Resource Guide 2008

Pittsburgh Public Theater Education and Outreach

Education Resource Guide 2008

1 Table of Contents:

Page Character Biographies: Mozart 3 Salieri 4 Synopsis 5 Cast of Characters 7 About the Author 8 Amadeus Production History 10 About our Production: Actor Biographies 11 Themes to Explore: Art and Religion 12 Musical Memories 14 Secret Societies 16 Glossary 18 After the Show Questions 19 References 19 Academic Standards 20

2 Wolfgang Amadeus Mozart: A Premature Talent and an Untimely End

There are few musical figures in history that can rival the genius of Wolfgang Amadeus Mozart. His legacy as a child prodigy has lived on for centuries, colored by accounts of his concerts for royalty and grand Euro- pean tours. Mozart’s remarkable story begins a bit earlier than the controversial (and embellished) adult years featured in Amadeus. Born on January 27th 1756, Mozart’s inherent talent was first noticed at age four, when he began to mimic his older sister’s compositions. Just two years later, Mozart was composing short pieces on the clavier, excelling at the violin and gearing up for his first tour!

Mozart’s father, Leopold, educated the child prodigy and his older sister Maria- Anna. The young boy’s precocious talent brought much attention from the aristoc- racy during his first tour. The family, without Mozart’s mother, visited major Euro- pean cities, such as Paris, Munich and Vienna. The tour was difficult for them; young Mozart missed his mother, the pay was trifling and both children fell seriously ill. Together they spent eight years on the road continually stunning audiences. To- ward the end, the focus of his performances had shifted from the talents of a brilliant child to his skill as a pianist and composer.

Surprisingly, Mozart’s early success did not pave the way for an easy career in music, as many would assume. He had trouble obtaining a court appointment, and thus began his adult career by playing the organ in Salzburg. Unhappy with his position there, Mozart moved permanently to Vienna where he hoped to find better opportu- nities as a musician. It was there that he met the woman who would become his wife, Constanze. Though always composing, Mozart struggled, made more difficult with the additional stress of a growing family. Despite his seemingly impressive resume, Mozart could not find a wealthy patron to back his works so he relied on teaching and giving concerts. To relieve his financial woes, he hoped for a court appointment that never came. Mozart composed new works regularly until his death in 1791.

When Mozart died at just 35 years old, rumors swirled that Salieri, his chief rival, had poisoned him, prompting the story behind Amadeus. Medical records suggest that his untimely death was probably due to an illness such as rheumatic fever. In his lifetime, Mozart completed an incredible canon of musical pieces, including 21 stage and opera works, 15 masses, 25 piano sonatas, 26 string quartets, and more than 50 symphonies. In total, the prolific composer is credited with creating about 600 works.

3 Antonio Salieri: Rediscovering a Near- Forgotten Talent By: Philip Stephenson

After many decades spent languishing in near-anonymity, Salieri is once again a house- hold name, thanks to Shaffer’s powerful drama. However, that has meant that for over 20 years, most of what the public has come to “know” about this great composer has been gleaned from a work of fiction. But there is a great deal truly worth learning about Antonio Salieri, and realizing that he did not poison Mozart is just the beginning.

Salieri was born in Legnano, Italy in 1750, into a prosperous family. He and his older brother Francesco both studied music. When he was very young, Salieri so loved the sound of music that he followed his brother to a performance several towns away, alarming his father so much by his absence that he promised young Antonio if he ever did something like it again, he would lock him in his room for a week with nothing but bread and water to eat.

Between 1763 and 1765 both his mother and father passed away. After a short stay with a brother in Padua, a friend of his late father and Venetian nobleman Giovanna Mocenigo, took Salieri along with him to Venice. In Vi- enna, to begin with, he continued his education. Gassman saw it as his divine duty to provide for the education of the young talent. In time, the Emperor Joseph II heard of Gassman’s charge and asked to meet him. When Salieri played for the Emperor, he was so impressed that he requested that Gass- man bring Salieri along each and every time he came to visit. It was Salieri’s first big break and Joseph II’s patronage would be key to Salieri’s career.

In 1774, when Gassman died, the emperor promoted Salieri to imperial royal chamber composer and Kapellmeister to the Italian opera. The next year Salieri met his soon-to-be wife, Therese von Helfersdorfer. Salieri was appointed Court Kapellmeister in Vienna in 1788. He continued to compose for the stage until 1804, his last major success being Palmira, Queen of Per- sia in 1795. After falling ill in 1824, he died the next year at the age of 74.

4 Amadeus Plot Synopsis

Setting: Vienna, Austria. November, 1823, and in recall, the decade 1781-1791

ACT I

The year is 1823. Rumors spread through the streets of Vienna that composer Antonia Salieri, in his old age, claims he assassinated Wolfgang Amadeus Mozart 32 years ago. Sa- lieri addresses the audience, telling of a bargain he made with God long ago: to live a vir- tuous life in exchange for fame as a composer. As Salieri’s prayers begin to be answered, Mozart, the child prodigy, began to tour Europe.

The scene now shifts to 1781. Salieri is a successful composer in the Hapsburg court under Emperor Joseph II. Salieri introduces us to the arbiters of taste in the Hapsberg Court: Count von Strack, royal chamberlain; Count Orsini-Rosenberg, director of the Im- perial Opera; and Baron von Sweiten, prefect of the Imperial Library. Sweiten offers to initiate Salieri into the Freemasons Lodge, the most influential club in Vienna. He ac- cepts, and he learns from his ‘Venticelli,’ two men the composer employs to keep him abreast of news ad rumors, that Mozart, now a young man, has come to Vienna to live. At a reception soon after, Salieri silently observes Mozart playing flirtatiously, then proposing marriage to a young woman, Constanze. He has been invited to play in the fashionable Salon, as was the custom. As Salieri listens, he is awestruck by Mozart’s talent, but assures himself this composition is merely the luck of a young composer. Yet when Mozart comes to court to accept a commission for a comic opera, he easily finds the flaws in Salieri’s “Welcome March” and instantly transforms it into a far superior composition. It is then that Salieri realizes this Mozart is no fluke.

Mozart has cast Katherina Cavalieri, Salieri’s star pupil, in his comic opera. Salieri’s jeal- ousy turns to hatred at the thought that Mozart has made love to Katherina, a temptation he has resisted himself for the sake of his vow of purity. Out of revenge, Salieri entertains thoughts of seducing Constanze, now Mozart’s wife. Salieri learns that Mozart is in need of work and wants the position of music instructor to Princess Elizabeth. Salieri offers to recommend Mozart for the instructor’s position, then invites Constanze to visit him later at his apartment with some of Mozart’s scores, where he unsuccessfully tries to seduce her in exchange for the recommendation. After she leaves, Salieri examines the scores and is convinced that Mozart is truly a genius, capable of writing flawless music without need of corrections. Enraged by the revelation that Mozart – a rude, raucous child – has been in- discriminately bestowed with the musical genius he has craved since childhood, Salieri de- clares a private war against God. He vows to seek revenge against God by destroying Mo- zart, whom God has favored.

5 ACT II

Constanze returns to Salieri prepared to give in to his demands so that Mozart may secure the commission, but Salieri is no longer interested in taking revenge through Constanze. Instead he forsakes his vow of purity to God altogether and takes Katherina as a mistress. Citing Mozart’s reputation as a womanizer as dangerous for a candidate, Salieri recom- mends another man for the instructor’s position. Over the years, Salieri’s reputation as a composer continues to grow, while Mozart’s does not and he sinks into poverty. Mozart prepares a new opera for the court (The Marriage of Figaro) but Rosenberg and Salieri scheme against it, based on a decree of Joseph II that prevents dancing in operas. King Joseph makes an unusual appearance at a rehearsal and demands the dancing be re- stored, but Mozart is disappointed by the cool reaction of the court when the opera is presented. Salieri ensures that the opera will not be revived. Pretending to be a friend, Salieri sympathizes with Mozart’s financial straits and comforts him after his father’s death. The brilliance of Mozart’s compositions continues to frustrate Salieri, and he vows to ruin Mo- zart financially, believing that doing so will stop God’s creation. Even when Joseph II grants Mozart the chamber composer’s position, Salieri sees to it that the salary is reduced to virtually nothing, leaving Mozart to beg for income from his fellow Freemasons. Salieri takes aim at that income too, suggesting Mozart write an opera about the secret society of the Freemasons. Mozart agrees, and as he writes, he has visions of a man in gray beckon- ing to him to come closer. As his obsession to write and his fear of the visions grows to ex- cess, Constanze leaves him, taking their two young boys with her. When the new opera opens in a rural music hall, van Sweiten condemns it – and Mozart - as traitorous to the Freemasons, leaving the composer devastated and penniless and seemingly on the brink of madness. In a momentary pang of remorse, Salieri confesses to Mozart that he has metaphorically poisoned him. Mozart refuses to believe him and will not give Salieri the forgiveness or understanding he now desires. Constanze returns to her husband to find him devastated by Salieri’s deeds, as he dies in her arms.

The time now returns to 1823, Mozart’s genius has found popularity since his death, and Salieri has fallen out of favor. If he will not die in musical triumph, he wants to be remem- bered as a great villain. But no one believes the old man’s stories of murdering Mozart, and he dies as a saint to frustrated mediocrity.

Courtesy of Stage Notes, A Camp Broadway LLC Production

6 Characters in Amadeus

Antonio Salieri – successful musician to the court of Joseph II, Emperor of Austria

Wolfgang Amadeus Mozart – A musical prodigy

Costanze Weber – Mozart’s wife

Joseph II – Emperor of Austria, brother of Maria Antoinette

Count Johann Kilian Von Strack – Groom of the Imperial Chamber

Count Franz Orsini-Rosenberg – Director of the Imperial Opera

Baron Gottfried Van Swieten – Prefect of the Imperial Library; member of the Freemasons

Two “Venticelli” – “Little Winds,” two purveyors of information, gossip and rumor

Major Domo Salieri’s Cook Salieri’s Valet Kapellmeister Guiseppe Bonno Teresa Salieri Katherina Cavalieri Servants Citizens

Courtesy of Stage Notes, a Camp Broadway LLC Production

7 Peter Shaffer: From the Desk of the Playwright

From an interview by Mike Wood for the William Inge Center for the Arts Compiled and edited by Philip Stephenson

Sir Peter Shaffer was born in 1926, in Liverpool, England, along with his twin brother, Anthony, who would also become an ac- claimed playwright. Shaffer received a scholarship to study history at Cambridge University, and worked a variety of jobs over the ensuing years. He worked as a conscripted coal miner during WWII, later as a bookstore clerk, and then as a librarian’s assistant at the New York Public Library, before discovering his dramatic talents.

Shaffer’s canon is unique, mixing philosophical dramas and satirical comedies. The Royal Hunt of the Sun (1964) follows the Spanish conquest of the Peruvian lands while Black Comedy (1965) is a comedic romp which places his characters in a pitch black room, feel- ing their way around – though brilliantly lit to the eyes of the audience. Equus (1973) won Shaffer the 1975 Tony award for best play as well as the New York Drama Critics Circle Award.

Here, in the author’s own words, is some insight into the mind that brings us Amadeus.

On Wanting to Become a Playwright:

And in fact, I think one of the best guides to telling you who you are, and I think children use it all the time for this purpose, is fantasy. I mean, you know, all your wishes could be granted, what would you like to be? Here I am now a celebrated doctor. What a won- derful idea. Okay, that gives you some idea that you want to go into medicine, and I think—I suppose I had, I can’t quite remember whether I had, fantasies about being a working playwright, but I probably did. I think I did have fantasies about being an actor. In fact, I know I did. And in the coal mines, to while away the infinite tedium of pulling trucks of coal about, I would select, in my head, a play of Shakespeare, and play the entire role through the entire shift, in my head. I’d do that quite regularly. And, I now realize that I probably knew by heart, with many, probably, mistakes, if called upon to do it, the leading roles, particularly the tragic roles of, say, Hamlet, Othello, Lear, Mac- beth, and would play them quite regularly, in my own head, throughout the shifts in the coal mine. In reality I would have made a very bad actor. I can’t tell the same story twice in the same way without wanting to vary it and alter it, and I don’t think I could have any kind of technical fixatives to make me reproduce the same performance, twice running. (Continued on following pages.)

8 On Inspiration for Amadeus:

Well, the genesis of Amadeus was, I suppose, a long-felt desire to celebrate Mozart in me, but the play actually is not about Mozart, fundamentally. It is about Salieri. It is about the nature of a man’s sense of injustice, and to me the crucial things in the play of Ama- deus occur after Mozart’s death, after his death, to some extent, when Salieri, who has been tor- menting Mozart throughout the length of the play, finally says to the audience, “I was wondering all this time when I would be punished,” and comes to the conclusion that his punishment lay, because he survived Mozart by thirty years, and was a huge success in Vienna, gigantic success, much more successful on the level of acclaim, than Mozart, when he spent thirty years being called dis- tinguished by people incapable of distinguishing. And this almost horrific situation of being em- balmed in fame, which he himself knew to be worthless, interested me very much, and motivated the climax of the play.

On the Music of Mozart:

I began to read everything I could about Mozart, who I’ve always felt, I suppose, to be the greatest of all composers. I still think so. It’s an extraordinary thing about Mozart is that you never tire of him…he never bores me, and he doesn’t...not only bore me, that’s too strong a word. For example, I think I now know the Beethoven symphonies so well that I don’t much play them anymore or go to concerts. Not because I hate them. On the contrary, I don’t. They are superb, but I think I have received most of what I’m going to receive from them, but I never stop receiving full measure, say from the great Mozart piano concerto or from a visit to The Marriage of Fi- garo. They are marvelous, inexhaustible works, and they touch an absoluteness in music which I find deeply mysterious and which very few other composers do touch.

On the Authenticity of Amadeus:

Amadeus is not an objective documentary biography of Wolfgang Amadeus Mozart. For a start, he never called himself Amadeus. He signed himself, when he did, Amadé, which is, you know, is the French version of it, and a lot of people who criticize the play on that level appear never to have heard of fiction. […] The scatology is true, and a lot of it I got from, or the idea of it, from his letters, particularly to his cousin, Anna Maria Thekla, and I figure if a guy writes scatology, his conversation must be fairly scatological too. Perhaps not the other way around, but certainly that way, I think, it’s a fairly safe assumption. And a lot of people don’t—for the nineteenth century, for example—could not accept the idea of a man writing ineffable music, say the slow movement of the “Clarinet Concerto,” who also is telling fart jokes, but I mean I find that as the great paradox that excites a dramatist, that sort of thing. Part of him is very infantile. He was held back, a lot, I think, in his development by his father. He wrote a lot of letters to his father which either conceal or evade the truth. They have the force, not exactly of lying, but of doctored truth, because he was frightened of his father and always wanted to please him too much, although he did defy him in the end and married the girl that Leopold didn’t want him to marry, and all of that is true. His addiction to billiards and dancing is true, his dressing up is true, but you see, he didn’t…it’s amaz- ing that he had any time to do anything but write, because the outpouring of music is so vast, and the wonder is not only that it’s so prolific, but that it is so perfect once he got started. I think Mo- zart’s--apart from one or two works written in Salzburg--his greatness begins with his arrival in Vi- enna and the ten years—1781 to 1791 when he just writes one masterpiece after another.

9 Plays by Peter Shaffer:

Equus, 1973

Amadeus, 1979

The Royal Hunt of the Sun, 1964

Black Comedy, 1965

Production History:

Shaffer’s play Amadeus has had a colorful history. His play was inspired by a much earlier play by Aleksandr Pushkin, entitled Mozart and Salieri (1830). In 1979 when it premiered in London at the National Theater, audiences were capti- vated by this new depiction of a favorite musician. It opened on Broadway to simi- larly positive reviews, earning seven Tony nominations and five awards. A movie version that stars F. Murray Abraham and Tom Hulce, retains some of the Shaffer’s original script and was released in 1984 winning a remarkable eight Oscars that year. In 2000, the play was revived on Broadway, receiving two more awards, this time for best actor and best revival.

Antonio Salieri and Wolfgang Amadeus Mozart

TONY ABATEMARCO (Antonio Salieri) Juilliard grad. Awards: Bach at Leipzig, The Mystery of Irma Vep, La Bete, Camaralenta. Playwright: Cologne; Four Fathers. Direction: Julie Harris in Lucifer’s Child (Broadway/ A&E television); Mark Taper Fo- rum, Pasadena Playhouse, Santa Fe Stages, La Mama, etc. Recipient: two National Endowment for the Arts fellowships. Artistic Director: Jacques D’Amboise’s National Dance Institute, Los Angeles. International theater: Institute of Contemporary Arts, London; Del- phi, Greece; Theatre Grevin, Paris. Film: Sleeping with the Enemy, I Am Sam, etc. Television: 26 guest starring roles, including “E.R.” and “Frasier.” Teach- ing: USC School of Theatre; endowed chair, Santa Monica College, Emeritus.

HARRIS DORAN (Wolfgang Amadeus Mozart) Harris is thrilled to be back at Pittsburgh Public Theater, where he was seen last season as the Emcee in Cabaret. Theater credits include: Hair (Broadway), Richard Cory, The Opposite of Sex, Oliver (Ovation Award Nomina- tion), The Compleat Works of Wllm Shkspr (abridged), The Seagull, A Mid- summer Night's Dream, Red Eye of Love (Eugene O'Neill Theater Center/ The Public Theater). Film & TV: “Exposing the Order of the Serpentine,” 2+1, "The Black Donnellys," "Malcolm In The Middle," and "Any Day Now." Harris is currently writing the book and lyrics to the new musical Higher. Training: The Juilliard School. www.harrisdoran.com

11 Themes to Explore

Art and Religion

Why do societies need to create art for religious purposes? The place of religious art in society, perhaps, provides a way to express human feelings on a deeper level than with words alone. Music and visual arts present both the artist and the spectator with a new method of worship, that helps us to express what we cannot adequately say.

A prevailing notion in Amadeus is that God has chosen the talented and that those who are blessed with such talent should use it in praise of him. This fuels both Salieri’s drive to be a better composer and his hatred for Mozart, whom he thinks has been chosen by God. Both Salieri and Mozart wrote numerous masses and songs for the church, showing the importance that religion still had in the world of art, despite the Enlightenment. It pro- vided both a reason to create music and a venue for musical performance.

The earliest tracings of “art” in society date back to etchings and paintings found in caves all over the world. It has led scholars to believe that as long as there has been humanity, there has been a dialogue associated with art. These early drawings told stories that the ancient people had no other way to tell. Drawing was a form of communication. Even today, art plays a role in society – pushing it in new directions, teaching morals, illus- trating familiar stories, and challenging established views.

From this desire to teach and pass down information with symbols has come the need to use art to represent God and religious values. For almost the entire recorded history of religious beliefs there have been art forms uniquely attached to each religion. For example, icons of Buddha and the Virgin Mary that have been in existence for nearly 2000 years are familiar to us because their associated religions have endured. Ancient mytho- logical traditions are told not just through words, but symbols and pictures, forming the basis of mythology from Egypt to the Native Americans. The famous buildings and statues of Ancient Greece, like the Parthenon and the Acropolis, all served religious purposes for their polytheistic (worshipping multiple gods) traditions. In western society, perhaps the most famous works of devotional art include the ceiling of the Sistine Chapel by Michel- angelo, Handel’s “Messiah” and “The Last Supper” by Leonardo DaVinci, which were created using three different mediums – fresco, music, and painting.

Check out how you can “be the art” on the next page!

12 Living Artwork:

Provide copies of several paintings, statues, frescoes, etc. that your students can examine. A good example is Da Vinci’s “The Last Supper” (for class purposes, they need not be religious but they must tell a story). In class, divide students into small groups and assign each one a different artwork. Ask the students to recreate the mood of the artwork in living statues. The aim is not to be a pic- ture perfect representation of the original piece, but to interpret the artist’s feelings in a modern way, i.e. for “The Last Supper,” students may not want to sit around a table in the classic pose, but instead interpret it as a going- away party or a funeral. Keep in mind that the performers are not allowed to talk but must show the emotion of the piece with their bodies and facial expressions. When each group has created a living statue, ask the students to walk around the “artwork” and comment on the choices that the groups have made. During the discussion, the commenting groups may move the living statues in ways that the group feels can also express the sentiment. For more of a challenge, ask the groups to guess what the original piece was, rather than telling them.

Going Further: To add another layer to this exercise, introduce music to the activity Choose several songs (classical music works best, but feel free to experiment) and ask the students to choose the song that best fits their living statue. The students then play the music while one by one they take their positions in the piece.

13 THEMES TO EXPLORE

Musical Memories

Amadeus is largely a memory play. When the play starts, we are introduced to Salieri as an old man in the last days of his life. The story travels back and forth in time according to Salieri’s memories and how he wants to tell the story of his feud with Mozart. Many times, these scenes are accompanied by Mozart’s music, which triggers both his admiration and hatred for the young composer.

It is easy to see the emotional effect that music has on people. A certain song may pro- voke tears or laughter depending on the situation and the person. Music has a seemingly magical property that helps the listener remember a time and a place that they may other- wise have forgotten. Maybe it takes you back to your first love in 7th grade or a big fight with your brother last year. It can change your mood from bad to good, just by the memories that it conjures.

Have you heard a song from years ago and realized that you still know all of the words? It isn’t magic that helps you remember. There are scientific studies that explore the effects of music on the human brain. Not only does music help people to remember certain events and moments in their lifetime, it can also help them to remember lists, vocabulary, and other languages. A lot of music by classical composers like Mozart and Handel was written in a time signature that had 60 beats per minute. It has been shown that listening to music at this pace utilizes both sides of the brain, helping people to remember things more accurately. A study at the University of Texas in 1982 demonstrated this theory. Three groups were assigned to listen to and memorize a list of words. The first two groups were read the words while listening to Handel’s Water Music and the third was read the words without the music. The first group was asked to envision the words while the sec- ond two were not. After two weeks, the groups were given a test on the words and the first group had perfect results! The other two groups were able to recall some, but not all of the words. The reasons for this phenomenon lie in the mathematics behind the music and their ability to help you categorize information in your brain. This shows the incredible power of music, both emotionally and mentally. So next time you’re preparing for a big test, try listening to Mozart’s Flute Concerto no.2 in D Major while you study – it just might help!

Check out our Classical Music Memory Test on the next page!

14 Test Your Memory!

Try this memory study with your class and see if your results agree with the study. Before you meet with your class, come up with a list of 15-20 words that are unrelated. Find copies of Handel’s “Water Music” or some other classical piece and a song by Metallica or a similar rock band, or use our suggestions below. In class, divide the students into three groups. One group will listen to classical music during the experiment, one will listen to rock and roll and one not have music. Have the first group stay in the room while the other two wait where they cannot hear the words. Read the list three times and allow the students to sit, with the music playing, for about three minutes. After they have finished, repeat with the other groups, using the rock music and no music. At the end of that class time, ask all of the students to write down what words they remember, without talking about them. Try test- ing them again the following day and a week later and log the results. Compare your results with the study: did your classroom learn best with classical music? With rock and roll? Did your class remember words that weren’t on the original list? Ask the students to compare experiences between the different music styles and how they felt it helped or hindered their ability to remember.

Song Suggestions:

Classical: ∗ Mozart: Piano Concerto No. 17, Finale ∗ Bach: Prelude & Fugue No. 1, from The Well-Tempered Clavier ∗ Beethoven: Symphony No. 9 in D minor

For more classical music, go to the Classical Music Archives at www.classicalarchives.com

Rock and Roll: ∗ Metallica: Enter Sandman ∗ Blink 182: A New Hope ∗ Aerosmith: Walk this Way

15 Themes to Explore The Secret Symbols of the Masons The Masons’ Secret Part of the secrecy of the masons According to the Freemasons themselves, “Freemasonry relied on their use of symbols to is the oldest and largest world wide fraternity dedicated to illustrate their beliefs. Each Ma- the Brotherhood of Man under the Fatherhood of a Su- sonic symbol represents a different preme Being. Although of a religious nature, Freema- part of their society. Here are some of the most common symbols and sonry is not a religion. It urges its members, however, to their meaning within the society! be faithful and devoted to their own religious beliefs.” Compass and The actual beginning of Freemasonry is rather vague: a Square: poem dating to 1390 called the Regius Manuscript is Represents the largely believed to be the oldest Masonic text. However, balance between the first lodges were not noted until the end of the 16th the spiritual century, at the same time the Enlightenment was stirring (compass) and in Europe. Masons, who agree to have faith in a supreme physical(square). being, share a common desire to become better men by being more educated in their lives and spirituality and op- erating under free-will for the benefit of society. They The Illumi- pledge no faith toward one god or another, leaving the nati: Repre- sents the eye organization open for interpretation by its members. In of God watch- this way, the men are able to explore the Enlightenment ing over hu- themes of science and learning while still maintaining a mankind. spiritual lifestyle.

For centuries, the Masons have been shrouded in mys- The Serpent and tery. Members can only be admitted to meetings after Egg: Represents completing a grip, or the secret handshake, sometimes knowledge and accompanied by a password or other token. Membership hope. has several levels, called degrees, which illustrate the member’s development as a Mason, and in most lodges, the third degree is the culmination of membership.

Mozart is one of many famous Masons in history. In Five Pointed Amadeus, you will hear a little about his opera The Star: Repre- Magic Flute, which was rooted in Masonic symbolism sents the five points of Fel- and teachings, and incorporates Enlightenment ideals and lowship. Egyptian Mythology. However the play again takes some liberties with fact: The Magic Flute was not as poorly received as portrayed in Amadeus, it actually ran for 100 These are just four of many Ma- straight performances to very pleased crowds! sonic symbols. If you had a secret club, what would your sym- Check out our super secret activity on the next page! bols be? What would they mean?

16 The Secret Society

This is a new variation on the Augusto Boal’s “Murder at the Hotel Agato.” The object of this game is to create a secret society like the Masons – students will either be masons or non-masons and will try to identify each other. Before the class, determine the secret gestures that will be used to identify the Masons. This should be something that they can do that isn’t too noticeable, like a wink. Next determine a response, like a finger snap. Then prepare small papers, one for each of the students. About half of them should say “Non-Mason” and the other half should say, “Mason – Wink and finger snap.” In class, pass out the papers and explain the rules:

The students are to walk around the classroom keeping aware of the people around them. The Masons are to try to pick out other Masons by using the secret gesture. If they get it right, the other Mason will snap their fingers (or whatever gesture you choose) in response. If they get it wrong, they will “die” with a brief melodramatic scene. Suggest to your students that waiting a few seconds before beginning their death scene may help to keep the secrecy of the Members. While playing, the Non-Masons can participate by try- ing to figure out the Mason gestures and becoming a Mason. However, if a Mason ap- proaches them and they respond incorrectly, they must leave the game. The game continues until there are only a few players left who have shown the best awareness of their surroundings, whether they were all originally Masons or not.

Fun fact: There are many famous Masons throughout history, not just Mozart! Recognize any of these names?

“Buzz” Aldrin “Count” Basie

George Washington Ben Franklin Sir Arthur Conan Doyle Johann Wolfgang von Goethe Arnold Palmer Mark Twain Oscar Wilde Aleksandr Pushkin

17 Glossary:

There are some words in Amadeus that you may not understand. The text is primarily in English but at times slips into French, Italian and German. Fortunately, many of the for- eign words sound similar to English or their meanings can be deduced from the dialogue surrounding it. Here are two lists of unfamiliar English words that you will come across during the play or in information surrounding it. Knowing these will help enrich your theater experience and your language skills.

Musical Terms:

Coloratura: n. runs, trills, and other florid decorations in music. Contredanza: n. Cuban inspired dance of the 18th century. Counterpoint: n. the texture resulting from the combining of individual melodic lines. Divisi: adj. divided; separated, used as a musical direction for two or more performers reading a part to begin reading two or more different parts. K-numbers: n. the chronological identifier of Mozart’s works, as assigned by Ludwig von Köchel Kapellmeister: n. director of music to a king, nobleman, or bishop. Libretto: n. the text or words of an opera or similar extended musical composition. Opera: n. a dramatic composition in which all parts are sung to instrumental accompani- ment. Requiem: n. the mass celebrated for the repose of the souls of the dead.

Other important terms:

Absolution: n. a freeing from blame or guilt, or the remission of sin Amadeus: n. Latin: love of God Commission: n. an order for something, especially a work of art to be produced specially. Invocation: n. the act of calling upon a deity for aid, protection, inspiration, or the like Libertine: n. a person who is morally unrestrained. Patron: n. a person who gives financial or other support to a person, cause, work of art, etc., especially one who buys works of art, or takes an honorary position in a charity, etc. Plaudit: n. a round of applause. Prodigy: n. a person endowed with exceptional qualities or abilities, esp. a child. Salons: n. an assembly of guests, common during the 17th and 18th centuries, consisting of leaders in society, art, politics, etc.

18 After the show questions:

∗ The play depicts a very competitive relationship between Salieri and Mozart. In what ways are the men similar? How are they different? ∗ Being poisoned is a major theme in this play. How does Shaffer use this mo- tif? When you discovered that Salieri metaphorically ‘poisoned’ Mozart, were you surprised? ∗ Amadeus is not a musical, but uses music to set the scene. In what ways did the music drive the action? Can you compare it to musicals, where the action is underlined by the musical number? ∗ Does Amadeus give you a greater understanding of Mozart and classical music? Would you want to see The Magic Flute or another Mozart opera? ∗ The set, props and costumes for Amadeus are particularly interesting because of the period in which the play is set. How did the production elements support the script? Did you notice anything in particular that set the tone of the play? Want to learn more?

The Mozart Guided Tour ∗ A great resource on all things Mozart. The site is presented as if by Mozart himself and includes biographical information, the Kochel catalogue, great links and more!

Mozart or Salieri Quiz ∗ Great activity for music class: listen to clips of famous songs by Mozart and Salieri and try to determine which composer wrote what. Windows Media Player and MP3 format.

The Regius Manuscript ∗ The oldest known Masonic Document, translated into modern English, using poetic meter.

The William Inge Theater Festival Interview with Peter Shaffer ∗ Complete text of Peter Shaffer interview, with topics including growing up in England, American audiences, information about his major plays and being a playwright.

19 PA Academic Standards-Pittsburgh Public Theater – Season 33

Amadeus

READING, WRITING, SPEAKING AND LISTENING 1.1-Students identify, describe, evaluate, and synthesize the essential ideas of the text. 1.3- Students analyze and interpret the play based on literary elements and devices, dramatic themes, and the use of language. 1.4- In post-show activities students can compose dramatic scenes where they work to construct dialogue, develop character, and outline plot. 1.6- Students listen and watch a selection of dramatic literature, analyze and synthesize the many elements of drama, and respond to post-show talkbacks and discussions with Public Theater staff, teachers, classmates, and students from other school districts.

CIVICS AND GOVERNMENT 5.2- Students will observe and evaluate the differences in the essential rights and responsibilities of citizens within various systems of government. Students also encounter the issues of conflict of interest between citizen and government, cooperation or resistance to the law, and participation in government activities. Students interpret the causes of conflict in the society and analyze its resolution.

GEOGRAPHY 7.1- Students relate physical locations to events in the play. 7.3- Students examine the human characteristics of geography, especially as they relate to population, demographics, political, economic and cultural characteristics in 18th century Europe and in the 20th and 21st century North America.

HISTORY 8.1- Students understand and analyze chronological thinking and historical interpretation by placing the era of 16th and 18th century Europe, and 20th and 21st century North America in the context of human history. 8.4- Students assess the political, cultural, ethnic, religious, and philosophical impact of individuals, material artifacts, and groups to world history.

ARTS AND HUMANITIES

9.1- Students recognize and use the principles and vocabulary of theater and music in discussion and are able to identify themes conveyed in the production. Students are also able to analyze the use of contemporary and tra- ditional technologies in regard to producing, performing, and understanding the humanities. 9.2- Students can analyze the historical, cultural and social context of a work of art. Students also examine the impact of art by using appropriate vocabulary to address the cultural, philosophical and historical aspects of art. 9.3-9.4- In post show talkbacks, discussions, and writing assignments, students are encouraged to describe the various elements of the work, evaluate the play critically and aesthetically, and consider the social impact of the work.

20 What’s going on at Pittsburgh Public Theater?

Summer Youth Classes Shakespeare Monologue & June 16-June 27, 2008 (Ages 13-17) Scene Contest ACTING WORKSHOP: SCENE STUDY Don’t miss out—Register now! June 23-July 11, 2008 (Ages 13-17) INTRODUCTION TO PLAYWRIGHTING & January 25th– Online Registration SCREENWRITING Deadline

June 30-July 11, 2008 (Ages 10-12) ACTING WORKSHOP: MAKING IT REAL January 11– February 8– Coaching Sessions June 14-August 1, 2008 (Ages 13-17) ACTING WORKSHOP: SHAKESPEARE February 11- 15– Preliminary INTENSIVE Round

Check out www.ppt.org for more informa- February 18, 2008– Showcase of tion. Finalists

Tell us what you think:

Pittsburgh Public Theater looks forward to receiving teacher and student feedback. Please share your thoughts about the play, the Resource Guide and your experience at Pittsburgh Public Theater. Feedback may be sent to:

Pittsburgh Public Theater Attn: Education Department 621 Penn Ave. Pittsburgh, PA 15222

Or email us at [email protected]

This resource guide was created by Laura Greenawalt, Education Intern. The Education and Outreach Department would like to thank Philip Stephenson, Marilyn Egan and the Pittsburgh Opera, Kristen Link, The William Inge Theater Festival and Mike Wood, and Stage Notes—A Camp Broadway LLC Production for their contributions to this guide.