educational guide - Opera Theater of Pittsburgh

TEACHER’S GUIDE
February 26, 27, 28, 2014
Father Ryan Arts Center
Jack G. Buncher Charitable Fund
Howard and Nell Miller Foundation
Hilda M. Willis Foundation
Page 3
Welcome to Opera Theater of Pittsburgh
Page 4
Program Objectives & Audience Etiquette
Page 5
What is Opera?
Page 6
Six Basic Vocal Categories
Page 7-8
Opera and Music Glossary
Page 9
Volcabulary, Grades 6-8
Page 10
Volcabulary, Grades 2-5
Page 11-12
Page 13
About Lukas Foss, composer
About The Jumping Frog of Calaveras County:
Cast of Characters and Singers
Production Credits
The Story
Page 14-15
About Satire
Page 16-18
About Mark Twain
Page 19
Calaveras County, the setting of Jumping Frog
Page 20
Calaveras County Frog Traditions
Page 21
Mark Twain House Coloring Page
Page 22
Mark Twain in Connecticut Coloring Page
Page 23
Mark Twain House Word Search Puzzle
Page 24
Activities and Extensions
Page 25
Activity Sheet on Satire
Page 26
Further Exploration: Bibliography
Page 27
Meet the Company: About Opera Theatre and SummerFest
2
Dear Educator,
Thank you for your participation in Opera Theater’s The Jumping Frog of Calaveras County educational program! This acclaimed work has drawn the attention of music and literature fans alike,
while it explores some of the events in the history of the American Gold Rush and pioneer spirit.
Composer Lukas Foss was inspired by the work of American author Mark Twain and
captures the authenticity of the original short story. Our school-time student version
lasts around 45 minutes. This event is a superb introductory opera for young audiences
and a natural vehicle for cross-curricular exploration of music, American history, literature, and the mechanics of satire.
The student matinees take place at the Father Ryan Arts Center in McKees Rocks on February
26, 27 and 28, 2014. The opera will be revived as part of the company’s summer offerings as part
of Opera Theater’s SummerFest season during three Saturday morning performances in July.
This Teacher’s Guide for the classroom workshops is a tool to assist in preparing your students
for their exposure to this opera. Opera is a complete art form and expression of culture. It encompasses music, theater, dance, design, literature, history and social movement in one sweep.
This guide provides background on the composer, history of the source material for the opera, a
synopsis of the story, and extension activities that may be incorporated into your curriculum.
A table of contents provides a glance of the areas you may wish to cover with your students.
You will find a collection of activities that will engage your students in the world of a story that
explores the nature of competition, honesty, and satire. We hope this involvement will excite
them further about opera, singing, theater, and literature.
We would like to hear about activities that were particularly successful in your classroom
and see any student work that you would like to share. Your comments are vital in the
planning of future programs and we thank you for your time!
If you have any questions, please do not hesitate to
contact Dennis Robinson, Jr. at drobinson@otsummerfest.org
or Yvonne Hudson at yhudson@otsummerfest.org.
Or call our office at 412-621-1499.
We hope you and your students enjoy this experience with The Jumping Frog of Calaveras County!
Jonathan Eaton
Artistic Director
Scott Timm
General Manager
Opera Theater of Pittsburgh online: otsummerfest.org
3
Program objectives
All students who complete the program will:
Understand the plot, characters, and their motivations of the opera
Learn something about the composer and others involved in writing the opera
Make a connection to the historic and social context of the story
Know some key musical elements, recognize certain melodies, differentiate between voices
Understand the role music plays in expressing emotions and heightening the dramatic experience
Understand the various elements of producing opera and the functions of those involved;
e.g. conductor, director, set designer, technical crew, etc.
Develop the ability to make inferences about the opera, production, and performance.
Relate incidents in the opera to those of the present day
Audience Etiquette
The following list of DO's and DON'Ts will help you (and those around you) enjoy the experience of
attending the opera:
DO dress in whatever you are comfortable. However, going to the theater can be an opportunity to dressed up and snazzy.
DO be on time! Latecomers disturb everyone. They will only be seated at suitable breaks and
often not until intermission.
DO NOT block your neighbors – if you are wearing a hat, take it off.
DO turn off cell phones, pagers, and all electronic devices.
(No texting, sorry.)
DO NOT take photos (even with your phone.)
DO NOT chew gum, eat, drink or talk. Be aware that you are an active participant in the theater magic.
DO get settled and comfortable prior to the performance beginning.
DO clap as the lights dim and the conductor appears and bows to the audience.
DO have a great time! Laugh
when something is funny and
applaud after an aria or suitable
pause in the action.
4
What is Opera?
An opera, like a play, is a dramatic form of theater that includes scenery, props, and costumes. Opera consists of
many dimensions that are combined to make it a unique whole: the human voice, orchestral music, the visual arts
(scenery, costumes, and special effects), drama (tragedy or comedy), and occasionally dance. Literally the word
opera is the plural of the Latin word opus, which means “work.” The orchestral music is an equal partner with
the singers, creating mood, foreshadowing and emotion.
Opera originated in Florence, Italy, in the late 1500’s, with a small group of intellectuals, poets, and musicians
who were members of a Camerata (Italian for society). These men decided they wanted words to be a featured
aspect of music to coordinate thought with emotion. They used ancient Greek drama as their inspiration, including the use of a chorus to comment on the action. The first significant composer to fully develop the ideas of the
Camerata was Jacapo Peri (1561-1633), whose opera Dafne was performed in 1594 and was regarded as the first
opera. Some purists regard the later L’Orfeo, written in 1607 by
Claudio Monteverdi as the first real contribution to the art form.
The Camerata laid down three principles for their new art form:
1. The text must be understood; the accompaniment must be very simple and should not distract from the words.
2. The words must be sung with correct and
natural declamation, as if they were spoken and
not rhyme like songs.
3. The melody must interpret the feeling of the
text.
Over the years, opera has adapted to reflect popular taste, ethnic
traditions, political climate and modern technologies. In America,
opera has evolved to reflect our unique lifestyle and diversity.
Many American composers, including Duke Ellington, George Gershwin and Leonard Bernstein, felt that American musical forms such as jazz and rock could communicate emotions as powerfully as traditional classical music
and therefore could be used as the musical vehicle for opera as well.
Many question the difference between an opera and a musical like Les Miserables or Phantom of the Opera… Even
music experts have hard time with this question, but there are some traits to look for. One, most operas are
through-composed, meaning there is no spoken dialogue, while musicals tend to alternate between spoken
scenes and songs. There are of course exceptions. Many present-day musicals are indeed through-composed and
are often referred to as “rock operas.” Examples include Rent and Jesus Christ Superstar. There are musical differences between the two as well. Operas generally require classically trained singers who must be able to sing in a
distinct style, and typically without amplification, while there is more variety in the voice of a musical theater performer and they often use microphones.
Operas are divided into scenes and acts that contain different types of vocal pieces for one or many singers. An
aria is a vocal solo that focuses on a character’s emotions rather than actions. A recitative is sung dialogue or
speech that occurs between arias and ensembles. Composers write the score or the music for the opera. Sometimes the composer will also write the text for the opera, but most often they work with a librettist.
The story of the opera is written as a libretto, a text that is easily set to music. In the past, the libretto (or
script) was bound and sold to the audience to read during the performance. Today, the audience can easily follow
the plot with the use of supertitles. Supertitles are the English translation of the libretto, which are projected
on the screen above the stage. Opera Theater performances, however, are sung in English.
5
Six Basic Vocal Categories
Women
Soprano: The highest female voice, similar to a flute or violin in range
and tone color. Usually plays the heroine in the opera since a high,
bright sound can easily suggest youth and innocence.
Mezzo-soprano: The middle-range female voice, similar to an oboe in
range and tone color. Called an alto in choral arrangements, can play a
wide variety of characters including gypsies, mothers, nurses, and even
the part of a young man (also called a trousers role).
Contralto: The lowest female voice, similar to an English horn in
range and tone color. Usually plays unique roles including fortunetellers, witches, and older women.
Men
Ana Maria Martinez as Ruzalka in the opera
by the same name by Antonín Dvořák
Tenor: The highest male voice similar to a trumpet in range, tone
color and acoustical “ring”. Usually plays the hero or the romantic lead in the opera.
A Countertenor sings even higher, usually in his falsetto range.
Baritone: The middle-range male voice similar to a French horn in tone color. Often
plays the leader of mischief in comic opera, or the villain in tragic opera. Is occasionally
the hero.
Bass: The lowest male voice, similar to a trombone or bassoon in tone color. Usually
portrays old, wise men, or foolish, comic men.
Operatic Singing
Bass-Baritones Eric Owens and
Bryn Terfel in Das Rheingold by
Wagner.
Operatic singing developed in Europe during the 17th century. The vocal demands are far
greater on an opera singer than on any other singer. Opera singers rarely use microphones and therefore must develop their voices to make a sound that will project above
an orchestra in a large theater.
How do they do it? After years of practice and study, an opera singer learns to use his or
her body as an amplification device by controlling the air flow through the vocal chords and therefore the vibrations in the cavities in the head. This control allows opera singers to use their bodies as an amplification system.
Many singers begin their operatic training in college. In addition to performance skills, music history, foreign languages and music theory. After university, singers begin to work in the professional world. Their first roles are
usually small parts, but if they continue to study and train, they may move on the bigger principal roles.
Since the principal artists are required to have their parts memorized before rehearsals begin, singers must
prepare well in advance of each contract. After the role has been studied intensely and the singer is hired to
perform, the singer arrives at the opera company for the rehearsals. This time is spent refining the music with the
conductor and staging the action with the stage director.
For opera vocabulary, story synopses and opera games, visit: http://azopera.com/learn.php
Activity For Discussion:
What stories or events from your experience would make for a great opera? What
6
Opera and Music Glossary
To download a more comprehensive opera glossary, visit: http://www.azopera.com
Accompaniment - An instrumental or vocal part
designed to support or complement a principal voice,
instrument, or group of voices or instruments. In an
aria, the voice is the primary focus and the orchestra
is the accompaniment.
Claque - A group of
people hired to sit in
the audience and either
applaud enthusiastically
to ensure success or
whistle or boo to create a disaster. In past
years, leading singers
were sometimes blackmailed to pay a claque
to insure they would not create a disturbance. Even
now, one is sometimes used but rarely acknowledged.
Aria - An extended musical passage performed by
one singer. It is used to express feelings or comment
on the action and is accompanied by the orchestra.
The action usually stops while an aria is sung.
Bravo - Literally “brave, courageous.” A form of
applause when shouted by members of the audience
at the end of an especially pleasing performance.
Strictly speaking, bravo is for a single man, brava for a
woman, and bravi for more than one performer.
Composer- The person who writes the music of an
opera or other genre.
Conductor - The person who leads the orchestra &
singers.
Cadenza - An elaborate unaccompanied passage
near the end of an aria designed to show off the
voice. Originally used to close a number and improvised on the spot.
Curtain Call - At the end of a performance all of the
members of the cast and the conductor take bows.
Sometimes this is done in front of the main curtain,
hence the name. Often, however, the bows are taken
with the curtain open.
Diva - Literally “goddess,” it refers to an important
female opera star. The masculine form is divo.
Dress Rehearsal - The final rehearsal(s), using all of
the costumes, lights, etc. While sometimes it is necessary to stop for corrections, an attempt is made to
make it as much like a final performance as possible.
Encore - Literally means “again.” It used to be the
custom for a singer to repeat a particularly popular
aria if the audience called Encore loud enough. While
this is still done in countries like Italy, it is rare elsewhere.
Finale - Literally “the end.” The ending segment/song
of an act or scene. It usually involves many singers and
is very dramatic.
Chorus - In opera, a group of mixed voices, or the
musical passage sung by such a group.
continued
7
Opera and Music Glossary (continued)
Improvisation – creating music “in the moment” to re
-imagine a song in an individual way.
Proscenium - The front opening of the stage which
frames the action.
Interlude - An orchestral selection played between
scenes in an opera. It is used to set a mood or advance
the story.
Intermission - A break between acts of an opera. The
lights go on and the audience is free to move around.
Intermissions usually last up to twenty minutes.
Libretto - Literally “little book.” The text of an opera.
The libretto is always shorter than a normal play because it takes so much longer to sing a line than to say
it. The action is often interrupted for an aria which limits the length of the
text even more.
Lyricist – Person who writes the words to a song.
Recitative - Sung dialogue that moves the action
along by providing information. A recitative (or recit)
usually has no recognizable melody and the singing is
generally faster with a rhythm more like normal
speech.
Orchestrate – To determine and write out the music
each instrument will play in a musical composition.
Production - Combination of sets, costumes, props,
lights, etc.
Roulade/Run - A quick succession of notes sung to
one syllable.
Principal - A leading role or character in the opera.
Score - The written music for a piece or group of
pieces with separate lines for each instrument and
each singer’s voice.
Props (Properties) - Small items carried or used by singers during a performance, such as fans, letters or a
rope.
Set - The decoration on stage that indicates the
place and overall world of the opera.
Prompt - To help a singer who has forgotten a line. In
some opera houses, the prompter sits in a box at the
very front of the stage.
Stage Director - The person responsible for directing the movement of the characters and creating the
story on stage.
Supernumerary or Super - An “extra.” Someone
who is part of a group on stage but does not sing.
Syncopation – Rhythm containing unexpected accents, or strong beats were there would traditionally
be weak beats or rests.
8
Vocabulary from Jumping Frog
Grades 6-8
Garrulous
adj. excessively talkative in a rambling, roundabout manner, especially about trivial
matters.
Conjectured
n. the formation or expression of an opinion or theory without sufficient evidence for proof; an opinion or theory so formed or expressed; guess; speculation. v. to conclude or suppose from grounds or evidence insufficient to ensure
reliability.
Infamous
adj. having an extremely bad reputation
Infernal
adj. hellish; fiendish; diabolical; extremely troublesome, annoying, etc.; outrageous
Reminiscence
n. the act or process of recalling past experiences, events, etc,; a mental impression
retained and revived.
Tedious
adj. marked by tedium; long and tiresome; wordy so as to cause weariness or boredom, as a speaker or writer; prolix.
Monotonous
adj. lacking in variety; tediously unvarying; characterizing a sound continuing on one
note.
Interminable
adj. incapable of being terminated; unending
Earnest
adj. serious in intention, purpose, or effort; sincerely zealous; showing depth and sincerity of feeling; seriously important; demanding or receiving serious attention. n. full
seriousness, as of intention or purpose.
Transcendent
adj. going beyond ordinary limits; surpassing; exceeding; superior or supreme.
Finesse
n. extreme delicacy or subtlety in action, performance, skill, discrimination, taste, etc.;
skill in handling a difficult or highly sensitive situation; adroit and artful management
Cipher
n. zero; any of the Arabic numerals or figures; Arabic numerical notation collectively;
something of no value or importance; a person of no
influence; nonentity.
Ornery
adj. ugly and unpleasant in disposition or temper;
stubborn; low or vile.
Shot
n. a discharge of a firearm, bow, etc.; the range of or
the distance traveled by a missile in its flight; an act
or instance of shooting a firearm, bow, etc. v. simple
past tense and past participle of shoot. adj. woven so
as to present a play of colors; having a changeable
color; variegated, as silk; spread or streaked with
color; hopelessly bad condition; ruined; Slang: intoxicated.
Anvil
n. a heavy iron block with a smooth face, frequently
of steel, on which metals, usually heated until soft,
are hammered into desired shapes; anything having a
similar form or use; the fixed jaw in certain measuring instruments.
9
Vocabulary from Jumping Frog
Grades 2-5
Amphibians
n. An animal, aircraft or vehicle capable of living both on land and in water.
Budge
v. To move or stir slightly; to alter a position or altitude.
Curious
adj. Eager to learn more; unduly inquisitive; prying.
Dozing
v. To sleep lightly.
Fellow
n. A man or boy
Monstrous
adj. Shockingly hideous or frightful; exceptionally large; of or resembling a monster
Pried
v. Past tense of pry; to look or inquire closely, curiously, or impertinently
Slopped
n. Spilled or splashed liquid; soft mud or slush; unappetizing watery food or soup.
Whirling
v. To revolve about a center or an axis; to rotate or spin rapidly.
10
About LUKAS FOSS, composer
Lukas Foss (August 15, 1922, Berlin, Germany – February 1, 2009,
New York City, New York) was a true renaissance man, that rare breed
of musician, equally renowned as a composer, conductor, pianist, educator and spokesman for his art. The many prestigious honors and awards
he received testify to his importance as one of the most brilliant and
respected figures in American music. As a composer, Mr. Foss eagerly
embraced the musical languages of his time, producing a body of over
one hundred works that Aaron Copland described as including “among
the most original and stimulating compositions in American Music.” As
Music Director of the Buffalo Philharmonic Orchestra, Brooklyn Philharmonic and Milwaukee Symphony, Foss was an effective champion of living composers of every stripe and has brought new life to the standard
repertoire. His legendary performances as a piano soloist, in repertory
ranging from J. S. Bach’s D Minor Concerto to Leonard Bernstein’s Age of
Anxiety, have earned him a place among the elite keyboard artists of our
time.
Lukas Foss wrote
three operas
The Jumping Frog of Calaveras County (1949) was his
first opera.
Griffelkin (1955)
Introductions and Good-byes
(1959)
Many of his works are landmarks of the 20th Century repertoire:
Time Cycle (1960) for soprano
and orchestra.
Baroque Variations (1960) for
orchestra.
13 Ways of Looking at a
Blackbird (1978) for soprano
and small ensemble.
Tashi (1986), for piano, clarinet
and string quartet.
Renaissance Concerto (1985),
for flute and orchestra.
As a conductor, Mr. Foss has been hailed for the adventurous mix of
traditional and contemporary music that he programs, and he appeared
with the world’s greatest orchestras, including the Boston, Chicago,
London and Leningrad Symphonies, the Philadelphia and Cleveland Orchestras, Santa Cecilia Orchestra of Rome, and the New York, Berlin,
Los Angeles and Tokyo Philharmonics. In 1937, the 15-year old prodigy
came to America to study at Philadelphia’s Curtis Institute of Music. He
had already been composing for eight years, starting under the guidance
of his first piano teacher, Julius Herford in Berlin. He also studied in Paris after his family fled Nazi Germany in 1933. By age 18, the young musician had graduated with honors from Curtis, and was headed for advanced study in conducting at the Berkshire Music Center, Tanglewood
and in composition with Paul Hindemith at Tanglewood and Yale University. Foss was the pianist in the Boston Symphony Orchestra,194450. In 1945, he was the youngest composer ever to receive a Guggenheim fellowship.
When Foss succeeded Arnold Schoenberg as Professor of Composition
at the University of California at Los Angeles in 1953, the University
probably thought it was replacing a man who made traditions with one
who conserved them. But that was not how things turned out. In 1957,
seeking the spontaneous expression that lies at the root of all music, he
founded the Improvisational Chamber Ensemble, a foursome that improvised music in concert, working not from a score, but from Foss’ ideas
and visions.
continued
“Since age seven, I’ve been composing and have
never stopped composing, yet, the creative process is as elusive to me as it has even been.”
11
About LUKAS FOSS, composer
The effects of these experiments soon showed in his composed works, where Foss began probing and questioning
the ideas of tonality, notation and fixed form. Even time
itself came up for scrutiny in his pioneering work, Time
Cycle, which received the New York Music Critic’s Circle
Award in 1961, and was recorded on the CBS label. At its
world premiere (for which the Improvisational Chamber
Ensemble provided improvised interludes, between the
movements), Leonard Bernstein and the New York Philharmonic performed the entire work twice in the same evening, in an unprecedented gesture of respect.
Lukas Foss’ compositions prove that a love for the music of
the past can be reconciled with all sorts of innovations.
Whether the musical language is serial, aleatoric, neoclassical or minimalist, the “real” Lukas Foss is always present.
The essential feature of his music is the tension, so typical
of the 20th Century, between tradition and new modes of
musical expression.
His ideas – and his compelling way of expressing them –
garnered considerable respect for Foss as an educator as
well. He taught at Tanglewood, and has been composer-inresidence at Harvard, the Manhattan School of Music, Yale
University, Boston University, and even at Pittsburgh’s own
Carnegie Mellon University.
In 1983 he was elected to membership in the American Academy of Arts and Letters and in May, 2000 received
the Academy’s Gold Medal in honor of his distinguished career in music. The holder of eight honorary doctorates
(including a 1991 Doctor of Music degree from Yale), he was in constant demand as a lecturer, and delivered the
prestigious Mellon Lectures (1986) at Washington’s National Gallery of Art.
Adapted from carlfischer.com
“There is another interesting paradox here: by immersing ourselves in what
we love, we find ourselves. We do not lose ourselves. One does not lose
one's identity by falling in love.”
Activity for Discussion: Lukas Foss was a child prodigy—someone whose
incredible talent was recognized at a young age. Throughout his life he shared
many valuable insights about music, art, life, and love. Use some of Foss’ words
to have a discussion about the role of the arts in our lives. Why is it important to
hear, see, try something new—like “opera”?
An array of quotes from Foss can be found at:
http://www.goodquotes.com/author/lukas-foss
12
About THE JUMPING FROG OF CALAVERAS COUNTY
Music by LUKAS FOSS Words by Jean Karsavina
Lukas Foss and Jean Karsavina elected to create an opera in two scenes based on the short story
“The Celebrated Jumping Frog of Calaveras County” by Mark Twain.
Cast of characters and singers
Smiley
Stranger
Lulu
Uncle Henry
Daniel Arnaldos, tenor
Zachary Luchetti, baritone
Kaitlin Very, mezzo soprano
James Critchfield, baritone
Production Crew
Director
Music Director & Accompanist
Scenic Designer
Costume Designer
Assistant Director & Stage Manager
Dennis Robinson, Jr.
Hyery Hwang
Christine Lee
Elizabeth Rishel
Dillon Stark
The Jumping Frog of Calaveras County is produced by permission of Carl Fischer, LLC, New York, NY
The Jumping Frog of Calaveras County is performed in one act with no intermission.
Running time is approximately 45 minutes
The Story
SCENE 1 – Outside Uncle Henry’s Place
Outside Uncle Henry's Place in Calaveras County, California, Smiley is bragging about what a great jumper his
frog, Daniel Webster, is. Uncle Henry and Lulu, his niece, are singing the praises of the frog and its teacher, Smiley. A stranger enters, and says he doesn't think Smiley's frog is any different than any other to prove it, he bets
forty dollars that another frog will out jump Daniel Webster. Left alone with the champion frog, the stranger
feeds it some buckshot from Uncle Henry's shotgun, revealing as he does so that he travels from town to town
cheating the men and loving the women. He leaves for Lulu's; she has promised to cook him dinner.
SCENE 2 – In the Town Square
Later, in the village square, all the townsfolk are amazed at the stranger's ignorance, betting against Daniel Webster. The stranger enters with Lulu and tells her goodbye, then offers to match anyone else in town's wagers.
The natives are stunned when Daniel is unable to make even a small jump. The stranger has just left, among the
lamentations of the spectators, when Daniel begins to vomit buckshot. The stranger is dragged back, relieved of
his winnings, and chased out of town as all join in praising Daniel Webster—still the champion jumper of Calaveras County.
Activity for Discussion: Create a collage of the story of Jumping Frog.
Here’s an idea starter on Glogster.
http://mslev.edu.glogster.com/mark-twain/
What places, people, and predicaments set up a the story Jumping Frog? Where
is Calaveras County? What does a Gold Rush town look like? What are the men
like who live and work there? What does a real “jumping frog” look like?
13
About Satire
What is Satire?
Generally, satire is something meant to make fun of and show the
weaknesses of human nature or a particular person.
Definition of satire (noun):
a way of using humor to show that someone or something is foolish, weak, bad, etc. : humor that shows the weaknesses or bad qualities of a person, government, society, etc.
“One can deliver a satire
with telling force
through the insidious
medium of travesty, if he
is careful not to overwhelm the satire with
the extraneous interest
of the travesty.”
Two kinds of satire
Overall, the artistic form of satire holds up human or individual
—Mark Twain in “A Couple of Sad
vices, folly, abuses, or shortcomings to by ridicule, derision, burExperiences,”
lesque, irony, or other methods. Sometimes the artists—in this
Galaxy
Magazine,
June 1870
case, called a “satirist”— may intend to bring about improvement in
a situation through his or her work. If you think of the satirist as
brings a topic or concern to the public through their work—be it a
story or a cartoon or a comic sketch—-you can imagine that moving someone to action may be possible. If
someone laughs or even cries as a response to satire, the satirist has achieved his or her goal. If the someone
takes an action step to brining about change, the satirist with intention for a cause may be even happier!
Literature and drama are the main vehicles for satire, but satire is also found in film, the visual arts (e.g., caricatures), and political cartoons.
Satire was present in Greek literature, notably in the works of Aristophanes. Satire generally follows the example
of either of two Roman writers, Horace or Juvenal. To Horace, the satirist is an urbane man of the world who
sees folly everywhere but is moved to gentle laughter rather than to rage. Juvenal's satirist is an upright man who
is horrified and angered by corruption. Their different perspectives produced the subgenres of satire identified by
philosopher John Dryden as comic satire and tragic satire.
Comic satire As an event that makes fun of not-so-significant scientific achievements says, their form of satire
“honors achievements that first make people laugh, and then make them think.” That’s how comic satire generally
works—first laughter, then thinking about the topic.”
Comic satire As an event that makes fun of not-so-significant scientific achievements says, their form of satire
“honors achievements that first make people laugh, and then make them think.” That’s how comic satire generally
works—first laughter, then thinking about the topic.”
Horatian
Horatian satire, named for the Roman satirist Horace (65–8 BCE), playfully criticizes some social vice through
gentle, mild, and light-hearted humour. It directs wit, exaggeration, and self-deprecating humour toward what it
identifies as folly, rather than evil. Horatian satire's sympathetic tone is common in modern society.
Activity for Discussion: Distribute the Story of Jumping Frog synopsis
from this guide. Conduct a brief discussion on the question: “What does the
opera Jumping Frog have to do with honesty, competition, and American History?
14
About Satire, continued
Examples:
The Ig Nobel Prizes.
Bierce, Ambrose, The Devil's Dictionary.
Defoe, Daniel, The True-Born Englishman.
Gogol, Nikolai, Dead Souls.
Groening, Matthew ‘Matt’, The Simpsons.
Kubrick, Stanley, Dr. Strangelove.
Lewis, Clive Staples, The Screwtape Letters.
Mercer, Richard ‘Rick’, The Rick Mercer Report.
Pope, Alexander, The Rape of the Lock.
Twain, Mark, Adventures of Huckleberry Finn.
Examples of tragic or Juvelian satire…
...in literature:
Mark Twain’s Huckleberry Finn
Anthony Burgess’ A Clockwork Orange
...on television:
The Daily Show
The Colbert Report
...in media:
Most political cartoons in print
(newspapers and magazines) and digital
media (in websites, on the Internet)
Examples of comic or Horatian satire…
...in literature:
Twain’s Huckleberry Finn
Mozart’s Don Giovanni
...on television:
Saturday Night Live
...in events:
The Ig Noble Prizes
Harvard’s Hasty Pudding Club
Activity for Discussion: What historical events were happening during the life of
Mark Twain (1835—1910) in America? In the world? If you were an writer how
might these events have affected your creations? What current events do you feel
have, or should have a strong influence on today’s journalists, novelists, bloggers,
and poets?
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About Samuel Clemens—aka Mark Twain (1835-1910)
“
Biography of Mark Twain
A Life Lived in a Rapidly Changing World: Samuel L.
Clemens‚ 1835-1910
As Twain’s books provide insight into the past‚ the events of
his personal life further demonstrate his role as an eyewitness
to history. During his lifetime‚ Sam Clemens watched a young
United States evolve from a nation torn apart by internal conflicts to one of international power. He experienced America’s
vast growth and change – from westward expansion to industrialization‚ the end of slavery‚ advancements in technology‚
big government and foreign wars. And along the way‚ he often
had something to say about the changes happening in his country.
The Early Years
Samuel Clemens was born on November 30‚ 1835 in Florida‚ Missouri‚ the sixth of seven children. At the age of 4‚ Sam and his family moved to the small
frontier town of Hannibal‚ Missouri‚ on the banks of the Mississippi River. Missouri‚ at the time‚ was a fairly new state (it
had gained statehood in 1821) and comprised part of the
country’s western border. It was also a slave state. Sam’s father owned one slave and his uncle owned several. In fact‚ it
was on his uncle’s farm that Sam spent many boyhood summers playing in the slave quarters‚ listening to tall tales and the
slave spirituals that he would enjoy throughout his life. In
1847‚ when Sam was 11‚ his father died. Shortly thereafter he
left school‚ having completed the fifth grade‚ to work as a
printer’s apprentice for a local newspaper. His job was to arrange the type for each of the newspaper’s stories‚ allowing
Sam to read the news of the world while completing his work.
Twain’s Young Adult Life
At 18‚ Sam headed east to
New York City and Philadelphia‚ where he worked on several
different newspapers and found some success at writing articles. By 1857‚ he had returned home to embark on a new
career as a riverboat pilot on the Mississippi River. With the
outbreak of the Civil War in 1861‚ however‚ all traffic along
the river came to a halt‚ as did Sam’s pilot career. Inspired by
the times‚ Sam joined a volunteer Confederate unit called the Marion Rangers‚ but he quit after just two weeks.
In search of a new career‚ Sam headed west in July of 1861‚ at the invitation of his brother‚ Orion‚ who had just been appointed Secretary of the Nevada Territory. Lured by the
infectious hope of striking it rich in Nevada’s silver rush‚ Sam traveled across the open
frontier from Missouri to Nevada by stagecoach. Along the journey Sam encountered
Native American tribes for the first time as well as a variety of unique characters‚ mishaps
and disappointments. These events would find a way into his short stories and books‚
particularly Roughing It.
After failing as a silver prospector‚ Sam began writing for the Territorial Enterprise‚ a Virginia City‚ Nevada‚ newspaper where he used‚ for the first time‚ his pen name‚ Mark Twain.
Wanting a change by 1864‚ Sam headed for San Francisco where he continued to write
for local papers.
continued
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About Samuel Clemens—aka Mark Twain, continued
In 1865‚ Sam’s first “big break”
came with the publication of his
short story‚ “Jim Smiley and His
Jumping Frog ” in papers across
the country. A year later‚ Sam was
hired by the Sacramento Union to
visit and report on the Sandwich
Islands (now Hawaii). His writings
were so popular that‚ upon his
return‚ he embarked upon his first
lecture tour‚ which established him
as a successful stage performer.
Hired by the Alta California to continue his travel writing from the
east‚ Sam arrived in New York
City in 1867. He quickly signed up
for a steamship tour of Europe and
the Holy Land. His travel letters‚
full of vivid descriptions and
tongue-in-cheek observations‚ met with such audience approval that they were later reworked into his first
book‚ The Innocents Abroad in 1869. It was also on this trip that Clemens met his future brother-in-law‚ Charles
Langdon. Langdon reportedly showed Sam a picture of his sister‚ Olivia‚ and Sam fell in love at first sight.
Twain Starts a Family and Moves to Hartford
After courting for two years‚ Sam Clemens and
Olivia (Livy) Langdon were married in 1870. They settled in Buffalo‚ New York‚ where Sam had become a partner‚ editor and writer for the daily newspaper the Buffalo Express. Their first child‚ Langdon Clemens‚ was born.
In 1871‚ Sam moved his family to Hartford‚ Connecticut‚ a city he had come to love while visiting his publisher
there‚ and where he had made friends. Livy also had family connections to the city. For the first few years the
Clemenses rented a house in the heart of Nook Farm‚ a residential area that was home to numerous writers‚
publishers and other prominent figures. In 1872‚ Sam’s recollections and tall tales from his frontier adventures
were published in his book‚ Roughing It. That same year the Clemenses’ first daughter Susy was born‚ but their
son‚ Langdon‚ died at the age of two from diphtheria. In 1873‚ Sam’s focus turned toward social criticism. He and
Hartford Courant publisher Charles Dudley Warner co-wrote The Gilded Age‚ a novel that attacked political corruption‚ big business and the American obsession with getting rich that seemed to dominate the era. Ironically‚ a
year after its publication‚ the Clemenses’ elaborate 25-room house on Farmington Avenue‚ which had cost the
then-huge sum of $40‚000-$45‚000‚ was completed.
Twain Writes his Most Famous Books While Living in Hartford
For the next 17 years (18741891)‚ Sam‚ Livy and their three daughters (Clara was born in 1874 and Jean in 1880) lived in the Hartford home.
During those years Sam completed some of his most famous books‚ often finding a summer refuge for uninterrupted work at his sister-in-law’s farm in Elmira‚ N.Y. Novels such as The Adventures of Tom Sawyer (1876) and Life
on the Mississippi (1883) captured both his Missouri memories and depictions of the American scene. Yet‚ his social commentary continued. The Prince and the Pauper (1881) explored class relations as does A Connecticut Yankee
in King Arthur’s Court (1889) which‚ going a step further‚ criticized oppression in general while examining the period’s explosion of new technologies. And‚ in perhaps his most famous work‚ Adventures of Huckleberry Finn(1884)‚
Clemens‚ by the way he attacked the institution of slavery‚ railed against the failures of Reconstruction and the
continued poor treatment of African Americans in his own time. Huckleberry Finn was also the first book published by Sam’s own publishing company‚ The Charles L. Webster Company. In an attempt to gain control over
publication as well as to make substantial profits‚ Sam created the publishing company in 1884. A year later‚ he
contracted with Ulysses S. Grant to publish Grant’s memoirs; the two-volume set provided large royalties for
Grant’s widow and was a financial success for the publisher as well.
continued
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Twain’s Financial Ruin and Subsequent Travels
Although Sam enjoyed financial success during his
Hartford years‚ he continually made bad investments in new inventions that brought him to bankruptcy. In an
effort to economize and pay back his debts‚ Sam and Livy moved their family to Europe in 1891. When his publishing company failed in 1894‚ Sam set out on a worldwide lecture tour to earn money. In 1896‚ tragedy struck
when Susy Clemens‚ at the age of 24‚ died from meningitis while on a visit to the Hartford home. Unable to return to the place of her death‚ the Clemenses never returned to Hartford to live. From 1891 until 1900‚ Sam and
his family traveled throughout the world. Sam witnessed the increasing exploitation of weaker governments by
European powers‚ which he described in his book‚ Following the Equator (1897). The Boer War in South Africa
and the Boxer Rebellion in China fueled his growing anger toward imperialistic countries and their actions. With
the Spanish-American and Philippine War in 1898‚ Sam’s wrath was redirected toward the American government. When he returned to the US in 1900‚ his finances restored‚ Sam declared himself an anti-imperialist and‚
from 1901 until his death‚ served as vice president of the Anti-Imperialist League.
Twain’s Darkest Times and Late Life In these later years‚ Sam’s writings turned dark. They began to focus
on human greed‚ cruelty and questioned the humanity of the human race. His public appearances followed suit
and included a harshly sarcastic public introduction of Winston Churchill in 1900. Even though Sam’s lecture tour
had managed to get him out of debt‚ his anti-government writings and speeches threatened his livelihood once
again. Labeled by some as a traitor‚ several of Sam’s works were never published during his lifetime either because magazines would not accept them or because of a personal fear that his marketable reputation would be
ruined. In 1903‚ after living in New York City for three years‚ Livy became ill and Sam and his wife returned to
Italy where she died a year later. After her death‚ Sam lived in New York until 1908 when he moved into his last
house‚ “Stormfield”‚ in Redding‚ Connecticut. In 1909‚ his middle daughter Clara was married. In the same year
Jean‚ the youngest daughter‚ died from an epileptic seizure. Four months later on April 21‚ 1910‚ Sam Clemens
died at the age of 74.
From the Mark Twain House website. Visit online for many resources and background on Samuel
Clemens, his family, and work.
http://www.marktwainhouse.org/
Like any good journalist‚ Sam Clemens‚ a.k.a.
Mark Twain‚ spent his life observing and reporting
on his surroundings. In his writings he provided
images of the romantic‚ the real‚
the strengths and weaknesses of a rapidly changing world. By examining his life and his works‚
we can read into the past - piecing together various events of the era and the responses to them.
We can delve into the American mindset of the
late 19th century and make our own observations
of history‚ discover new connections‚ create new
inferences and gain better insights into the time
period and the people who lived in it.
As Sam once wrote‚ “Supposing is good‚ but finding out is better.”
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Calaveras County, the setting of Jumping Frog
Calaveras is the Spanish word for “skulls”.
Early Spanish explorers found skulls in the area
during visits to the “new world”.
Calaveras County, officially the County of Calaveras, Calaveras County is located in the heart of the California Gold Country. Calaveras County was
one of the original counties of the state of California, created in 1850 at the
time of admission to the Union.
With its rich, colorful history, its place in literature (Mark Twain's Celebrated
Jumping Frog of Calaveras County and author Bret Harte), its beautiful scenery
and fantastic recreational opportunities, Calaveras County is a wonderful place
to live or visit. The county's geography includes beautiful landmarks, rolling hills,
and giant valleys. It is also known for its friendly communities, and businesses
such as agriculture management and construction engineering. It has numerous caverns, such as Mercer Caverns, that are national destinations for tourists from across the country.
Mark Twain set his story, "The Celebrated Jumping Frog of Calaveras County", in the county. Each year, the
county hosts a fair and Jumping Frog Jubilee, featuring a frog-jumping contest, to celebrate the association with
Twain's story. Another writer Bret Harte (1836-1902) originated the American local-color story. He wrote of
the lawless, burly life of early California mining camps and was known for his stories of the American West.
The California red-legged frog, feared extinct in the county by 1969, was rediscovered in 2003.
Calaveras is the Spanish word for skulls; the county was reportedly named for the remains of Native Americans
discovered by the Spanish explorer Captain Gabriel Moraga.
As of the 2010 census, the county had a population of 45,578. The county seat is San Andreas. Angels Camp is
the only incorporated city. Calaveras Big Trees State Park, a preserve of Giant Sequoia trees, is located in the
county several miles east of the town of Arnold on State Highway 4. The uncommon gold telluride mineral
calaveritewas discovered in the county in 1861 and is named for the County of origin by chemist and mineralogist
Frederick Augustus Genthwho differentiated it from the known gold telluride mineral sylvanite, and formally
reported it as a new gold mineral in 1868.
Gold prospecting in Calaveras County began in late 1848 with a camp founded by Henry and George Angel. The brothers first arrived in California as soldiers, serving under Colonel Frémont during the Mexican War. After the war's
end, the brothers found themselves in Monterey where they heard of the
fabulous finds in the gold fields. The brothers tried placer mining but soon
opened a trading post. By the end of the year, over one hundred tents were
scattered about the creek and the settlement was referred to as Angels Trading
Post, later shortened to Angels Camp. Placer mining soon gave out around the
camp, but an extensive gold-bearing quartz vein of the area's Mother Lode located during the mid-1850s brought in the foundations of a permanent town.
Five major mines working the rich vein reached their peaks during the 1880s
and 1890s, when over 200 stamp mills crushed quartz ore brought in by hand
cars on track from the mines. By the time hard rock mining was done, the five
mines had producing a total of over $20 million in gold.
Sources include:
http://en.wikipedia.org/wiki/Calaveras_County,_California
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Calaveras County Frog Traditions
Dateline: Angels Camp, California
For the second time this month, the Calaveras County Fair & Jumping Frog Jubilee has leaped across the wild blue yonder. The Frog Jump was named one of the
“Strangest Things to Do” in 2014 by United Airline’s Hemispheres magazine.
Jumping on board is Southwest’s Spirit magazine naming the Frog Jump one of
“America’s Oddest Sports”.
Each May, California's Calaveras County holds the Calaveras County Fair and
Jumping Frog Jubilee. The 2009 champion, a frog named “For the Sign”, jumped
21 feet. Honest!
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Activities and Extensions
1.) When you think of “opera,” what do you expect? What type of singing?
What kinds of instruments? What type of storyline and characters?
2.) Have the students watch for references to opera in their everyday lives.
Radio, TV, magazines and movies often refer back to the classics.
3.) Compare your students’ favorite types of music with classical music. What
does each style have in common? How are they different? Here are some questions to consider: What instruments are used? Is it improvised or already written
out? Is the music composed by one composer or by a group of musicians? What
is the subject matter of the lyrics? What emotions or messages are common
themes? What audience (age, gender, community) did the composer intend his
music to be heard by? How do the singers display their vocal skill?
4.) Be a Composer! Jumping Frog began life from as a short story by Mark Twain.
Almost every stage piece (opera, musical, play) started as some other story. This
story is called the source material. Choose a novel or biography that you have
read or a good story and think about how you would go about adapting it into an
opera or piece of musical theater. You would have to choose which parts of the
drama would be highlighted with which sorts of music. When would there be duets, or trios, or quartets? Or big soaring arias? How would you set your opening
scene? Would you have a big chorus to set up the place and time or would it
begin in a quieter way? Write out an outline and try to structure the beginnings
of an opera.
5.) It has been said that art helps lead political and cultural progress. Art can also
create emotional and life-changing experiences or sharpen our personal values.
How do you think this opera fits into this statement?
6.) Have students use Google Maps or Google earth to search and explore the
locations of the story and the American Gold Rush.
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Activity Sheet on Satire
Thoughts on Life, Language, Money, and Satire...
Quotations
In your own words
Life would be infinitely happier if we could only be born at
the age of eighty and gradually approach eighteen.
— Mark Twain
I am so clever that sometimes I don't understand a single
word of what I am saying. — Oscar Wilde
Fish and visitors smell after three days.
— Benjamin Franklin
The lack of money is the root of all evil.—Mark
Twain
The only people who say worse things about politicians than reporters do are other politicians. —
Andy Rooney
The cure for boredom is curiosity. There is no cure
for curiosity. — Dorothy Parker
You can't be satirical and not offensive to somebody.
— Tom Lehrer
Satire is traditionally the weapon of the powerless
over the powerful. ―Molly Ivins
Anyone can do any amount of work, provided it isn’t
the work he is supposed to be doing. ― Robert
Benchley
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Agree
Disagree
Books
Barber, David W. When the Fat Lady Sings: Opera History as it Ought to be Taught. Sound and Vision,
1990.
David, Ron. Opera for Beginners. Writers and Readers Publishing, Inc., 1995.
Freeman, John W. The Metropolitan Opera: Stories of the Great Operas. W. W. Norton & Co., New York,
1993.
Lang, Paul H. The Experience of Opera. W. W. Norton & Co., 1971.
Mondadori, Arnoldo. (Ed.) The Simon and Schuster Book of the Opera. Simon and Schuster, New York,
1978.
Sadie, Stanley. (Ed.) The New Grove Dictionary of Opera. MacMillen Reference Limited, London, 1997.
Music
Listen to or buy recordings of The Jumping Frog of Calaveras County at:
http://www.naxos.com/catalogue/item.asp?item_code=9.80173
Websites and links
The PBS site for filmmaker Ken Burns’ documentary on Mark Twain provides many resources on
Twain’s life and work, as well as classroom resources.
http://www.youtube.com/watch?v=0pg-oX0ZFLg
Audio of the Jumping Frog story.
http://www.youtube.com/watch?v=MtlXVebUtBY
A presentation and content about Twain’s life, suitable to sharing in the classroom to tell his life story.
http://www.thisismarktwain.com/autobiography.html
Background on Calaveras County, California
http://en.wikipedia.org/wiki/Calaveras_County,_California
How to Teach Children Satire http://www.ehow.com/how_10043042_teach-childrensatire.html Tips on teaching satire to younger students.
Other American Writers—Humorists, Satirists
Benjamin Franklin http://www.pbs.org/benfranklin/l3_wit_franklin.html
A profile of Franklin as humorist.
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Meet the Company
Opera Theater of Pittsburgh crosses boundaries. Opera Theater reaches out across traditional lines of
demarcation in the arts, presenting works which engage diverse, new and younger audiences, bringing
in supporters of music, theater, dance and the visual arts. Jonathan Eaton, Opera Theater’s current
General and Artistic director, joined the company in 1999. An internationally renowned stage director,
Eaton continues Opera Theater’s mission of creating new works, reinterpreting older works in new
ways, building diversity in programming and casting, supporting emerging talent, and broadening
audiences through outreach and education to bring people from diverse backgrounds together and
involve them in experiences that have meaning and impact. Founded in 1978 by noted mezzo soprano
Mildred Miller Posvar, Opera Theater of Pittsburgh is in its 36th year of presenting innovative opera for
imaginative audiences.
In 2012, Opera Theater reinvented itself as a summer festival, SummerFest. In 2014, Opera Theater
SummerFest for the third year presents three weeks of opera, musicals, concerts, recitals and cabaret,
July 11-27. Our venues are the intimate art deco spaces of The Twentieth Century Club in the heart of
Pittsburgh’s original cultural corridor — Oakland. Patrons enjoy dinners, receptions and ancillary
as well as opera performances, and end their evenings with a cocktail and cabaret. Family events will
include our reprise of The Jumping Frog of Calaveras County on Saturday mornings at 11 am on July
12,19 and 26. The mainstage repertoire for the festival will includes new productions of Ariadne on
Naxos, The Merry Widow, and the beloved American musical The Fantasticks. Happy Hour!, short
premiere vignettes about dating and romance will provide late night fare. A workshop production of a
world premiere opera inspired by the work of environmentalist Rachel Carson, voice recitals, and
educational programs will round out the festival, presented in a beautiful Pittsburgh landmark.
July 11-27, 2014 at The Twentieth Century Club, adjacent to the
University of Pittsburgh campus, Oakland.
otsummerfest.org
twentiethcenturyclub.com
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Bring the whole family to
Saturday shows of
JUMPING FROG, Saturdays,
July 12, 19 26 at 11 am!
Fun & extra activities for
everyone!
Educators receive a 15% discount at
SummerFest.
Call 412-621-1499 for details!
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