Pinocchio Make a Scene - Regional Arts Victoria

Page | 1 Regional Arts Victoria Teacher Resources are designed by the Programming team in collaboration with the artists. ©

Pinocchio

Make a Scene

Teacher Resources

2022

Ideal for Years F-12

The 2022 Arts & Education Program is

Proudly Supported by:


TABLE OF CONTENTS

ABOUT THIS RESOURCE......................................................................................................................... 3

ABOUT REGIONAL ARTS VICTORIA ........................................................................................................ 3

PROGRAMMING TEAM ........................................................................................................................... 4

INTRODUCTION TO THE PROGRAM ....................................................................................................... 5

BIOGRAPHIES ......................................................................................................................................... 7

THE GANAG INSTRUCTIONAL MODEL ................................................................................................10

SUGGESTED POST-VISIT ACTIVITIES: ................................................................................................. 21

FURTHER READING ............................................................................................................................. 22

SUGGESTED PRE-VISIT ACTIVITIES .................................................................................................... 18


ABOUT THIS RESOURCE

This resource has been created to provide teachers with curriculum links to the Victorian

Curriculum, and includes some preliminary and post show ideas and activities as to how to

extend their experience of Pinocchio. The activities are designed to be open-ended and multi-

ability. They may need differentiation for your specific cohort.

The performances and workshops included in the Arts & Education program are designed to offer

students engaging arts experiences with strong links to the Victorian Curriculum and VCE

subjects where appropriate. Each Arts & Education program varies in its purpose and content

and as a result the scope for integration across the curriculum varies.

If you have any questions about this resource, its content or its implementation within your

classroom please do not hesitate to contact the Arts & Education team at [email protected]

ABOUT REGIONAL ARTS VICTORIA

Regional Arts Victoria inspires art across the state. Through creative facilitation, touring,

education, specialised resources, artistic projects and advocacy, we develop and sustain creative

communities and artistic practice all over Victoria.

Regional Arts Victoria is an independent, not-for-profit, membership-based organisation working

in long-term partnerships with every level of government, fostering contemporary and innovative

regional cultural practice across five decades. We advise and impact on decision-making across

multiple portfolios and levels of government.

Regional Arts Victoria is the peak body for regional artists and arts organisations, and the leading

organisation for regional creative practice in Victoria.

PARTNERSHIPS PROGRAMMING PROJECTS

Regional Arts Victoria

facilitates the partnerships,

the organisations and the

practices that create new

work.

Regional Arts Victoria nurtures

the experts who foster local

artistic experiences and

stimulate young minds.

Regional Arts Victoria

presents major artistic

projects that build local

artistic leadership and legacy.

• Regional Cultural

Partnerships

• Creative Arts Facilitators

• Membership program

• Devolved grants programs

• Resources, workshops and

events

• Sector advocacy and

leadership development

• Arts & Education Program

• Connecting Places

• Touring programs

• Education resources

• Industry development

resources and events



• State-wide projects

including Creative Workers

in Schools, Small Town

Transformations and

Artlands Victoria

• Internal Creative

Professional Development

programs



mailto:[email protected]


ARTS & EDUCATION

For over 50 years, Regional Arts Victoria has been the leader in providing educational

arts experiences for children and young people across Victoria. Each year we offer a

range of performances and workshop programs to schools throughout regional and

metropolitan Victoria, with COVID-Safe planning in place across our entire 2022 program.

The Arts & Education program aims to encourage young people to develop their creativity

and enhance awareness and participation in the arts through accessible arts learning

opportunities. Our program is designed to engage, educate, challenge and delight

students from foundation through to VCE using a range of creative approaches. With a

selection of high quality, immersive arts experiences, we pride ourselves on providing

relevant and exciting activities for children and young people that are complementary to

the Victorian Curriculum. To support educator learning we offer professional

development opportunities to complement our programs.

For general enquiries please contact: [email protected]

Pippin Davies

Arts & Education Manager

Mobile: 0427 211 123

Office: (03) 9644 1808

Email: [email protected]

Amelia Kingston

Positive Start Manager

Mobile: 0428 141 802

Email: [email protected]





INTRODUCTION TO THE PROGRAM

Welcome to the fantastical world

of Pinocchio, a delightful

reimagining of Carlo Collodiâ’s

cautionary tale. Adaptable for Prep

through to VCE, this magical piece

draws on the traditions of the

travelling storytellers of a bygone

era. Witness one incredible actress

as she weaves a parade of masked

characters into this wonderful solo

show and join an optional workshop

where students can delve into the

wonderful world of Commedia

dell’Arte, mask work, slapstick,

clowning and for drama students,

the actor’s process.

Make A Scene's accomplished physical theatre practitioners, Christian Bagin, Rosa Campagnaro

and Jasper Foley, realised this project by combining their collective skills and passion for

Commedia dell’Arte, clowning, improvisation, the Italian language and the joy of mucking around!

With the intention of bringing theatre magic with high production values to schools, the team set

themselves seemingly impossible parameters - create a solo show with a tourable vintage replica

set and all of Collodi’s colourful characters in a 50 minute performance with an evocative original

musical score! And ecco, Make A Scene's Pinocchio was born. Pinocchio delightfully blends

direct-to-audience narration with handheld puppets, physical comedy and the masked characters

of the Italian Commedia dellâ’Arte.

A rare opportunity for Italian students to experience Italy’ s greatest exports – the Italian Comedy

and Pinocchio! – this work is also perfect for Italian, Drama and Theatre Studies students, with

ample opportunity for more cross-curricular learning such as:

• Analyse the original musical score;

• Write a review in English;

• Appreciate the stylised dance-like movement; or

• Marvel at this feat of theatre design in visual art.

Schools working on inter-personal/social capabilities can draw on themes of acceptance,

kindness, empathy and resilience. Additional comedy mask workshops can help schools enhance

their curriculums and consolidate learning with plenty of material and online support for a term

long unit.


Additional Offering: 60-minute Workshop - Intro to Commedia dell’Arte:

Students will delve into the wonderful world of Commedia

dell’Arte, mask, slapstick, clowning and for serious drama

students - the actors’ process! The workshop will give students

an understanding of the collaborative artistry required to

produce theatre, particularly this show and the many and varied

techniques used to engage an audience, such as the rule of

three, audience interaction and physical slapstick humour. There

will also be opportunity to explore the Italian language and

culture through improvisations with basic Italian words.

Workshop exercises and activities are adaptable for the various

year levels and abilities.

Please contact [email protected] to enquire about an additional workshop.

Please contact [email protected] to enquire about Online program options.

Teacher PD Online 90-minute workshop - Intro to Commedia dell’Arte

Make A Scene director Rosa Campagnaro will get participants moving and playing in this physical

comedy workshop. Born from the marketplace spruiker tradition in 16th century Italy, Commedia

dell’Arte is a larger than life theatrical style that still appeals and engages contemporary

audiences.

This online session will include video excerpts from Make A Scene’s commedia shows to

demonstrate and put the style into context. We encourage participants to ‘bring their silly’ to

learn exercises and activities for exploring stock characters, improvisation and comic routines

which can be easily adapted to your 2021 classroom.

"Drama Victoria recently hosted a Make A Scene 'Fun & Practical Introduction to Commedia’.

Rosa Campagnaro's delivery transcended the Zoom platform as did the engagement and

participation of all attendees. Informative, fabulous and funny! I certainly recommend Make A

Scene.” Drama Victoria CEO Susan Cooper.

Please contact [email protected] to enquire about Teacher PD.





BIOGRAPHIES

Christian Bagin (director & collaborator)

Christian is a graduate of the John Bolton Theatre School. He has

been working with Make A Scene since 2013. He loves performing

in and collaborating to create the Company’s commedia shows,

because not only are they playful, interactive and fun, but due to

the Italian component he is slowly learning the language! Christian

is also an improviser, clown, and puppeteer and has co-devised

many of the productions in which he has performed. He has worked

with several independent theatre companies including: Make A Scene, Company13, Bunk

Puppets, Spindly Figures, Lemony S, Black Hole Theatre, Jessica Wilson, Short Attention Span,

and has been a regular member of Polyglot Theatre for over a decade. Christian has collaborated

to create, Venice in Love and The Servant of Two Masters (La Mama, VCE Playlist 2016) which

he starred in playing Truffaldino.

Rosa Campagnaro (assistant director, collaborator & producer)

Rosa is the founder and artistic director of Make A Scene, which has been delivering her unique brand of theatre, performance technique, and training to schools, educators, and theatre professionals since 2003. She conducts Commedia dell’Arte Workshops in schools and for theatre educators through Drama Victoria, La Mama Learning, Deakin University, The Fairfax Youth Initiative and Melbourne Theatre Company Education. As a valued and respected member of the

profession, Rosa served on the Drama Victoria Committee and is also on the board of Lab

Kelpie: An Australian New Writing Theatre Company as an education advisor to the Artistic

Director. Rosa’s physical theatre training includes Jacques Lecoq Technique with Norman Taylor,

Bouffon with Giovanni Fusetti, Commedia dell’Arte with Venezia InScena (Venice, Italy) and with

commedia Master, Antonio Fava. As well as gaining her teaching degree from Deakin University,

Rosa also trained in Uta Hagen technique (HB Studio, New York) and with Patsy Rodenburg

(Michael Howard Studios, New York). Rosa has created and directed original Commedia dell’Arte

shows for Make A Scene which have toured schools nationally and continue to receive glowing

testimonials.

Jasper Foley (original performer & collaborator)

Jasper began his performance career in circus, studying at the National Institute of Circus Arts. He followed this with a Bachelor of Fine Arts: Acting at

QUT in Brisbane. Since graduating he has performed consistently in theatre, television and comedy. He played Kevin Fitzpatrick in ABC’s The Doctor Blake Mysteries, and performs in the sell out shows (Completely Improvised Potter and Completely Improvised Shakespeare) with the company Soothplayers. Jasper has been involved with several improvised theatre and comedy groups,

including Original Cast: The Completely Improvised Musical, performing all over Australia. Jasper

has worked with Make A Scene since 2016 and in that time has performed in Venice in Love and

The Servant of Two Masters (La Mama, VCE Playlist 2016). He has also assisted to develop

Fooling in Love and most recently collaborated to create and perform Pinocchio, before jet-

setting to France to study at École Philippe Gaulier.


Freya Pragt (current performer) Freya is a Melbourne based actor and theatre maker.

A graduate of the VCA, she trained under tutors

Richard Murphet, Marie Dumont, Kirsten von Bibra,

Geraldine Cook and Robert Walton among others.

Her artistic practice expands and evolves along with

her curiosity and exploration: the commonalities

being a highly physical expression; darkness,

absurdity, play, silliness; interest in puppetry &

engagement with young people. In 2017, Freya was a

resident artist at Frystiklefinn Theatre in Snæfellsnes,

Iceland, performing in Purgatorio (Attic Erratic /

5pound) and collaborating with local artists. She is

thrilled to once again be working with Make A Scene.

She first joined the company playing Clarice in The

Servant of Two Masters ( La Mama, 2016) and now

performs in both Venice In Love (2020) and the solo

production of Pinocchio. Freya works regularly with

The Motley Bauhaus art space and is a proud

member of MEAA.

Lyall Brooks (regionally based stage manager)

Lyall is a regionally based artist and Lab Kelpie’s

Artistic Director - driving the vision of his company to

unapologetically put the writer at the heart of

everything they do. A four-time Green Room Award

nominee, Lyall has been performing on stage and

screen for over 15 years. Notable productions

include The Pride for Red Stitch, North By

Northwest for Arts Centre Melbourne and The

Heretic for Melbourne Theatre Company. On screen

he has appeared in Neighbours, Winners &

Losers and most recently The Leftovers (HBO)

and Picnic At Hanging Rock. He co-devised and

directed SuperGirly: Return of the Pop Princess with

Lulu McClatchy, which enjoyed two sold out runs

and interstate and regional tours throughout

Australia, and developed the Green Room

nominated production of A Prudent Man with Katy Warner in 2016. In 2017 Lyall worked under

Susie Dee as Assistant Director to Patricia Cornelius’ Big Love at Theatre Works and in 2018

he was nominated for his performance as Ben in Katy Warner’s latest play Spencer, also

produced by Lab Kelpie, which will tour nationally in 2019. He also works as a Stage Manger

on Pinocchio for Make A Scene.


Eloise Kent (set & costume design)

Eloise is a Melbourne-based designer and graduate of the Master of Design for Performance

from the Victorian College of the Arts. She has a keen interest in creating spaces that respond to

and interact with the site, the performer and the spectator. She has collaborated with Make A

Scene to design The Servant of Two Masters (La Mama, VCE Playlist 2016), Fooling in Love and

Pinocchio. Other theatrical credits include The Infirmary (Triage Live Art Co.), Carnival of Futures

(One step at a time like this), Marie Antoinette (Heartstring), Her Father’s Daughter (Hotel Now),

Can’t Be Tamed (La Mama) The Absence of Knowing (La Mama), La Comtesse Bis (Melbourne

French Theatre), Life Without Me (Illuminate Educate) and The Merry Wives of Windsor (Nothing

But Roaring). Eloise has interned with the Schaubühne theatre in Berlin, and took part in the

2018 Besen Family Artist Program at the Malthouse Theatre. Eloise’s artistry and inventiveness

is fully showcased in this Pinocchio design

Felix Watson (sound composer)

Felix graduated from the Bachelor of Fine Arts (contemporary music) from the Victorian College

of the Arts in 2014. Since then he has gone on to perform around Australia and the world as a

freelance trumpet player. As an emerging film and television composer, Felix has composed the

scores to The Bureau of Magical Things (Nickelodeon / ZDF) and Crikey! It’s the Irwins (Animal

Planet / DA’s Office) as well as the film, Sleepless (Mark Kobakian) and video game, Henry

Mosse and the Wormhole Conspiracy (Badgoat Studios). He is currently writing a suite for large

ensemble inspired by Benjamin Britten and has aspirations to build a small boat.

A.G. (Newmi) Newman (mask design & creation)

A Native of London, Newmi took Leary’s advice - tuned in, turned on and dropped out of the

Philosophy program at Warwick University and set off to see the world in 1970. By 1974, he

reunited in San Francisco with Furio Mariotti, an Italian leatherworker he had met in Afghanistan

and apprenticed with him. Romance led him to Portland Oregon, where he settled down, had a

couple of kids, Al and Owen, studied Western Saddle making and sold leather craft in a local

artisan’s cooperative where he became infatuated with leather masks. In 1986 he began

wintering in Bali, to study mask carving, giant puppet making and shadow puppetry, taking a year

off these winter sojourns to study physical theatre at Dell’Arte International (Northern California)

and Leather Commedia Mask Making with Donato Sartori in (Padova, Italy). Newmi has become

a major global supplier of handmade leather commedia masks. He has made masks for Cirque

du Soleil, The Globe Theatre in London, The Swedish National Theatre, commedia troupes and

University and School Theatre Programs Worldwide. He recently collaborated with the Make A

Scene team to design and create the unique masks featured in this production of Pinocchio.

Newmi now lives in Ubud Bali with his Balinese wife Juni and twin nippers Rumi and Tulsi.

Helene Frøisland (costume assistant)

Helene is a graduate of the Bachelor of Fine Arts (Production Design) from the Victorian College

of the Arts. She works as a freelance costumier and seamstress and is passionate about

repurposing materials to design and create costumes. Her credits include: Festen (Play Dead

Theatre / Melbourne Theatre Company), Three Blind Mice (Melbourne & Adelaide Fringe), Pieces

for Small Spaces (Lucy Guerin Inc) and DanceON 360º (VCA). Helene has worked as a costume

assistant on: The Twelfth Night (Essential Theatre), Jack of Two Trades (Monash Academy of

Performing Arts) and most recently for Pinocchio (Make A Scene).


The GANAG instructional model.

GANAG stands for

Goals

Access

New Info

Apply

Goal review.

The GANAG instructional model for lesson design was created by Jane Pollock and presented in the text Classroom Instruction that Works (Marzano, Pickering & Pollock, 2001). It grew from the work of Madeline Hunter who created a schema in the 1970s for lessons that is still useful today (Hunter, 2004). Hunter’s schema has seven stages whilst Pollock’s has five (see image below).


GANAG

9 High Yield

Strategies

Unit : Pinnochio - Pre

Go

al

Se

t th

e le

arn

ing g

oa

l/b

en

ch

ma

rk

or

ob

jecti

ve

- Setting

Objectives &

Providing

Feedback

- Reinforcing

Effort And

Providing

Recognition

Standards

applying to that

lesson

The Arts – Music, Drama, Visual

Humanities

English

Languages - Italian

Focus 1 Focus 2

Learning

Intention

To create a poster of Character

descriptors from Pinnochio (3-9)

To listen and discuss toxic masculinity in

relation to Tim Wintons article (6-10)

Acce

ss

Acce

ss s

tud

en

ts’

pri

or

kn

ow

led

ge

bu

ild

ing e

nga

ge

me

nt

thro

ugh

esta

blish

ing im

me

dia

te r

ele

va

ncy;

a “

ho

ok

” t

ha

t is

a

sh

ort

in

tro

du

cti

on

to

th

e le

sso

n

- Question,

Cues And

Advanced

Organisers

- Nonlinguistic

Representation

s

- Identifying

Similarities And

Differences

- Cooperative

Learning

Possible

Instructional

Strategies to Try:

- Review of

previous lesson

- Pair and Share

- Turn and Talk

- Brainstorming

- Quick Write

- Verbal check-in

of prior

knowledge

- Visual to access

prior knowledge

Turn and talk about Characters, their

personalities, attributes and potential

mannerisms

About the boys: Tim Winton on how toxic

masculinity is shackling men to misogyny |

Tim Winton | The Guardian

Read the article either outloud (teacher or

student led), or allow quiet reading time.

https://www.theguardian.com/books/2018/apr/09/about-the-boys-tim-winton-on-how-toxic-masculinity-is-shackling-men-to-misogyny




Ne

w In

form

ati

on

Acq

uir

e n

ew

in

form

ati

on

– d

ecla

rati

ve

an

d/o

r p

roce

du

ral

- Summarising

and Note

Taking

- Homework

and Practise

Possible

Instructional

Strategies to Try:

- Modeling and

direct instruction

- Student

discussions

- Academic

feedback to

students

- Non-fiction

writing,

vocabulary and

reading

strategies to

develop

understanding of

new information

- Inquiry based

questions and

activities

Teacher to model how to create a

poster of characteristics, attributes and

potential mannerisms

Turn and talk with partner about the article.

- How did this article make you

feel?

- Do you think Tim Winton is

correct/incorrect?

- Why is this relevant?

Ap

ply

Ap

ply

a t

hin

kin

g s

kill o

r u

se

kn

ow

led

ge

in

a n

ew

sit

ua

tio

n.

Op

po

rtu

nit

y fo

r fe

ed

ba

ck

pro

vid

ed

- Identify

Similarities

And

Differences

- Cues,

Questions

And Advanced

Organisers

_ Generate

And Test

Hypotheses

Possible

Instructional

Strategies to

Try:

- Guided

Practice

- Independent

and group work

- Student

demonstration

of learning

objective

- Student-to-

student

discussions

using

accountable

talk

- Ongoing

checks for

understanding

- Continuous

academic

feedback to the

students

Students to create their own poster

on different characters.

Students could add pictures, and or

create online with potential video

links to mannerisms they think the

characters would make.

Write down your throughs and feelings.

Respond in a discussion manner.

Give reasons for your opinions,

remember to use emotive words,

passion but keep it relevant.


Go

al R

evi

ew

Re

vie

w w

ha

t h

as b

ee

n t

au

gh

t.

Ho

w w

ill th

e t

ea

ch

er

kn

ow

if

stu

de

nts

me

t th

e m

ea

su

rab

le o

bje

cti

ve

?

- Setting

Objectives

And Providing

Feedback

-Reinforcing

Effort And

Providing

Recognition

- Homework

And Practise

Possible Means

of Assessments

to Try:

- Oral or written

summary of

lesson

- Exit slip or

quick write

- Pair and share

- Peer and

individual

review of work

- Class

discussion of

topic

- Cornell notes

check

Pair and share with classmates,

- What did you miss?

- What were the most

important characteristics

of individual characters?

Class discussion around different and

or similar viewpoints.

Remind students to remain respectful

– this is always the key to a good and

fair discussion


GANAG

9 High Yield

Strategies

Unit : Pinocchio Post G

oa

l

Se

t th

e le

arn

ing g

oa

l/b

en

ch

ma

rk o

r

ob

jecti

ve

- Setting

Objectives &

Providing

Feedback

- Reinforcing

Effort And

Providing

Recognition

Standards

applying to

that lesson

The Arts – Music, Drama, Visual

Humanities

English

Languages - Italian

Focus 1 (3-10) Focus 2 (3-10)

Learning

Intention

Identify playmaking techniques

/clowning techniques used to eng

age the audience

Roleplay / improvisation

Using the Italian language an

d masked characters from t

he show, create

a roleplay/improvisation

Acce

ss

Acce

ss s

tud

en

ts’

pri

or

kn

ow

led

ge

bu

ild

ing e

nga

ge

me

nt

thro

ugh

esta

blish

ing im

me

dia

te

rele

va

ncy;

a “

ho

ok

” t

ha

t is

a s

ho

rt in

tro

du

cti

on

to

th

e le

sso

n

- Question,

Cues And

Advanced

Organisers

- Nonlinguistic

Representatio

ns

- Identifying

Similarities

And

Differences

- Cooperative

Learning

Possible

Instructional

Strategies

to Try:

- Review of

previous

lesson

- Pair and

Share

- Turn and

Talk

-

Brainstormi

ng

- Quick

Write

- Verbal

check-in of

prior

knowledge

- Visual to

access prior

knowledge

Class brainstorm and mindmap of

playmaking/clowning techniques that

were used in the performance

Review Italian words - see

word doc


Ne

w I

nfo

rma

tio

n

Acq

uir

e n

ew

in

form

ati

on

– d

ecla

rati

ve

an

d/o

r p

roce

du

ral

-

Summarising

and Note

Taking

- Homework

and Practise

Possible

Instructional

Strategies

to Try:

- Modeling

and direct

instruction

- Student

discussions

- Academic

feedback to

students

- Non-fiction

writing,

vocabulary

and reading

strategies to

develop

understandi

ng of new

information

- Inquiry

based

questions

and

activities

Teacher to model some of the

playmaking and or clowning techniques

– giving attention to what these

conventions do for/to the play

Where were these words used

in the play? – see word doc


Ap

ply

Ap

ply

a t

hin

kin

g s

kill o

r u

se

kn

ow

led

ge

in

a n

ew

sit

ua

tio

n.

Op

po

rtu

nit

y fo

r fe

ed

ba

ck

pro

vid

ed

- Identify

Similarities

And

Differences

- Cues,

Questions

And Advanced

Organisers

_ Generate

And Test

Hypotheses

Possible

Instructional

Strategies

to Try:

- Guided

Practice

-

Independen

t and group

work

- Student

demonstrati

on of

learning

objective

- Student-to-

student

discussions

using

accountable

talk

- Ongoing

checks for

understandi

ng

- Continuous

academic

feedback to

the

students

Students to model different techniques

that were used during the performance

Students to practice Italian

phrases and their English

translations


Go

al R

evi

ew

Re

vie

w w

ha

t h

as b

ee

n t

au

gh

t.

Ho

w w

ill th

e t

ea

ch

er

kn

ow

if

stu

de

nts

me

t th

e

me

asu

rab

le o

bje

cti

ve

?

- Setting

Objectives

And Providing

Feedback

-Reinforcing

Effort And

Providing

Recognition

- Homework

And Practise

Possible

Means of

Assessment

s to Try:

- Oral or

written

summary of

lesson

- Exit slip or

quick write

- Pair and

share

- Peer and

individual

review of

work

- Class

discussion

of topic

- Cornell

notes check

Peer review with GEM (gratitude,

empathy and mindfulness)

Students to speak their favorite

phrase or word to teacher.


Italian words and Phrases

This show is performed in English, however, given the origins for Pinocchio (and Comeddia dellárte), there

is some Italian included in the show. It is not necessary to be familiar with the Italian in the show, however

please find below a list of some of the Italian vocabulary used.

Italian English

Buongiorno Hello

Cera una volta Once upon a time

Un Pezzo di legno A piece of wood

Scusa, mi dispiace Excuse me. I’m sorry

Che puzza What a stink!

Buongiorno is sono Geppetto Hello, I’m Geppetto

Benvenutti Welcome

Un burrattino A puppet

Che bello How beautiful

Cado a scuola I’m going to school

Signore e signori Ladies and gentlemen

Che simpatico How nice

Molto simpatico Very nice

mangia eat

Che triste So sad

Il vento The Wind

I lupi The wolves

Povero Pinocchio Poor Pinocchio

Mamma mia che bella Wow she’s so beautiful

Un grande bacio A big kiss

Grazie Thankyou

Grazie Mille Thankyou so much

Ti voglio bene I really care for you/ I love you

La volpe e il gatto The gox and the cat


CROSS CURRICULAR CONNECTIONS BETWEEN

The Arts – Dance - body awareness and technical and expressive skills to communicate through

movement confidently, creatively and intelligently. Commedia dell’Arte is expressive, stylised and

exaggerated movement and gesture to tell stories and communicate meaning can be analysed.

The Arts – Music understanding of music as an aural art form, its relationship with other arts

forms and contributions to cultures and societies. Pinocchio has an original score that contributes

to creating the many and varied moods in the show: scary/eerie, joyful, manic and warped! The

original score can be heard by following Dropbox link:

https://www.dropbox.com/sh/8n0tf87qqzs2u0v/AABg7Yg3_MUbbQfHNpgN9FG_a?dl=0

The Arts - Visual Arts confidence, curiosity, imagination and enjoyment and a personal aesthetic

through engagement with visual arts making, viewing, discussing, analysing, interpreting and

evaluating. The design for this show will give visual arts students much to view, discuss and

analyse about the design process, and design for theatre and specific function.

English - Students will have an opportunity to write responses to Pinocchio, from an analytical piece

on the show in the from of a review or analysis of the storytelling or perhaps a piece on resilience

and empathy.

Humanities – History knowledge, understanding and appreciation of the past and the forces that

shape societies. Looking at the history of the writer and country of origin and the links between

19th century Italian historical events and the story of Pinocchio.

Languages - Italian Language. understand the relationship between language, culture and learning.

Learning language by hearing Italian words and phrases within a specific context and seeing the

language reinforced with gestures, movements and facial expressions that create meaning.

https://www.dropbox.com/sh/8n0tf87qqzs2u0v/AABg7Yg3_MUbbQfHNpgN9FG_a?dl=0


SUGGESTED PRE-VISIT ACTIVITIES

Poster of masks/characters

Using the teachers' resources provided create posters of each characters and write words/phrases

to describe each. Students of Italian can use Italian language in this task

Reading/discussion

Year 9+ Read Tim Winton’s article ‘About the boys: how toxic masculinity is shackling men to

misogyny’ and discuss quote in relation to Pinocchio in a modern context “Children are born wild.

And that’s beautiful, it’s wondrous, regardless of gender. Even when they’re feral creatures, kids are

reservoirs of tenderness and empathy.”


SUGGESTED POST-VISIT ACTIVITIES:

Identify and analyse

Using Teachers' Resource provided - identify playmaking techniques/clowning techniques used to

engage the audience

Roleplay / improvisation

Using the Italian language and masked characters from the show, create a role play/improvisation


FURTHER READING

BOOKS

EXAMPLES OF CONTEMPORARY COMEDY TO RESEARCH:

• Modern Family

• The Simpsons

• Brooklyn Nine-Nine

• Monty Python

- SpamSketch (exampleofwordplaylazzi)

- Fishslapping (absurdist)

- DeadParrot (illogical lazz)

INTERNET

Musical compositions and image display

Podcast

• www.shane-arts.com/commedia(Goodimagesanddescriptionsofcharacters)

• www.theatrelinks.com/commedia(Justin’sTheatreLinks)

• www.isebastiani.com/scenarios(goodscenariosyoucandownload)

• www.theater-masks.com/about_commedia_dell_arte(Goodimagesofnon-leather masks)

• www.piccolotheatre.com/commedia(goodimagesontheprocessofmakingaleathermask)

• www.commediamask.com(greatpicturesofmasks)

• www.sindoca.it(RenzoSindoca,Italianmaskmaker.Clickon‘Creazioni’forimagesofexcellentmasks) •

www.commediamask.com(Goodimagesofleathermasks)

• www.florentineaustralia.com.au(Goodimagesofmasks)

• www.commediabyfava.it


CURRICULUM LINKS – Victorian F-10 Curriculum

From EOI: The Arts - Drama, The Arts - Dance, The Arts - Music, The Arts - Visual Arts ,English,

Humanities - History, Languages

Learning Areas Capabilities

Drama

Strand: Respond and Interpret.

Foundation Level. Respond to drama,

expressing what they enjoy and why

Strand: Analyse how the elements of

drama have been combined in

devised and scripted drama to convey

different forms, performance styles

and dramatic meaning. Level 7 & 8.

Achievement Standard - F-10

Pinocchio gives ample opportunity for students

to respond to the various stylised comedic

elements of the show and to develop an

understanding of why something was funny:

exaggerated movement, gesture and voice.

The performance styles and techniques of

comedy, clowning and commedia dell’arte are

utilised for effective storytelling and dramatic

meaning. For example, Pinocchio fights a giant

python, flies on an imaginary pigeon to go

and find his father, Geppetto only to see him

swallowed by a giant fish - how does the

performer convey this sequence and suspend

audience disbelief?

Ethical

Strand: Foundation to Level 2. Explore the

meaning of right and wrong, good and bad,

as concepts concerned with the outcomes of

acts


Pinocchio is all about life choices and the

consequences of choices and the character’s ability

to reflect, learn from poor life choices and move

forward.

Italian

Strand: Recognise the dynamic nature

of language and culture. Level 5&6


Utilise the information in the teachers’

resource kit and research writer, Carlo Collodi

and the origins of for this epic story, its

allegorical origins and connection to Italian

history and culture.

Personal and Social Capabilities

Strand: Level 3 & 4. Development of resilience.

Identify how persistence and adaptability can be

used when faced with challenging situations and

change

Achievement Standard - 3-10

Pinocchio is constantly in a state of flux - elated

and fulfilled and then miserable and alone. Despite

this they manage to deal with the challenges

before them (whether its danger in the forest or the

loss of a loved one), and ultimately they

demonstrate resilience and keep working towards

their end (altruistic) goal - to find and rescue their

Papà and nurse them back to health.

https://victoriancurriculum.vcaa.vic.edu.au/the-arts/drama/introduction/structure

https://victoriancurriculum.vcaa.vic.edu.au/ethical-capability/introduction/structure

https://victoriancurriculum.vcaa.vic.edu.au/LearningArea/LoadFile?learningArea=languages&subject=italian&name=1%20Italian%20F-10%20Sequence%20Foundation-Level%206.docx&storage=ScopeAndSequence

https://victoriancurriculum.vcaa.vic.edu.au/LearningArea/LoadFile?learningArea=capabilities&subject=personal-and-social-capability&name=3%20Personal%20and%20Social%20Capability%20Levels%203%20-%2010.docx&storage=ScopeAndSequence


Contact the Arts & Education team at [email protected] with further questions or, even

better, examples of your work!

This edition is copyright Regional Arts Victoria in consultation with Make a Scene.

© 2022


Pinocchio Make a Scene - Regional Arts Victoria

Documents