
Malan, John; Antram, David (illustrator);
Salariya, David (created by). Jason and
the Argonauts. Coughlan Publishing,
2004
D’Aulaires, Ingri and D’Aulaires, Edgan Parin.
Book of Greek Myths. Doubleday,
1962.
Rosenberg, Donna. Mythology and You.
NTC, 1992.
Flaum, Eric. The Encyclopedia of Mythology:
Gods, Heroes, and Legends of the
Greeks and Romans. Courage Books,
1993.
Zarabouka, Sofia and Perantakou-Cook, Mary.
Jason and the Golden Fleece: The Most
Adventurous and Exci)ng Expedi)on of
All the Ages. Ge.y Publicaons, 2004.
Foss, Michael. Gods and Heroes; the story of
Greek Mythology. NTC, 1994.
WEBSITES
h.p://www.mythweb.com
Learn about Greek gods and myths
Grant, Michael and Hazel, John. Gods and
Mortals in Classical Mythology.
G. & C. Merriam, 1973.
Graves, Robert. The Greek Myths. Penguin,
1960.
Patrict, Richard. All Color Book of Greek
Mythology. Chartwell, 1989.
h.p://www.visibleficons.co.uk/
Visible Ficons’ website
DVD/VHS
Jason and the Argonauts, DVD, Sony Pictures
Home Entertainment
In Search of History: The Greek Gods, DVD, The
History Channel
Page 35
Emergency Cancellaons
Tilles Center Performance Cancellaon Due to Inclement Weather
If schools throughout the area are closed due to inclement weather, Tilles Center performances will be cancelled. If, on the day prior to a performance, it appears that inclement weather
may cause a performance to be cancelled, all schools will be called by our staff to alert them
to this possibility. Schools should be advised to call 516 299-3379 the morning of the performance to determine if a performance has been cancelled. A message will be posted on this
number by 6:30 AM indicang if the performance has been cancelled.
If a performance is cancelled, Tilles Center will a.empt to reschedule performances on a date
convenient to the majority of schools booked for the performance.
Page 36
Tilles Center for the Performing Arts, on the
C.W. Post campus of Long Island University in
Brookville, New York, is Long Island’s premier
concert hall. Under the leadership of Execuve
Director Ellio. Sroka, Tilles Center presents
over seventy events each season in music,
dance and theater, featuring world renowned
arsts. The Center is also the theatrical home
for many of Long Island’s leading arts organizaons, including the Long Island Philharmonic.
Among the arsts and organizaons that have been presented by Tilles Center are the New
York Philharmonic conducted by Kurt Masur, violinist Itzhak Perlman, Alvin Ailey American
Dance Theater, New York City Opera Naonal Company, Andrea Marcovicci, the Paper Bag
Players, Wynton Marsalis, and the MET Orchestra with James Levine and PaQ LuPone.
Tilles Center has a 2,242 seat main hall and a 490 seat, more inmate Hillwood Recital Hall.
The smaller theater features chamber music, cabaret, solos recitals, and theater producons for children and adults.
School Partnership Program
An intensive part of Tilles Center’s Arts Educaon program is the School Partnership Program,
modeled on the highly acclaimed aesthec educaon program that has evolved over a 30 year
period at Lincoln Center. The Partnership is a comprehensive approach to teaching and learning about the arts, applicable to all grade levels and academic disciplines. The Partnership inspires students and teachers to approach the arts with an open mind and to gain insights into
the creave process. A.endance at professional performances at Tilles Center and viewing art
works at museums is combined with experienal in-school workshops. Led by teaching arsts
and teachers, students explore their own arsc capabilies while strengthening essenal
skills – abstract thinking, teamwork, crical judgment, problem solving. Guided to a deeper
level of understanding, students learn what to look for, and listen to, in a performance or work
of art.
All new teachers who parcipate in the School Partnership
Program a.end an introductory course in Aesthec Educaon, presented at Tilles Center for one week in the
summer.
The 2011-12 School Partnership program will work with
various K-12 public and private schools in Nassau and
Suffolk counes on Long Island.
For informaon about the School Partnership Program and other performances visit our website: www.llescenter.org or call (516) 299-2752.
Page 37
2011-12 Partner Schools:
Archer Street School, Freeport
Atkinson School, Freeport
Bayview Avenue School, Freeport
Columbus Avenue School, Freeport
Freeport High School, Freeport
Leo S. Giblyn, Freeport
New Visions, Freeport
Connolly School, Glen Cove
Deasy Elementary School, Glen Cove
Gribbin School, Glen Cove
Landing School, Glen Cove
Portledge School, Locust Valley
Tilles Center’s Arts Educaon Advisory Panel was created in 2007 and is comprised of a diverse group of educators who have shown exceponal interest and commitment to Tilles Center’s School Partnership Program. Each member serves a two-year appointment on the panel
and advises the Arts Educaon Department on the content of the program, study guides and
resource materials, performance programming and curricular connecons.
2011-12 Advisory Panel
Aneesah Abdus-Shakur, New Visions, Freeport
Patricia J. Belfi, Atkinson School, Freeport
Florence Bell, Freeport High School, Freeport
Doris J. Benter, Portledge School, Locust Valley
Marc Checola, Gribbin Elementary School, Glen Cove
Joanne Criblez, Gribbin Elementary School, Glen Cove
Yve.e Goldstein, Bayview Avenue School, Freeport
Mary Jane Gould, Leo S. Giblyn School, Freeport
Jean Henning, Nassau County Museum of Art, Roslyn
Irena Kamola, Gribbin Elementary School, Glen Cove
Valerie Piali, New Visions, Freeport
Nomi Rosen, Glen Cove CSD, Glen Cove
Francine Santoro, Gribbin Elementary School, Glen Cove
Lisa M. Scicchitano, Archer Street School, Freeport
John Segre, Gribbin Elementary School, Glen Cove
Susan Warren, Columbus Avenue School, Freeport
Page 38
ARTS EDUCATION STAFF
Dr. Ellio. Sroka,
Execuve Director, Tilles Center
Stephanie Turner,
Director of Arts Educaon, Tilles Center
Deborah Robbins,
Assistant Director of Arts Educaon
Emily Lembo,
Arts Educaon Associate
For informaon call (516) 299-3388 or visit our website at www.llescenter.org
Tilles Center for the Performing Arts
C.W. Post Campus
Long Island University
Brookville, New York 11548
516-299-2752
Emily Lembo
Study Guides: content, design and eding
Tilles Center’s Arts Educaon Programs are made possible in part by public funds from the
New York State Council on the Arts, a State Agency.
Page 39
Tilles Center’s Arts Educaon Program is supported, in part, by its annual Swing for Kids Golf
and Tennis Tournament. We are grateful to the following supporters of the 2011 event for
enabling us to connue to provide the best in Arts Educaon to Long Island’s schoolchildren:
The Tilles Family Foundaon
Instuonal Insurance Group
KPMG LLP
Lahr, Dillon, Manzulli, Kelley & Pene., P.C.
Richmond County Savings Foundaon
Sholom & Zuckerbrot Realty LLC
Standard Funding
North Hills Office Services, Inc.
Americana Manhasset
Keefe, Bruye.e & Woods, Inc.
Koeppel, Martone & Leistman, L.L.P.
New York Community Bank Foundaon
The Fay J. Lindner Foundaon
Wells Fargo Advisors
The Bahnik Foundaon
Jonathan & Elysia Doyle
Kilpatrick Townsend & Stockton LLP
Meridian Capital Group
Racanelli Construcon Company, Inc.
Seidman & Associates
Sullivan & Cromwell LLP
The Beechwood Organizaon
Farrell Fritz P.C.
Ruskin Moscou Falschek, P.C.
Superior Air Condioning & Heang System
Paragon Group, LLC
Tummarello & Associates, Inc.
DiFazio Power & Electric, LLC
Bank of America Merrill Lynch
Albanese Organizaon, Inc.
Astoria Federal Savings
Cerlman Balin Adler & Hyman, LLP
Credit Suisse Securies (USA) LLC
Daniel Gale Sotheby's Internaonal Realty
The Garden City Hotel
Kaplan Development Group LLC
The Klar Organizaon
Meltzer, Lippe, Goldstein & Breitstone, LLP
New York Community Bancorp, Inc.
Oppenheimer & Co. Inc.
Sandler O'Neill & Partners LP
Sterling & Sterling, Inc.
Triangle Building Products Corp
The Weeks Lerman Group
Pall Corporaon
Albertson Electric Inc.
Designtex
Mr. and Mrs. Gary Andersen
Mr. Lawrence Liman
Northville Industries
Peter B. Cannell & Co., Inc.
Mr. and Mrs. James Kadamus
Birchwood Park Homes
Thomas Calabrese
Murphy & Lynch, P.C.
TexFabco Far East
Page 40

Jason and the Argonauts - Tilles Center for the Performing Arts

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