Knuffle Bunny - Tilles Center for the Performing Arts

Transcription

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
Ge;ng Ready to See “Knuffle Bunny” ......................................................... 9
About the Author ........................................................................................ 14
The Musical Theater .................................................................................. .15
Acvies ................................................................................................ 12-13
Elements of a Show .................................................................................... 17
Places in the Theater .................................................................................. 19
Glossary of Terms ....................................................................................... 20
Resources .................................................................................................... 21
Emergency Cancellaon ............................................................................. 22
OBJECTIVES OF THE PERFORMANCE
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.
This teacher’s guide is designed to extend the impact
of the performance by providing discussion ideas,
experienal acvies, and further reading that can
promote learning across the curriculum. This
program can be incorporated into study addressing
the Learning Standards for the Arts as spulated by
the N.Y. State Educaon Department.
Detailed informaon is available at:
www.emsc.nysed.gov/ciai/arts/pub/artlearn.pdf .
Learning Standards for the Arts (Theater):
Standard 1: Creang, Performing, and
Parcipang in the Arts
Students will acvely engage in the processes 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 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 will understand the job opportunies
available in all aspects of theater.
Standard 3: Responding to and Analyzing Works of
Art
Students will respond crically to a variety of works
in the arts, connecng the individual work to other
works and to other aspects of human endeavor and
thought.
Theater: Students will reflect on, interpret, and
evaluate plays and theatrical performances, both
live and recorded, using the language of dramac
cricism. Students will analyze the meaning and role
of theater in society. Students will idenfy ways in
which drama/theater connects to film and video,
other arts, and other disciplines.
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.
KNUFFLE BUNNY: A CAUTIONARY MUSICAL
PAGE 4
A,ending a Performance at
Tilles Center
Main Stage 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 aKer 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 ipods or MP3 players, 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 performers.
• 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.
PAGE 5
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!
PAGE 6
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:
Concentra=on: 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 si;ng around you. Be respecPul!
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.
PAGE 7
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.
Apprecia=on: 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 aKer 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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After the Show
1. Reflecon: In discussing a performance, it is oKen more producve to ask the queson
“What did you hear in the performance?” or “What do you remember most strongly about
the performance?” rather than “Did you like the performance?” 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, the performance that remains in one’s
memory oKen reveals the musical choices at the heart of a work. Have students describe a
memorable moment from the performance in various ways —verbally, in wring, by drawing, or through movement.
2. If you could ask any character in the book a queson, what would you ask them and why?
Explain.
3. Create a musical! Use a familiar story or have students create a story and write the words
to songs using familiar tunes (examples: Mary Had a Li,le Lamb, The Itsy Bitsy Spider, Happy Birthday). Make sure the story has different characters and a beginning, middle
and end. Allow mulple students to play one character- they can all speak the lines and
sing at once so everyone can have a starring role!
4. Favorite Toys
Discuss
Why did Trixie miss Knuffle Bunny so much? What was your favorite toy when you were
li,le? What was its name? How did it get its name? Did you ever misplace it? What happened to it? What else have you lost and found? Do you have a favorite stuffed animal
now? What is its name?
Here’s a story starter for students to write and illustrate and then present to the class:
I lost my ______________________. I found it ____________________________.
Students can bring their favorite stuffed animals to introduce for show-and-tell.
5. Searching for Details
Seng
Discuss: What is the se;ng of this story? Where does Trixie live? What can you find in
her neighborhood? How is her neighborhood different from yours?
Students can draw pictures of their street, showing everything one can find there.
Educaonal materials provided, in part, by Greenwood-Lander Performing Arts.
PAGE 13
PAGE 14
About the Author
#1 New York Times Bestseller Mo Willems began his career as a
writer and animator for PBS’ Sesame Street, where he garnered 6
Emmy Awards for his wring. During his nine seasons at Sesame
Street, Mo also served as a weekly commentator for BBC Radio
and created two animated series, Nickelodeon’s The Off-Beats
and Cartoon Network’s Sheep in the Big City.
While serving as head writer for Cartoon Network’s #1 rated
show, Codename: Kids Next Door, Mo began wring and drawing
books for children. His debut effort, Don’t Let the Pigeon Drive the
Bus! became a New York Times Bestseller and was awarded a
Caldeco, Honor in 2004. The following year Knuffle Bunny: a CauMo Willems
)onary Tale was awarded a Caldeco, Honor. The sequel, Knuffle
Bunny Too: a Case of Mistaken Iden)ty garnered Mo his third Caldeco, Honor in 2008.
In addion to picture books, Mo created the Elephant and Piggie books, a series of “Easy
Readers”, which were awarded the Theodor Suess Geisel Medal in 2008 and 2009 and a Geisel
Honor in 2011. For older audiences he has published an illustrated memoir of his year-long
trip around the world in 1990-91 entled You Can Never Find a Rickshaw When it Monsoons.
Mo’s drawings, wire sculptures, and ceramics (done in collaboraon with his father) have exhibited in numerous galleries and museums across the naon and his graphic story about his
family experiences during 9-11 for DC comics resides in the Library of Congress’ permanent
collecon.
Mo has been heard on NPR’s All Things Considered where he occasionally serves as the broadcast’s ‘Radio Cartoonist’. While no longer working in television, Mo voices and produces animated cartoons based on his books with Weston Woods studios. The animated Knuffle Bunny was awarded Best Film during the New York Internaonal Children’s Film Fesval in 2008
and received the Andrew Carnegie Medal in 2007. The animated Don't Let the Pigeon Drive
the Bus! garnered Mo his second Carnegie Medal in 2010.
Mo wrote the script and lyrics for Knuffle Bunny: A Cau)onary Musical, commissioned by
the Kennedy Center for its 2010 season. The producon is currently touring the naon.
Mo lives in Massachuse,s with his family.
Educaonal materials provided, in part, by www.mowillemsfaq.blogspot.com.
PAGE 15
The Musical Theater
In a musical theater producon, or musical, characters tell stories through singing and speaking. A musical usually has three parts which consist of the book, music and lyrics. The book is
responsible for providing the characters with speaking lines and the lyrics are the words that
are sang by the characters. The book and lyrics together are known as the libre,o. The lyrics
and the music are referred to as the score. Somemes, the lyrics and musical are wri,en by
different people. For example, Richard Rogers wrote the music for the Broadway musical Oklahoma while the book and lyrics were wri,en by Oscar Hammerstein II.
European opere,as, vaudeville and burlesque were very influenal to early American musical
theater. George M. Cohan was first to write true American musicals. His dialogue, lyrics and
melodies were familiar to Americans, along with his brash and energec wring style.
Up unl Hammerstein and Kern’s Show Boat, American musical theater was highly comedic.
Show Boat proved that American musical theater could have serious themes. Some examples
of comedies today are Avenue Q and Spamalot while there are more serious musicals such as
Next to Normal and Spring Awakening.
Overall, musicals allow composers, lyricists, set designers, costumers, directors, choreographers and actors to express themselves arscally. Most musicals are entertaining in that they
communicate important messages through unique and excing forms of imagery. Some even
challenge polics or cultural issues. The musical theater’s ability to reach a wide range of audiences serves as an important part of entertainment in today’s world.
PAGE 16
Elements of a Show
actor – a person who interprets a role and performs it in a play
choreography – patterns of movement and stillness
classic – having lasting significance or worth; enduring
climax – the crucial moment, turning point, or dramatic high point in the action of
a play, book, or film that can bring the previous events together, usually at the end
of the story
costumes – what the performer wears to help enhance qualities of the character
that they are portraying
curtain – drapery that hides the stage from the audience; when the performance is
about to start, the curtain parts to the sides or rises up out of sight. Usually, curtain is closed again during intermission, and at the end of the show
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 – conversation in a play, usually between two or more characters
director – a person who creates an overall concept for a production, supervises all
elements of the production and guides the actors in their performances
dramatization – a work adapted from another medium, such as a novel or a poem,
for dramatic presentation
interpretation – the expression, through performance, of a particular concept of a
role, scene, play, or musical composition
lighting effects – the atmosphere, moods, and time of day created by the use of
light
monologue - a form of dramatic entertainment or comedic solo by a single speaker
music – patterned sound changes in pitch, rhythm, loudness, melody and other
qualities, capable of setting mood, time, or atmosphere
narrator – a person who reads or speaks lines that advance a story, apart from the
characters’ lines
producer – a person responsible for mounting and financing a production, selecting
the material, choosing the creative artists, staff, and administration, arranging the
publicity
PAGE 17
props – a property which a performer handles on stage, ex: a wallet, an umbrella,
or a letter
scene – unit within a play
scenery – onstage decoration to help show the place and period of the show
script – the written text of a play. It includes what is said and what is to happen
sound effects – sounds characteristic 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
PAGE 18
Places in the Theater
lobby—
lobby—this is the first place you walk into, where the audience waits before the
show
box office—
office—this is where audience members can buy tickets to shows
house—
house—the auditorium or area where the audience sits
orchestra seats—
seats—seats nearest the stage
balconies—
balconies—upper levels of seating
light booth and sound booth—
booth—located at the top of the balcony or toward the back
of the house, the lights and sound for the production are controlled from these
booths
stage—
stage—area where the performance takes place, often raised
wings—
wings—area to the right and left of the stage that the audience can’t see, sometimes scenery is stored here, and performers come on and off stage from here
dressing room—
room—place where performers put on makeup, change clothes, and store
their costumes for a show
PAGE 19
Glossary
bawled—to
cry very loudly and energetically
bawled
Brooklyn—a
part of New York City, just across the river from Manhattan
Brooklyn
Bunraku—traditional Japanese puppetry using large puppets
Bunraku
cautionary—involving,
giving, or being a warning
cautionary
errand—a
short trip somewhere to do something on behalf of somebody else
errand
frazzled—exhausted
and in a very confused or irritable state
frazzled
imaginary—existing
only in the mind, not in reality
imaginary
Knuffle—a
Dutch word for “hug”
Knuffle
laundry—dirty
clothes or linen put aside to be washed and ironed
laundry
laundromat—a
service mark for a self-service coin-operated commercial laundry
laundromat
puppet—a
doll or figure representing a person or animal that is moved using the
puppet
hands inside the figure or by moving rods, strings, or wires attached to it
tricky—difficult
to do or deal with and requiring skill, caution, or tact
tricky
washing machine—a
machine for washing clothes, usually an electric one
machine
wail—to
wail
express pain, grief, or misery in a long mournful high pitched cry or in
words uttered in a mournful way
PAGE 20
Resources
STUDENT RESOURCES
Craig, Helen. Angelina on Stage. Potter,
1986.
Haas, Irene. The Little Moon Theater.
Atheneum, 1981.
Hayes, Ann. Onstage, Backstage at the
Night Owl Theater. Harcourt
Brace & Co., 1997.
Willems, Mo. Knuffle Bunny Too: A Case
WEBSITES
of Mistaken Identity. Hyperion
Books for Children, 2007.
www.mowillems.com
Mo Willems’ official website
Willems, Mo. Knuffle Bunny: a Caution
ary Tale. Hyperion Books for Chil http://artsedge.kennedy-center.org/
dren, 2004.
multimedia/series/VideoStories/knufflebunny.aspx
Willems, Mo. Knuffle Bunny Free: an
This page includes a video about the
Unexpected Diversion. Harper
making of the production.
Collins Children, 2010.
http://drawn.ca/archive/an-interviewwith-mo-willems/
Willems, Mo. Hooray for Amanda and
Her Alligator! Harper Collins
An interview with Mo Willems.
Children, 2011.
DVD/VHS
TEACHER RESOURCES
Lee, Robert L. Everything About Thea
tre: The Guidebook of Theatre
Fundamentals. Meriwether Publishing Ltd., 1997.
Manbeck, John B. Brooklyn: Historically
Speaking. The History Press,
2008.
Reiss, Marcia. Brooklyn Then and Now.
Thunder Bay Press, 2002.
Willensky, Elliot. When Brooklyn Was
the World. Harmony, 1986.
Knuffle Bunny... and More Great Childhood Adventure Stories. Scholastic Storybook Treasures, 2007.
Emergency Cancellations
Tilles Center Performance Cancella=on 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 22
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 Pa; 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 23
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 Educa=on 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 24
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 informa=on call (516) 299-2752 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 editing
PAGE 25
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 26

Knuffle Bunny - Tilles Center for the Performing Arts

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