Two little mice go for a walk in the deep dark wood and meet various predators like a fox, owl, and snake. While walking, the mice suddenly come across a gruffalo, a monster-like creature. Despite their fear, the mice continue walking with the gruffalo where they meet the other woodland creatures who are afraid of the gruffalo and flee in fear. In the end, the mice are happy with their encounter with the gruffalo.
This document summarizes and compares key details about three children's books: The Gruffalo, The Tiger That Came to Tea, and Giraffes Can't Dance. All three books use bright, colorful illustrations done by hand or with paint. They also use simple, easy-to-read sans serif fonts in prominent colors on the pages. Notably, all three books contain 32 pages, suggesting this is an effective length for young audiences. The document discusses the authors, illustrators, publishers, and page sizes of each book.
A mouse tricks a fox, owl, and snake into believing it is going to have lunch/tea/a feast with a gruffalo, a made-up creature. When each animal asks what a gruffalo is, the mouse describes its scary features. When they see the gruffalo with the mouse, each animal gets scared and runs away. In the end, the mouse convinces the gruffalo that it is feared by all, but then says its favorite food is gruffalo crumble, scaring off the gruffalo. The mouse is left alone to enjoy a nut in the woods.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive function. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms.
The document appears to be a reading assessment for the children's book "The Gruffalo" and contains questions about characters, events, descriptions, and a word search based on the story. It asks the student to recall details like what the deep dark wood was like, what the mouse told other animals about the Gruffalo, and whether the Gruffalo really existed. The assessment also contains exercises coloring in adjectives, nouns, and verbs used in the story.
The document provides guidance for an internal assessment task in Theatre Arts requiring students to collaboratively create and present an original 13-15 minute piece of theatre. Students must submit a process portfolio documenting their individual approaches and skills, exploration of the starting point, nature of collaboration, and contributions. They must also submit a 4 minute video excerpt from the full recording of the piece.
This document provides a handout for theatre teachers to track their knowledge, assumptions, and questions about a theatre tradition as they conduct research. The handout has columns to list facts already known about the tradition, things presumed or assumed about the tradition before research begins, and specific questions that remain in order to identify areas requiring further investigation.
Two little mice go for a walk in the deep dark wood and meet various predators like a fox, owl, and snake. While walking, the mice suddenly come across a gruffalo, a monster-like creature. Despite their fear, the mice continue walking with the gruffalo where they meet the other woodland creatures who are afraid of the gruffalo and flee in fear. In the end, the mice are happy with their encounter with the gruffalo.
This document summarizes and compares key details about three children's books: The Gruffalo, The Tiger That Came to Tea, and Giraffes Can't Dance. All three books use bright, colorful illustrations done by hand or with paint. They also use simple, easy-to-read sans serif fonts in prominent colors on the pages. Notably, all three books contain 32 pages, suggesting this is an effective length for young audiences. The document discusses the authors, illustrators, publishers, and page sizes of each book.
A mouse tricks a fox, owl, and snake into believing it is going to have lunch/tea/a feast with a gruffalo, a made-up creature. When each animal asks what a gruffalo is, the mouse describes its scary features. When they see the gruffalo with the mouse, each animal gets scared and runs away. In the end, the mouse convinces the gruffalo that it is feared by all, but then says its favorite food is gruffalo crumble, scaring off the gruffalo. The mouse is left alone to enjoy a nut in the woods.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive function. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms.
The document appears to be a reading assessment for the children's book "The Gruffalo" and contains questions about characters, events, descriptions, and a word search based on the story. It asks the student to recall details like what the deep dark wood was like, what the mouse told other animals about the Gruffalo, and whether the Gruffalo really existed. The assessment also contains exercises coloring in adjectives, nouns, and verbs used in the story.
The document provides guidance for an internal assessment task in Theatre Arts requiring students to collaboratively create and present an original 13-15 minute piece of theatre. Students must submit a process portfolio documenting their individual approaches and skills, exploration of the starting point, nature of collaboration, and contributions. They must also submit a 4 minute video excerpt from the full recording of the piece.
This document provides a handout for theatre teachers to track their knowledge, assumptions, and questions about a theatre tradition as they conduct research. The handout has columns to list facts already known about the tradition, things presumed or assumed about the tradition before research begins, and specific questions that remain in order to identify areas requiring further investigation.
This document provides frequently asked questions (FAQ) and guidance for a midterm exam presentation on performance conventions in Ancient Greek theatre. Students must give a 7-10 minute presentation choosing one convention - mask, voice, or gesture - to demonstrate. They should discuss the cultural/theoretical context of Ancient Greek theatre for 4-6 minutes and then spend 2-3 minutes demonstrating their practical exploration of the convention through a short "work-in-progress" theatre moment. Students should reflect on the impact of exploring this convention on their development as a performer. Rehearsal with peers is recommended and simple props like paper bag masks are allowed. The presentation structure suggested is introduction to tradition/context, discussion of chosen convention/exploration
This document outlines the requirements for a research presentation task where students must:
1) Research a theatre tradition they have not previously studied and identify a performance convention.
2) Physically explore the convention and apply it to a moment of theatre.
3) Present their findings and demonstration in a 15 minute video recorded presentation.
The presentation must cover the cultural context of the tradition, the student's exploration of the convention, and a reflection on how it impacted their learning. Students are assessed on their understanding of the tradition and ability to physically demonstrate the convention.
This document provides terminology and questions to help with directing journals. It covers analyzing scripts, working with actors and designers, staging techniques like blocking and use of space, and the rehearsal process. The director must understand the script, characters, and production demands to develop a vision and guide actors in bringing it to life through the technical rehearsal process. Effective communication and establishing trust with collaborators are important for transforming ideas into a cohesive final production.
The document provides guidance for directors on effectively working with actors during the rehearsal process. It discusses the importance of sorting out one's private thoughts about actors beforehand and preparing mentally for difficult actors. Directors are advised to be patient, consistent, objective and avoid blaming actors when things go wrong. The text emphasizes establishing clear boundaries, focusing on the work, and not allowing personal issues or time pressures to interfere with the rehearsal process.
This document outlines a 10 step process for devising theatre, beginning with choosing a stimulus to explore as a subject. It describes various approaches to structuring the piece such as using a storyline, vignettes, or documentary style. Step 3 involves creating scenarios or a "Canovaccio" to determine plot elements. Later steps include deciding modes of communication to use, deepening the plot and characters through improvisation, and keeping the piece fresh during development. The process concludes with scripting, performing, and reflecting on the work.
The document discusses various aspects of an actor's training and process, including specialized training in areas like movement, music, and speech. It emphasizes that actors spend years mastering their primary instruments of body and voice. The document also covers techniques like developing observation skills, managing concentration, understanding stage vocabulary, questioning to understand a role, preparing emotionally, vocal characterization, memorization techniques, and adjusting to dress rehearsals and performances.
This document provides details about how the Kabuki actor would look when performing the role of Sukeroku from the play Sukeroku: Flower of Edo. It describes the elaborate costumes, wigs, makeup and props that would be used. The costumes include a black kimono with red and blue piping and an elaborate sash with a peony crest in the first act. In the second act, a simple white kimono is worn. The wigs are realistic styles and Sukeroku's would have the sakayaki style. His makeup accentuates his lips and eyes with red and black lines on a white face. Significant props aid in telling the story.
This document provides guidance for students on researching and writing a Research Investigation (RI) assignment, including selecting a theatre practice and play, conducting research, structuring the RI paper, meeting assessment criteria, and considering word counts and formatting. Tips are offered on initiating contact with production sources, focusing an "aspect" of research, attributing sources, and critiquing sources for the higher level assignment.
The document summarizes a play adaptation of J.R.R. Tolkien's Lord of the Rings as an IB story. In the first scene, Gandalf forms a fellowship to defeat the antagonist Saruman and stop the suffering caused by IB assignments and the Extended Essay deadline. Frodo and Sam agree to submit Frodo's EE through Moodle. In the second scene, Frodo and Sam encounter Gollum in the forest. Gollum tries to steal Frodo's EE but they capture him instead. In the third scene, Legolas, Aragorn and Gandalf rest on their journey to Isengard, where Legolas and Aragorn argue over Arwen before Legol
Information and Communication Technology in EducationMJDuyan
(𝐓𝐋𝐄 𝟏𝟎𝟎) (𝐋𝐞𝐬𝐬𝐨𝐧 2)-𝐏𝐫𝐞𝐥𝐢𝐦𝐬
𝐄𝐱𝐩𝐥𝐚𝐢𝐧 𝐭𝐡𝐞 𝐈𝐂𝐓 𝐢𝐧 𝐞𝐝𝐮𝐜𝐚𝐭𝐢𝐨𝐧:
Students will be able to explain the role and impact of Information and Communication Technology (ICT) in education. They will understand how ICT tools, such as computers, the internet, and educational software, enhance learning and teaching processes. By exploring various ICT applications, students will recognize how these technologies facilitate access to information, improve communication, support collaboration, and enable personalized learning experiences.
𝐃𝐢𝐬𝐜𝐮𝐬𝐬 𝐭𝐡𝐞 𝐫𝐞𝐥𝐢𝐚𝐛𝐥𝐞 𝐬𝐨𝐮𝐫𝐜𝐞𝐬 𝐨𝐧 𝐭𝐡𝐞 𝐢𝐧𝐭𝐞𝐫𝐧𝐞𝐭:
-Students will be able to discuss what constitutes reliable sources on the internet. They will learn to identify key characteristics of trustworthy information, such as credibility, accuracy, and authority. By examining different types of online sources, students will develop skills to evaluate the reliability of websites and content, ensuring they can distinguish between reputable information and misinformation.
THE SACRIFICE HOW PRO-PALESTINE PROTESTS STUDENTS ARE SACRIFICING TO CHANGE T...indexPub
The recent surge in pro-Palestine student activism has prompted significant responses from universities, ranging from negotiations and divestment commitments to increased transparency about investments in companies supporting the war on Gaza. This activism has led to the cessation of student encampments but also highlighted the substantial sacrifices made by students, including academic disruptions and personal risks. The primary drivers of these protests are poor university administration, lack of transparency, and inadequate communication between officials and students. This study examines the profound emotional, psychological, and professional impacts on students engaged in pro-Palestine protests, focusing on Generation Z's (Gen-Z) activism dynamics. This paper explores the significant sacrifices made by these students and even the professors supporting the pro-Palestine movement, with a focus on recent global movements. Through an in-depth analysis of printed and electronic media, the study examines the impacts of these sacrifices on the academic and personal lives of those involved. The paper highlights examples from various universities, demonstrating student activism's long-term and short-term effects, including disciplinary actions, social backlash, and career implications. The researchers also explore the broader implications of student sacrifices. The findings reveal that these sacrifices are driven by a profound commitment to justice and human rights, and are influenced by the increasing availability of information, peer interactions, and personal convictions. The study also discusses the broader implications of this activism, comparing it to historical precedents and assessing its potential to influence policy and public opinion. The emotional and psychological toll on student activists is significant, but their sense of purpose and community support mitigates some of these challenges. However, the researchers call for acknowledging the broader Impact of these sacrifices on the future global movement of FreePalestine.
How to Setup Default Value for a Field in Odoo 17Celine George
In Odoo, we can set a default value for a field during the creation of a record for a model. We have many methods in odoo for setting a default value to the field.
This document provides frequently asked questions (FAQ) and guidance for a midterm exam presentation on performance conventions in Ancient Greek theatre. Students must give a 7-10 minute presentation choosing one convention - mask, voice, or gesture - to demonstrate. They should discuss the cultural/theoretical context of Ancient Greek theatre for 4-6 minutes and then spend 2-3 minutes demonstrating their practical exploration of the convention through a short "work-in-progress" theatre moment. Students should reflect on the impact of exploring this convention on their development as a performer. Rehearsal with peers is recommended and simple props like paper bag masks are allowed. The presentation structure suggested is introduction to tradition/context, discussion of chosen convention/exploration
This document outlines the requirements for a research presentation task where students must:
1) Research a theatre tradition they have not previously studied and identify a performance convention.
2) Physically explore the convention and apply it to a moment of theatre.
3) Present their findings and demonstration in a 15 minute video recorded presentation.
The presentation must cover the cultural context of the tradition, the student's exploration of the convention, and a reflection on how it impacted their learning. Students are assessed on their understanding of the tradition and ability to physically demonstrate the convention.
This document provides terminology and questions to help with directing journals. It covers analyzing scripts, working with actors and designers, staging techniques like blocking and use of space, and the rehearsal process. The director must understand the script, characters, and production demands to develop a vision and guide actors in bringing it to life through the technical rehearsal process. Effective communication and establishing trust with collaborators are important for transforming ideas into a cohesive final production.
The document provides guidance for directors on effectively working with actors during the rehearsal process. It discusses the importance of sorting out one's private thoughts about actors beforehand and preparing mentally for difficult actors. Directors are advised to be patient, consistent, objective and avoid blaming actors when things go wrong. The text emphasizes establishing clear boundaries, focusing on the work, and not allowing personal issues or time pressures to interfere with the rehearsal process.
This document outlines a 10 step process for devising theatre, beginning with choosing a stimulus to explore as a subject. It describes various approaches to structuring the piece such as using a storyline, vignettes, or documentary style. Step 3 involves creating scenarios or a "Canovaccio" to determine plot elements. Later steps include deciding modes of communication to use, deepening the plot and characters through improvisation, and keeping the piece fresh during development. The process concludes with scripting, performing, and reflecting on the work.
The document discusses various aspects of an actor's training and process, including specialized training in areas like movement, music, and speech. It emphasizes that actors spend years mastering their primary instruments of body and voice. The document also covers techniques like developing observation skills, managing concentration, understanding stage vocabulary, questioning to understand a role, preparing emotionally, vocal characterization, memorization techniques, and adjusting to dress rehearsals and performances.
This document provides details about how the Kabuki actor would look when performing the role of Sukeroku from the play Sukeroku: Flower of Edo. It describes the elaborate costumes, wigs, makeup and props that would be used. The costumes include a black kimono with red and blue piping and an elaborate sash with a peony crest in the first act. In the second act, a simple white kimono is worn. The wigs are realistic styles and Sukeroku's would have the sakayaki style. His makeup accentuates his lips and eyes with red and black lines on a white face. Significant props aid in telling the story.
This document provides guidance for students on researching and writing a Research Investigation (RI) assignment, including selecting a theatre practice and play, conducting research, structuring the RI paper, meeting assessment criteria, and considering word counts and formatting. Tips are offered on initiating contact with production sources, focusing an "aspect" of research, attributing sources, and critiquing sources for the higher level assignment.
The document summarizes a play adaptation of J.R.R. Tolkien's Lord of the Rings as an IB story. In the first scene, Gandalf forms a fellowship to defeat the antagonist Saruman and stop the suffering caused by IB assignments and the Extended Essay deadline. Frodo and Sam agree to submit Frodo's EE through Moodle. In the second scene, Frodo and Sam encounter Gollum in the forest. Gollum tries to steal Frodo's EE but they capture him instead. In the third scene, Legolas, Aragorn and Gandalf rest on their journey to Isengard, where Legolas and Aragorn argue over Arwen before Legol
Information and Communication Technology in EducationMJDuyan
(𝐓𝐋𝐄 𝟏𝟎𝟎) (𝐋𝐞𝐬𝐬𝐨𝐧 2)-𝐏𝐫𝐞𝐥𝐢𝐦𝐬
𝐄𝐱𝐩𝐥𝐚𝐢𝐧 𝐭𝐡𝐞 𝐈𝐂𝐓 𝐢𝐧 𝐞𝐝𝐮𝐜𝐚𝐭𝐢𝐨𝐧:
Students will be able to explain the role and impact of Information and Communication Technology (ICT) in education. They will understand how ICT tools, such as computers, the internet, and educational software, enhance learning and teaching processes. By exploring various ICT applications, students will recognize how these technologies facilitate access to information, improve communication, support collaboration, and enable personalized learning experiences.
𝐃𝐢𝐬𝐜𝐮𝐬𝐬 𝐭𝐡𝐞 𝐫𝐞𝐥𝐢𝐚𝐛𝐥𝐞 𝐬𝐨𝐮𝐫𝐜𝐞𝐬 𝐨𝐧 𝐭𝐡𝐞 𝐢𝐧𝐭𝐞𝐫𝐧𝐞𝐭:
-Students will be able to discuss what constitutes reliable sources on the internet. They will learn to identify key characteristics of trustworthy information, such as credibility, accuracy, and authority. By examining different types of online sources, students will develop skills to evaluate the reliability of websites and content, ensuring they can distinguish between reputable information and misinformation.
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The recent surge in pro-Palestine student activism has prompted significant responses from universities, ranging from negotiations and divestment commitments to increased transparency about investments in companies supporting the war on Gaza. This activism has led to the cessation of student encampments but also highlighted the substantial sacrifices made by students, including academic disruptions and personal risks. The primary drivers of these protests are poor university administration, lack of transparency, and inadequate communication between officials and students. This study examines the profound emotional, psychological, and professional impacts on students engaged in pro-Palestine protests, focusing on Generation Z's (Gen-Z) activism dynamics. This paper explores the significant sacrifices made by these students and even the professors supporting the pro-Palestine movement, with a focus on recent global movements. Through an in-depth analysis of printed and electronic media, the study examines the impacts of these sacrifices on the academic and personal lives of those involved. The paper highlights examples from various universities, demonstrating student activism's long-term and short-term effects, including disciplinary actions, social backlash, and career implications. The researchers also explore the broader implications of student sacrifices. The findings reveal that these sacrifices are driven by a profound commitment to justice and human rights, and are influenced by the increasing availability of information, peer interactions, and personal convictions. The study also discusses the broader implications of this activism, comparing it to historical precedents and assessing its potential to influence policy and public opinion. The emotional and psychological toll on student activists is significant, but their sense of purpose and community support mitigates some of these challenges. However, the researchers call for acknowledging the broader Impact of these sacrifices on the future global movement of FreePalestine.
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1. The Gruffalo 1
The Gruffalo
The Gruffalo
The first edition
Author Julia Donaldson
Illustrator Axel Scheffler
Country United Kingdom
Language English
Genre Children's fantasy
Publisher Macmillan
Publication date 23 March 1999
Pages 32
ISBN 0-333-71093-2
OCLC
59379845
[1]
Followed by The Gruffalo's Child
The Gruffalo is a children's book by writer and playwright Julia Donaldson, illustrated by Axel Scheffler, that tells
the story of a mouse, the protagonist of the book, taking a walk in the woods. The book has sold over 10.5 million
copies, has won several prizes for children's literature, and has been developed into plays on both the West End and
Broadway.
The Gruffalo was initially published in 1999 in the United Kingdom by Macmillan Children's Books (ISBN
0-333-71093-2) as a 32-page hardback edition, was followed six months later by a paperback edition, and
subsequently by a small-format board book edition. It was penned for readers aged three to seven, and is about 700
words long. It is written in rhyming couplets, featuring repetitive verse with minor variance.
Plot
The protagonist of The Gruffalo is a mouse. The story of the mouse's walk through the woods unfolds in two phases;
in both, the mouse uses cunning to evade danger.
On his way the mouse encounters several dangerous animals (a fox, an owl, and a snake). Each of these animals,
clearly intending to eat the mouse, invites him back to their home for a meal. The cunning mouse declines each offer.
To dissuade further advances, he tells each animal that he has plans to dine with his friend, a gruffalo, a monster-like
hybrid that's half grizzly bear and half buffalo, whose favourite food happens to be the relevant animal, and describes
the features of the gruffalo's monstrous anatomy. Frightened that the gruffalo might eat it, each animal flees.
Knowing the gruffalo to be fictional, the mouse gloats thus:
Silly old fox/owl/snake, doesn't he know?
there's no such thing as a gruffalo!
After getting rid of the last animal, the mouse is shocked to encounter a real gruffalo – with all the frightening
features the mouse thought that he was inventing. The gruffalo threatens to eat the mouse, but again the mouse is
cunning: he tells the gruffalo that he, the mouse, is the scariest animal in the forest. Laughing, the gruffalo agrees to
follow the mouse as he demonstrates how feared he is. The two walk through the forest, encountering in turn the
animals that had earlier menaced the mouse. Each is terrified by the sight of the pair and runs off – and each time the
gruffalo becomes more impressed with the mouse's apparent toughness. Exploiting this, the mouse threatens to eat
2. The Gruffalo 2
the gruffalo, which flees.
The story is based on a Chinese folklore tale of a fox that borrows the terror of a tiger. Donaldson was unable to
think of rhymes for "tiger" so invented one for "know" instead.
[2]
Recognition
The Gruffalo won the gold award (in the 0–5 years category) of the 1999 Nestlé Smarties Book Prize. It was the
UK's best-selling picture book of 2000, won the 2000 Nottingham/Experian Children's Book award, and the Blue
Peter Best Book To Read Aloud award. The audio version won the Best Children's Audio award in the Spoken Book
Awards.
[3]
In November 2009 the book was voted "best bedtime story" by listeners of BBC Radio 2.
[4]
In a 2010
survey by UK charity Booktime, the book came first in a list of children's favourite books.
Translations
The Gruffalo has sold over 3.5 million copies in 31 editions worldwide. Translations include Croatian (Grubzon),
Dutch (De Gruffalo), Estonian (Grühvel), French (Gruffalo), German (Der Grüffelo), Greek (Το Γκρούφαλο),
Hebrew (Trofoti), Irish (An Garbhán), Italian (A spasso col mostro), Latin (Gruffalo), Latvian (Bubulis), Lithuanian
(Grufas), Low German (De Grüffelo), Polish (Gruffalo), Russian (Груффало), Slovene (Zverjasec), Spanish (El
Grúfalo), Scots (The Gruffalo), Scottish Gaelic (An Gruffalo), Swedish (Gruffalon), Norwegian (Gruffaloen),
Turkish (Tostoraman),
[5]
Welsh (Y Gryffalo), Afrikaans (Die Goorgomgaai) and Manx (Yn Gruffalo).
Versions and products
The book was initially sold as an A4 paperback book in 1999, and later as a smaller A5 board book version in 2002.
An audio book version, narrated by Imelda Staunton, was released in 2002, and a jigsaw book version (ISBN
1-4050-3496-3) was published in 2004. The book is also sold packaged with a gruffalo soft toy. At some point in the
print run of the hardcover paper page book, the dialogue was subtly changed. There are two different ISBN numbers
for the book. However, the older ISBN number that relates to the original text is no longer available.
[citation needed]
The "Gruffalo song" was released with the audiobook, as a standalone CD single, and on a musical CD with other
songs from Donaldson's books.
[citation needed]
Donaldson and Scheffler's sequel, 2004's The Gruffalo's Child (which tells the story of the gruffalo's child, warned
by its parent of the terrifying mouse) won the "Best Children's Book" award in the 2005 British Book Awards.
A Gruffalo Woodland Trail has been created at the Dean Heritage Centre, Soudley in the Forest of Dean, UK. The
trail depicts the scenes from the book and has been carved by local chainsaw artists out of local redwood. The trail
runs daily throughout 2012.
A ridable wheeled Gruffalo children's suitcase is manufactured for Trunki; the case had been featured as a pitch idea
on the entrepreneur game show Dragons' Den and
[citation needed]
rejected by the show's judges.
Donaldson and Scheffler have collaborated on many other titles; some feature cameos from the Gruffalo in other
guises, including as Christmas tree decoration in Stick Man,a drawing by a child in The Snail and the Whale and a
fish in Tiddler[6].
3. The Gruffalo 3
Adaptations
Film
The book has been adapted into a 30-minute animated film, which was broadcast on BBC One in the UK on 25
December 2009. This newWikipedia:Please clarify version features Robbie Coltrane in the title role and James
Corden as the mouse as well as Helena Bonham Carter as the mother squirrel narrator and Rob Brydon as the Snake.
The production was animated at the award winning Studio Soi
[7]
in Germany and produced through Magic Light
Pictures.
[8]
The film also has the voices of John Hurt as the Owl and Tom Wilkinson as the Fox. It was nominated
for an Academy Award for Best Short Film (Animated) on 25 January 2011. The film was also nominated for a
BAFTA in 2010.
Theatre
The Gruffalo has been adapted for the stage by Tall Stories theatre company. The production has visited the West
End for the last five years, including a staging at the Lyric Theatre, London during Christmas 2011. The Tall Stories
production has also toured the UK and internationally, including performances at Sydney Opera House in September
2011 and a UK tour in 2012.
Media appearances
The book appears in the Doctor Who series 5 episode "The Hungry Earth": Mo reads it to his son, then later by
himself before the "strange event" happens.
Culture
One of the scenes on the Gruffalo Trail
The Dean Heritage Centre in the Forest of Dean, England was given
permission by author Julia Donaldson, illustrator Axel Scheffler and
the publisher's Macmillan Children's Books, London, UK, to create the
Gruffalo trail within the national park.
References
[1] http://www.worldcat.org/oclc/59379845
[2] Information on Julia Donaldson, children's author and creator of The Gruffalo (http:/
/www.juliadonaldson.co.uk/about.htm)
[3] h2g2 - 'The Gruffalo' and 'The Gruffalo's Child' - Children's Stories (http://www.
bbc.co.uk/dna/h2g2/A13729746)
[4] BBC - Radio 2 - Jeremy Vine - Jeremy Vine's Bedtime Stories (http://www.bbc.
co.uk/radio2/shows/jeremy-vine/bedtime-stories/)
[5][5] Published by Popcore, 2007; translation by Yildirim Türker
[6] http://toolserver.org/%7Edispenser/cgi-bin/dab_solver.py?page=The_Gruffalo&
editintro=Template:Disambiguation_needed/editintro&client=Template:Dn
[7] Studio Soi (http://www.studiosoi.de)
[8] Magic Light Pictures – The Gruffalo (http://www.magiclightpictures.com/
the_gruffalo.html)
4. The Gruffalo 4
Further reading
• Julia Donaldson video podcast (http://www.scottishbooktrust.com/podcasts/video/julia-donaldson), the author
discusses The Gruffallo on scottishbooktrust.com (http://www.scottishbooktrust.com)
• news story (http://www.smh.com.au/entertainment/sydney-opera-house/
the-mouse-that-roared-20110923-1ko2s.html) about the Tall Stories production at Sydney Opera House
• The Gruffalo creator Julia Donaldson reveals the story behind Britain's best-loved bedtime story (http://www.
dailymail.co.uk/femail/article-1236672/
The-Gruffalo-creator-Julia-Donaldson-reveals-story-Britains-best-loved-bedtime-story.html) By JENNY
JOHNSTON, Daily Mail, 1 January 2010
External links
• gruffalo.com (http://www.gruffalo.com/), the book's website
• the author's website (http://www.juliadonaldson.co.uk)
• thegruffalolive.com (http://www.gruffalolive.com/), the website for the stage adaptation
• Tall Stories (http://tallstories.org.uk/), the website of the theatre company who have adapted the book for the
stage
• ESL resources for primary school teachers (http://crdp.ac-dijon.fr/The-Gruffalo.html)
• Who would love a Gruffalo? (http://www.bbc.co.uk/news/magazine-11584795), Giles Wilson, BBC News
Magazine, 22 October 2010
• (http://www.deanheritagecentre.com/events/gruffalotrail.html) The Gruffalo trail at the Dean Heritage Centre
for 2012
![The Gruffalo 1
The Gruffalo
The Gruffalo
The first edition
Author Julia Donaldson
Illustrator Axel Scheffler
Country United Kingdom
Language English
Genre Children's fantasy
Publisher Macmillan
Publication date 23 March 1999
Pages 32
ISBN 0-333-71093-2
OCLC
59379845
[1]
Followed by The Gruffalo's Child
The Gruffalo is a children's book by writer and playwright Julia Donaldson, illustrated by Axel Scheffler, that tells
the story of a mouse, the protagonist of the book, taking a walk in the woods. The book has sold over 10.5 million
copies, has won several prizes for children's literature, and has been developed into plays on both the West End and
Broadway.
The Gruffalo was initially published in 1999 in the United Kingdom by Macmillan Children's Books (ISBN
0-333-71093-2) as a 32-page hardback edition, was followed six months later by a paperback edition, and
subsequently by a small-format board book edition. It was penned for readers aged three to seven, and is about 700
words long. It is written in rhyming couplets, featuring repetitive verse with minor variance.
Plot
The protagonist of The Gruffalo is a mouse. The story of the mouse's walk through the woods unfolds in two phases;
in both, the mouse uses cunning to evade danger.
On his way the mouse encounters several dangerous animals (a fox, an owl, and a snake). Each of these animals,
clearly intending to eat the mouse, invites him back to their home for a meal. The cunning mouse declines each offer.
To dissuade further advances, he tells each animal that he has plans to dine with his friend, a gruffalo, a monster-like
hybrid that's half grizzly bear and half buffalo, whose favourite food happens to be the relevant animal, and describes
the features of the gruffalo's monstrous anatomy. Frightened that the gruffalo might eat it, each animal flees.
Knowing the gruffalo to be fictional, the mouse gloats thus:
Silly old fox/owl/snake, doesn't he know?
there's no such thing as a gruffalo!
After getting rid of the last animal, the mouse is shocked to encounter a real gruffalo – with all the frightening
features the mouse thought that he was inventing. The gruffalo threatens to eat the mouse, but again the mouse is
cunning: he tells the gruffalo that he, the mouse, is the scariest animal in the forest. Laughing, the gruffalo agrees to
follow the mouse as he demonstrates how feared he is. The two walk through the forest, encountering in turn the
animals that had earlier menaced the mouse. Each is terrified by the sight of the pair and runs off – and each time the
gruffalo becomes more impressed with the mouse's apparent toughness. Exploiting this, the mouse threatens to eat](https://image.slidesharecdn.com/thegruffalo-140402121551-phpapp02/85/The-Gruffalo-1-320.jpg?cb=1396441052)
![The Gruffalo 2
the gruffalo, which flees.
The story is based on a Chinese folklore tale of a fox that borrows the terror of a tiger. Donaldson was unable to
think of rhymes for "tiger" so invented one for "know" instead.
[2]
Recognition
The Gruffalo won the gold award (in the 0–5 years category) of the 1999 Nestlé Smarties Book Prize. It was the
UK's best-selling picture book of 2000, won the 2000 Nottingham/Experian Children's Book award, and the Blue
Peter Best Book To Read Aloud award. The audio version won the Best Children's Audio award in the Spoken Book
Awards.
[3]
In November 2009 the book was voted "best bedtime story" by listeners of BBC Radio 2.
[4]
In a 2010
survey by UK charity Booktime, the book came first in a list of children's favourite books.
Translations
The Gruffalo has sold over 3.5 million copies in 31 editions worldwide. Translations include Croatian (Grubzon),
Dutch (De Gruffalo), Estonian (Grühvel), French (Gruffalo), German (Der Grüffelo), Greek (Το Γκρούφαλο),
Hebrew (Trofoti), Irish (An Garbhán), Italian (A spasso col mostro), Latin (Gruffalo), Latvian (Bubulis), Lithuanian
(Grufas), Low German (De Grüffelo), Polish (Gruffalo), Russian (Груффало), Slovene (Zverjasec), Spanish (El
Grúfalo), Scots (The Gruffalo), Scottish Gaelic (An Gruffalo), Swedish (Gruffalon), Norwegian (Gruffaloen),
Turkish (Tostoraman),
[5]
Welsh (Y Gryffalo), Afrikaans (Die Goorgomgaai) and Manx (Yn Gruffalo).
Versions and products
The book was initially sold as an A4 paperback book in 1999, and later as a smaller A5 board book version in 2002.
An audio book version, narrated by Imelda Staunton, was released in 2002, and a jigsaw book version (ISBN
1-4050-3496-3) was published in 2004. The book is also sold packaged with a gruffalo soft toy. At some point in the
print run of the hardcover paper page book, the dialogue was subtly changed. There are two different ISBN numbers
for the book. However, the older ISBN number that relates to the original text is no longer available.
[citation needed]
The "Gruffalo song" was released with the audiobook, as a standalone CD single, and on a musical CD with other
songs from Donaldson's books.
[citation needed]
Donaldson and Scheffler's sequel, 2004's The Gruffalo's Child (which tells the story of the gruffalo's child, warned
by its parent of the terrifying mouse) won the "Best Children's Book" award in the 2005 British Book Awards.
A Gruffalo Woodland Trail has been created at the Dean Heritage Centre, Soudley in the Forest of Dean, UK. The
trail depicts the scenes from the book and has been carved by local chainsaw artists out of local redwood. The trail
runs daily throughout 2012.
A ridable wheeled Gruffalo children's suitcase is manufactured for Trunki; the case had been featured as a pitch idea
on the entrepreneur game show Dragons' Den and
[citation needed]
rejected by the show's judges.
Donaldson and Scheffler have collaborated on many other titles; some feature cameos from the Gruffalo in other
guises, including as Christmas tree decoration in Stick Man,a drawing by a child in The Snail and the Whale and a
fish in Tiddler[6].](data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7)