The Magic Flute (Grades 9-12) by The Broad Stage

THE MAGIC FLUTE STUDY GUIDE

Eric Abraham and The Broad Stage present

Young Vic production of Mozart’s THE MAGIC FLUTE (IMPEMPE YOMLINGO) In partnership with South African Tourism and with special thanks to South African Airways – Africa’s Most Awarded Airline and South African Tourism – Inspiring new ways.

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Student Matinee

WED / OCT 8 11 AM

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THE MAGIC FLUTE STUDY GUIDE

EDUCATION AND COMMUNITY PROGRAMS STAFF Amy Kirkland, General Manager Carolyn Palmer, Director of Programming and Education Alisa De Los Santos, Manager of Education and Community Programs Jonathan Redding, Dramaturg Klarissa Leuterio, Education and Community Programs Associate CONSULTANTS Jonathan Ng, Designer

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Education and Community at The Broad Stage is supported in part by Austin and Virginia Beutner, Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission, City of Santa Monica and the Santa Monica Arts Commission, Herb Alpert Foundation, John W. Carson Foundation, The Rosalinde and Arthur Gilbert Foundation, The Green Foundation, SMC Associates, Matthewson Charitable Trusts, The Roth Family Foundation, Bank of the West, the Ralph M. Parsons Foundation, the Dwight Stuart Youth Fund, Leonard M. Lipman Charitable Fund, Colburn Foundation, and the City of Santa Monica Department of Cultural Affairs.

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EDUCATION & COMMUNITY PROGRAMS Phone 310.434.3560 education @thebroadstage.com thebroadstage.com/education

THE MAGIC FLUTE STUDY GUIDE

Greetings from The Broad Stage! Hello Teachers and Educators, Welcome to a new school year! We have been hard at work all summer (as you have!) planning and preparing for a new season’s worth of student matinees, study guides, and special events for our education community. As we kick off this season, we couldn’t be more excited to have you join us for this amazing Student Matinee of The Magic Flute.

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At The Broad Stage, we delight in bringing performances from all over the world that can challenge the way we experience a classic and open our minds something we had never imagined. The Magic Flute does just that. We enter into a story that transcends borders and cultural traditions and speaks to the humanity in each of us. The opera is an alive and immediately accessible story for the next generation of artists and arts lovers. In preparation for the performance, we ask that you take a few minutes to look through this study guide. It contains teaching resources for you to use in your classroom and each lesson is based on Common Core and VAPA State Standards. Our hope is to support your efforts not only in preparing students for this particular program, but in integrating the arts into other aspects of your students’ day to day learning process. We are honored to have you and your students as a part of our Broad Stage family. We admire your hard work every day and are so fortunate to be working with such a talented and engaged group of educators! Thank you for taking this journey with us and for your continued dedication to your students’ academic and artistic development. See you at the show! Sincerely, Alisa De Los Santos Manager of Education & Community Programs delossantos_alisa@smc.edu

Klarissa Leuterio Education & Community Programs Associate leuterio_klarissa@smc.edu

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This unique production of Mozart’s classical opera is brought to us all the way from Cape Town, South Africa, where a group of artists from Isango Ensemble have reinvented the piece from with distinctly South African flare. Isango Ensemble gathers its performers from the townships surrounding Cape Town and creates a space where veterans can mentor developing artists as they create music and tell stories together. This production features 23 vocalists and 7 marimbas, making for a truly exciting and uplifting performance.

CONTENTS

Contents Lesson 1: Understanding the Culture and History of Isango Ensemble’s Magic Flute Lesson 2: Understanding Fairy Tales Lesson 3: Themes & Review

Worksheets & Student Handouts Classical Era Plot Summary & Characters About Isango Ensemble Biographies South African History Magic Flute – An African Tale? Character Archetypes Writing a Review Glossary Complete List of Content Standards California Common Core Visual and Performing Arts

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Appendix

LESSON 1

Understanding the History & Culture of Isango Ensemble’s Magic Flute LESSON AT A GLANCE Aim: What is an adaptation? Why should we adapt classics? Materials: The Classical Era Handout, Plot Summary & Character Handout, Chalkboard/ Whiteboard, writing utensils, paper, access to YouTube, materials for a collage (magazines, drawing tools, photos, etc.) Summary: 1) Students will have an understanding of the Magic Flute plot. 2) Students will make predictions about this interpretation of the classic opera. 3) Students will be familiar with the concept of adapting classics.

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Visual and Performing Arts THEATRE: 3.2, 4.1

PART 1 Compare & Contrast: Then & Now Distribute “The Classical Era.” Discuss with your students the culture and lifestyle of the Classical Era. What stands out to them? Draw two columns on the chalkboard/whiteboard, each labeled, “Mozart’s Time,” and “Our Time.” Invite students to share comparisons between the two different time periods. Engage the students in a discussion of comparison across different issues and topics. Gender roles? Racial & Economic Issues? Fashion & Style? Religion? How have things changed between the Classical Era and today? How have they stayed the same? Is this change (or lack thereof) a good thing? Watch the summary of Magic Flute (spoiler alert!) on YouTube (https://www.youtube.com/ watch?v=-laVXO0IYKY) and distribute the Plot Summary & Characters. Review as a class.

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Standards Addressed: Common Core Grades 9-10: Writing 2, 4, 7. Speaking & Listening 1, 2. Language 1, 2 Grades 11-12: Writing 2, 4, 7. Speaking & Listening 1, 2. Language 1, 2.

LESSON 1

PART 2 Re-Writing Classics Explain that the production of Magic Flute they will be seeing is adapted by Isango Ensemble, a South African Opera Company. Discuss Adaptations: Do you know any examples of adaptations? What were the changes made to these adaptations? Why make an adaptation? Create a class definition of an adaptation using examples discussed in the class.

Adaptation: A movie, play, musical, or television show that is based on a written piece, such as a novel or a script. In an adaptation, there will usually be some changes made to the final piece—a change in setting, time period, characters, etc. Watch the video of the Royal Opera Queen of the Night as a class, and then watch the video of Minnesota Opera Queen of the Night Aria as a class. • Royal Opera Queen of the Night Aria: • https://www.youtube.com/watch?v=463jDvbw3LQ (Starts at 2:10) • Minnesota Opera Queen of the Night Aria • https://www.youtube.com/watch?v=qMP7xafUnw0 Free Write: Ask your students to write about their thoughts on the two videos (or another adaptation that you are familiar with and the classic that on which it was based.) Did you like one more over the other? Why? Describe the classic and the adaptation—what are the key changes that were made in the adaptation? Did it bring certain issues to light? Did it make you think of the story in a different way? How did the adaptation affect the story? If you were going to make an adaptation of this classic story, what choices would you make? (3 Paragraphs)

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Examples of adaptations: • Bridget Jones’ Diary (Pride and Prejudice) • West Side Story (Romeo & Juliet) • Sherlock (Sherlock Holmes) • The Lion King (Hamlet) • Sons of Anarchy (Hamlet) • She’s All That (Pygmalion) • 10 things I Hate About You (Taming of the Shrew) • She’s The Man (Twelfth Night) • Clueless (Emma)

LESSON 1

PART 3 Predicting Magic Flute Distribute the “South African History” worksheet and “About Isango Ensemble” worksheet. Read and discuss as a class Research: Have your students do some of their own research on South African Culture. They can look for examples of South African clothing, dance, music, etc. Ask them to share their findings with the class. (Can be done in groups or individually) Discuss as a class how a South African Theatre Company might adapt a classic opera such as Magic Flute. Think about the history and culture of South Africa, and how that might impact the production.

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Take It Further – Debate Review the “Magic Flute - An African Tale” handout, which contains a director’s note about Magic Flute’s connection to an African Folk Tale, San Francisco Opera’s review of Freemasonry and Magic Flute. Split the class in two: Which of the two do you think inspired Mozart to write this opera? One side should argue for The African Folk Tale, the other for the Brotherhood of the Freemasons. Debate! San Francisco Opera’s review of Freemasonry and Magic Flute can be found at: https:// sfopera.com/SanFranciscoOpera/media/ Education-Resource-Materials/Magic%20 Flute/MagicFluteMajorThemesNEW.pdf

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Break the class into groups of 4 or 5. Have them create a collage of images that reflect what they might see at The Broad Stage. How will Isango Ensemble interpret The Magic Flute? Assign a design element to each group (Costume & Makeup, Set Design, Lighting, Sound Design.) What colors, sounds, music and instruments would they use? How would they depict the characters onstage? What elements of their culture would they display? What themes might they bring to light? (They can use their own drawn images, magazine cut outs, photos, etc—Get creative!

LESSON 2

Understanding Fairy Tale LESSON AT A GLANCE Aim: What elements make a Fairy Tale? How are these used in an adaptation? Materials: Fairy Tale Archetypes Worksheet, Plot Summary & Character Handout, Whiteboard/Chalkboard, Writing Utensils. Summary: 1) Students will be familiar with Fairy Tale Elements, including archetypes and characterization. 2) Students will use elements of Fairy Tales to write their own. Visual and Performing Arts THEATRE: 4.1

PART 1 What is a Fairy Tale? Invite your students to list popular fairy tales. Go around the room and have everyone share their favorite fairy tale. Ask your students: What is a fairy tale? What are the elements of a Fairy Tale? What makes it a Fairy Tale, as opposed to a different kind of story? Create a list on the board with their various answers. Fairy Tale: a made-up childrenâ&#x20AC;&#x2122;s story, usually featuring magical elements, fantasy creatures, pretend lands, and a happy ending.

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Standards Addressed: Common Core Grades 9-10: Writing 3, 4. Speaking & Listening 1. Language 1, 2. Grades 11-12: Writing 3, 4. Speaking & Listening 1. Language 1, 2.

LESSON 2

PART 2 Casting Room: Fairy Tale Archetypes Introduce the concept of Archetypes. Ask students to provide any examples of Fairy Tale Archetypes. Archetype: a common type of character that is used often in fairy tales and stories. Examples: The Damsel in Distress, The Clown, The Hero, The Evil Stepmother. Distribute “Fairy Tale Archetypes” and reference “Plot Summary & Character Handout” to the class. Review both handouts. Challenge students to assign an Archetype to each of the characters of Magic Flute. Ask students to explain their choices. Free-Write: If you could play any character in this production, who would it be and why? (15-20 Minutes) Have students share their choices.

Take It Further: Ask students to consider the names of each character in Magic Flute. Do their names give you any insight to the characters?

• Sarastro - modeled after “Zoroaster,” a reformer of ancient Persian religion – considered by

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scholars to have been a priest, prophet, and magician with the goal of showing humans their connect to one source of light and consciousness. (Persian roots)

• Papageno & Papagena - “Papagalo” = Parrot, and “Genio” = Genius/Smart (Italian roots)

• Tamino & Pamina - Based on the servants of

the Egyptian God Min, the patron of Traveling Caravans. Pa-Min was the male servant, and Ta-Min was the female servant—genders were reversed for Magic Flute. (Egyptian roots)

• Monostatos - Literal translation = “Stands Alone.” (Greek Roots) • Queen of the Night - keyword = Night

PART 3 Adapt a Fairy Tale Challenge students to write a plot summary of their own Fairy Tale Adaptation, keeping in mind the essential elements of a Fairy Tale and Adaptations. Have students set their story in a different cultural setting and/or time period (examples: Present-Day India, the Renaissance, or Jupiter in the year 3014.) Keep in mind the names they select for their characters, and what the names might reveal about a character. Be sure to have these items: 1. 2. 3. 4. 5.

Original Story – What is your adaptation based on? New Setting and/or Time Period New Names Plot Twist Why did you choose to adapt this fairy tale? What do you hope the audience will gain from the new interpretation?

Invite Students to share their stories with the class.

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Consider this:

LESSON 3

Themes & Review LESSON AT A GLANCE Aim: What did you think of the show? Materials: Paper, Pen, Play Review Outline, Whiteboard/Chalkboard. Summary: 1) Students will reflect on their experience at The Broad Stage and write a review about Isango Ensemble’s Magic Flute. 2) They will analyze Isango Ensemble’s adaptation of the opera, and provide their subjective opinion on it. Visual and Performing Arts THEATRE: 1.1

PART 1 Initial Impressions Discuss the experience of seeing Magic Flute at The Broad Stage. Helpful Hint for Educators: Encourage students to pull from information they learned in Lesson 1 (Adaptations, the Classical Era, and South African History/Culture) to make analyses and form opinions about the production. Ask your class:

• Was the adaptation what you expected? • What were your favorite parts? • Did the South African adaptation change/alter the story? How so? Do you think Mozart would like this Adaptation? Free write: Was there a particular message the Ensemble was trying to communicate? If so, what was it and how do you know?

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Standards Addressed: Common Core Grades 9-10: Writing 2, 4. Speaking & Listening 1. Language 1, 2. Grades 11-12: Writing 2, 4. Speaking & Listening 1. Language 1, 2.

LESSON 3

PART 2 Fairy Tale Themes Discuss Isango Ensemble’s Production and Adaptation of Magic Flute Some sample discussion points:

• What are the important themes of the story? What plot points and characters are representative of these themes?

• Good vs. Evil • Queen of the Night

- Is she really Evil? Can we rationalize her actions? Support your answers with examples from the performance.

• Love vs. Hate • Is there a character who represents love? What about hate? Is it Tamino and Pamina? Sarastro? The Queen of the Night? Papageno? Support your answers with examples from the performance. What do the interactions between the characters tell us?

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and who represents Ignorance? Support your answers with examples from the performance.

• Now that you’ve seen the production, would you still cast yourself as the same character in Lesson 2? Why or why not?

PART 3 Review Distribute Review Handout Using the handout as a guide, ask students to write a review of Isango Ensemble’s Magic Flute that gives a future audience member an idea of what they will be seeing, while also providing their own opinions of the production. Have the students share their reviews with the class.

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• Wisdom vs. Ignorance • Does wisdom trump ignorance? Or vice versa? Who represents Wisdom,

THE MAGIC FLUTE STUDY GUIDE

About the Company Isango Ensemble – An Introduction

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The company’s work to date has focused on reimagining classics from the Western theatre canon, finding a new context for the stories within a South African or township setting, and creating new work, which is relevant to the heritage of the nation. Isango Ensemble’s more recent stage productions include The Magic Flute – Impempe Yomlingo, featuring Mozart’s score transposed for an orchestra of marimbas, which broke box office records when it played in repertoire with A Christmas Carol – Ikrismas Kherol at the Young Vic in London. Isango Ensemble went on to win many awards and is now coming to Santa Monica for it’s West Coast debut. Enjoy the show!

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The South African company Isango Ensemble is based in Cape Town. The core of the company was formed by director Mark DornfordMay and music director and singer Pauline Malefane in 2000. The company predominantly draws performers from across the townships surrounding the city. The company’s structure embraces artists at all stages of their creative development, allowing senior artists to lead and contribute towards the growth of rising talents. At its heart are the extraordinary and varied musical abilities of its group of performers. In 2011, the company became a Section 21 Company, a not-for-profit organization, and took as its new name - Isango Ensemble. Isango Ensemble works through the creative force and energy of each and every member of the Company. This collective focus makes things happen beyond “the box.” It is the mixture and clash of its cultures, races and experiences that enables it to create work of the highest caliber.

THE MAGIC FLUTE STUDY GUIDE

The Magic Flute Plot Summary & Characters Characters

• Tamino • Papageno • The Queen of the Night • Pamina • Monostatos • Sarastro • Papagena Mozart’s Magic Flute – The Story

Tamino, a young traveler who is passing through the realm of the Queen of the Night is being pursued by a firebreathing beast. He cries for help and faints with terror. Three Ladies – warriors of the Queen – hear his cries and spear the beast. Seeing how handsome the young man is, they go to tell the Queen what happened. Papageno, a bird catcher, is trying to lure birds into his net using his whistle. As Tamino regains consciousness, the birds are scared away. Papageno is a natural improviser and he claims credit for killing the firebreathing beast. The Three ladies reappear and punish Papageno for his lie by locking his mouth with a padlock. They show Tamino a picture of the Queen’s daughter, Pamina, whom they say has been kidnapped by an evil man – Sarastro. Tamino falls in love with the picture and promises to rescue the beautiful girl. The Queen of the Night arrives and urges a very frightened Tamino to keep his promise to rescue Pamina. To help him, he is presented with a Magic Flute. Papageno’s padlock is removed and he is ordered to help Tamino and given a set of magic bells. Both instruments, bells and flute, have the power to help the owners and to change evil into good. Three spirits materialise. They send the Ladies to sleep and offer to guide the men to Sarastro’s camp. Papageno and Tamino are pointed in the right direction but get separated. Papageno by chance happens upon Pamina with her jailer, Monostatos. Rescuing Pamina, Papageno shows her a picture of Tamino, and she falls in love with him. Tamina meanwhile has been led by the Spirits to the outside of the camp. He meets a Comrade of Sarastro who tells him that Sarastro is not evil but good. In his confusion and despair, Tamino plays the Flute and is answered by Papageno’s bird whistle. He runs in the direction of the sound but misses the escapees. Monostatos recaptures Papageno and Pamina, but Papageno plays his magic bells and Monostatos is seduced by their enchantment. As they make to escape again, Sarastro’s arrival in announced. Pamina tells Sarastro she was escaping from Monostatos, partly because he attempted to rape her. Monostatos, who has managed to capture Tamino, demands that Sarastro put the intruder to death. Sarastro is angered at the behavior of Monostatos towards Pamina and has him imprisoned instead. He then orders that Tamino attempt various trials to prove he is worthy of Pamina’s love. Papageno reluctantly accompanies him.

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ACT 1

THE MAGIC FLUTE STUDY GUIDE

The Magic Flute Plot Summary & Characters At a meeting of the elders, Sarastro proposes that Tamino undergoes initiation into their Brotherhood. If Tamino is successful in the trials, Sarastro proposes that he will hand joint power to both Pamina and Tamino. The elders are at first outraged that a woman should jointly rule over them, but after some hesitation they agree to the plan. The first of the trials undertaken by Tamino and Papageno is a trial of silence. Pamina appears and innocently tries to speak to her lover; he refuses to answer her words of love and she leaves broken-hearted. Papageno, however, cannot manage to keep quiet and he fails the first trial. The Queen of the Night appears and orders Pamina to kill Sarastro, giving her a knife for the task. Sarastro’s Comrades try to restrain the Queen but are killed by her soldiers as she escapes. In spite of this, Sarastro still pursues his doctrine of forgiveness and reconciliation and refuses to seek revenge. Heartbroken and depressed at Tamino’s rejection, Pamina attempts suicide but is restrained by three Spirits. Having completed the trial of silence, Tamino is reconciled with Pamina, and she undertakes to complete his trials with him. Together they complete the second trial, the trial of fire, and go on to the third trial, the trial of water. At first it appears that they have drowned, but they are revived and Tamino completes his initiation. Papageno, upset at his failure with the trials and disheartened by his failure to find a woman, contemplates suicide but is stopped by the three Spirits who introduce him to the girl of his dreams, Papagena. Guided by the wicked Monostatos, the Queen of the Night makes another attempt on Sarastro’s life but fails. Sarastro holds out his hand to her offering reconciliation; she refuses and leaves as the Comrades celebrate the dawn.

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ACT 2

THE MAGIC FLUTE STUDY GUIDE

The Classical Era Classicism refers to a cultural shift towards a traditional classical style, especially that of Ancient Greece. Aesthetics underwent a change throughout this era, towards simple and clean architecture, clearer divisions between parts as well as brighter contrasts and colors. Age of Enlightenment: During this era, there was an intellectual and cultural movement called the Age of Enlightenment. This movement emphasized reason, individualism, and scientific thought, challenging traditional social thought at that time. This movement valued reason and rationality over superstition, scientific authority over religious authority, and popularized the desire to address social issues in the “public sphere.” Class Culture: During the Classical Era, there was still a divide between economic classes. Nobility was still highly valued, and the upper classes controlled most of the land, as well as the cultural landscape; the upper class sponsored instrumental music, which became the preferred sounds of the courts and royalty. Fashion:

• Women: elaborate and colorful dresses, large in size; tall headdresses and wigs; corsets underneath occasions; knee length breeches

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• Lower classes: same style as upper class but with cheaper fabric and lower quality.

Gender Roles: In the classical era, there was a strict cultural divide between men and women. Men were typically considered stronger and more intelligent, while women were weaker and controlled by their emotions. Women were expected to show compassion, chastity and modesty, and were to obey the wishes of their father or husband; they often had no choice in marriage as it was mainly for social status. Men and women usually married for status and wealth, as opposed to love. In any marriage, women were responsible for house work and taking care of the children, and were not expected to have a job outside of the house. In terms of employment, Men were the primary wage earners and ruled over any family property; women could have a small jobs, typically teaching, nursing or fabric making. Shifts in politics and Economy: During this era, there was a rise of the middle class. Middle Class Citizens could now run their own businesses. This rise also brought on a three-class society, rather than a two-class society in with small, rich, upper class ruling over the larger, poor, lower class. The Industrial Revolution also came about in the 18th century, focusing on industrial labor, rather than agriculture. This sparked a rise in factories, manufacturing, and mass production. With this new era of industry, free Markets formed and capitalism rose. There were also shifts in schools of thought; philosophers such as John Locke and Thomas Hobbes became influential figures. The Enlightenment took over, and many Monarchs during this era were greatly influenced by these values (focus on arts & sciences, freedom of speech,) which were reflected in their authority. However, there was also a rise in democracy, leading to a decline of royal rule. With this, there was a separation of church and state, and an allowance of religious freedom. THE BROAD STAGE AT THE SANTA MONICA ARTS CENTER 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

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• Men: waistcoats, emphasis on individual parts of the suit; powdered wigs for formal

THE MAGIC FLUTE STUDY GUIDE

“South African History” Timeline 1497 First known Portuguese explorers set foot on South African soil for the first time, as they search for a sea trade route to India. 1554 Portuguese mariner and cartographer Manuel de Mesquite Perestrelo survives a shipwreck on the South African coast. He goes on to explore and draw the first detailed map of the southern South African coastline in 1575. 1652 The Dutch East India Trading Company establishes a “refreshment station” at Table Bay, to provide fresh water, fruit, vegetables and meat for passing ships en route to India. Approximately ten years later, the station becomes a colony. 1653 The first slave, Abraham, a stowaway aboard the Dutch ship Batavia, works for the Dutch East India Trading Company. A year later, the first slave expedition is sent from the Cape to Madagascar and Mozambique. 1659-1676 A series of wars take place between the Dutch and the Khoi-Khoi (a native tribe of people who raised livestock on the Western side of South Africa) ending with the Dutch seizing control of large portions of Khoi-Khoi land, sheep and cattle.

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1754 A census of the Cape reveals that its non-indigenous population comprises 510 colonists/settlers and 6,279 slaves. 1795 British forces seize Cape territory from the Dutch, ending the rule of the Dutch East India Trading Company and beginning British occupation. 1800 An official newspaper press is established, forbidding freedom of the press with a heavy fine threatening anyone who attempts to publish. 1820 Approximately 5000 British settlers arrive in the Cape, increasing the size of the white settler population. 1828 Freedom of press is recognized by the Cape government. 1834 Official emancipation of slaves, in accordance with the British Parliament’s emancipation decree. However, the Cape slaves are indentured as “apprentices” to their owners for four years; despite this, many slaves desert their owners completely. The estimated slave population of the Cape stood at 59,000 people at Emancipation. 1838 The Voortrekker Republic of Natalia is established, settling on land seized from various African chiefdoms. The Voortrekkers – a group of South African pioneers descended from Dutch settlers – draw up the framework of a Constitution which establishes the superiority of White over Black. 1848 After several years of conflict between the Voortrekkers and the powerful British government, the entire region of the Cape Colony comes under British control. 1880 The First South African War begins when the expansion of the British Empire meets resistance from the Boer people. The British are heavily outnumbered, but by the time their reinforcements arrive the Boers have overrun them. The South African Republic regains its independence, but tensions run high.

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1685 A slave school is established in the Dutch East India Trading Company for children of Company slaves only. Marriages between Dutchman and female slaves are also prohibited.

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1882 For the first time in 10 years, an election is held and Paul Kruger is sworn in as president. He would serve three more terms over the next 15 years, as British pressure to expand into Republic territory increased. 1899 British and South African troops prepare for war. Paul Kruger demands that the British that they remove their troops within 48 hours. The British refuse and the Second South African War begins. 1902 The Second South African War ends with the signing of a peace treaty, and Paul Kruger dies two years later. 1920 The ‘Civilized Labor Policy’ and the Apprenticeship Act entrenches disadvantages for Africans. Black workers are placed in an inferior position to white workers, and are also denied certain freedoms. 1922 The Rand Rebellion: an armed uprising of white miners after the Chamber of Mines gave notice that they would be replaced 2,000 semi-skilled white workers with cheap black laborers. The white miners attacked colored Africans, causing huge losses to both sides. It ended two years later, when three Acts were passed that increased employment opportunities for whites and introduced a program of African segregation.

Paul Kruger (1825-1904), 5th president of South Africa

1925 Afrikaans is recognized as an official language.

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1936 Black voters in the Cape are removed from the common roll and placed them on a separate roll. Blacks throughout the Union were then represented by four white senators. 1946 Indians protest an early apartheid (separateness) law – the Asiatic Land Tenure and Indian Representation Bill (also called the ‘Ghetto Bill’), which seeks to confine Asian ownership and occupation of land to clearly defined areas of town – also depriving them of Parliament representation except by a white representative. 1946 Several thousand Indians convene in camps called Passive Resisters, protesting the Bill. They are attacked and harassed by white hooligans, and the police do nothing to stop the violence. Mahatma Ghandi calls for the South African government to put an end to the harassment of Passive Resisters, and the Bill is repealed two years later. 1948 The National party comes into power, and a policy of apartheid is adopted. 1950 The Group Areas Act is passed to segregate blacks and whites. The Communist Party is banned. Nelson Mandela leads a campaign of civil disobedience. 1952 Rigid ‘pass laws’ are put into place by the South African government, requiring all African males over 16 to carry reference books detailing their employment history and personal information. Protest against these pass laws fuels the anti-apartheid struggle. 1960 The bloodiest massacre in the history of South Africa – the Sharpeville massacre – occurs when police open fire on peaceful African demonstrators protesting pass laws in Sharpeville. 1960s South Africa is banned from the Olympics because of apartheid stance. International pressure against the government begins. 1964 African National Congress leader Nelson Mandela is sentenced to life imprisonment. 1970s Over 3 million blacks are forcibly resettled in designated ethnic ‘homelands,’ and denied rights to South African citizenship, causing massive uprisings.

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1930 White women gain the right to vote. As a result, the weight of the black vote decreases to 1.4%.

THE MAGIC FLUTE STUDY GUIDE

1990 At last, the African National Congress is unbanned and Nelson Mandela is released after 27 years in prison. 1991 The remaining apartheid laws are repealed. 1994 The first non-racial election takes place and Nelson Mandela is elected president. South Africa takes a seat at the UN General Assembly after a 20-year-absence. 1996 Truth and Reconciliation Commission chaired by Archbishop Desmond Tutu begins hearings on human rights crimes committed by former government and liberation movements during apartheid era. 2003 Government approves major program to treat and tackle HIV/Aids. It envisages a network of drug-distribution centers and preventative programs. 2006 South Africa becomes the first African country, and the fifth in the world, to allow same-sex unions. 2007 Hundreds of thousands of public-sector workers take part in the biggest strike since the end of apartheid. The strike lasts for four weeks and causes widespread disruption to schools, hospitals and public transport. 2009 Parliament elects AMC leader Jacob Zuma as president. 2013 Nelson Mandela dies, aged 95. Tributes to â&#x20AC;&#x153;the father of the nationâ&#x20AC;? flood in from throughout the world.

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http://www.sahistory.org.za/timelines http://www.bbc.com/news/world-africa-14094918 http://overcomingapartheid.msu.edu/multimedia.php?id=65-259-3

Nelson Mandela (1918-2013) leaves the courtroom in Pretoria during the Treason Trial in 1958

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Sources:

THE MAGIC FLUTE STUDY GUIDE

In Tsonga tradition, lighting is caused by birds called the andlati. These birds, with their multicolored plumage, live in the high mountains. When a storm is brewing, they fly towards heaven and then dive out of the clouds towards earth, striking a tree, a house or a person causing death and fire in the middle of rain. The only way to prevent this bird from causing destruction is to find someone brave enough to climb into the mountains as the storm is breaking. Once they have climbed high enough they are to play on an enchanted flute. The sound of this flute will force the birds to spare the musician and his immediate community. Hearing this story by accident, I couldn’t help wonder if Mozart had also come across it. The similarities are extraordinary. A “Magic Flute” player has to face lighting (fire) and rain (water) in order to save himself and his community. The frightening birds live like the “Queen of the Night” in the high mountains and appear in thunder and lightning; Mozart’s stage directions specify “thunder and lightning” for the Queen’s entrance. The Tsongan flute is carved from the bone of andlati bird during a storm; Mozart’s flute is also carved during a storm “when lightning flashed.” The only way to avert destruction in both tales is through the music of a “flute.” The story may never have reached Mozart, but the similarities are fascinating none the less. Who knows? Maybe one of the greatest pieces of European opera had its roots and inspiration in a South African folk tale. The Magic Flute fable owes part of its huge popularity to the unlikely combination of a fairytale with a passionate and all-encompassing tale of an individual’s faith and belief. As it thrillingly unfolds, it explores issues of isolation and inclusion, male and female, waste and cleansing, night and day, chaos and order, and perhaps most importantly: destruction and forgiveness. All these themes have heightened resonance in a South African setting. Mozart’s The Magic Flute was premiered in September 1791, a matter of weeks before Mozart’s death at age 35. It stands as the overwhelming achievement of his life (quite a claim, given Mozart’s unfeasibly high output of masterpieces in every genre). It is, quite possibly, the finest musical drama ever written. Into it, Mozart poured his uncanny ability to capture the essence of humanity in music; to hold up a mirror to us all. You can’t know true joy without true pain, and Mozart expresses this uniquely well. The Magic Flute is a simple moralistic allegory about the journey towards self-knowledge, towards compassion, towards tolerance, towards enlightenment – a journey in which we are all engaged. It was created to be performed in a suburban theatre for “ordinary” people – not the aristocracy. It is a world-beating piece of music storytelling, and it has always belonged to Everyman.

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The Magic Flute – An African Tale? A Director’s Note from Mark Dornford-May

THE MAGIC FLUTE STUDY GUIDE

Fairy Tale / Mythological Archetypes handsome and likable, and despite high odds against him, will persevere against a foe to achieve an unrealistic, albeit pleasing victory. • The Hero: The most standard version of the hero is a character, usually male, who is either of low status from birth or low status because a higher birthright was taken from the character, who has to overcome adversity in order to be rightly placed in a position of power. • The Tragic Hero: This heroic figure, often male, is the protagonist of a tale in which a person of great standing and great potential is brought down, despite the odds against such a thing happening, often by one fatal flaw, which is usually hubris, an overreaching pride in oneself. • The Clown or Fool: This usually male character is an embodiment of all human foibles, and while he may be placed in the story for comedic effect, is also often placed in a plot to represent the weaker aspects of humankind. • The Damsel in Distress: This female character is usually young and attractive and is placed in a situation of peril from which she must be rescued • The Devil: A live manifestation of evil, this character often tempts the protagonist with common desires such as riches, fame or special knowledge in exchange for the character’s soul. • The Earth Mother: While not always portrayed with a corpulent body, this almost exclusively female character embodies the nurturing aspects often associated with motherhood, offering emotional and spiritual support to any with whom she will come in contact. • The Fairy Godmother: This female character, usually portrayed as old and pleasant looking, has magical powers that are often benevolently bestowed on a protagonist, although the character does not seem to have enough power to directly grant all the protagonist’s wishes. Fairy godmothers mostly appear to and aid young, abandoned female protagonists. • The Good Witch: This female character, often portrayed as either old and pleasant looking or young and beautiful, has magical powers that are often benevolently bestowed on the protagonist. Note that very often the good witch seems to have less power than a bad witch. • The Outcast: This character lives outside the norms of a particular society or group. The outcast may be played as an antihero or may be, in more traditional material, representation of one who is unwilling or unable to follow society’s rules. • The Seer/Oracle: This character is, for lack of a better term, a fortune teller. the Oracle foretells the future, often of the protagonist, but often the message is so elliptical and so symbolic that the true nature of the future of the character is not revealed until the story itself has been played out. • The Evil Stepmother: This female character traditionally is a replacement for a deceased, often revered mother, often with disastrous results for the usually female protagonist child. Invariably, this character will attempt to get rid of the children of her husband in order to either gain riches for herself or to have more attention and or wealth for her own children. • The Wicked Witch: Perhaps the most powerful character in fairy tales, this is an older female of great power, always evil, whose main goal is to terrorize and/or kill a young attractive girl, often out of jealousy or spite. This character may hoard riches, change guises, cast spells, and even enchant with great beauty or attract children with lures. Few tales with this character will end without her demise. • The Wise Man: often in the guise of someone of very low standing and is often also handicapped... similar to the seer or Oracle, this character may foretell the future to a disbelieving tragic protagonist or may be used as wise counsel for a protagonist whose fortunes will turn out far better. Sources http://englit.org/eiland_shared/critical/mythicons.htm THE BROAD STAGE AT THE SANTA MONICA ARTS CENTER 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

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• Hero • The Comedic Hero: This usually male character is often young and naïve, often

THE MAGIC FLUTE STUDY GUIDE

Play Review Outline 1. Title of your review 2. Your name (by-line) 3. Introduction a. Title of production b. Genre c. Name of performing group d. Name of Director 4. Theme a. What is the message of the play?

6. The Actors a. Did the lead actor deliver a strong performance? b. Were there any remarkable performances within the smaller roles? c. Were the actors believable? d. Was there a performance that detracted from the show? e. Was the show appropriately cast? 7. The Director a. Did the director surprise you with any innovative show elements? b. Did the director’s choices support the text of the play, or detract from it? c. Was the show easy to understand, or were there confusing elements? d. What did you particularly enjoy/not enjoy? e. What did you think of the adaptation of Magic Flute? f. Would Mozart have liked it?

Based on “How to Write a Play Review.” Goodman Theater http://www.goomdmantheatre.org/education/materials/howto.aspx

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5. Production Value a. Describe the set and lighting b. Costumes c. Sound d. Music & Musical Elements e. Does it all work together? What does it all achieve?

THE MAGIC FLUTE STUDY GUIDE

California Common Core Standards Addressed

LESSON 1:

Grades 11-12

Grades 9-10

Writing

7. Conduct short as well as more sustained research projects to answer a question (including a self-generated question) or solve a problem; narrow or broaden the inquiry when appropriate; synthesize multiple sources on the subject, demonstrating understanding of the subject under investigation. Speaking & Listening 1. Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 9–10 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively. 2. Integrate multiple sources of information presented in diverse media or formats (e.g., visually, quantitatively, orally) evaluating the credibility and accuracy of each source. Language 1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking. 2. Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing.

4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. 7. Conduct short as well as more sustained research projects to answer a question (including a self-generated question) or solve a problem; narrow or broaden the inquiry when appropriate; synthesize multiple sources on the subject, demonstrating understanding of the subject under investigation. Speaking & Listening 1. Initiate and participate effectively in a range of collaborative discussions (one-on- one, in groups, and teacher-led) with diverse partners on grades 11–12 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively 2. Integrate multiple sources of information presented in diverse formats and media (e.g., visually, quantitatively, orally) in order to make informed decisions and solve problems, evaluating the credibility and accuracy of each source and noting any discrepancies among the data. Language 1. Demonstrate command of the conventions of standard English grammar andusage when writing or speaking. 2. Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing.

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4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.

2. Write informative/explanatory texts to examine and convey complex ideas, concepts, and information clearly and accurately through the effective selection, organization, and analysis of content.

THE MAGIC FLUTE STUDY GUIDE

California Common Core Standards Addressed

LESSON 2:

Grades 11-12

Grades 9-10

Writing

Writing 3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences. 4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.

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1. Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 9–10 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively. Language 1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking. 2. Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing.

4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. Speaking & Listening 1. Initiate and participate effectively in a range of collaborative discussions (one-on- one, in groups, and teacher-led) with diverse partners on grades 11–12 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively Language 1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking. 2. Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing.

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Speaking & Listening

3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences.

THE MAGIC FLUTE STUDY GUIDE

California Common Core Standards Addressed

LESSON 3:

Grades 11-12

Grades 9-10

Writing

Writing 2. Write informative/explanatory texts to examine and convey complex ideas, concepts, and information clearly and accurately through the effective selection, organization, and analysis of content. 4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.

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4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. Speaking & Listening 1. Initiate and participate effectively in a range of collaborative discussions (one-on- one, in groups, and teacher-led) with diverse partners on grades 11–12 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively Language 1. Demonstrate command of the conventions of Standard English grammar and usage when writing or speaking. 2. Demonstrate command of the conventions of Standard English capitalization, punctuation, and spelling when writing.

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Speaking & Listening

2. Write informative/explanatory texts to examine and convey complex ideas, concepts, and information clearly and accurately through the effective selection, organization, and analysis of content.

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VAPA Standards Addressed

THEATRE 1.0 ARTISTIC PERCEPTION Development of the Vocabulary of Theatre 1.1 Use the vocabulary of theatre, such as acting values, style, genre, design, and theme, to describe theatrical experiences. 3.0 HISTORICAL AND CULTURAL CONTEXT Role and Cultural Significance of Theatre

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4.0 AESTHETIC VALUING Critical Assessment of Theatre 4.1 Compare a traditional interpretation of a play with a nontraditional interpretation and defend the merits of the different interpretations.

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3.2 Describe the ways in which playwrights reflect and influence their culture in such works as Raisin in the Sun, Antigone, and the Mahabarata.