The Mikado Study Guide

This guide contains information to help you introduce your students and opera in general. There are several lesson plans, all curriculum-based, which are designed to enhance student appreciation of the opera. Contents The Mikado The Mikado: Synopsis...... 2 Gilbert & Sullivan: Biographies...... 3 Suggested Listening...... 5 Additional resources...... 5 Classroom Activities (Easy to Hard) Activity: Creating Hanging Koi...... 6 Writing/Self Assessment: Are you a good manager?...... 7 Writing/Social Studies: Stereotypes...... 8 Reading/Writing: Mikado Mad Libs...... 11 Music: The “Golden Formula”...... 12 Language/Theater Arts: Student dramatization of The Mikado...... 14 Going to the Opera What to wear to the opera...... 15 Entering the performance hall...... 15 Performance Etiquette...... 15 When to clap your hands...... 15 Leaving the performance hall...... 16 What language is that?...... 16 The Creative Team The conductor...... 17 The stage director...... 17 The singers...... 17 The music director/accompanist...... 18 The designers...... 18 The stage manager...... 18 The process: concept to opening night...... 18 Student Handouts Evaluation Rubric...... 20 Pop Quiz: Are You a Good Manager?...... 21 Understanding Stereotypes...... 22 Mikado Mad Libs...... 23 The Gilbert and Sullivan “Golden Formula”...... 24 Word Search...... 25 Answer Sheets Word Search...... 26 Appendix State Standards...... 27 2

The Mikado Synopsis

Music Libretto William S. Gilbert First performed Mark 14, 1885 at the Savoy Theater, London, United Kingdom

Place Titipu, Japan Time Olden Times

Act I The courtyard of Ko-Ko's palace in the town of Titipu The Japanese nobles are posing in various poses from Japanese painted screens (If you want to know who we are). A wandering minstrel, Nanki-Poo (in reality the Mikado's son) arrives looking for Yum-Yum, the ward of Ko-Ko (A wandering minstrel I). He has returned to marry Yum-Yum now that he's heard her engagement to Ko-Ko has ended as Ko-Ko is to be executed for flirting (a capital offense). The nobles tell Nanki-Poo that Ko-Ko, a former cheap tailor, was reprieved and made Lord High Executioner. Pooh-Bah (Lord High Everything Else) tells Nanki-Poo that Yum-Yum and Ko-Ko are going to be married that day. Ko-Ko arrives and tells everyone how he received his position as well as how he is going to deal with society offenders (I've got a little list). Yum-Yum arrives with her two sisters, Peep-Bo and Pitti-Sing, all of whom are wards of Ko-Ko (Three little maids). Yum-Yum is not thrilled at the prospect of marrying Ko-Ko but she's resigned to her position until she sees Nanki-Poo. Left alone, Nanki-Poo tells Yum-Yum that he's really the Mikado's son who's running away from court to escape marrying the elderly Katisha. Yum-Yum and Nanki-Poo bemoan Yum-Yum's engagement to Ko-Ko and sing what they might do if she was unattached (I would kiss you fondly).

Ko-Ko has received a letter from the Mikado, who is curious as to why no executions have taken place in Titipu for a year. The Mikado has decreed that someone must be beheaded within one month. The condition of Ko-Ko's reprieve was that he could not behead anyone until he himself was beheaded first. Nanki-Poo reappears with a rope intending to hang himself since he cannot live without Yum-Yum. Ko-Ko persuades Nanki-Poo to become the beheading victim within one month. Nanki-Poo agrees if he can marry Yum-Yum for that one month. Ko-Ko agrees to the marriage taking place the next day. After all, Yum-Yum will become a widow within a month, leaving her free to marry Ko-Ko. Yum-Yum and Nanki-Poo celebrate their impending wedding, when Katisha appears to claim Nanki-Poo. She is told by Pitti-Sing that he's going to marry Yum-Yum (He's going to marry Yum-Yum). Katisha threatens to tell everyone who Nanki-Poo really is, but she is drowned out by the chorus. She storms off to tell the Mikado that she has found Nanki-Poo. Act II Ko-Ko's garden Yum-Yum is preparing for her wedding. She and Nanki-Poo are deciding how to spend their month long marriage when Ko-Ko arrives to tell them that he's found a problem. Ko-Ko and Yum-Yum cannot marry since it's the Mikado's law that when a married man is beheaded, his wife must be buried alive. Although Yum-Yum loves Nanki-Poo, she has several problems with any outcome. If she marries Nanki-Poo, she will be buried alive in one month. If she doesn't marry Nanki-Poo, she'll have to marry

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Ko-Ko then Nanki-Poo will commit suicide and there will be no execution.

Pooh-Bah tells them that the Mikado is coming to town, apparently to see if his execution order has been carried out. Ko-Ko is unprepared to execute anyone, even though Nanki-Poo offers to carry out the bargain immediately. Ko-Ko thinks that all he needs is a death certificate and persuades Pooh-Bah with cash to certify a death certificate without beheading anyone. Pooh-Bah agrees. Nanki-Poo and Yum-Yum are encouraged to get married then run away while the others make their plans to fool the Mikado. The Mikado appears with Katisha (I'm his daughter in law elect). The Mikado describes his method of punishment (Letting the punishment fit the crime). The Mikado is told that an execution has taken place and is handed a Coroner's death certificate. Ko-Ko, Pooh-Bah and Peep-Bo describe the execution to the Mikado (The criminal cried, as he dropped him down). The Mikado did not come to town to check on the state of executions, but to find his missing son, Nanki-Poo. Ko-Ko tells him that Nanki-Poo has left town, but Katisha sees Nanki-Poo's name on the fake death certificate. She tells the Mikado that Nanki-Poo was beheaded that morning. Ko-Ko, Pooh-Bah and Peep-Bo beg for forgiveness, but the Mikado tells them they will be put to death for killing the heir apparent. Nanki-Poo returns with his new wife, Yum-Yum and Ko-Ko asks Nanki-Poo to appear to save their lives. Nanki-Poo refuses unless something is done about Katisha. Nanki-Poo convinces Ko-Ko that the best way out of this situation is if Ko-Ko agrees to marry Katisha (The flowers that bloom in the spring). Ko-Ko proposes to Katisha who rejects him at first, but after much persuasion accepts the proposal (There is beauty in the bellow of the blast). Katisha asks the Mikado to show forgiveness on the conspirators including her new husband, Ko-Ko. Nanki-Poo arrives with Yum-Yum and the Mikado accepts their prayers for mercy. Katisha is not happy that she's been deceived by Nanki-Poo, but she is content being the wife of the Lord High Executioner. The town of Titipu celebrates the joys of marriage.

Gilbert and Sullivan Composer and Libretist Gilbert and Sullivan; often referred to by their initials, G&S, William Schwenck Gilbert and Arthur Seymour Sullivan have left an indelible mark on the world of theater. This remarkable pairing created some of the greatest hits in operetta that are still regularly performed around the world; The Mikado, H.M.S. Pinafore, , to name a few. William Schwenck Gilbert was born on November 18, 1836 in London, England to a retired naval surgeon and his wife. He went spent much of his youth touring Europe with his family, returning to London in 1849. William began his education at the Great Ealing School and went on to King's College. He entered into the legal profession although he had little success there. He did gain a thorough understanding of legal quirks that he later used in his biting satire. William eventually left his legal career to pursue writing. In the early 1860s, he started illustrating comic verses, signing them "Bab". They became known as the Bab Ballads. He began writing for theater including burlesque versions of popular bel canto operas and some original works. Even some of his Bab Ballads were used as plots for his larger theatrical works. His first professional play was Uncle Baby, performed in London in October 1863. Three years later, two of his burlesque pieces had moderate success and Gilbert became fairly well known. In August 1867, Gilbert married Lucy Turner. Gilbert continued to work in burlesque but also branched out into a more "civilized" theater. In 1869, his first piece for the Gallery of Illustration was produced

4 and met with some success. He wrote a total of six musical plays for the Gallery. Gilbert was also gaining some practical experience in stage direction. He started to direct his own plays that opened doors to him creatively. His first contact with Sullivan came as a collaborative Christmas play, , in 1871. 1871 was a tremendous year for Gilbert. Seven of his plays had their premieres, and he was writing constantly in many different genres including farces, fairy comedies, novel adaptations, etc. Eventually, Gilbert and Sullivan were drawn together again by the influential impresario, Richard D'Oyly Carte. D'Oyly Carte suggested Gilbert take his libretto for to Arthur Sullivan. It was an immediate hit. Sir Arthur Seymour Sullivan was born on May 13, 1842 also in London, to the royal bandmaster and his wife. By the age of 8, Arthur could play most of the instruments in the band. After he finished his studies at a private school, Arthur received an appointment at the Chapel Royal. He then received the Mendelssohn scholarship and attended the until 1858. Arthur left England to study at the Leipzig conservatory. Leipzig had a profound impact on the young composer. When he returned to England in 1862, he composed an orchestral suite to William Shakespeare's The Tempest. After that premiere, Arthur found himself being hailed as the new hope of serious English music. In 1866, the premiere of Arthur's Symphony in E flat was a tremendous success. The next several years produced orchestral overtures, concertos, oratorios and several Christian hymns, including Onward, Christian Soldiers. He also held several positions in London including organist, conductor and the principal of the National Training School. In 1867, Arthur composed a one-act musical and a full-length musical work, The Contrabandista. In 1871, Sullivan was introduced to Gilbert through singer Fred Clay. Thespis was the outcome of that initial meeting but it wasn't until 1875 and the meeting with D'Oyly Carte that launched this successful pairing. Trial by Jury was an immediate success and led to further collaborations as well as the formation of the D'Oyly Carte company in 1876. In 1877, the G&S team created , followed by H.M.S. Pinafore (1878), the latter running for almost two years to full houses. In 1879, a copyright dispute brought G&S to America along with their Pinafore and Pirates of Penzance that were huge hits in New York. The 1880s were hugely successful with the pair. Their works of the period include (1881), (1882), (1884), The Mikado (1885), (1887), (1888) and (1889). During the run of Patience, Arthur was knighted by Queen Victoria. In 1884, a most famous feud took place with Sullivan refusing to write anything more for D'Oyly Carte's theater The Savoy. He left for a five week tour of Europe. Upon his return, both D'Oyly Carte and Gilbert tried to persuade him to continue his collaborations. Gilbert, initially insisting on a plot with a magic pill, finally came up with plot involving Japan. A Japanese sword hanging on the wall of his study crashed to the floor and that caught Gilbert's attention. Gilbert had also been aware of the Japanese craze running in Knightsbridge. He came up with the plot that would become The Mikado and Sullivan agreed to compose the music. After The Gondoliers, Gilbert and Sullivan had another parting of the ways over some of the expenses the Savoy Theater was incurring. At the time, the expenses of the theater were split equally amongst Gilbert, Sullivan and D'Oyly Carte. Apparently D'Oyly Carte purchased an extremely expensive carpet for the theater that Gilbert felt was unnecessary. Gilbert and D'Oyly Carte had words and ultimately Sullivan ended up siding with D'Oyly Carte. After this split, both Gilbert and Sullivan explored other areas but neither was as successful as when they worked together. They had two attempts at reuniting and collaborating, but both failed to capture the audience that previous G&S works had. Sullivan went on to write an opera, , and several operettas. Gilbert completed several plays including The Fortune Hunter (1897) and The Hooligan (1911). Sullivan's health went into decline at the turn of the century and became addicted to morphine to

5 relieve his pain. Sir Arthur Sullivan died on November 22, 1900 in London. Neither of his closest friends, Gilbert and D'Oyly Carte, were with him when he died. Gilbert was out of town and read about Sullivan's death in a newspaper, and D'Oyly Carte was too sick. A few months later, D'Oyly Carte passed away. Gilbert lived until 1911 when a swimming accident took his life. Suggested Listening

1926 D'Oyly Carte – Conductor: 1936 D'Oyly Carte – Conductor: 1950 D'Oyly Carte – New Promenade Orchestra, Conductor: Isidore Godfrey 1957 D'Oyly Carte – New Symphony Orchestra of London, Conductor: Isidore Godfrey[41] 1984 Stratford Festival – Conductor: Berthold Carrière 1990 New D'Oyly Carte – Conductor: John Pryce-Jones 1992 Mackerras/Telarc – Orchestra & Chorus of the Welsh National Opera, Conductor: Sir Charles Additional Resources

Web Sites For the Gilbert and Sullivan Archive home page, go to www.math.boisestate.edu/gas For a comprehensive on-line Gilbert and Sullivan bibliography and discography, go to: www.lyceum.fas.harvard.edu/gs-bibliography. Books Ayre, Leslie. The Gilbert and Sullivan Companion. Foreword by Martyn Green. New York: Dodd Mead, 1972 Baily, Leslie. Gilbert and Sullivan: Their Lives and Times. London: Thames and Hudson, 1973; New York: Viking, 1974. Dunn, George (compiler). A Gilbert and Sullivan Dictionary. New York: Da Capo Press, reprint 1971. Eden, David. Gilbert and Sullivan: The Creative Conflict. Cranbury, NJ, and London: Associated University Presses, 1989. Hayter, Charles. Gilbert and Sullivan. New York: St. Martin’s Press, 1987. Hibbert, Christopher. Gilbert and Sullivan and Their Victorian World. New York: American Heritage, 1976. Wilson, Fredric Woodbridge. An Introduction to the Gilbert and Sullivan Operas from the collection in the Pierpont Morgan Library. New York: Dover Publications, 1990. Wilson, Robin and Frederic Lloyd. Gilbert and Sullivan: The Official D’Oyly Carte Picture History. New York: Alfred A. Knopf, 1984.

Films Topsy-Turvy, 1999 The Great Gilbert and Sullivan, 1953

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Art Activity Hanging Koi

Duration Grades 30 minutes 1-5

Summary of Lesson Students will create Koi, or Japanese carp, for display throughout the classroom.

State Standards Addressed Visual Arts • Strand 1, Concept 2: PO 102 • Strand 2, Concept 1: PO 105, PO 206 Materials • Old magazines, catalogs, colored paper scraps, and aluminum foil scraps to cut up • Construction Paper • Glue • Scissors • Stapler • Markers or crayons • Hole punch • 2 to 3 Crepe paper streamers (a few inches long) • Some string or yarn Lesson Plan Design

• Draw a fish on a large piece of paper. Put a second piece of paper under this piece of paper. Cut out two large, paper fish.

• Cut out a lot of scrap paper and/or aluminum foil circles. Use old, colorful magazines, catalogs, etc.

• Glue the circles onto both sides of the body of the fish. These are the fish's scales. (The fish is not symmetrical, so be sure that you glue circles onto the fish in such a way that when you staple the 2 sides together later on, the scales will be on the outside.)

• Decorate the fish's head, fins, and tail using crayons or markers.

• Staple the two sides of the fish together, stapling the ends of crepe paper ribbons inside the tail.

• Punch two holes on the fish's face. String some yarn through the holes. You now have a hanging koi (a Japanese carp).

• Hang your koi around the classroom and enjoy!

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Writing / Self Assesment Are You a Good Manager?

Duration Grades 45-60 minutes 4-7

Background Gilbert and Sullivan produced some of the most frequently produced operettas ever made. Together they could work brilliantly to produce this outstanding work, but in doing so needed to work hand in hand for months on end. The strange part is that Gilbert and Sullivan couldn’t stand each other and were constantly at odds. When they finally split, they were never as successful as when they worked together. People need to work together every day in school, work, the military, and in families. With so many varieties of people, it’s very difficult to like everyone, and for everyone to like you. However, we must find solutions in order to work together. This is management, and we need to manage every aspect of our lives: finances, relationships, family, friends, work, stress, responsibilities, and duties. So how do you keep a strong relationship in an unfair situation and still get what you need? Summary of Activity Students will take a quiz to find out if they are a good manager and can find ways around unfair situations. Students will choose a situation from their own lives, and describe three different solutions that would have made everyone happier. State Standards Addressed Writing • Strand 2, Concept 1: PO 1, PO 3, PO4 • Strand 2, Concept 2: PO 2, PO 6 • Strand 2, Concept 4: PO 1 • Strand 2, Concept 6: PO 1-3, PO 7-11 Materials • Copy of Quiz for every student (page 21) • Writing paper, pencils • Bios of Gilbert and Sullivan from the beginning of this guide (optional) Lesson Plan Design 1. Explain to the students the background of Gilbert and Sullivan, or assign for them to read their bios from the beginning of this guide. 2. Explain to the students they’ll be taking a quiz to measure their reactions to various situations. Pass out the quiz. Students do not need to write their names on the quizzes, so encourage them to be completely honest. 3. Have the students take the quiz and tally up their scores. 4. Once completed, have the class write a constructive paper about a situation in which they had to “keep the peace.” Students will describe the situation and three possible solutions. If time, allow students to write about their score and how they can improve it. 5. Have students describe the situation in the first paragraph. The next three paragraphs should describe each of the three possible solutions. The final paragraph should summarize the situation and describe which solution was chosen and how it “kept the peace.”

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Critical Thinking Understanding Stereotypes

Duration Grades Three Class Periods 7-12

Background In The Mikado, many absurd depictions of Japanese culture will be displayed on stage. The Mikado is full of false customs, non-history, ridiculous characters and exaggerated features. At the time, Gilbert and Sullivan did not intend for this to “make fun of” or even comment on Japanese culture, in fact they were using an iconic Japanese setting as a farcical take on British politics. However, the opera displays misconceptions and fascination of Japanese culture at the time. This lesson will provide further understanding of stereotypes, and how they affect us even today.

Summary of Lesson Students will understand the following: 1. Assumptions can lead to stereotypes and unfair judgments about individuals and groups 2. Stereotypes and biases affect our lives

State Standards Addressed Writing • Strand 1, Concept 1: PO 1, PO 5 • Strand 2, Concept 1: PO 1, PO 3, PO 4 • Strand 2, Concept 4: PO 1 Visual Arts • Strand 1, Concept 4: PO 301, PO 302, PO 401 Social Studies • Strand 2, Concept 9: PO 4 • Strand 3, Concept 4: PO 5 • Strand 4, Concept 4: PO 5 Materials • Writing paper • Flip chart and/or large sheets of paper • Magic markers • Art supplies (construction paper, scissors, tape, glue, magazines to cut up, etc.) • Activity Sheet: Using Stereotypes in the Media (see page 22)

Lesson Plan Design A. Draw the following patterns on the board, largely:

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Lesson Plan Design Day 1 1. Begin by discussing with students how people often use labels or categories to describe others and how these labels can be based on such characteristics as clothing, looks, the way a person talks, or the groups to which he or she belongs. Explain that categorizing things or people is a natural human inclination; however, people often make assumptions about groups of people they don’t even know. 2. Ask the class to brainstorm categories used at school to group people. Categories could include labels such as “jocks” or “brains.” Write each category the class generates onto the board and then have students narrow that list down to five major categories. 3. Write these major categories onto five separate pieces of flip chart paper and post these around the room. Give the class 10-15 minutes to travel to each posted sheet and write down adjectives related to the category headings. Remind students that they should only add new descriptions to the list. 4. When they are finished, ask students to take a moment and look at the adjectives that the class has generated under each group heading. Use the following questions to lead a discussion about what they recorded:

• Do assumptions apply to everyone in a group?

• Do most people hold the same assumptions about a group? Why or why not?

• Do assumptions tell us anything definite about a categorized individual?

• How do assumptions affect your behavior toward others?

5. Now ask students to help define the word “stereotype.” Explain that when we make assumptions about an entire group of people, those assumptions are referred to as “stereotypes.” When assumptions and stereotypes influence our attitudes, we may find that making a fair judgment about someone or something is difficult. This influence on judgment is called a “bias.” 6. Take another look at the adjectives recorded and hold a class discussion around the following questions: Do these adjectives describe stereotypes? How can they be unfair or hurtful?

Day 2 1. Begin with a discussion on the concepts of race and ethnicity. Write each word on the board or on a flip chart and ask students to list the attributes that define the terms “race” and “ethnicity.” Record their ideas. Next, ask students for the names of five different racial or ethnic groups. 2. Prepare five large sheets of paper (flip chart paper). At the top of each sheet, write the name of one of the groups students named. 3. Divide the class into five groups and supply each student in the class with a marker. 4. Give each group one of the five sheets of paper. Ask them to list stereotypes commonly used to describe the category of people written at the top of paper. Give students three minutes to complete the exercise. Emphasize that students should list stereotypes they have heard, not ones they necessarily believe to be true. 5. When they are finished, rotate the sheets of paper between groups so each group works on a new sheet. Have them add any unlisted stereotype adjectives. Rotate every three minutes until every group has worked on every sheet.

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6. Post the sheets in class where everyone can see them and give students five minutes to read the sheets. 7. Conclude the lesson with a discussion on the exercise, asking students the following:

• How do the stereotypes recorded by the class make you feel?

• What do you notice about the stereotypes listed? Be aware that the students may have listed good and bad adjectives, many stereotypes for different groups, or the same stereotypes for different groups.

• Where have you seen these stereotypes portrayed? Television programs, movies, magazines, books?

• How do you think a stereotype might cause someone to act unfairly toward another person?

Day 3 1. Before class begins, post around the classroom the 10 pieces of paper generated about assumptions and stereotypes in school and society. 2. Ask students to spend 15-20 minutes writing about a personal experience with biased behavior. Emphasize to students that they should not put their names on their papers. They can share an experience in which they were a victim of biased behavior or witnessed bias. 3. Prompt the class with the following: “Think about a situation when someone made a biased judgment about you or acted unfairly toward you because of your age, skin color, clothes you were wearing, gender, the way you speak, where you live, how much money your family has, or some other reason.” 4. Ask students to consider the following questions before they begin to write:

• How did you know you were being unfairly judged?

1 What words or actions were directed at you because of assumptions or stereotypes?

2 Why do you think those assumptions were made about you?

3 How did the experience make you feel?

4 How do you think you should have been treated in that situation? 5. When students are finished, have them pass their papers to the front of the room. Shuffle the papers and pass them back out to the class, making sure no one person has their own paper. Have each student read the personal experience of a classmate. 6. Have the entire class create a collage by combining the posters from days one and two, the written personal experiences, and pictures and artwork that present how assumptions and stereotypes make them feel. To create these images, provide magazines, construction paper, paint, markers, glue, and scissors.

Extension Activity For homework, review the Activity Sheet: Identifying Stereotypes in the Media with the class. Over the course of several days, they will use this sheet to keep a log of stereotypes they notice in television shows, commercials, or movies. Students should record the name of the show, movie, or product advertised; the group stereotyped; the stereotype portrayed; and any thoughts or feelings the student experienced while watching the program. Explain that this exercise might not be as easy as it seems; many of us are so accustomed to seeing certain stereotypes that we don’t even notice them. Encourage students to look for patterns in the images they watch.

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Reading / Writing Mikado Mad Libs

Duration Grades 20 minutes 4-12

Summary of Lesson Students will demonstrate understanding of the synopsis and characters of The Mikado through an appropriate character “swap.”

State Standards Addressed Writing • Strand 2, Concept 4: PO 1 Reading • Strand 1, Concept 6: PO 4 • Strand 2, Concept 1: PO 3, PO 4 Materials • Copy of The Mikado synopsis for each student • Copy of “Mikado Mad Libs” sheet for each student (see page 23); Mikado Mad Libs only uses Act I. • White or chalk board

Lesson Plan Design A. Have each student read the synopsis of The Mikado for homework or in class. B. Have each student fill out the “Mikado Mad Libs” sheet. Encourage them to have fun with the setting and names, but their score will be based on consistency with the original synopsis. C. Upon completion of the worksheet, choose students to stand and read their story to the class. The class must assess carefully if the story works appropriately. D. Students check their own work against the real synopsis.

Extension Activities There are 55 blanks- have students compare their sheets to the original synopsis and award one point for every name used correctly.

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Music Gilbert & Sullivan’s “Golden Formula”

Duration Grades 60 minutes 7-12

Summary of Lesson Anna Russell, an opera singer/comedian is very famous for two parodies she recorded about opera. One is a commentary on Wagner’s Ring Cycle, and the other is “How to Write Your Own Gilbert and Sullivan Opera.” In this lesson, students will examine the “Golden Formula” that has made Gilbert and Sullivan so incredibly successful, while figuring out just how accurate Anna Russell’s formula is when applied to The Mikado.

State Standards Addressed Reading • Strand 1, Concept 6: PO 4, PO 5 • Strand 2, Concept 2: PO 2 Theatre • Strand 2, Concept 4: PO 306 • Strand 3, Concept 4: PO 204, PO 205 Music • Strand 2, Concept 1: PO 3 • Strand 2, Concept 2: PO 1 • Strand 3, Concept 1: PO 3 (Grade 7), PO 3 (Grade 8) Materials • Internet/Library access • Recording of Gilbert and Sullivan’s The Mikado (available at most public libraries) • Recording of Anna Russell’s “How to Write Your Own Gilbert and Sullivan Opera.” (available for free online at http://www.imeem.com/disjecta/music/UyULTD_H/ anna_russell_how_to_write_your_own_gilbert_and_sullivan_oper/) • Copy of Gilbert and Sullivan chart for every student (see page 24) • Copy of synopsis for every student • Construction paper, marker, scissors, glue

Lesson Plan Design A. Have the students read the synopsis of The Mikado, before class or as a homework assignment B. Preface the lesson by explaining to the students that Gilbert and Sullivan’s operettas are some of the most performed in the world. C. Play for the class, via computer or download, “How to Write Your Own Gilbert and Sullivan Opera,” and have students write what Anna Russell decides are key components to their writing.

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The list should be as follows:

• Homogenous Chorus to begin the opera

• Conflict with main characters

• Daughter (soprano) in love with poor character

• Poor character is a tenor

• Tenor sings in 6/8 time, accompanying himself

• Forced marriage to a rich tycoon

• Rich Tycoon sings the “,” accompanied by chorus

• Wedding scene madrigal

• Large, old who stops wedding, accompanied by chorus

• Confession of a mix-up

• Rich Tycoon forced to marry the contralto

• Chorale at the end—a free for all that doesn’t make sense D. Once the students have filled in their grids, have them volunteer their answers to put on the board. Guide the class to come to the correct list (above). E. Play excerpts from The Mikado, and have the class decide as a collective how accurate Anna Russell’s “formula” turns out to be. Excerpts are: Act I Opening Chorus No. 2: Nanki-Poo “A wandr’ing Minstrel, I” No. 4: “Young Man Despair!” No. 5: “As it may happen...” No. 9: Duet between Yum-Yum and Nanki-Poo

Act II No. 3: Madrigal No. 12: “There is beauty in the bellow of the blast” No. 13: Finale F. Have the students compare the excerpts to Anna Russell’s description. Open a class discussion about the similarities and differences. Encourage your students to try and identify these pieces when they see the full-length opera.

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Language / Theatre Arts Student Dramatization of The Mikado

Duration Grades 45 minutes 4-12

Summary of Lesson Students summarize the story, identify and demonstrate accurate characterizations, and show comprehension through performing a Readers’ Theater version of The Mikado.

State Standards Addressed Theatre • Strand 1, Concept 1: PO 201 • Strand 1, Concept 2: PO 301, PO 202, PO 203, PO 204 • Strand 1, Concept 4: PO 103, PO 202, PO 204 • Strand 1, Concept 5: PO 201 Reading • Strand 1, Concept 5: PO 1 • Strand 2, Concept 1: PO 4 Materials • Copies of The Mikado synopsis from this study guide.

Lesson Plan Design A. Introductory Activities Have students read the synopsis of The Mikado. After reading, discuss the characters and the plot. Discuss the dilemmas and their resolutions. Which characters are good; which are bad? How do you know? B. Teaching the Lesson Take the opera synopsis and divide it up into short sections for reading out loud (e.g. by scene change). Give each section to a small group of students. “Cast” each section/ scene; either let students choose their character or assign them a part. Assign one student narrator to each group to read the section. Give the students time to practice their scene. As the student narrator reads the section, other students in the group act out the story. Encourage accurate portrayals of the characters. C. Review/Concluding the Lesson Perform the opera in order with the students narrating and acting. When students are not actively reading or acting, they are the audience for their classmates.

Extension Activities Add inexpensive props to your scenes. Perhaps students can perform their “opera” for another class.

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Going to the Opera

At a live performance you not only share the performance with the actors or singers but also with everyone else in the hall. Every noise or movement you make could interrupt the group experience. Everyone in the hall is a part of the performance, so everyone needs to follow certain guidelines if the performance is to be a success. Below are some good things to remember when attending a live performance of an opera or any other performing group.

What to wear to the opera Going to the opera provides a unique opportunity to wear your best clothes. However you are welcome to wear whatever makes you comfortable. You’ll see people in tuxedos and gowns, but also in sports coats and jeans. You can make this event as formal or informal as you like.

Entering the performance hall Before going into the performance hall, remember to stop by the water fountain and restrooms first. You will not have a chance to visit these once the show has started (unless it is an emergency). Walk slowly to your seat and speak in a soft voice. When you get to your seat take some time to read the program. It will tell you about the opera you are seeing, the singers who are performing, and many other interesting bits of information. There is no late seating- make sure you arrive in plenty of time!

Performance etiquette The lights in the hall will begin to dim just before the performance starts. This is your cue to settle in your seat and sit quietly. The orchestra will begin to play when the lights go dim. This is called “tuning” and is not a part of the performance. When they finish, a bright light will come on and the conductor will enter. It is polite to clap when the conductor enters. When the conductor turns to the orchestra and begins the music, it is your signal that the show has started and you should again sit quietly. NEVER bring a camera, video camera, tape recorder or cell phone to a performance. Unlike at a movie, you may not eat food during a performance.

When to clap your hands An audience claps to tell the performers that they have done a good job or to say “thank you” for the performance. When a performance is exceptionally good the audience will stand and clap. This is called a “standing ovation.” Times when it is appropriate to clap include: • when the conductor enters the orchestra pit • after the overture, at the end of an act or scene • at the end of a special solo • when the opera is over • when the performers take a bow

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At an opera people will sometimes yell “bravo” to the men, “brava” to the women, or “bravi” to several people to tell them they performed very well. This is appropriate to do when clapping even after a solo.

Leaving the performance hall When the last applause has ended and the stage curtain is closed, you may leave the performance hall. Never run in the aisles and always allow people in front of you to exit first.

What Language is that? Translating words meant to be sung is tough. Subject and verb placement varies between languages and this makes word-order changes often necessary. In turn the pattern of accented and unaccented syllables is altered which is important because the words must complement the original music and the new pattern may not fit. Lyrics are usually written in meter, like poetry, with the intent to fit them with a melodic line. Imagine translating a current song by someone like Fallout Boys into French and having it still fit the beat and mean the same thing. It is easy to see that the original language offers the best means of communicating through music. The audience, however, must not be left “in the dark” with words they don’t understand. To get the best of both worlds, many opera productions are performed in the original language with the English translation of the text projected on a screen above the stage. Projected translations are called surtitles or supertitles. Audiences aren’t alone in needing translations. Singers are trained to have a working knowledge of the languages used in opera, such as Italian, French, German, English, Russian, Spanish, and Czech. However they are usually not fluent and tend to focus most of their energy on studying pronunciation. Because of this, when a singer is learning a piece, he or she does a literal, word for word translation of the text into English before he or she begins singing the new piece. The singer will also translate the parts of other roles to understand his or her character’s response to what the others are saying. This means that most singers basically translate an entire opera when learning a single role. Arizona Opera performs primarily in English for schools to make the opera more accessible to students. Your production of The Mini Elixir of Love will be sung entirely in English. Your students should however know that if they went to a main-stage performance at the Hall they could expect to hear the original language of the opera.

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The Creative Team Many people work together to create an opera production. Members of the creative team include the singers, the conductor, the stage director, and the designers (sets, lighting, costumes, wig and make-up). These careers are available to everyone, and often involve many years of study and hard work to master.

The Conductor Few people realize that the conductor determines and directs the performance that the public hears. The conductor communicates information about the music and the timing to show to the singers on stage and to the orchestra through the gestures he makes, often using a baton. The conductor is usually referred to as “Maestro” or “Maestra.” The conductor trains for his/her work just like the singers. They must be able to play the piano and must have a broad knowledge of singing, the orchestra, and music in general. The orchestral score, with approximately twenty staves (individual lines) of music, must be studied and mastered long before rehearsals even begin. The conductor uses the music as a guide as he or she coaches the singers and the orchestra toward a great performance.

The Stage Director An operatic stage director faces all the challenges of a theatrical stage director, plus a few special operatic concerns. The opera must be staged to obtain the greatest emotional effect by moving the singers about with a natural flow that enhances the meaning of the story without interfering with the music. The composer has built the framework within which the stage director must work. Entrances, duets, fights, exits, shipwrecks, and all other stage “business” must take place within a specified number of measures or beats. Action must be compressed or extended as written by the composer. Like a conductor, a stage director must be completely familiar with the musical score. He/She must know translations of Italian, French, German, or whatever language is being sung, as well as have a working knowledge of everything and everyone both on stage and backstage. At an opera people will sometimes yell “bravo” to the men, “brava” to the women, or “bravi” to several people to tell them they performed very well. This is appropriate to do when clapping even after a solo.

The Singers Professional singers are much like professional athletes. They must train for many years to learn to sing opera. Most singers begin taking voice lessons while teenagers and continue on through college and beyond. Unlike other singers opera singers do not use microphones when they perform. For this reason, it takes many years for a great singer to learn to project his or her voice in order to sing opera. Often a singer is 30 years old before his or her voice is fully developed. A person’s vocal range (how high or low one sings), whether the singers is a professional or amateur, is determined by many different factors, including the shape and length of one’s vocal cords and the amount of training the person has received. Singers are usually classified in the following ways: Female Voice Types Soprano the highest voice, often the heroine of the opera Mezzo-Soprano a soprano with a slightly lower range and heavier sounding voice, usually cast as a maternal type, female antagonist, or in a “trouser role” (playing a man); mezzo means “half,” so this is halfway between soprano and alto

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Contralto or “alto” the lowest female voice

Male Voice Types Tenor the highest male voice, often the hero or romantic lead between tenor and bass, often cast a villain in tragic opera or as comic relief Bass the lowest male voice, sometimes in a comic role

The Music Director/ Accompanist The music director is responsible for coordinating rehearsals and coaching the singers on diction, balance, and tone quality. He/She also makes musical decisions, replaces the orchestra with piano accompaniment when the production is on tour, and may also do some conducting from the piano when necessary.

The Designers The scenic designer creates sets that transform the stage into the appropriate location for the opera story. He or she works with the stage director and conductor to create a unified vision. The scenic designer may also work as the costume designer and lighting designer, requiring the knowledge of an artist, an architect and builder. A general knowledge of music is also necessary, along with a thorough knowledge of the score and the story for each operatic production that is being designed. The lighting designer creates effects with theater lights to make the stage look like another place. Cleeg lights, spotlights, scoops, and other special lights are used, along with colored gels, to create day and night scenes, shadows and other special effects. The costume designer works with the rest of the creative staff to make the best costumes to tell the opera’s story. This person may also create wigs and makeup effects for the performers.

The Stage Manager The stage manager acts as an adjunct to the director in rehearsal. They record the blocking and see that cast members stay on script and have necessary props. As the lighting, sound and set change cues are developed, the stage manager meticulously records the timing of each as it relates to the score and other aspects of the performance, ensuring that the lighting and sound cues are delivered at the right time. Once the house opens, the stage manager essentially takes control, calling the cues for all transitions (this is known as “calling the show”), as well as acting as communications hub for the cast and crew.

The process: concept to opening night In the world of professional opera the singer has the part or role fully memorized before the first rehearsal. Singers are often hired to sing a role several years in advance. If the role is new to them they need to learn the notes and the language and they need to interpret the basic character on their own. Voice teachers help to make the voice work technically correct and vocal coaches help with the language, style, and character development. Coaches also play the entire score on the piano so the arias and duets are learned in the context of the whole. Singers are always in the process of learning new roles so that they can work in many places, including other countries. Ideally, the company enlists the director to assemble a design team prior to hiring a cast for an opera production. The design team is made up of a set designer, lighting designer, costume designer, and

19 wig and make-up designer. Their job often begins years before the actual rehearsal process by choosing a look, a style, and a flow for the production. They then work with the opera company to build the sets and costumes. The entire cast of an opera isn’t assembled until approximately three weeks before the opening night. The singers- who are chosen by audition- come from around the world and may not have met each other before the first rehearsal. The conductor leads them through the music with piano accompaniment, showing them his or her interpretation of tempo and phrasing. The stage director shows them where and when and how to move around the stage and how to interpret the drama. This collaboration of conductor and stage director brings to life the opera’s plot and music. The opera is staged in a rehearsal room first. It moves to the theater’s stage just a few nights before opening. It is then that the orchestra is brought into the process, along with the technical aspects of theater such as lights, costumes, sets, and scenery. Technically and logistically, the opera usually comes together in just about five days.

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Evaluation Rubric

For teacher use: Fill in the criteria for any of the lesson plan activities to grade your students.

Date: Class: Student:

Rating scale: 1 = very weak; 2 = weak; 3 = acceptable; 4 = very good; 5 = excellent

Criteria Rating Comments 1

2

3

4

5

6

7

8

9

10

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Pop Quiz Are You a Good Manager?

Circle the answer that best suites your reaction to each situation. At the end of the quiz, tally up your results and find out if you’re a good manager, or if you can find yourself around unfair situations. Good Luck!

1. Your parent/guardian makes you and your sister a peanut butter and jelly sandwich, which she cuts in half. You’ve just come home from a long day at school and you’re starving. Before you can take your half, your sister grabs the entire sandwich, sticks out her tongue and runs to her room. Unfair! Do you: a. Run after your sister to yell at her and reclaim your sandwich b. Tell your parent/guardian what happened c. Approach your sister about how unfair her actions were, and entreat her to give you your fair share

2. You work extremely hard on a homework assignment, and you’re very proud of your work. However when you get the assignment back, you received a much lower grade than you thought you deserved. You are convinced your teacher hates you. Do you: a. Crumble up your work and give up b. Reproach your teacher quietly for the rest of the year c. Stay after class to talk to your teacher about the assignment

3. You find out that your best friend is having a group of people over, and you weren’t invited. You have no idea why, and this has never happened before. Do you: a. Call them out on it- why were you excluded? b. Ask your friend what’s going on, and if you did something wrong c. Let it go- it’s no big deal

4. Someone behind you in class throws a piece of paper, and the teacher thinks you did it and gives you a detention. Do you: a. Immediately point out the real culprit b. Accept detention quietly c. Tell the teacher after class that in all earnestness you did not throw the paper

5. You give an inexpensive but very thoughtful gift to a friend for their birthday. You’re very proud of it, as you had given it much consideration. They don’t seem terribly impressed, and brush it off for something more extravagent. You: a. Decide not to speak to that friend anymore b. Leave the party- Clearly you’re not welcome or appreciated, and you’ll let your friend know as soon as you’re alone c. Feel hurt, but remain confident that after the festivities your friend will appreciate your gift

Alright, let’s see how you did! Tally up your points. a= 1 point, b= 3 points, c= 6 points

1 to 12 points: Relax!! You need to find better ways to find solutions! Remember, there always is a compromise, and a way to get what you need. Right now your approach won’t necessarily help you.

12 to 24 points: You could use some improvement, but you are fairly reasonable in an unfair situation. Good work!

24 to 30 points: You’re a fantastic manager! You should commend yourself for finding honest and open solutions to your problems. It’s extremely mature of you.

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Activity Sheet Understanding Stereotypes

Name:

Over the next several days, as you watch television programs, news, commercials, or films, note what stereotypes you find. Use the following questions to lead you through your analysis:

• Are the members of one group playing similar roles over and over again?

• Can you find certain similarities between the people who are portrayed as the “bad guys”; and those who are the “good guys”?

• Who plays the lead roles and who plays the supporting roles?

• How does language, such as different languages or accents, shape your feelings about different characters?

Date TV Show, Movie, or Group Stereotype Thoughts Product Advertisement Stereotyped Portrayed

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Student Worksheet Mikado Mad Libs

Name:

Fill in the blanks to the story below. Have fun changing the setting and character names, but be careful! The characters on this sheet must line up with the characters in the synopsis of The Mikado.

Act I

The courtyard of ______palace in the town of ______. The ______nobles are posing in various poses from ______painted screens. A wandering minstrel, ______arrives looking for ______, the ward of ______. He has returned to marry ______now that he's heard her engagement to ______has ended as ______is to be executed for flirting. The nobles tell ______that ______, a former cheap tailor, was reprieved and made Lord High Executioner.

______(Lord High Everything Else) tells ______that ______and ______are going to be married that day. ______arrives and tells everyone how he received his position as well as how he is going to deal with society offenders. ______arrives with her two sisters, ______and ______, all of whom are wards of ______. ______is not thrilled at the prospect of marrying ______but she's resigned to her position until she sees ______. Left alone, ______tells ______that he's really ______son who's running away from court to escape marrying the elderly ______. ______and ______bemoan ______’s engagement to ______and sing what they might do if she was unattached.

______has received a letter from the ______, who is curious as to why no executions have taken place in ______for a year. The Mikado has decreed that someone must be beheaded within one month. The condition of ______reprieve was that he could not behead anyone until he himself was beheaded first. ______reappears with a rope intending to hang himself since he cannot live without ______. ______persuades ______to become the beheading victim within one month. ______agrees if he can marry ______for that one month. ______agrees to the marriage taking place the next day. After all, ______will become a widow within a month, leaving her free to marry ______. ______and ______celebrate their impending wedding, when ______appears to claim ______. She is told by ______that he's going to marry ______. ______threatens to tell everyone who ______really is, but she is drowned out by the chorus. She storms off to tell the ______that she has found ______.

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Activity Sheet The Gilbert and Sullivan “Golden Formula”

Fill in the grid below while listening to Anna Russell’s “How to Write Your Own Gilbert and Sullivan Opera.” In the left-hand column, write the traits that Anna Russell says a Gilbert and Sullivan opera will have. Compare her description to the synopsis and listening examples of The Mikado.

Anna Russell’s description Example in Synopsis Example in listening examples

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Word Search The Mikado

The following words are hidden in the grid below. They are written forwards, backwards, up, down, and diagonally. See if you can find them all!

MIKADO TITIPU PISHTUSH KATISHA JAPAN NANKIPOO YUMYUM OPERETTA GILBERT KOKO PITTISING ARIA SULLIVAN POOHBAH PEEPBO SOPRANO

L N S A N A G C E I Y E I R E

O A R K A P I S H T U S H O O

O N O O H A L T E E M R T R E

M K O A F N B S O S Y E S I G

B I D I R C E I C O U O C O N

K P K R K O R S T I M R O I I

N O I A E P T N A V I L L U S

T O B S D K T I T I P E D D I

P R E R I O R S C R O O C O T

B T R E R K A T I S H A T D T

O N A R P O S I C I E D C S I

T E S C I R I R O O B P E E P

O P E R E T T A S T I D S I D

C R S E E H A B H O O P D E I

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Answer Sheet The Mikado Word Search

MIKADO TITIPU PISHTUSH KATISHA JAPAN NANKIPOO YUMYUM OPERETTA GILBERT KOKO PITTISING ARIA SULLIVAN POOHBAH PEEPBO SOPRANO

N A G Y

A P I S H T U S H

N A L M

M K A N B Y G

I I E U N

P K R R M I

O A T N A V I L L U S

O D K T I T I P I

O T

K A T I S H A T

O N A R P O S I

O O B P E E P

O P E R E T T A

H A B H O O P

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State Standards

Writing • Strand 1: Writing Process, Concept 1: Prewriting, PO 1. Generate ideas through a variety of activities (e.g., brainstorming, notes and logs, graphic organizers, record of writing ideas and discussion, printed material or other sources). • Strand 1: Writing Process, Concept 1: Prewriting, PO 5. Use organizational strategies (e.g., outline, chart, table, graph, Venn Diagram, web, story map, plot pyramid) to plan writing. • Strand 2: Writing Elements, Concept 1: Ideas and Content, PO 1. Maintain a clear, narrow focus to support the topic. • Strand 2: Writing Elements, Concept 1: Ideas and Content, PO 3. Provide sufficient, relevant, and carefully selected details for support. • Strand 2: Writing Elements, Concept 1: Ideas and Content, PO 4. Demonstrate a thorough, balanced explanation of the topic. • Strand 2: Writing Elements, Concept 2: Organization, PO 2. Include a strong beginning or introduction that draws in the reader. • Strand 2: Writing Elements, Concept 2: Organization, PO 6. Create an ending that provides a sense of resolution or closure. • Strand 2: Writing Elements, Concept 4: Word Choice, PO 1. Use accurate, specific, powerful words and phrases that effectively convey the intended message. • Strand 2: Writing Elements, Concept 6: Conventions, PO1-3, 7-11. Use correct conventions, including spelling, grammar, punctuation, and capitalization.

Reading

• Strand 1: Reading Process, Concept 5: Fluency, PO 1. Read from a variety of genres with accuracy, automaticity (immediate recognition), and prosody (expression). • Strand 1: Reading Process, Concept 6: Comprehension, PO 4. Use graphic organizers in order to clarify the meaning of the text. • Strand 1: Reading Process, Concept 6: Comprehension, PO 5. Connect information and events in text to experience and to related text and sources. • Strand 2: Comprehending Literary Text, Concept 1: Elements of Literature, PO 3. Describe the motivations of characters. • Strand 2: Comprehending Literary Text, Concept 1: Elements of Literature, PO 4. Compare interactions among major characters and minor characters in literary text with emphasis upon how the plot is revealed through action of the dialog. • Strand 2: Comprehending Literary Text, Concept 2: Historical and Cultural Aspects of Literature, PO 2. Identify common structures and stylistic elements in literature, folklore, and myths from a variety of cultures.

Theatre

• Strand 1: Create, Concept 1: Collaboration, PO 201. Collaborate to create a scenario/script as a team. • Strand 1: Create, Concept 2: Acting, PO 202. As a character, play out his/her wants by maintaining concentration and contributing to the action. • Strand 1: Create, Concept 2: Acting, PO 203. Demonstrate mental and physical attributes required to communicate characters different from themselves (e.g. concentration, sense recall, ability to remember lines and cues, breath and vocal control, body alignment, flexibility, and coordination).

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• Strand 1: Create, Concept 2: Acting, PO 204. Communicate sensory images through movement, vocal, visual, or written expression. • Strand 1: Create, Concept 2: Acting, PO 301. Work individually and in an ensemble to create characters for theatre and/or other media productions (e.g., for classical, contemporary, realistic, and non-realistic improvisations and scripted plays). • Strand 1: Create, Concept 4: Playwriting, PO 103. Improvise by imitating life experiences, knowledge of literature, social issues, and/or historical situations, and create imaginary scenes that include characters, setting, and storyline. • Strand 1: Create, Concept 4: Playwriting, PO 202. Dramatize and document scenes using a variety of characters to develop monologues and/or dialogue. • Strand 1: Create, Concept 4: Playwriting, PO 204. Dramatize and document, both individually and in groups, scenarios that develop theme, plot, conflict, and dialogue. • Strand 1: Create, Concept 5: Directing, PO 201. Analyze dramatic text to develop informal performance describing character motivations, structure of the story, and role of the environment in the story. • Strand 2: Relate, Concept 4: Playwriting, PO 306. Compare and contrast the style, structure, and impact of various playwrights. • Strand 3: Evaluate, Concept 4: Playwriting, PO 204. Develop and articulate criteria to analyze a variety of dramatic works according to style, genre, dramatic elements, and characters. • Strand 3: Evaluate, Concept 4: Playwriting, PO 205. Use developed criteria to interpret dramatic text and performances in an organized oral or written presentation. Music

• Strand 2: Relate, Concept 1, PO 3. Comparing in two or more arts how the basic elements of each art can be used to express similar events, emotions, scenes, or ideas (e.g., emotions can be expressed with words in poetry, color in visual arts, sound in music, and gestures in dance). • Strand 2: Relate, Concept 2, PO 1. (Grade 8) Comparing and contrasting the characteristics that distinguish one style/period of music from another various time periods • Strand 3: Evaluate, Concept 1, PO 3. (Grade 7) Analyzing musical elements in aural examples from diverse genres and cultures. • Strand 3: Evaluate, Concept 1, PO 3. (Grade 8) Identifying and analyzing the ways in which the elements of music are interrelated with elements of other arts. Social Studies

• Strand 2: World History, Concept 9: Contemporary World, PO 4.Compare the economic, political, and social aspects of a country to contemporary economic, political, and social aspects. • Strand 3: Civics and Government, Concept 4: Rights, Responsibilities, and Roles of Citizenship, PO 5. Describe the role and influence of political parties, interest groups, and mass media • Strand 4: Geography, Concept 4: Human Systems, PO 5 – Identify cultural norms that influence different social, political and economic activities of men and women. Visual Arts

• Strand 1: Create, Concept 2: Materials, Tools, and Techniques, PO 102: Use materials, tools, and techniques appropriately in his or her own artwork. • Strand 1: Create, Concept 4: Meanings or Purposes, PO 301. Demonstrate purposeful use of subject matter, symbols, and/or themes in his or her own artwork. • Strand 1: Create, Concept 4: Meanings or Purposes, PO 302. Create artwork that communicates substantive meanings or achieves intended purposes.

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• Strand 1: Create, Concept 4: Meanings or Purposes, PO 401. Create original artworks that communicate substantive meanings or achieve intended purposes, (e.g., cultural, political, personal, spiritual, commercial). • Strand 2: Relate, Concept 1: Artworlds, PO 105: Make connections between art and other curricular areas • Strand 2: Relate, Concept 1: Artworlds, PO 206: Discuss how artworks reflect ideas, images, and symbols from the culture within which they were made