Академический Документы
Профессиональный Документы
Культура Документы
CguidE
SPECIAL THANKS
Buena Vista Theatrical Group, Peter Schneider, Thomas Schmacher. Producers
Creative Affairs:
Stuart Oken
General Manager:
Alan Levey
Associate Producer:
Marshall B. Purdy
Marketing:
Press Representatives:
Advertising:
Production Photography:
The Aida study guide has been created and developed by Camp Broadway LLC.
Camp Broadway is a theater arts education and audience development company dedicated to helping educators, kids and families experience theater in original and creative ways. Our programs are
designed to serve the unique needs of both the education and theater industries by connecting
professional artists with young audiences throughout the year.
For more information on any of our programs, contact us at:
Camp Broadway LLC
145 West 45th Street, 7th Floor,
New York, New York 10036
(212) 575-2929 (Tel.) (212) 575-3125 (fax)
www.campbroadway.com
Editor:
Associate Editor:
Art Director:
Contributors
John P. Bruggen: writer, researcher and manager with expertise in public administration
Christopher C. Gibbs, Ph.D.: historian, educator, and co-author of Grassroots Politics (1983)
and Great Silent Majority (1989) and historical mystery novels
Russell Granet: Senior Program Associate at the Center for Arts Education and member of the
faculty for New York Universitys Kaplan Center for Educational Drama
Robert Hartmann: composer/lyricist and Assistant Professor, New York University Graduate
Musical Theatre Writing Program
Kathy Henderson: editor and journalist specializing in theater and the performing arts
Maxine Kern: dramaturg, playwright and educator with extensive experience in curriculum
development, interdisciplinary writing coordination and classroom teaching
Larissa Nygren: writer and editor with years of musical theater performing experience, works
in childrens publishing
Printed by: Royal Fireworks Press, Unionville, NY
Disney 2001. All rights reserved.
contents
information
desk
Producers Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2
The
production
wing
Aida Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
Musical Numbers/Character Breakdown . . . . . . . . . . . . . .4
Aida Creators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5
the
collections
HISTORY Exhibition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
MATH & SCIENCE Exhibition . . . . . . . . . . . . . . . . . . . . .14
ARTS & CULTURE Exhibition . . . . . . . . . . . . . . . . . . . . .20
SOCIAL STUDIES Exhibition . . . . . . . . . . . . . . . . . . . . . .26
COMMUNICATIONS Exhibition . . . . . . . . . . . . . . . . . . .32
Attending the Theatre . . . . . . . . . . . . . . . . . . . . . . . . . . . .38
Resource Gallery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39
desk
information
C2C
a i d a
s t u d y
g u i d e
The
ACT I
C3C
a i d a
s t u d y
g u i d e
wing
production
Aida synopsis
wing
production
the
Musical Numbers
Every Story Is a Love Story . . . . . . . . . . . . . . . .Amneris
Fortune Favors the Brave . . . . . . . . . . . . . . . . .Radames and the Soliders
The Past Is Another Land . . . . . . . . . . . . . . . .Aida
Another Pyramid . . . . . . . . . . . . . . . . . . . . . . .Zoser and the Ministers
How I Know You . . . . . . . . . . . . . . . . . . . . . . .Mereb and Aida
My Strongest Suit . . . . . . . . . . . . . . . . . . . . . . .Amneris and Women of the Palace
Enchantment Passing Through . . . . . . . . . . . .Radames and Aida
My Strongest Suit (Reprise) . . . . . . . . . . . . . . .Amneris and Aida
Dance of the Robe . . . . . . . . . . . . . . . . . . . . . .Aida, Nehebka and the Nubians
Not Me . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Radames, Mereb, Aida and Amneris
Elaborate Lives . . . . . . . . . . . . . . . . . . . . . . . . .Radames and Aida
The Gods Love Nubia . . . . . . . . . . . . . . . . . . .Aida, Nehebka and the Nubians
ACT II
A Step Too Far . . . . . . . . . . . . . . . . . . . . . . . . . .Amneris, Radames and Aida
Easy As Life . . . . . . . . . . . . . . . . . . . . . . . . . . . .Aida
Like Father Like Son . . . . . . . . . . . . . . . . . . . . .Zoser, Radames and the Ministers
Radames Letter . . . . . . . . . . . . . . . . . . . . . . . .Radames
How I Know You (Reprise) . . . . . . . . . . . . . . . .Mereb
Written in the Stars . . . . . . . . . . . . . . . . . . . . .Aida and Radames
I Know the Truth . . . . . . . . . . . . . . . . . . . . . . . .Amneris
Elaborate Lives (Reprise) . . . . . . . . . . . . . . . . .Aida and Radames
Every Story Is a Love Story . . . . . . . . . . . . . . . .Amneris
character
Breakdown
Aida a Nubian Princess
Radames an Egyptian Captain, betrothed to Amneris
Amneris an Egyptian Princess, daughter of the Pharaoh
Mereb the Nubian servant of Radames
Zoser Chief Minister to the Pharaoh, father of Radames
Pharaoh ruler of Egypt, father of Amneris
Nehebka a Nubian slave
Amonasro the Nubian King, Aidas father
Soliders, Ministers, Nubian slaves, Women of the Palace
C4C
a i d a
s t u d y
g u i d e
The
production
AIDA Creators
contd on p. 6
contd on p. 6
Photo credit: To
ny Russell
Tim Rice
Lyrics
Tim Rice was pulled away from a horribly
misspent career as a lawyer in 1965 at the age of 21
when he met a 17-year-old named Andrew Lloyd
Webber and they collaborated on a musical called
The Likes of Us. The pair would go on to create such
landmark musicals as Joseph and the Amazing
Technicolor Dreamcoat, Jesus Christ Superstar, and
Evita. Rice has also written lyrics for Blondel (1983)
with composer Stephen Oliver; Chess (1986) with
Benny Andersson and Bjorn Ulvaeus of the music
group Abba; and Starmania/Tycoon (1991).
Rice took over as lyricist for the late Howard
Ashman to complete the score of the Disney film
Aladdin with Alan Menken, and contributed to the
original music in the Broadway stage production of
Disneys Beauty and the Beast. In 1997 Rice
collaborated again with Menken on the musical King
David, which opened the renovated New Amsterdam
Theatre with a seven-day concert staging. The theatre
is now home to Rices musical collaboration with
Elton John, The Lion King. Rice won three Academy
Awards during the 1990s for his film compositions: A Whole New World from Aladdin, Can You
Feel the Love Tonight from The Lion King, and You
Must Love Me from Evita. His most recent film
work is the music for The Road to El Dorado, also
with Elton John.
C5C
a i d a
s t u d y
g u i d e
wing
ELTON JOHN
Music
Elton John is one of the most successful recording
artists of our time. He has sold over 60 million
records in the United States, had 21 platinum albums,
and at one point scored 29 consecutive Top 40 hits.
But success didnt come easily. Born Reginald
Dwight in Middlesex, England, in 1947, John began
studying piano at the age of four, and later sharpened
his skills at the Royal Academy of Music. Throughout
the 1960s, John struggled as a musician in a band
called Bluesology. He teamed up with songwriting
partner Bernie Taupin in 1968 and had some success
writing music for other artists. In 1969, he released
his first solo recording, the largely ignored Empty
Sky. Finally, in 1970, an eponymous album would
launch his career with the hit singles Your Song and
Border Song. In the decades to come, the string of
hits would continue, from the 70s Rocketman,
Daniel, and Dont Go Breaking My Heart to the
80s Im Still Standing, I Guess Thats Why They
Call It the Blues, and I Dont Want to Go on with
You Like That, and into the 90s with The One,
Believe, and a rewritten version of Candle in the
Wind, a tribute to Princess Diana that became the
biggest-selling single of all time.
In the early 1990s, John collaborated with lyricist
Tim Rice on the score for the 1994 Walt Disney
Pictures movie, The Lion King. The recording yielded
two top ten hits, Can You Feel the Love Tonight and
Circle of Life, and earned the songwriters an
Academy Award. The 1997 staging of the film for
Broadway by director Julie Taymor received six Tony
Awards including Best Musical, and in 1999, a
Grammy for Best Musical Show Album. John
continued his collaboration with Rice in the 2000
Dreamworks movie The Road to El Dorado and with
the current Broadway production of Aida, which won
the 2000 Tony Award for Best Score.
John says that writing Aida was a chance to try
something hed never attempted before: a full-length
wing
production
the
AIDA Creators
ELTON JOHN contd from p. 5
linda woolverton
Book
Before tackling the book the theatrical term for spoken words and story structure for Aida, Linda
Woolverton wrote the book for both the film and
Broadway stage versions of Disneys Beauty and the
Beast. For the stage production she was nominated for
a 1995 Tony Award for Best Book of a Musical, and
shared a 1998 Olivier Award for Best New Musical for
the London production. The 1993 film won a Golden
Globe award for Best Musical/Comedy film and was
nominated for an Academy Award for Best Picture.
Woolverton is also cowriter of the films
Homeward Bound and The Lion King. She is the author
of the teen novels Running Before the Wind and Star-
C6C
a i d a
s t u d y
g u i d e
The
ROBERT FALLS
Director/Book
David Henry Hwang was 21 years old, a recent graduate of Stanford University, when his first play, F.O.B.,
was presented by the National Playwrights
Conference. It went on to an off-Broadway run in
New York that would win the young playwright an
Obie Award for best new play, an astonishing
beginning to a career that would win Hwang a Tony
Award and see him nominated for a Pulitzer Prize by
the time he was 30. In 1988, he won Tony, Drama
Desk, Outer Critics Circle, and John Gassner Awards
for his Broadway debut, M. Butterfly. His most recent
play, Golden Child was nominated for a Tony in 1998
and for an Obie in 1997. His other plays include The
Dance and the Railroad, Family Devotions, Sound and
Beauty, Face Value, Bondage, and an adaptation of
Ibsens Peer Gynt.
He collaborated with composer Phillip Glass on
the libretto for the musical works 1,000 Airplanes on
the Roof and The Voyage, and with Bright Sheng on
The Silver River. Hwang has also written the
screenplays for M. Butterfly and Golden Gate, and
cowrote the song Solo with Prince.
Hwang told the Los Angeles Times that he and
director Robert Falls wanted to approach Aida with
complexity and subtlety. Bob was very clear from the
beginning that there was a political dimension to the
story which was very important, Hwang said. Can
love overcome differences, hatred, a painful history
between peoples? Its a question with very obvious
resonance today. But it's a complex question that
does not have a clear yes-or-no answer.
Robert Falls made his professional debut as a director when, as a student at the University of Illinois,
the first play he ever directed was picked up by
Chicagos St. Nicholas Theatre. He went on to
become artistic director at the citys Wisdom Bridge
Theatre, and by age 31 artistic director of the
Goodman Theatre. In 1999 he won a Tony Award
as Best Director for his revival of Arthur Millers
Death of a Salesman, and he received an Obie Award
in 1995 for directing Eric Bogosians subUrbia. His
Broadway credits also include The Young Man from
Atlanta, The Rose Tattoo, The Night of the Iguana and
The Speed of Darkness. Falls gained international
attention for his adaptation of In the Belly of the Beast
in 1983. He has written a new book for the
Goodman Theatre revival of the musical Pal Joey, and
collaborated on productions of Randy Newmans
Faust, Frank Galatis reworked Cry, the Beloved
Country, and revivals of Sondheims A Funny Thing
Happened on the Way to the Forum and A Little Night
Music.
Falls is also a respected opera director with
productions at the Metropolitan Opera, Chicago's
Lyric Opera, and the Grand Theatre de Geneva in
Switzerland.
C7C
a i d a
s t u d y
g u i d e
wing
production
AIDA Creators
COLLECTIONS
the
history Exhibition
EGYPT
Egypt is one of the oldest civilizations we know about. The Roman
Empire lasted 1500 years; the United States is 225 years old. Egyptian
civilization began over 5000 years ago!
The Nile River is an important part of Egyptian civilization. The Nile
originates in the mountains of east central Africa. From there, the river
makes its way north to the sea. When it reaches the wide Egyptian valleys, the waters spread over an area of 12,000 square miles, and by the
time they have moved on, they have left behind 200 million tons of soil
and minerals. The Egyptian people have harnessed the river, making the
Nile valley one of the richest farming regions in the Eastern
Mediterranean.
Ancient Egypt was a prosperous civilization with many accomplishments.
Ancient Egypt had a large, highly educated bureaucracy, gifted artists
and craftsmen, talented engineers and scientists. Egyptian physicians
drew medicines from plants and herbs, and passed their knowledge on
to the Greeks, Romans, and Arabs. Egyptian mathematicians measured
the year to the nearly exact 365 days, which they divided into twelve
months. Egyptian merchants traded up and down the Red Sea and along
the coast of the Mediterranean.
The pyramids are Egypt's most famous accomplishment. The first pyramid was built around 2700 B.C.E. The great pyramids that have fascinated generations of scholars and tourists were built a short time later.
Using masses of human beings
for power, and technology no
more sophisticated than levers
and sleds and earthen ramps,
they built several of these
structures. The largest, the
"Great Pyramid of Gizeh," was
C8C
a i d a
s t u d y
g u i d e
460 feet high and 755 feet along each side. These
enormous structures have survived for thousands
of years to serve the inhabitants of modern Egypt.
Many of the blocks were removed to provide
building materials for the modern capital of Cairo.
NUBIA
Nubia, "the land upriver," was Egypt's most
important neighbor. Nubia included the territories
of modern-day Sudan, Ethiopia, and Eritrea.
Relations between Egypt and Nubia go back at
least to 2500 B.C.E., and include periods of
warfare, trade, colonization, and domination.
InsideAIDA
C9C
a i d a
s t u d y
g u i d e
HISTORY
Discussion
e
Discussion
Objective
Students will understand how
geography can change the
fortunes, conquests and
enslavements of countries.
Teaching
Tips
From the
Script
Act 1, Prologue
Aida opens in the Egyptian wing of a museum where ancient relics detail the drama of the conquest
of Nubia by Egypt. A modern day woman, Aida, looks at the exhibitions statue of an Archer as the
ancient princess Amneris sings about the love that survived in hateful times.
Amneris
Exercise
1) Xerox two topographical maps. Lead the students in a discussion of the features of each country, mountain ranges, rivers, access, size, borders, proximity to other countries. How are they alike, how are they
different? Given its geography, why might one be the conquerer and one the conquered?
2) Have students break up into three groups and come up with a basic sketch for a set for Aida. Have
them first decide as a group what they might provide in terms of shapes, colors, and textures to evoke the
Egyptian world.
C10C
a i d a
s t u d y
g u i d e
history
Writing
e
writing
From the
Objective
Empathize with individuals
whose lives are changed by
\conquest and slavery.
Teaching
Tips
Script
Act 1, Scene 3
The musical Aida brings a modern world man and woman into an ancient world that they might
have inhabited. At the opening of the show a museum exhibition transforms into Ancient Egypt
as a large gangplank lowers from one side of the stage, and Egyptian soldiers unload newly
conquered Nubian slaves, one of the slaves is Aida.
Aida
THE FUTURE IS A BARREN WORLD
FROM WHICH I CANT RETURN
BOTH HEARTLESS AND MATERIAL
ITS WRETCHED SPOILS NOT MY CONCERN
SHINING LIKE AN EVIL SUN
AS MY CHILDHOOD TREASURES BURN
Exercise
After reading historical background information about ancient Nubia and about ancient Egypt, have
students write a three-day journal entry from the point of view as either a princess (after shes taken as a
slave in battle) or a soldier (after hes taken a slave in battle). As such, describe both the country youve left
and the country and people who have enslaved you, or the country you live in and the people you have
enslaved. Focus on the sights and sounds in the new lands, on the treatment youre receiving or giving to
others, on the feelings you have for your position, the work you do and the home you have left or that
youre living in. Be sure that youre speaking from the voice of your character rather than commenting on
that character from a modern point of view.
C11C
a i d a
s t u d y
g u i d e
HISTORY
Experiential
e
experiential
Objective
Students will evaluate modes of
living and spiritual survival in
different cultures.
Teaching
Tips
From the
Script
Act 1, Scene 12
The Nubians have heard that their king has been captured and possibly killed. Aida tells them that
Nubia will never die, whether they are enslaved or far from home, because it lives in their hearts.
Aida
All
THE FALL OF NUBIA
EPHEMERAL AND FLEETING
THE SPIRIT ALWAYS BURNING
THOUGH THE FLESH IS TORN APART
TAKE ME IN MY DREAMS RECURRING
CHEERFUL AS A CHILDHOOD DANCE
INTO ONE MORE TASTE OF FREEDOM
ONE MORE LONGING BACKWARD GLANCE
Nehebka
THE GODS LOVE NUBIA, THEIR GLORIOUS
CREATION
THEIR SONGS ROLL SWEETLY ACROSS THE
HARVEST PLAIN
Exercise
Compare your culture to the Nubian culture. Pick an aspect that you like (from theirs or from yours).
Be prepared to share an anecdote from your life about this aspect of your life and how and why it
gives you pleasure. Also talk about something in your life that you absolutely need to survive. If you
have nothing that is absolutely necessary for your survival, explain why you think you can survive
without anything that you know in your world as it is. If you are convinced that this feature is
something that you need explain why this is so important to your survival.
C12C
a i d a
s t u d y
g u i d e
HISTORY
HOME PAGE
name
Date
class
teacher
3. After HOURS
Do you think that some countries are justified in conquering other countries? If yes, what
situations or principles apply. If not, why hasnt war and colonization ever been outlawed in
human history? Is the human race capable of setting up a network of world peace?
2. EXPRESS yourself...
Is politics always a negative term? How is Aida political in her treatment of the Egyptians
and the Nubians? How is Radames political in his treatment of his father, Zoser, and his
fiance, Amneris? How is this similar and how is it different from the politics of Zoser?
C13C
a i d a
s t u d y
g u i d e
Ancient Egypt used the barter system; there was no currency. Goods were
given a value in debens small copper weights. An ox might be valued
at one hundred debens, for instance, and traded for an amount of grain of
equal value, but no debens actually changed hands. Trading was done
locally at outdoor markets. The desert and the Nile were barriers to trading
with other countries, but Nubia, being closest, was the country Egypt
traded with most frequently.
C14C
a i d a
s t u d y
g u i d e
InsideAIDA
Pyramids
"The Age of Pyramids" lasted for 1,000 years,
from 2686 to 1550 B.C.E. By the time of the
Third Intermediate Period (1070 B.C.E.), during
which Aida is set, the pyramids were already ancient.
They were built with astonishing skill in fact, we are
still not sure how the Egyptians accomplished some of
their feats of engineering. The most famous of the
Egyptian pyramids is the Pyramid of Khufu, the Great
Pyramid.
Tom Schumacher (Producer), Elton John (Music), Robert
Falls (Director) in a rehearsal for Aida
C15C
a i d a
s t u d y
g u i d e
m at h & s c i e n c e
Discussion
Objective
To encourage students to
assess values that may differ
from conventional values of
their time.
Teaching
Tips
From the
Discussion
e
Script
Act 1, Scene 11
Radames is ready to give up all his worldly possessions to run away with Aida. Aida loves Radames
as well, but her choices will become more confusing for her as the story unfolds.
Radames
WE ALL LEAD SUCH ELABORATE LIVES
WILD AMBITIONS IN OUR SIGHTS
HOW AN AFFAIR OF THE HEART SURVIVES
DAYS APART AND HURRIED NIGHTS
SEEMS QUITE UNBELIEVABLE TO ME
I DONT WANT TO LIVE LIKE THAT
SEEMS QUITE UNBELIEVABLE TO ME
I DONT WANT TO LOVE LIKE THAT
I JUST WANT OUR TIME TO BE
SLOWER AND GENTLER, WISER, FREE
WE ALL LIVE IN EXTRAVAGANT TIMES
PLAYING GAMES WE CANT ALL WIN
UNINTENDED EMOTIONAL CRIMES
TAKE SOME OUT TAKE OTHERS IN
Exercise
Imagine you had to change the basic fabric of your life and could devise new ways of dealing with
money. Imagine a future world in which math and science are calculated and understood differently
than they are today. Consider the culture you created in the writing exercise. What might the needs
of that culture be? What would the currency system be, would money still change hands? What
building materials would be necessary? How might the weather have changed in this world? Would
people live longer, shorter or forever in this world? Would there still be young, middle-aged and older
people?
Most specifically, discuss how you might invent another barter system. What might you use as
another unit of valueperhaps CDs, Beanie Babies, marbles, etc.? How would you devise a wage
scale for various jobs? Might you choose higher wages for less rewarding jobs and lower wages for
more rewarding jobs? Have your students break up into groups of six to set up a new system of
either barter or wages. Have them come up with their choices based upon the human and financial
values of the community. Have the students write out a new system that the group can accept.
Present this system and explain how the group arrived at it.
C16C
a i d a
s t u d y
g u i d e
m at h & s c i e n c e
writing
From the
Objective
The measurement of time,
given the measuring systems in
ancient Egypt, compared to the
measuring systems today.
Teaching
Tips
Writing
e
Script
Act 1, Scene 9
Radames has met the conquered slave and princess Aida. Attracted to her, he decides not to send
her to the copper mines. The depth of this attraction leads him to question his engagement to the
Egyptian princess, Amneris, and to question his flippant approach to love and happiness.
Radames
I ONCE KNEW ALL THE ANSWERS
I STOOD ON CERTAIN GROUND
A PICTURE OF TRUE HAPPINESS
CONFIDENCE SO EFFORTLESS
NO BRIGHTER COULD BE FOUND
Mereb
OH, NO, NOT ME, NOT ME
Radames
NOT ME NOT ME
AND WHOD HAVE GUESSED ID THROW
MY WORLD AWAY
Mereb
Mereb
OH, NO.
NOT ME, NOT ME
Radames
I NEVER ASKED THE QUESTIONS
THAT TROUBLE ME TODAY
I KNEW ALL THERE WAS TO KNOW
LOVE WORN LIGHTLY, PUT ON SHOW
MY CONQUESTS ON DISPLAY
Mereb
I CANT BELIEVE HES CHANGING
Radames
TO BE WITH SOMEONE IM AFRAID WILL SAY
NOT ME NOT ME
Mereb
THIS CAN NEVER BE
HES IN LOVE
BUT HES NOT THE ONLY ONE WHOLL BE
CHANGED
Radames
AND WHOD HAVE THOUGHT THAT CONFIDENCE COULD DIE?
NOT ME NOT ME, THAT ALL I TOOK FOR
GRANTED WAS A LIE
Exercise
Have students do a group writing based upon specific objects that the teacher will supply. Have the
students suppose that these objects will function differently in a future world. Bring in common
objects such as a hairbrush, a doll, a hair dryer, a Styrofoam cup, a box of Cheerios, a backpack, a cell
phone, etc.. Have each group build a future culture that uses four of these common objects in a way
that fits a newly created and conceived future culture. Have them write a description of this culture
in terms of the uses of these objects. Then have the groups exchange objects and see how each one
has reconceived the same object.
Imagine that you are a reporter for The New York Times, interviewing a museum archeologist who
has been able to visit this future culture. Write a 10 to 20 sentence interview about his/her visit to
this future society (either through time travel or through his imagination). Describe ways in which
reading this report increases or decreases your confidence in your present lifestyle.
C17C
a i d a
s t u d y
g u i d e
m at h & s c i e n c e
experiential
Objective
Students will determine normal
patterns of natural events vs.
abnormal or unnatural events.
Teaching
Tips
From the
Experiential
e
Script
Radames
DONT ASSUME YOUR VICES
GET HANDED DOWN THE LINE
THAT A PARENTS BLOOD SUFFICES
TO CONDEMN THE CHILDS DESIGN
IVE DONE WRONG I CANT DENY
BUT AT LEAST I KNOW THAT I
SHOULDNT BLAME THAT ON MY STOCK
THIS MAY COME AS QUITE A SHOCK
BUT IM NO CHIP OFF ANY BLOCK
I WOULDNT WISH THOSE WORDS ON
ANYONE
LIKE FATHER LIKE SON
Exercise
One purpose of Egyptian architecture and other ancient architecture, such as Stonehenge in England, was
to be able to view the movement of the sun over time. Have the students observe the position of the sun
at the same time each day, for a week, in relation to a landmark, building, etc. Have them bring in a
drawing or a graph that describes the location, shape and size of the landmark and the changes that have
taken place in the position of the sun each day.
The sun is part of natures pattern. A building is man-made. How might you redesign your landmark or
building to give a better reading of the movement of the sun? Explain how human desires and beliefs
might have gone into the original planning of the landmark or building and how that has been in accord or
not in accord with the natural cycles around it.
Have the students present their observations with both their visual aid, a description of their daily
observations and the changes in the location that would aid them in making these observations.
Alternatively:
Have your students experiment with scenes set in their particular cultures. Imagine that they are
characters in their cultures, and that they are faced with a particular conflict that is assigned by the teacher.
For example, imagine that there is a conflict between an older culture and a newer culture over the ownership of certain lands , each having different ideas about land development and usage. Or imagine that
there is a conflict over who goes to certain high schools, some leading to a higher education, and some
training schools for more hands-on occupations. This could be a debate about what one considers the best
way to evaluate intelligence. Another conflict could be about who might be able to marry whom and who
cannot marry whom. This controversy could be about age, race, economic or social status, gender, etc.
Have your students act out these scenes.
C18C
a i d a
s t u d y
g u i d e
m at h & s c i e n c e
HOME PAGE
name
Date
class
teacher
3. After HOURS
Do you think your community values people and things equally or unequally? Which is
more valued in your opinion? Survey a friend, a family member, and a respected teacher or
mentor. What is their opinion on this subject and do you agree with them?
2. EXPRESS yourself...
The new gene that can indicate our predisposition to disease and longevity is soon to be
identified. Do you feel that this is a good thing for mankind? Imagine that it is your job to
introduce the existence of the gene to a very poor family without much access to money or
health insurance. What would you say to them about the benefits of this discovery?
C19C
a i d a
s t u d y
g u i d e
C20C
a i d a
s t u d y
g u i d e
InsideAIDA
C21C
a i d a
s t u d y
g u i d e
a r t s & c u lt u r e
Discussion
Objective
How fashion plays a part in
historical events.
Teaching
Tips
From the
Discussion
e
Script
Act 1, Scene 5
Aida has shown Amneris that she understands fashion and can provide her with unusually beautiful
clothes. "There's a dyeing process I use which makes fabric glow. It's a secret that was passed down
from the handmaidens of Queen Neferteti." Amneris decides to keep Aida as her slave rather than
send her to the copper mines where she would quickly die. Because Aida has convinced Amneris that
she "knows her fabrics," the Nubian princess is safe and Egyptian history is facing a change.
Amneris
AND THE FEW WHO ARE INVITED
TO MY WARDROBE ARE DELIGHTED
AS THEY WANDER THROUGH MY THINGS
TO FIND EN ROUTE
THAT IN NEGLIGEE OR FORMAL
I AM ANYTHING BUT NORMAL
THAT DRESS HAS ALWAYS BEEN
MY STRONGEST SUIT
Exercise
The kings and royal men in Egypt were most elaborately dressed and held in highest esteem. The
queens and royal women dressed less elaborately but still relied upon high fashion to make their
status known. The slaves and lower classes would need to dress simply in order to make others
shine. How does Aida use that information to secure her place in Amneris court and to keep
identity safe as the secret princess from Nubia? What does Aidas self possession suggest to you
about the attitude in Nubia towards the statement "That dress has always been my strongest suit?"
What would you describe as Aidas strongest suit?
Have the class pick the five most admired people that they know as a group. They could be movie or
stage stars, presidents, first ladies, senators, teachers, coaches and so on.
List in order of priority their three best characteristics.
Is their dress a top priority? How much does it affect their popularity and status? Do you admire
them more if they dress well?
Could you admire them if they dressed conservatively or extravagantly? Would people admire them if
they only dressed well but didnt have good judgment?
C22C
a i d a
s t u d y
g u i d e
a r t s & c u lt u r e
WRITING
From the
Objective
How do the arts and fashions
of a culture establish status?
Teaching
Tips
Writing
e
Script
Act 1, Scene 5
Amneris is the princess of Egypt and fiance of the young hero Radames. Although Radames has
ignored her she is convinced to take heart when Mereb tells her that she is "Princess Amneris first
in beauty, wisdom and accessories. Captain Radames has not forgotten you. He knows you will be
at the feast tonight in all your extravagant finery." Immediately, Amneris gets her new slave girl,
Aida, to stitch her a new dress.
Amneris
STAYING IN OR HITTING TOWNWARDS
FROM THE TOP AND WORKING DOWNWARDS
I ENSURE THAT EVERY STITCH
IS STITCHED IN TIME
WHETHER WIG OR HAT OR TURBAN
WHETHER CLAD BOUDOIR OR URBAN
NOT TO STRUT YOUR STUFF
OUTRAGEOUSLYS A CRIME
Exercise
Pretend that you are writing a two-minute TV advertising spot. You are selling a new product called
Egyptian Beauty Queen. Use information from your Egyptian Fashion notes section to convince a
modern TV audience to buy your product. Your product includes jewelry, makeup and clothes.
Indicate the visual images that will accompany the script. Indicate the characters you would like to
include, if any, and give a description of their physical appearance and personality. This is a twominute ad costing your company, Egyptian Beauty Queen, one million dollars a minute for primetime TV, so be sure to make it very convincing.
C23C
a i d a
s t u d y
g u i d e
a r t s & c u lt u r e
Experiential
e
experiential
Objective
Observe the ways in which
symbolic thinking affects our
understanding of each other.
Teaching
Tips
From the
Script
Act 1, Scene 5
As Amneris waits for Radames, she hopes that their mutual love of glamour and adventure will
attract him to her. She does not know that after meeting Aida, Radames has become more
impressed with Aidas wit and fair-mindedness than Amneris love of material things.
Amneris
SO BRING ME ALL MY FINEST
MOST AUDACIOUS MY DIVINEST
MOST REVEALING
MOST EXPENSIVE AND TO BOOT
MOST ARRESTING
MOST HEART-STOPPING
MOST FREE FLOWING
MOST EYE POPPING
MUST ARRESTING
MOST HEART STOPPING
Women
MOST REAVEALING MOST EXPENSIVE
MOST ARRESTING
MOST HEART-STOPPING
MOST HEART-STOPPING
OVERWEAR
UNDERWEAR
ANYTIME
ANYWHERE
Exercise
If you were to create a symbol to represent yourself, what would it look like? Explain your answer.
Pick a group of people who you know quite well and to which you belong (your family, your class, a
club, etc). Come up with symbols for three of them.
In the classroom, break up into groups of four. Present these symbols to the group. Do these
symbols and these symbols come from the ways that they dress, act and make decisions? Explain
and expand your thoughts as you present these symbols and the ideas they embody to your group.
C24C
a i d a
s t u d y
g u i d e
a r t s & c u lt u r e
HOME PAGE
name
Date
class
teacher
3. After HOURS
Should clothes make the man/woman, or should man/woman make the clothes? What do
you think? Explain your thoughts.
2. EXPRESS yourself...
Write a short song describing your "strongest suit." You can use the Amneris song as a
model and let it begin with
________________________has always been my strongest suit.
I am what _____________________________________________
So bring me all my ______________________________________
Because _____________________ has always been my strongest suit.
Etc.
C25C
a i d a
s t u d y
g u i d e
social Exhibition
studies
The Pyramid of Ancient Egyptian society
The Pharaoh
Priests, high officials, nobles
Lower priests, artisans, soldiers, scribes
Peasant farmers
Foreign slaves
C26C
a i d a
s t u d y
g u i d e
were part of a harem, kept secluded with their handmaidens (women of noble Egyptian families) and
their foreign slaves. Most of their time was spent
grooming themselves and providing music and song
for royal feasts.
InsideAIDA
Religion
The Egyptians believed in the existence of an individual life force, called the ka, similar to the
Judeo-Christian concept of the soul. Since they
believed the ka needed the physical body in
order to journey into the afterlife, the Egyptians
developed elaborate rituals to preserve the dead as
mummies.
C27C
a i d a
s t u d y
g u i d e
social studies
Discussion
e
Discussion
Objective
Students will analyze and
examine the passing on of
power between groups and
individuals in their own culture
and the role power plays in
support of racism.
Teaching
Tips
From the
Script
Act 1, Scene 3
Radamess father, Zoser, is preparing to poison the pharaoh and take over as the head of Egypt. He
must first establish the traditional passage of power by burying the king in grand style and
convincing the citizens of Egypt that he and his son will maintain the grandness of Egypt. One
aspect of this image building comes from the spectacle of employing slaves to build the pyramids.
Zoser
THERE ARE MANY WHOLL BE TEARFUL
AS OUR LEADER FADES AWAY
BUT OUR ARCHITECTS ARE CHEERFUL
AND EACH DOG MUST HAVE ITS DAY
Zoser
IF OUR COUNTRY IS TO FLOURISH
THEN MY SON MUST TAKE THE LEAD
BE OUR INSPIRATION, NOURISH
ALL OUR HOPES OUR DREAMS OUR
CREED
SOON OUR MONARCH WILL HAVE FILLED
A TOMB JUST LIKE HIS FATHERS DID
SUMMON EGYPTS GREATEST BUILDER
RE: ANOTHER PYRAMID
Ministers
BUILD IT, BUILD IT
ANOTHER PYRAMID
Zoser
Exercise
For homework For a week, have students collect articles from various newpapers that describe the
passing of a monarch, president, prime minister, senator or any political figure around the globe. Ask
students to name the people in their articles. Pick two different leaders and two different cultures that are
represented often in the articles collected by the class. Discuss who they are, how they have functioned
politically and how the passage of power is taking place. Compare the passage of power with the traditions
that one practices in the U.S. when a new American president is elected and inaugurated. Pick one U.S.
political tradition that the class would like to challenge, e.g. the voting system, the campaign system, White
House press conferences, etc. Debate the pros and cons of maintaining that tradition.
Have the students look into the daily lives of people around them for examples of status and power gained
by one group of people doing menial jobs as opposed to another group of people. Who are the doormen?
Who are the cab drivers? Who are the custodians? Who are the laborers working in subways and on road
work? When does group status become racist? How does the color of a persons skin affect his or her
treatment by the police, employers, city governments, real estate agents, landlords, and deal makers?
C28C
a i d a
s t u d y
g u i d e
social studies
Writing
e
writing
From the
Objective
Students will explore the role
that traditions play for the
individuals in society.
Teaching
Tips
Script
Act 1, Scene 3
Radames has returned from the conquest of Nubia and is ready now to return to battle. His father
tells him that he must remain in Egypt because the Pharaoh is dying, and hell have to marry the
pharaohs daughter for the good of Egyptian society.
Zoser
WHILE YOUVE BEEN AWAY CAVORTING
MATTERS HERE HAVE MOVED APACE
NOW I NEED YOU HOME SUPPORTING
ALL THE PLANS IVE PUT IN PLACE
FIRST OF ALL THIS MEANS YOUR WEDDING
YOULL RECALL YOUR FUTURE BRIDE
FOR THE WAY THAT PHARAOHS HEADING
TIMES NO LONGER ON OUR SIDE
ACCORDING TO THE HAWK GOD HORUS
OUR MOST REGAL INVALID
IS NOT THAT MUCH LONGER FOR US
BUILD ANOTHER PYRAMID!
Exercise
Imagine youre an archeologist from C. E. 5000 and youre observing the traditions of marriage and
family building in the U.S. in C. E. 2000. Imagine that you have been assigned to document these
traditions as practiced in your particular family. What would you observe? Write an official
document of 100 words or less that describes marriage and family. Name and describe these traditions in relation to your father, mother, siblings, and one aunt, uncle or cousin. Point out some patterns of tradition. Evaluate the role of tradition in holding this family together. Describe the happiness or unhappiness that you see for one or two of the named individuals in terms of these marital
and family building traditions.
C29C
a i d a
s t u d y
g u i d e
social studies
Experiential
e
experiential
Objective
Students will explore ways that
people find their identity and
status via customary practices
with a group.
Teaching
Tips
From the
Script
Act 1, Scene 5
Aida is brought to Amneris to be her slave. Aida quickly figures out that she can keep up her
position in the entourage by sewing clothes for the princess Amneris. In this song, Amneris affirms
that she finds her identity in clothes.
Amneris
IN LIFE ONE HAS TO FACE A HUGE
ASSORTMENT
OF NAUSEATING FADS AND GOOD
ADVICE
THERES HEALTH AND FITNESS, DIET AND
DEPORTMENT
AND OTHER POINTLESS FORMS OF
SACRFICE
CONVERSATION? WIT? I AM A DOUBTER
MANNERS? CHARM? THEYRE NO WAY TO
IMPRESS
SO FORGET THE INNER ME, OBSERVE THE
OUTER
I AM WHAT I WEAR AND HOW I DRESS
OH NOW I BELIEVE IN LOOKING
LIKE MY TIME ON EARTH IS COOKING
WHETHER POLKADOTTED, STRIPED OR
EVEN CHECKED
WITH SOME GLAMOUR GUARANTEEING
EVERY FIBER OF MY BEING
IS DISPLAYED TO QUITE REMARKABLE
EFFECT
FROM YOUR CRADLE VIA TROUSSEAU
TO YOUR DEATHBED YOURE ON VIEW
SO NEVER COMPROMISE, ACCEPT NO
SUBSTITUTE
I WOULD RATHER WEAR A BARREL
THAN CONSERVATIVE APPAREL
FOR DRESS HAS ALWAYS BEEN
MY STRONGEST SUIT
Exercise
In Aida and in Egyptian society, women were separated from men by activities that they couldnt do and by
their clothing. Today, men and women are able to do similar work and wear similar clothes, but it is
interesting to find out if they identify differently or similarly with their outer trappings. Have students pick a
partner of the opposite sex. Each student will draw and label the clothing worn by their partner. Then they
will ask each other the following questions.
1. Where did you get each article of clothing that you are wearing today?
2. Are you wearing your favorite color today? Are you wearing your favorite clothing today?
Why/why not?
3. Did you pick out your clothing yourself or did someone else pick it out for you?
4. Do you determine whats in fashion via magazines, newspapers, looking at friends clothes, looking in
store windows, or in some other ways?
5. Do you like to be in fashion, sort of in fashion, or out of fashion when you dress?
6. Do you feel that your clothes tell people who you are?
7. Are there other ways in which you tell people who you are?
Collect the answers and drawings. Divide the class into three groups. Hand out a set of 10 responses
(or however many the class numbers break down into) to each group. Have each group compare and contrast the answers given by boys compared to the answers given by girls.
C30C
a i d a
s t u d y
g u i d e
social studies
HOME PAGE
name
Date
class
teacher
3. After HOURS
Do you think that traditions support the well being of most, few, or none of the individuals
in your family and community.
2. EXPRESS yourself...
Bring in photos of yourself, your parent of the same sex and your grandparent of the same
sex, some or all at the same approximate age or stage of life. Describe them to the class,
showing how you are alike and how you are different from each other.
C31C
a i d a
s t u d y
g u i d e
communication
Exhibition
C32C
a i d a
s t u d y
g u i d e
Flying
@
w
2
J
P
Lotus in bloom
InsideAIDA
C33C
a i d a
s t u d y
g u i d e
c o m m u n i c at i o n s
Discussion
Objective
Students observe love, hate,
and the ability of an individual
to control his or her own fate in
times of war.
Teaching
Tips
From the
Discussion
e
Script
Aida
I AM CERTAIN THAT I LOVE HIM
BUT A LOVE CAN BE MISPLACED
HAVE I COMPROMISED MY PEOPLE?
IN MY PASSION AND MY HASTE?
I COULD BE HIS LIFE COMPANION
ANYWHERE BUT WHERE WE ARE
AM I LEADER? AM I TRAITOR?
DID I TAKE A STEP TOO FAR?
Radames
IM IN EVERY KIND OF TROUBLE
CANT YOU TELL? JUST LOOK AT ME
HALF ECSTATIC, HALF DEJECTED
ALL IN ALL IM ALL AT SEA
EASY TERMS I THOUGHT I WANTED
FILL ME NOW WITH CHILLING DREAD
YOU COULD NEVER KNOW THE CHAOS
OF A LIFE TURNED ON ITS HEAD
Exercise
Think of a movie, play, book or real life story in which a love story is set in a time when love is
complicated by hate. Describe the story, the situation, setting, characters, and what happened. Did
the love survive in spite of the hateful world, or was it destroyed by that hate? What message did it
leave with you?
If possible, show the videos of the movie American Beauty and Leonardo DiCaprios Romeo and Juliet,
for a comparative discussion of stories set in hostile environments with different outcomes.
In general have the class come up with stories that fit this scenario. List them on the board. Discuss
several of them in terms of their world and their outcome, preparing the class to look for these issues
in Aida.
C34C
a i d a
s t u d y
g u i d e
c o m m u n i c at i o n S
WRITING
From the
Objective
Students will compare
storytelling within ancient and
modern societies
Teaching
Tips
Writing
e
Script
Act 1, Prologue
The story of Aida begins in modern times. A man and a woman meet in a museum. Each is
similarly compelled to look at a glass enclosed display of an ancient burial chamber or tomb. The
action freezes and a voice from the past sings:
Amneris
EVERY STORY, TALE OR MEMOIR
EVERY SAGA OR ROMANCE
WHETHER TRUE OR FABRICATED
WHETHER PLANNED OR HAPPENSTANCE
Exercise
In Aida, the captured princess has to keep her identity a secret to save her life. Her story is told in a
time of battle, of dominance and of conquest. However, her story is universal, and its plot has
interest in our time. Although we tell our stories differently today than we would have done in ancient
times, the human similarities exist.
Have your students connect with Aidas circumstances by thinking about an experience they have
had with a personal secret. Then have them use this secret to create a situation in which someone
has had to keep their personal life a secret. Write a short scene in which that person tries to hide but
ultimately does or doesnt reveal the truth of who they really are. Before they write the final scene, the
students need to know: who they are, where they are, what is or isntbringing them to this point of
revelation, and how do they feel when they have covered up their identity or revealed themselves?
A) Write at least 10 lines of dialogue. Include at least two characters.
In Ancient Egypt this story would be told orally from generation to generation or it would
be written down in hieroglyphics.
B) Recreate this scene using an ancient storytelling method via pictograms and ideograms.
C35C
a i d a
s t u d y
g u i d e
c o m m u n i c at i o n s
experiential
Objective
Have students speculate
accidents of history and ways
that they might communicate a
lost past to a future generation.
Teaching
Tips
From the
Experiential
e
Script
Act 1, Scene 2
Radames is enjoying his newest conquest, Aida. Aida, however, has a strong history, which she sings
about privately.
Aida
NO, YOU KNOW NOTHING ABOUT ME
AND CARE EVEN LESS
HOW COULD YOU UNDERSTAND OUR
EMPTINESS
YOUVE PLUNDERED OUR WISDOM, OUR
KNOWLEDGE, OUR WEALTH
IN BLEEDING US DRY
YOU LONG FOR OUR SPIRIT
BUT THAT YOU WILL NEVER POSSESS
Exercise
Aida and the Nubians are captured in war and taken from their homes forever. Exile and capture in
the ancient world meant never to return to ones home and to be a slave in some other land. Today
most of us can travel freely and return home freely, but imagine that you were having to leave your
home forever. Bring in drawings, photographs, or written descriptions of your home, town, or
countryside. Pick images of places that you would miss and wish to remember.
Imagine that you were talking to your grandchild and describing one of those images. What would
you tell them that held meaning for you then and would hold meaning for them now?
C36C
a i d a
s t u d y
g u i d e
c o m m u n i c at i o n
HOME PAGE
name
Date
class
teacher
3. After HOURS
Are we capable of comprehending our world in spite of what our leaders and our media
communicate to us? How dependent are we upon the current uses of language to know
who we are?
2. EXPRESS yourself...
Have you ever met someone who was so extraordinary that they changed your life?
A friend, a teacher, a relative, etc.
Write a character study or draw a picture of this person.
C37C
a i d a
s t u d y
g u i d e
C38C
a i d a
s t u d y
g u i d e
ROCKIN MUSIC:
Elton John and Tim Rices Aida,
Original Broadway Cast Recording,
Disney, 2000.
The Bangles Greatest Hits (featuring the
song "Walk Like an Egyptian"),
Sony/Columbia, 1990.
A Wild and Crazy Guy: Steve Martin
(featuring the parody song King Tut),
Wea/Warner Brothers, 1978.
C39C
a i d a
s t u d y
g u i d e
SEE A MOVIE:
Enchanted Tales: A Tale of Egypt. Sony
Wonder, 1998.
Romeo & Juliet, directed by Baz
Luhrmann. Released by 20th Century
Fox, 1996.
Indiana Jones and the Raiders of the Lost
Ark, directed by Steven Spielberg.
Released by Paramount Studios, 1981.
West Side Story, directed by Robert
Wise. Released by MGM/UA Studios,
1961.
Abbott & Costello Meet the Mummy.
Released by Universal Studios, 1955.
GO ON-LOCATION:
The Disney Store
711 Fifth Avenue, NYC
212-702-0702
www.disney.com
www.disneystore.com
Palace Theatre
1564 Broadway, NYC
Drama Book Shop
723 Seventh Avenue, NYC
212-944-0595
www.dramabookshop.com
Colony Records
1619 Broadway, NYC
212-265-2050
www.colonymusic.com
Theatre Circle Books
1 Shubert Alley, NYC
346 West 44th Street, NYC
212-586-7610
800-223-1320
www.BroadwayNewYork.com
RELATED MUSIC:
Ankh: The Sound of Ancient Egypt:
Michael Atherton, Celestial Harmonies
Records, 1998.
RELATED MOVIES:
The Mummy, directed by Stephen
Sommers. Universal, 1999.
Splendor of Ancient Egypt, produced
Tmul/Media Group, 1998.
The Great Pharaohs of Egypt, produced
by A & E Entertainment, 1997.
Bram Stokers The Mummy, directed by
Jeffrey Obrow, Unapix, 1997.
Great Cultures Great Nations Egypt: A
Gift to Civilization, Madacy
Entertainment, 1996.
RETAIL LOCATIONS:
The Disney Store
711 Fifth Avenue
212-702-0702
www.disney.com
www.disneystore.com
Palace Theatre
1564 Broadway, NYC
Colony Records
1619 Broadway, NYC
212-265-2050
www.colonymusic.com
C40C
a i d a
s t u d y
g u i d e