EDUCATION PROGRAMME THE AWARD-WINNING …€¢ Exploring characters and learning presentational techniques through speaking and listening • Exploring functions of masks from different

THE AWARD-WINNING MUSICALEDUCATION PROGRAMME

© Disney

TEACHING RESOURCE PACKSecondary School Edition

Supports Curriculum Key Stages 3/4 (Pupils aged 11–16)

Rafiki

www.lionkingeducation.co.uk © Disney

DISNEY’s ‘the Lion King’ SECONDARY SCHOOL TEACHING RESOURCE 3

CONTENTS

INTRODUCTION

BEFORE SEEING THE SHOW

PROJECT SHEET 1: What’s Behind the Mask?

PROJECT SHEET 2: Behaving Like Animals

AFTER SEEING THE SHOW

DISCUSSION TOPICS

FASCINATING FACTS

PROJECT SHEET 3: Living the Mask

PROJECT SHEET 4: The Circle of Life

PROJECT SHEET 5: The Controversial Chat Show

PROJECT SHEET 6: The Language of Music

PROJECT SHEET 7: Nala’s Story

PROJECT SHEET 8: Contrasting Viewpoints

THE STORY

CAST OF CHARACTERS

ABOUT THE PRODUCTION

CURRICULUM LINKS

Copyright of this resource belongs to Disney. However, clearance is granted to UK schools to copy the materials foreducational use. Please note that material from the National Curricula for England, Wales, Northern Ireland and Scotlandis Crown copyright and is reproduced by permission of the Stationery Office.

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Zazu

Simba


Dear Teacher,

Welcome to the Secondary School Teaching Resource Packfor ‘The Lion King’.

This educational programme aims to help pupils learn about, and gain an appreciationof, the wonderful world of live theatre. This teaching resource is designed to use withstudents aged 11-16. There are eight lessons based on the characters, themes, music andstory of ‘The Lion King’. Combined with a visit to the show, which will captivate students,the lessons will provide a unique and inspiring learning experience.

Created by teachers, for teachers, the classroom activities are linked tocurriculum requirements for England, Wales, Scotland and NorthernIreland. Lessons will meet learning objectives for English, Art, Drama,PSHE and Music.

These supportive teacher notes are accompanied by photocopiable worksheets forstudents that will support the learning experience.

Structured in two sections, the first part of this booklet outlines the lessons and includesdetails on preparation, learning objectives, lesson outlines and plenary concepts withsuggestions for extending or adapting the activities for students of different ages andabilities. Each lesson also includes a brief summary of curriculum links, which are thendetailed further on pages 23 and 24. Two lessons are proposed for use before studentsgo to see ‘The Lion King’, to help prepare them for the experience, and six activities arefor use following your class visit. The second part provides you with supportinginformation about the story, the characters and the production of ‘The Lion King’ that willhelp you and your class get the most from the project activities.

Disney’s ‘The Lion King’, the award-winning musical, will engage students and act as asplendid catalyst to learning. Introducing the spectacular music and lyrics by Elton John,Tim Rice, Lebo M and others, the show features wonderful characters – from the proudMufasa to the wicked Scar – with stunning costumes and breathtaking set designs.

We hope you and your class enjoy the lessons and activity ideas that support the show.Enjoy your visit to ‘The Lion King’.

Curtain up!

This Teaching Resource Pack has now been updated to include links to the exclusive new Educational Resource, ‘THE LION KING’– BEHIND THE SCENES. This complimentary DVD, created exclusively for schools, includes 10 episodes eachfocusing on a different element of the show, all designed to give your pupils a“Virtual Backstage Tour” of THE LION KING. Accompanying this DVD are curriculumlinks for Primary and Secondary and comprehension questionnaires, all available todownload at www.lionkingeducation.co.uk

For your copy of the DVD please speak to your group booking agent.

Rafiki

P R O J E C T S H E E T 1

Learning objectives

• Writing about and demonstrating the different purposes of masks in real life and in drama

• Exploring characters and learning presentational techniques through speaking and listening

• Exploring functions of masks from different historical and cultural contexts

Lesson outline

Begin the lesson by introducing the ideaof masks and their range of uses to theclass. For example, some are forprotection or for disguise, decoration,ceremonial or ritual purposes. Discussexamples of masks in real life: thesurgeon, welder, cyclist and in fiction,‘Batman’, ‘The Phantom of the Opera’,Jim Carrey’s character in the film ‘TheMask’. Encourage students to come upwith their own examples.

Next explain the tribal and ceremonialfunctions of masks. When a spiritualleader puts on a mask they cease to bethemselves and become the embodimentof the spirit represented by the mask,taking on special gifts such as beingable to heal or curse. The use of masksin ritual and theatre are often for similarpurposes. They help to focus attention inparticular directions, engage emotionsand imagination, and have the power totransform participants.

Put on one of the masks and demonstratehow your whole being, posture, attitudeand movement can change to match the mask.

Show students the other masks you havecollected and choose students to tryeach one and take on a character to fitthe mask. As a class, talk about how thewearer acts and moves and how thisrelates to the mask.

Distribute the project sheet. Studentschoose a number of different types ofmasks, from those they have seen ortalked about (or any others they canthink of), to describe the purpose of each.

Plenary

Talk about the different masks andpurposes students have mentioned.Revisit the introduction to the lessonabout the different uses of masks.Discuss briefly the students’preconceptions of ‘The Lion King’ –many will be familiar with the animationfilm version – and prepare them for theidea of actors portraying the characterspartly through costumes and masks.

Much of the splendour of ‘The Lion King’ derives from the striking and innovative use of masks. This lesson will prepare students for the impact of the masks in the show, and for their own extended work on masks in the classroom.

What’s behind the mask?

PREPARATION

Photocopy the project sheet (Secondary 1) for each student.Collect a selection of masks, the more the better. Suggestionsfor masks include Halloween, animal, famous person, robber’sstocking, surgeon, scuba diver, plus cyclist’s pollution filter, andyou’ll need heavy make-up suitable for geishas and clowns.

ENGLANDEnglishKS3 & KS4 Drama 4a, 4b, 4c, 4dKS3 & KS4 Composition 1e, 1f, 1g, 1hArt & DesignKS3 Knowledge and understanding 4cKS3 Breadth of study 5d

WALESEnglishKS3 Oracy, Range 3KS3 Writing, Range 2KS4 Writing, Range 1ArtKS3 Understanding 1, 2, 3

NORTHERN IRELANDEnglishKS3 & KS4 Writing Purpose, Context, Expected outcomesArt & DesignKS3 Investigating and realising in art & design i

SCOTLANDEnglish Language 5-14Writing: Functional writing Levels D and EDrama 5-15Investigating and experimenting Levels D and EUsing language Levels D and ECommunicating and presenting Levels D and EObserving, listening, reflecting, describing and responding Levels D and E

CURRICULUM LINKS

Scar

To learn more viewThe Lion KingBehind The ScenesEPISODE 1 - FROM SCREEN TO STAGEEPISODE 6 - MASKS AND PUPPETS

DISNEY’s ‘the Lion King’ SECONDARY SCHOOL teaching Resource6



Learning objectives• Understanding

anthropomorphism and its importance in literature and theatre

• Understanding an author’s craft (character, setting, mood) and describe in terms of anthropomorphismhow animals are often represented by particular human qualities

• Exploring and discussing characterisation, narrative devices and figurative language

Lesson outline

Start by talking about different animals– their rich variety in type, size,geographic location and degree ofapproachability. The discussion willcover categories such as pets,domestic, farm, British wild, jungleand Arctic. Ask students to describethe animals. Characteristics toconsider include their size, the soundsthey make and their movements.

Choose students to act out animalactions, leading to interaction betweentwo different animals, for example acta sheepdog with a sheep, a cat and amouse or a tiger stalking an antelope.Ask students to explain how theiractions help to represent the animals.

Continue the discussion with the role ofanimals in literature. Ask students forexamples from books they have read.These may include, for example; ’101 Dalmatians’, ‘The Jungle Book’or the White Rabbit in ‘Alice inWonderland’. Discuss how the animalsbehave as humans. Why do writerschoose to write about animals aspeople? Is it easier? Harder? Why?

Introduce and explain the concept ofanthropomorphism – imbuing animalswith the attributes, feelings andbehaviour of humans.

Point out how species of animals areusually given specific human qualities.

The dog frequently represents loyaltyand trust (‘Lassie’), yet his cousin thewolf often represents ravenousdestruction (‘The Three Little Pigs’). Thesnake is often sneaky and treacherous

(‘The Jungle Book’), but in certainEastern traditions the snake is thebringer of wisdom. Pigs personifygreed, but what of ‘Babe’?

Hand out the project sheet to the class.Students choose a number of differentanimals and discuss the humanqualities and attributes normallyascribed to them. Discuss their ideasas a class.

Plenary

Remind students of the ideas exploredin the lesson about how animals areoften portrayed as having humanqualities. Talk about how these couldapply to ‘The Lion King’, and preparestudents for the animal charactersdisplaying the full range of humanemotions, qualities, and defects.

Adapting the activityfor younger students

To adapt the activity for youngerstudents you could begin by askingthem to list collective nouns for animals(herd, flock), list names for the young ofanimals (kitten, lamb) and list namesfor the homes of animals (stable, nest).This would then lead onto discussingsimilies based on animals as ‘wise as an owl’ or as ‘cunning as a fox’. Ask students to create their own imaginative similies (as wobbly as a wombat) and use this to introduce and discuss the concept ofanthropomorphism.

‘The Lion King’ spectacularly builds on the dramatic device of anthropomorphism, creating ‘creatures’ which tell a very human story while retaining their animal characteristics. This lesson will prepare students for this convention.

Behaving like animals

PREPARATION

Photocopy the project sheet (Secondary 2) for each student.

CURRICULUM LINKS

To learn more viewThe Lion KingBehind The ScenesEPISODE 1 - FROM SCREEN TO STAGEEPISODE 3 - MEET THE CHARACTERSEPISODE 10 - DANCE & MOVEMENT

ENGLANDEnglishKS3 & KS4 Group discussion and interaction 3a, 3bKS3 & KS4 Drama 4a, 4b, 4c, 4d, 11cKS3 & KS4 Composition 1e, 1f, 1g, 1hPSHEKS3 & KS4 Breadth of opportunities 4gCitizenshipKS3 Developing skills of enquiry and communication 2c

WALESEnglishKS3 Reading, Skills 2, 3KS3 Writing, Range 2, 6KS4 Writing, Range 1PSEKS3 & KS4 Skills Make moral judgements…

NORTHERN IRELANDEnglishKS3 & KS4 Talking and listening Purpose, Expected outcomesKS3 & KS4 Writing Purpose

SCOTLANDEnglish language 5-14Listening: Listening in groups Levels D and ETalking: Talking in groups Levels D and EWriting: Functional writing Levels D and EDrama 5-15Using movement and mime Levels D and EObserving, listening, reflecting, describing and responding Levels D and E

Before launching into the remaining lesson plans, start by returning to the second activity, Behaving Like Animals. Discuss the different animals the students have seen in ‘The Lion King’ and identify the different human characteristics that were displayed.

AFTER SEEING THE SHOW

• Who was your favourite character and why?

• Which were your favourite parts of the musical? Why?

• Did you look more at the animals, or at the people controlling them?

• What was it like, being able to see the people who were operating the puppets?

• What were your favourite puppets and why?

• Would you change any of the puppets? How? Why?

• When Scar told Simba about the Elephant Graveyard, what could he have said to Scar rather than deciding to go there?

• What was your favourite song?

• What was Simba’s relationship with his father like?

• Why was what Scar did wrong?

• What could he have done instead?

• What do you think Rafiki would have said to Nala if she had asked her what she should do?

• What lessons does Simba learn?

• What is Rafiki’s role in the community?

DISCUSSION TOPICS

You will also want to give students an opportunity todiscuss their theatrical experience. A few discussion pointsare suggested here...

Mufasa Rafiki – original costume sketch



Fascinating Facts about ‘The Lion King’

• There are 106 ants on the Ant Hill Lady.

• 27kg of grass were used for the Grasslands headdresses.

• There are 27 kite birds.

• The longest animal is the elephant: 4 metres long, 3.5 metres high, 2.75 metres wide. It collapses to 86cm wide.

• It took 37,000 hours to build the puppets and masks.

• Nearly 700 lighting instruments were used to create the lighting plot.

• There are more than 232 puppets in the show, including rod puppets, shadow puppets and full-sized puppets.

• The tallest animals are the 5.5 metre giraffes in the song ‘I Just Can’t Wait to be King’. The tiniest animal in the show is the13cm trick mouse at the end of Scar’s cane.

• The sun in ‘The Lion King’ is constructed from 30 aluminium ribs attached to each other with silk strips. As the circle is lifted up by the wires, it gives the impression of the sun coming up over the horizon.

• More than 340kg of silicone rubber were used to make the masks. The Timon puppet weighs 6.8kg.

• There are 25 kinds of animals, birds, fish and insects represented in the play.


LEARNING OBJECTIVES• Making masks, using a

variety of different materials• Demonstrating dramatic

techniques through movement, mime and sound

• Evaluating own and others’ dramatic performance and skills

• Learning about masks from different historical and cultural contexts

Lesson outline

Before making the masks, revisit thework from Project Sheet 1 (What’sbehind the Mask?) to remind studentsabout masks, their types and functions.From a theatrical point of view, studentsshould consider how a mask makes avery definitive statement about acharacter. The mask focuses attention onspecific facets, whereas the human facegives away a vast array of oftencontradictory information.

Point out that in large theatres, wherethose sitting towards the back could notsee the facial expressions of the actors,masks can be used to make sureeveryone knows who’s who. As such,masks have to be both exaggerated andfocused, much like the classic theatricalmasks of tragedy and comedy. Similarly,the movements of the actors would beexaggerated to express the meaning ofthe masks.

Distribute the project sheet on whichstudents plan their own mask designs,considering its character, function,audience and powers. They shouldproduce an annotated sketch to indicatecolours, materials, dimensions and so on.

They are now ready to make their masks.

The method of making the masks is atyour discretion. The easiest and quickestmethod relies on cutting a piece ofcardboard to shape, cutting out eyeholes, decorating it with paints, fabrics orother elements, attaching it with elasticwhich stretches around the back of the

head. For a longer and more ambitiousproject, you will need the involvement of the art department to create 3Dmodelsusing papier-mâché, or over-sizedceremonial-style headdresses, of the sortseen in ‘The Lion King’.

To save time, you might prefer to provideyour students with blanks onto which theypaint their designs, observing therestrictions of the media available.Additional materials, such as cardboardand wool, could also be provided so thatstudents can create ears, horns, 3Dnoses, hair and other features.

When students have completed theirmasks, they should take it in turns toexplain the character and function of themask while wearing the mask and movingin an appropriate manner. A student whohas created an animal mask, for example,would move in a way that suggests thatanimal.The other students allot them marksout of ten for how convincing they are.

Plenary

Discuss the masks made by the students,relating them in design and intention tothose seen in ‘The Lion King’.

Extension activity

To extend the task, students couldresearch the history and uses of themask in theatre and ritual around theworld, including visuals, for a walldisplay on the subject.

This lesson will allow students to relive the impact of the masks in ‘The Lion King’, and to make their own masks, using them to create new and excitingcharacters of their own.

Living the mask

PREPARATION

Photocopy the project sheet (Secondary 3) for each student.You will also need materials for making a mask such ascardboard, paints and brushes, fabrics, elastic, string or wool.

ENGLANDEnglishKS3 & KS4 Drama 4a, 4b, 4c, 4dArt & DesignKS3 Investigating and making art, craft and design 2aKS3 Knowledge and understanding 4cKS3 Breadth of study 5c

WALESEnglishKS3 Oracy, Range 1, 3KS3 Oracy, Skills 8KS4 Oracy, Range 1ArtKS3 Understanding 2KS3 Making 1, 2, 3

NORTHERN IRELANDEnglishKS3 & KS4 Talking and listening Purpose, Expected outcomesArt & DesignKS3 Investigating and realising in art & design iKS3 Materials, tools and processes a, eDramaKS3 Principles The ability to express…

SCOTLANDEnglish language 5-14Listening: Listening in groups Levels D and ETalking: Talking in groups Levels D and EArt & Design 5-14Using media Levels D and ECreating and designing Levels D and EObserving, reflecting, describing and responding Levels D and EDrama 5-14Investigating and experimenting Levels D and EUsing movement and mime Levels D and E

CURRICULUM LINKS

Julie Taymor

To learn more viewThe Lion KingBehind The ScenesEPISODE 6 - MASKS & PUPPETSEPISODE 10 - DANCE & MOVEMENT




Learning objectives

• Learning about and discussingthe concept of the Circle of Life, developing instructional,explanatory and answering skills through speaking and listening

• Writing to inform, explain and describe complex ideas

• Using dramatic techniques to explore the concept of the Circle of Life

Lesson outline

Draw a large circle on the board andask students what the circle has to dowith ‘The Lion King’.

Elicit the point of the opening song, ‘The Circle of Life’, how the story endsas it began, with Rafiki presenting thenewborn son of The Lion King to thepride, part of an unending cycle.

Present students with the words of theshow’s director, Julie Taymor: “As Ibegan to visualise ‘The Lion King’, thedominant theme and image to emergewas the circle. In addition to being a taleabout a boy’s personal growth, ‘The LionKing’ dramatises the ritual of birth, deathand rebirth.”

Remind students how Mufasa tells Simbathat all creatures depend upon eachother, that we all have a place in theCircle of Life, and how Simba’s journeyhelps him to discover his true place inthat circle.

Ask students to work in pairs to discussand report back on the following points:

• Circles used in the production (the great sun, Mufasa’s mane)

• The effect of breaking the circle (Scar’s over-hunting brings ruin)

• Examples of circles in mythology and literature (King Arthur’s table, Sleeping Beauty’s spinning wheel, the yin and yang sign)

• Other natural cycles, apart from birth and death (day and night, the seasons, sowing and reaping, the orbits of the planets)

• Modern examples of the need to keep the circle (recycling of waste)

Distribute the worksheet to students.Remind them of Zazu’s wisdom, of hisknowledge of the value of the Circle of Life. On the sheet, students are todraw Zazu in the centre, and, in each of the labelled bubbles around him, put, briefly, what Zazu would say was the importance of that character,object or action to the great Circle of Lifein the Pridelands.

Plenary

Discuss the activity, ensuring thatstudents understand the Circle of Life.

Extension activities

Ask students to improvise scenes whereZazu explains to particular characterstheir importance in the Circle of Life.They could also create mime or dancepieces symbolising the Circle of Life.

‘The Lion King’ celebrates the great Circle of Life – theinterdependence of all creatures, their binding ties to nature, and the dangers and dire consequences inherent in breaking the Circle. This lesson will allow students to explore the concept of the Circle of Life and help develop an appreciation of the need to respect the world we live in.

PREPARATION


ENGLANDEnglishKS3 & KS4 Group discussion and interaction 3a, 3bKS3 & KS4 Drama 4a, 4b, 4c, 4d, 11cKS3 & KS4 Composition 1e, 1f, 1g, 1hPSHEKS3 & KS4 Breadth of opportunities 4gCitizenshipKS3 Developing skills of enquiry and communication 2a, 2c

WALESEnglishKS3 Oracy, Range 1, 3KS3 Oracy, Skills 8KS3 Writing, Range 2KS4 Oracy, Range 1KS4 Writing, Range 1PSEKS3 & KS4 Attitudes and values Have respect…, Develop a sense…KS3 & KS4 Skills Make moral judgements…

NORTHERN IRELANDEnglishKS3 & KS4 Talking and listening Purpose, Expected outcomesKS3 & KS4 Writing PurposeDramaKS3 Principles The ability to express…

SCOTLANDEnglish language 5-14Listening: Listening in groups Levels D and ETalking: Talking in groups Levels D and EWriting: Functional writing Levels D and EDrama 5-14Using movement and mime Levels D and EObserving, listening, reflecting, describing and responding Levels D and E

CURRICULUM LINKS

Rafiki

Mufasa and Zazu

The Circle of Life

To learn more viewThe Lion KingBehind The ScenesEPISODE 2 - BEHIND THE STORYEPISODE 3 - MEET THE CHARACTERS


LEARNING OBJECTIVES• Preparing for, improvising and

working in role as characters from ‘The Lion King’, audience members and other roles

• Empathising with charactersin ‘The Lion King’, by understanding and defending their actions and intentions

• Clarifying and refining questions, putting across a point of view, asking pertinent questions, presenting a case persuasively, modifying views, analysing bias and evaluating own contributions through speaking and listening

Lesson outline

For this lesson, you take on the role ofdirector/producer.

Choose a stage manager, who will needto make sure everyone knows what theyare doing and to agree a running order(the order in which things happen) withyou as the director. Assign a musicaldirector, who plays an intro and outrotheme and delivers a brief burst of musicto introduce each guest. If a lighting rig isavailable, assign a lighting technician totrain a follow-spot on guests as they walkto their seats – or as they storm out in arage, for that matter. A follow-spot canalso pick out members of the audiencewho are asking a question or creating ascene. Put a student or two in charge ofthe audience, welcomers holding up signsand making gestures to encourage themto laugh, cheer, boo, as in the style of‘The Jerry Springer Show’.

Choose two ‘bouncers’ to intervene –gently – if the debate gets too heated.Have someone play the role of a familycounsellor, who comes on near the end ofthe show to advise everyone on how toreconcile their differences. (“NowMufasa, I don’t think you’re really hearingwhat your brother is saying”; “I’m gettinga lot of negativity from you, Scar. Comeon, give your nephew a hug and make itlike you mean it!”)

Select individual students to play the partsof the chat show host, Simba, Mufasa,Scar, Sarabi and Nala. The host’s job isto ask questions about the turning pointsin the production. They need to considerhow decisions, right or wrong, affect our

lives, and how the story could haveturned out differently. Did Simba makegood decisions? Bad ones? How wouldeach of these decisions have changed thestory? Most importantly, the host alsoneeds to build anticipation, excitementand involvement among the audience.

EXAMPLE OF RUNNING ORDER

1. Music 2. Lights 3. Welcomers hold up ‘clap’ sign4. Spotlight follows presenter entering

from stage left 5. Presenter sits and gestures audience

to stop clapping 6. Music fades7. Host welcomes audience8. Guest 1: Entrance theme. Sarabi9. Audience questions/comments

10. Guest 2: Entrance theme. Mufasa11. Guest 3: Entrance theme. Nala12. Audience questions/comments13. Guest 4: Entrance theme. Simba

(big build-up: “There’s someone all three of you would like to see very much indeed, isn’t there? Well, I’ve got a very special surprise for you tonight... Simba, come on out!”)

14. Guest 5: Entrance theme. Scar (big build-up, have bouncers ready)

15. Family counsellor: entrance theme

As the show’s director, you will need toagree the running order with the stagemanager.

The characters in ‘The Lion King’ are presented with human qualities within their animal personas. Heroes and villains all have their own point of view – worthy of airing on a TV chat show! Students will explore thecharacters of ‘The Lion King’ and consider their motivations through a school chat show.

The controversial chat show

PREPARATION


To learn more viewThe Lion KingBehind The ScenesEPISODE 3 - MEET THE CHARACTERS


ENGLANDEnglishKS3 & KS4 Group discussion and interaction 3a, 3bKS3 & KS4 Drama 4a, 4b, 4c, 4d, 11c

WALESEnglishKS3 Oracy, Range 1, 3KS4 Oracy, Range 1

NORTHERN IRELANDEnglishKS3 & KS4 Talking and listening Purpose, Expected outcomesDramaKS3 Principles The ability to express…KS3 Making Use drama…, develop and sustain…,

work productively…, use dramatic skills…

SCOTLANDEnglish Language 5-14Listening: Listening in groups Levels D and ETalking: Talking in groups Levels D and EDrama 5-14Investigating and experimenting Levels D and EUsing movement and mime Levels D and EUsing language Levels D and ECreating and designing Levels D and ECommunicating and presenting Levels D and E

CURRICULUM LINKS

13

Together, you then speak with the lightingand sound team, adding their details tothe running order, so it specifies whichmusic is used when, which follow-spot isused and when.

To make things even more of a challenge,limit it to a half-hour long show, so eachsection has to be timed.

Hand out the project sheet to the studentswho will form the audience, and to theshow’s host, so they can plan questionsthat they want to ask the guests on theshow. They also plan their persona as anaudience member. They keep the sheetwith them during the show to jot downfurther questions and comments that occurto them.

The students who are filling other roles –guests, production, lighting, – will work

with you, the director,to prepare their

parts.

Plenary

Discuss the show,focusing on the feelings

of the characters involved.

Extensionactivities

Students write to productioncompanies responsible for such TVprogrammes as T4, Ministry of

Mayhem and The Saturday Show to findout more about how these shows areresearched, managed and produced.

They could also pretend to be a TV criticand write a review of the show.

DISNEY’s ‘the Lion King’ SECONDARY SCHOOL TEACHING RESOURCE

Simba and Scar

Young Nala and Young Simba

Scar and Nala

Scar and Mufasa


One of the strongest features of ‘The Lion King’ is the music –from vibrant African tribal beats to memorable haunting airs.Through its own language, the music helps to convey much ofthe meaning in the play and adds to the appearance, actionsand words from the actors. Students will learn how music canbe used to convey meaning in this lesson.

The language of music

LEARNING OBJECTIVES

• Explore the relationship between music and characterisation

• Write to explain how musical performance represents a chosen character

• Perform through singing and playing instruments to convey meaning

Lesson outline

Remind students that the musical score of‘The Lion King’ includes many Africanpercussion instruments, which convey awide variety of emotions, atmosphereand locations. Explain that they will beusing instruments to depict differentcharacters from ‘The Lion King’.

Play extracts from ‘Peter and the Wolf’and/or ‘Carnival of the Animals’ toillustrate the idea.

Distribute the project sheets to students.They should work in pairs to assign apercussion instrument to each characterlisted on the sheet. (Choose frominstruments available or which can bereplicated on the synthesiser). Explainthat they should consider the personalityof the character, the way they move, thequalities they exhibit – dignity, wisdom,craftiness. They should write reasons fortheir choice, and how it should beplayed – fast, slow, loud, smoothly.

Having completed the sheet, students thendecide which of the pair is to play theinstrument and who will provide themovement for each character. Pairsshould be given time to rehearse beforethe class comes together to perform.

If some students play other instruments,e.g. string or wind, encourage them tobring them in (the tuba could suitPumbaa, for example). You couldexperiment with adding backgroundmusic to the percussion (e.g. Vivaldi’s

‘The Four Seasons’ or Dvorak’s ‘NewWorld Symphony’).

To develop the performances, two pairscould be combined to express a meetingbetween two characters: Simba andNala; Scar and Mufasa; Timon andPumbaa. How do their instrumentsmerge or conflict?

Plenary

Discuss what has been learned from theinterpretations. Which characters areeasiest to represent? Which mostdifficult? Why? What props wouldhave helped?

Extensionactivity

Groups of studentsprepare andperform readingsof poems, withmixed high/lowvoices, as call-and-response, withpercussionaccompaniment.Choose poemsaccording to theability of the group,from Lewis Carroll’s‘You are old, FatherWilliam’ to WilliamBlake’s ‘The Tiger’.

PREPARATION

Photocopy the project sheet (Secondary 6) for each student.Have ready as many percussion instruments as possible, andrecordings of ‘Peter and the Wolf’ and/or ‘Carnival of theAnimals’ to play to the class.

ENGLANDEnglishKS3 & KS4 Composition 1e, 1f, 1g, 1hMusicKS3 Controlling sounds through playing 1b, 1cKS3 Responding and receiving 3a, 3b

WALESEnglishKS3 Writing, Range 2KS4 Writing, Range 1MusicKS3 Performing 2, 4KS3 Appraising 2

NORTHERN IRELANDEnglishKS3 & KS4 Writing Purpose, Context, Expected outcomesMusicKS3 Interpreting and performing c, dKS3 Listening and appraising a, e

SCOTLANDEnglish Language 5-14Writing: Functional writing Levels D and EMusic 5-14Using instruments Levels D and ECommunicating and presenting Levels D and EObserving, listening, reflecting, describing and responding Levels D and E

CURRICULUM LINKS

Simba

To learn more viewThe Lion KingBehind The ScenesEPISODE 3 - MEET THE CHARACTERSEPISODE 9 - MAKING THE MUSIC




LEARNING OBJECTIVES• Consider and discuss

different interpretations of a drama

• Explore issues, ideas and meaning by changing perspective

• Convey action, character, atmosphere and tension when scripting plays

Lesson outline

Remind students that we tend to seestorylines through the eyes of maincharacters, such as Simba in ‘The LionKing’. But the lives of many others arechanged by the action and events thattake place.

Ask students to consider Nala’s part in thestory, and what she represents. Nala is astrong character in her own right –fighting off Scar’s advances and breakingthe stereotype of the helpless princesswaiting to be rescued by the hero.

Also ask them to consider how Nala’sjourney differs from Simba’s. Howimportant is her sex to this difference?

Hand out the project sheets. These showa summary of key events in ‘The LionKing’ story from Nala’s point of viewand experience.

Split the class into pairs or small groups,and give each group one of the points ofthe story involving Nala. Allow time fordiscussion within the groups. Studentsshould consider how Nala might feel atthat point and how she might express it.

Bring the class back together anddiscuss the different ideas of groups.

Plenary

Summarise what students have learnedabout Nala.

Extension activity

As a homework or extension task, studentsuse what they have learnt about Nala towrite a new scene featuring her, based onone of the incidents covered. An examplefor you to discuss is given below and on the photocopiable project sheet 7 –Extension.

Like so many great stories, ‘The Lion King’ is not a one-animal show. These are three-dimensional characters, eachwith their own existence, thoughts, beliefs and desires. Inthis lesson students are encouraged to see the story throughthe eyes of a ‘minor’ character.

Nala’s story

PREPARATION


ENGLANDEnglishKS3 & KS4 Group discussion and interaction 3a, 3bKS3 & KS4 Composition 1a, 1b, 1c

WALESEnglishKS3 Oracy, Range 1, 3KS3 Writing, Range 1, 5KS3 Writing, Skills 7KS4 Oracy, Range 1KS4 Writing, Range 1

NORTHERN IRELANDEnglishKS3 & KS4 Talking and listening Purpose, Expected outcomesKS3 & KS4 Writing Context, Purpose, Range

SCOTLANDEnglish Language 5-14Listening: Listening in groups Levels D and ETalking: Talking in groups Levels D and EWriting: Imaginative writing Levels D and E

CURRICULUM LINKS

SCENE SCRIPT SCENE ACTION1 1 Evening at Pride Rock.

Subdued lighting casting long shadows.Music: I Just Can’t Wait to be King, played quietly and haltingly, in a minor key.

2 2 A single spotlight picks out Nala, sitting in the shade of the rock, head downcast.

3 Nala: Oh Simba, I should never 3 Nala raises her head.have gone with you to the Elephant Graveyard. I, of all people, should have tried to curb your curiosity.

4 4 Sound FX: Hyenas howl in the distance during which the music fades out.

5 Nala: You were the hope of 5 Nala rises slowly to her feet.the pride… more than that, the hope of my heart…

Mufasa is dead and Simba has vanished, also presumed dead. Rafiki, Sarabi and Nalaare left alone. As they sing a mourning chant, Rafiki wipes away the drawing of Simba. Theyoung prince and the hope he stood for are gone.

Nala


The essence of theatre is conflict, the fight between goodand evil. ‘The Lion King’ revels in this conflict, drawing theaudience into partisanship, feeling the highs and lows ofthe hero, willing the defeat of the villain. In this lesson,students explore the characters a little further, especiallyScar, the notorious villain of the piece.

Contrasting viewpoints


LEARNING OBJECTIVES

• Explore empathetic writing through role-play and oration

• Discuss and evaluate conflicting evidence to arrive at a considered viewpoint

• Express a point of view persuasively

• Convey action, character, atmosphere and tension in the presentation of drama

Lesson outline

Remind students, and discuss with them,what they have learnt from ‘The Lion King’so far. Focus especially on therelationships between the characters,how they develop or meet difficulties.

For example: Mufasa and Simba; Simbaand Nala; Scar and Nala; Timon &Pumbaa; Simba, Timon and Pumbaa.

Which of these relationships aresuccessful and why? Which are notsuccessful and why?

Ask students to consider Mufasa andScar. They are brothers, but verydifferent. How might they have been asyoung cubs together? When did theybecome enemies? Perhaps Scar is, in away, a victim, denied the throne firstbecause he is the younger brother, andthen because of the birth of Simba? Canyour students relate in some way to Scar?

Divide the class into two groups anddistribute the project sheets. One half ofthe class will represent Mufasa and theother will play Scar. Explain that theyare to complete the project sheet as theircharacter, bearing in mind that they arewriting a dramatic piece to beperformed out loud, and must payparticular attention to the use oflanguage and rhythm.

The task completed, choose one studentfrom each camp and stand them side-by-side. They are not to address each otherdirectly, but speak their lines alternately,moving about as they wish, using facialexpression and gesture, and appealing to

the audience, or the stars, or whateverthey choose.

It might run like this:

Mufasa: I am Mufasa, ‘The Lion King’,mate of Sarabi and father of Simba.

Scar: I am Scar, the rightful heir to thethrone, with a fool for a brother.

Mufasa: I love my family, my gloriouspride, the beauty of Pridelands and thevelvet night sky.

Scar: I love power and luxury. I love tocommand those who are lesser than me,which frankly, means everyone.

Repeat the exercise with more pairs of students.

Plenary

Discuss what has been learned from thelesson. Can students understand Scar’spoint of view? Did anyone change theiropinion of Scar?

Extension activity

Write a monologue for a character from‘The Lion King’ explaining theirperspective on the story. Length shouldvary according to the ability of individualstudents, up to a maximum of 200 wordsfor the more able, possibly in verse.These are to be performed to the class(the more able encouraged to performfrom memory) using any props broughtfrom home or made available, and, ifwished, accompanying themselves onpercussion instruments.

PREPARATION


Simba


ENGLANDEnglishKS3 & KS4 Group discussion and interaction 3a, 3bKS3 & KS4 Drama 4a, 4b, 4c, 4d, 11cKS3 & KS4 Composition 1a, 1b, 1c

WALESEnglishKS3 Oracy, Range 1, 3KS3 Writing, Range 1, 5KS3 Writing, Skills 7KS4 Oracy, Range 1KS4 Writing, Range 1

NORTHERN IRELANDEnglishKS3 & KS4 Talking and listening Purpose, Expected outcomesKS3 & KS4 Writing Context, Purpose, RangeDramaKS3 Principles The ability to express…KS3 Making Use drama…, develop and sustain…,

work productively…, use dramatic skills…

SCOTLANDEnglish Language 5-14Listening: Listening in groups Levels D and ETalking: Talking in groups Levels D and EWriting: Imaginative writing Levels D and EDrama 5-14Investigating and experimenting Levels D and EUsing movement and mime Levels D and EUsing language Levels D and ECreating and designing Levels D and ECommunicating and presenting Levels D and E

CURRICULUM LINKS


Young Simba

Simba grows into an adventurous youngcub, as Mufasa tries to instil in him theresponsibilities of leadership, and hisbelief that everything lives together in adelicate balance called the Circle of Life.

Scar plays on Simba’s curiosity by tellinghim about the Elephant Graveyardbeyond the borders of the Pridelands,where Simba is forbidden to go. Simbacannot resist exploring, taking with himhis best friend, the young lioness Nala,and evading their chaperone, thehornbill Zazu, Mufasa’s major domo.The young pair are attacked by threehungry hyenas, and only Mufasa’sarrival saves them.

Mufasa is disappointed in Simba andtries to explain to him the real meaningof bravery and maturity.

Scar continues to plot the downfall ofMufasa. He lures Simba into a gorgeand has the hyenas start a stampede ofwildebeests which threatens to killSimba. Mufasa arrives in time to savehim but is wounded and clingsdesperately to the cliff by his claws. Scarshows no mercy to his brother, throwingMufasa back down under the hoofs ofthe wildebeests. He makes Simbabelieve that Mufasa’s death was his faultand persuades him to leave thePridelands, never to return.

The rest of the pride, believing Simba tobe dead, must accept Scar as their newking. A lazy and inefficient king, heinvites the hyenas into the Pridelands, andthe devastation of the countryside begins.

Simba runs a long way from thePridelands before collapsing exhausted,almost becoming a meal for thebuzzards. He is rescued by Timon, awisecracking meerkat, and Pumbaa, abig–hearted warthog. They befriendSimba and teach him their philosophy oflife, Hakuna Matata – which means noworries. Simba grows from a cub into ayoung lion.

THE Story

ACT 1: It is sunrise over Pride Rock, overlooking thesavannah. Rafiki, the wise old baboon, calls the animals towitness as Mufasa, ‘The Lion King’, and his queen, Sarabi,present their newborn son, Simba. All the animals aredelighted, except Mufasa’s brother, Scar, who resents thenew prince and the cub’s place as next in line to the King.

For further details of the storyof ‘The Lion King’ please visit www.thelionking.co.uk

Scar

Zazu


Scar


Simba has grown restless, and ratherreckless.

He leaps over a river, daring Timon tofollow. When the meerkat tries, he fallsinto the river, almost plunging over thewaterfall into the jaws of crocodiles whowait below. Simba rescues him but isashamed at his own folly. As they lie

looking up at the stars, Simbaremembers his father and his

promise always to be there forhim. As Simba sings ‘EndlessNight’, back in the Pridelands

old Rafiki hears the song on thewind and conjures Simba’s

image on a tree trunk, with themane of an adult lion.

Pumbaa is chased by a lioness.When Simba intervenes toprotect him, he recognises hisold friend Nala, who is shockedto find him alive. The two younglions realise the depth of theiraffection for each other, but still

Simba is too ashamed to dowhat Nala asks, to go back to the

Pridelands and reclaim the throne.

Simba stalks away into the jungle,but meets old Rafiki who tells himhis father is alive – in him.

The stars seem to come together to formMufasa’s face. Mufasa tells his son thathe must take his place in the great Circleof Life. Simba is resolved, and sets offback to the Pridelands, with Nala, Timonand Pumbaa.

They arrive to find the land dry andbare, and Scar assaulting Sarabi,Simba’s mother, because she advisesthat they leave Pride Rock. Simbaconfronts Scar but is forced by Scar toadmit that he believes that he caused hisfather’s death.

As Scar backs Simba to the edge of acliff, in a moment of foolish arrogance,he whispers the truth, that he killedMufasa.

This gives Simba the strength to retaliateand conquer Scar, who is made torepeat the truth to everyone, though hetries to blame everything on the hyenas.Simba spares his life, but banishes him.Scar attacks Simba again, but Simbamanages to flip his uncle over the cliff, down to the hungry hyenas waiting below.

Simba is proclaimed the new king, andall the animals celebrate. The Circle ofLife continues as Rafiki raises aloft theson of the new Lion King for all to see.

ACT 2: Scar, haunted by the memory of Mufasa, wishes tosecure his immortality by having children. He tries to force hisattentions on Nala, Simba’s childhood friend, now grown intoa beautiful young lioness. She rejects him, and runs awayfrom the Pridelands, vowing, like Simba, never to return.

Simba and Nala

Simba

Like any child, Simba’s view of the worldand his role in it is rather simplified. Tohim, growing up to be ‘The Lion King’means getting to tell the other animalswhat to do. Simba’s mischievousness istempered by his adoration of Mufasa,his father. What the little lion cub reallywants is to be just like his father.Mufasa’s death leaves Simba unsureabout whom he really is as he growsinto adulthood. Then Rafiki shows Simbahis reflection in a pool and the sleekyoung male beings to understand thathis father’s courage and wisdom are apart of him, too.

Rafiki

The baboon shaman Rafiki takes on thetask of narrator and spirit guide. Rafikitravels her own road, sings her ownsongs and knows what she knows.Appearing the first time to anointnewborn Simba, Rafiki wanders on hermystical way. When the time is right, shereturns again to guide Simba back to thepath he is meant to follow. Rafiki is theteacher in ‘The Lion King’, based on theSangoma, the South African herbalist,healer and truthteller. The Sangoma isalmost always a woman and thetraditions have been passed down frommother to daughter for generations. ASangoma’s job is to interpret messagesfrom the spirits, use herbs to heal anddivine the future.

Mufasa

With a voice as golden as hismagnificent mane, Mufasa guides andteaches his son, Simba. As ready to playas to instruct, Mufasa knows when tochide Simba for his mischief and whento chuckle at it. Strong, brave and wise,Mufasa is a true leader whose couragecomes from a great, calm certaintyabout who he is and how he fits into theCircle of Life.

Zazu

Mufasa’s most trusted advisor, Zazu is aprim and proper Hornbill bird with asense of personal dignity. AlthoughZazu’s feathers can be ruffled, he isdedicated to Mufasa. The honourablehornbill would give his right wing for‘The Lion King’, and stays with the pridethrough good times and bad.

Scar

Lean, sardonic Scar makes up for hislack of physical prowess with deviouscunning. Obsessed with the need topossess the throne, Scar is Simba’s andMufasa’s implacable enemy, a fact thatthe great-hearted Mufasa realises toolate. Scar may leave most of the dirtywork to his henchmen hyenas, but he’scapable of great cruelty himself. Aselfish, greedy ruler, Scar nearlydestroys not only the pride, but also theland in which they live.

Nala

Every bit as courageous and inquisitiveas Simba, Nala, a lioness cub, is readyto go wherever he goes and dowhatever he does. But time changes allthings and when Nala and Simba meetagain, her lively cuteness has ripenedinto sleek, tawny beauty, her childlikebravado has become true courage andtheir friendship deepens into love.

Timon and Pumbaa

Brenda Chapman, the story head for themovie ‘The Lion King’, first heard theSwahili phrase Hakuna Mutata – whichmeans ‘no worries’ – when she travelledto Kenya in 1991. This became themotto of ‘The Lion King’s’ two clowns,Timon and Pumbaa. Sympathetic andwarm-hearted, Pumbaa is ready to trustanyone, even a carnivore like Simba.Pumbaa may have more brawn thanbrains, but his size includes anoversized heart. And when Simbaconfronts his destiny, the loyal warthogis the first to follow. The self-proclaimed‘brains of the outfit’, Timon is ahyperactive meerkat with a motor mouth.Whether he’s making good-naturedjokes at Pumbaa’s expense, droolingover a plate of delicious bugs, orpitching his freewheeling lifestyle toSimba, Timon always has a fast line. But behind the patter is a loyal little guy who’d give his last wisecrack tohelp a friend.

For further details of the characters from ‘The Lion King’ please visitwww.thelionking.co.uk

cast of characters



Timon and Pumbaa

Simba Rafiki Mufasa

Zazu NalaScar

The production team

When we sit in the audience at a musical,we see the actors on stage. But where dothe costumes they wear come from? Whatabout the words they say, or the songs theysing? Who designed and built the settingsin which they act? A musical as large as‘The Lion King’ brings together literallydozens of creative people, who worktogether as a team to bring the show to life.

PRODUCERThe producer gathers the resourcesneeded to put on the production,engaging the creative staff and raisingthe necessary funds for the production’sbudget. Dealing with both the creativeand the business ends of the production,the producer creates a nurturingenvironment in which artists can thrive.

DIRECTORThe director uses elements of theproduction to bring the written words ofthe script or score to life on stage. Thedirector usually sets the tone and the‘look’ of a production, and sets theblocking, or the actors’ movements.

COMPOSERThe composer writes the music of thesongs and the incidental music. He or sheis responsible for the ‘sound’ of the show.

LYRICISTA lyricist writes the words, or the lyrics,for the songs. A lyricist must work veryclosely with the composer to make surethe words work well with the music.

BOOK WRITERA musical’s ‘book’ is the ‘play’ of themusical, that is, the spoken words betweenthe songs. A book writer must work withthe composer and lyricist to effectivelyblend the spoken word with the songs.

CHOREOGRAPHERDance seems to go naturally with song,and a musical will often incorporatedance into its action. A choreographerdesigns a dance, first in his head or onpaper, then with the dancers on thestage. The choreographer works with thedirector to make sure the dancemovements complement the blocking.

SCENIC OR SET DESIGNERThe scenic designer creates theenvironment of the production,conveying the style, mood, period andplace of the show. A scenic designeralso designs or selects the production’sprops and furniture.

LIGHTING DESIGNERUsing hundreds of spotlights and lightinginstruments, the lighting designer createsthe lighting ‘plot’: the colour, intensityand focus of the lighting in each scene.Since the 1970s, most professionalproductions have used computerisedlighting boards, which can store

thousands of cues and change lightingin a fraction of a second.

COSTUME DESIGNERA costume designer researches anddesigns what the performers will wear andlook like in the production. As well ashaving an extensive knowledge of clothingof all cultures and time periods, a costumedesigner must know how a costume willhinder or help an actor’s movements.

MASK AND PUPPET DESIGNERIn a production like ‘The Lion King’,which uses so many masks and puppets,these designers must work closely withthe others on the creative team so thatthe masks and puppets work efficientlywith the rest of the production. Adesigner of masks or puppets shouldhave training in engineering as well ascultural and artistic knowledge.

STAGE MANAGERThe stage manager is the communicationlink between all departments starting withpre-production meetings and rehearsalsand on to the final coordinating of alldepartments in performance through thecalling of cues and the directing ofbackstage traffic.

Costumes, masks and puppets

’The Lion King’ is unique in that we seehow the magic works on stage. There’sno attempt to cover up the wheels andcogs that make it all happen. The humanbeings that control the puppets andwear the animal masks are fully seen. Asan audience member, you have animportant job: with your imagination,you are invited to mix the ‘animal’ withthe human into a magical whole...

Julie Taymor is a director and designer who is well known for mythical staginginspired by international theatrical forms. When she was approached byDisney Theatrical Productions regarding the proposed stage version of the highlysuccessful film, ‘The Lion King’, she was excited by the challenge: ‘When I lookedat the film... I said to myself, what is working in this film for me? What’s themost daunting challenge? That’s what I like to do – the sheer fact that it’s veryhard to do is a great challenge to me.’

ABOUT THE PRODUCTION


Scar


As Julie Taymor says: “When the humanspirit visibly animates an object, weexperience a special, almost life-givingconnection. We become engaged byboth the method of storytelling as well asthe story itself.” Although ‘The Lion King’is Disney as you’ve never seen it before,there are common strands with whichJulie Taymor had to work. She says:“Disney animated characters are soexpressive – they’re animals, but they’revery human animals. I had to play withkeeping some of the ‘character’ of theDisney characters, so that they’rerecognisable. But then, I was also veryinspired by African masks, which aremuch more abstract, much more stylised,much more essential, less soft and round.Because we’re doing three-dimensionaltheatre, I didn’t want the faces to look flat;I wanted them to have a kind of depth,like wood has. So I used texture andorganic materials, fibres, wood – thingsthat would make it less cartoon-like.”

To create masks and puppets in ‘The LionKing’, Taymor worked with MichaelCurry, one of the country’s leadingpuppet experts. Curry had worked withTaymor on several of her films andoperas. With a background inengineering as well as puppetry, hewould create the technical design of thecharacters. Of the challenge of creatingmasks for such a theatrical spectacle,Taymor says: “In contrast to thecontinually changing facial expressionsin the animated film, a mask can projecta single, fixed attitude. The sculptor hasonly one opportunity to incorporate theanger, humour and passion of acharacter, to tell his or her whole story. Ithought, what if I create these giantmasks that really are clearly Scar andMufasa, but then the human face isrevealed below, so that you’re not losingthe human facial expression, you’re nothiding the actor?”

Taymor and Curry’s first step in creatingthe theatrical world of ‘The Lion King’was to craft the masks for Mufasa andScar. Could a balance be foundbetween the recognisable charactersfrom the animated film and the humanactors? The lions’ costumes also helpedto create this duality. While the humanqualities of the lions come out in theAfrican styled beadwork, corsets,armour and cloth, the costumes use silkcloth to negate the human shape,breaking the shoulder line, enhancingthe powerful joints and thighs. Themasks are made from carbon graphite,a tough, lightweight material. First the‘face’ of the mask is created by spraying

silicone onto a mould made from paperor clay. When enough layers of siliconebuild up, a rubbery shell is left which isremoved from the mould to become theimprint for the mask. The mask iscompleted with the carbon graphite.Although they may look very heavy,Mufasa’s mask, for example, weighsonly 312 grams and Scar’s mask, 270grams. Three of the main theatricalforms that inspired Taymor and Currywere African masks, Bunraku puppetryand shadow puppetry.

By exploring the background of thesetechniques, ‘The Lion King’ can be aricher experience for young people.

AFRICAN MASKSIn Africa, masks are functional works ofart. They are meant to be used; theyperform a social purpose. Seen on awall or a table, it may seem dull andstatic, but when used in storytelling or aceremony, the mask takes on a life. As in‘The Lion King’, many African masks aremade to be worn over the head insteadof just the face. They serve manyceremonial purposes: accepting ayoung man into manhood, exorcisingevil spirits, capturing invisiblesupernatural forces. African masks aresometimes referred to as ‘spirit traps’.

From a purely theatrical point of view, too,the mask could be said to trap a spirit.

BUNRAKU PUPPETRYNamed after its founder, UemuraBunrakuken, this Japanese theatre formstarted in the 16th century. In Bunraku,master puppeteers, visible to theaudience, control large puppet dolls,while a narrator tells the story. The largerpuppets, which can be as tall as fivefeet, are operated by three-man teams.The most experienced man, the onlypuppeteer allowed to show his face tothe audience, operates the head andright arm. The other two puppeteers are

completely covered with black cloth.One operates the ‘puppet’ right handwith a rod, while the other manipulatesthe ‘puppet’ legs. Through movementand gestures (and, as always, theaudience’s imaginations) greatexpressiveness can be achieved.Because the puppeteers are visible,spectators can concentrate on the story,or on the skill of the puppeteers.Hopefully, these two perceptionseventually merge into a wholeappreciation of the theatrical event.

SHADOW PUPPETRYWe have always been fascinated withshadows. Shadows thrown by acampfire can appear to be monsters;fingers twisted in a specific way in frontof a light beam can create intricateanimal shapes. In shadow puppetry, theaudience only sees the shadows of thepuppets, thrown onto a screen by a lightor a fire. Shadow puppetry seems to bethousands of years old; many think itoriginated in Greece, although Chineserecords show forms of shadow puppetrybeing performed 2000 years ago.

In Indonesian shadow puppetry, calledthe wayang kulit, intricate flat puppetsmade of wood and animal hide areshown before a muslin screen, usuallytelling stories from Hindu mythology. InJava, audience members sit on bothsides of the screen, either to watch theshadows, or to see the puppets and themanipulating puppeteers.

SETSWorking with Julie Taymor, set designerRichard Hudson used the essentialconcepts of ‘The Lion King’s story tocreate the scenic design for the show.Pride Rock and the Elephant Graveyardseem to be opposites, one full of life, theother radiating death and danger, butthey are connected through their design.

Julie Taymor

Just as Pride Rock is a stylised circularstaircase that twists out of the stage as theshow opens, the Elephant Graveyard is atwisting series of steps made of bones.We see Mufasa in his place of dignity onPride Rock as the show opens; it’s a shockto see Scar in the same position, but withvery different feelings, straddling thebones in the Elephant Graveyard.Perhaps the most dramatic scene in ‘TheLion King’ is the wildebeest stampede inwhich Mufasa is killed. The effect in thetheatre is electric, as thousands ofwildebeests seem to be rushing straight atSimba – and the audience.

The illusion of thousands of racinganimals is achieved by a canvas scrolland a series of large rollers. Wildebeestsare painted on the scroll and each rolleris equipped with sculptures of theanimals. On each successive roller, thewildebeest sculptures are slightly largeruntil, closest to the audience, dancersrhythmically move huge wildebeestmasks. This design creates a falseperspective of great distance. When thescroll and rollers are moving, theaudience seems to see waves ofwildebeests driving forward.

The Music

‘The Lion King’ animated filmincorporated five songs by Elton Johnand Tim Rice.

Tim Rice had written the lyrics for suchclassic musicals as ‘Jesus ChristSuperstar’ and ‘Evita’, each of whichhad also been best-selling recordings.Rice seemed the perfect choice to writethe lyrics for ‘The Lion King’, but whowould compose the music? Elton John,who has written some of the best knownand most endearing popular music inthe last half of the twentieth century,said: “I actually jumped at the chancebecause I knew that Disney was a classact and I liked the story line and peopleimmediately. The Disney films lastforever and children watch them andadults watch them and get just as muchfun out of them.”

As Rice and John began to worktogether, they knew that their mainpurpose was to tell the story. “Up untilnow,” said Rice, “about 95 per cent ofthe lyrics I’ve written have been done toa tune. Elton is one of those rareexamples of a composer who actuallylikes to get the words first. In the caseof... ‘The Lion King’ that proved to bequite useful because the key thing... is toget the story line dead right. Everythingflows from the story.”

For the stage version, more songs wereneeded to explore Simba’s growth andNala’s courage. The creative teamturned to ‘The Rhythm of the Pridelands’,

a recording inspired by the film,featuring songs by South Africansongwriter Lebo M, Mark Mancina, JayRifkin and Hans Zimmer. The lyrics ofthese soulful and evocative melodieswere rewritten for the stage version, buttheir South African sound and moodbecame the foundation for a uniquecombination. By integrating the work ofmusician Lebo M, the score to ‘The LionKing’ musical tapped into the complexand beautiful rhythms of South Africanmusic. Lebo M co-wrote additional musicand lyrics in addition to those written bythe Rice-John team. As the choraldirector, he introduced the Americancast members to a different style ofsinging: “I taught them the historicalmeanings of the lyrics and the practicaland spiritual meanings of the songs. Thesingers must understand the pain or joy,the feeling behind the song. The mostdifficult part is the interpretation, theAfrican way of singing... there’s arawness that is totally unique; it comesfrom the heart.”

Lebo M sees his life mirrored in the storyof ‘The Lion King’: ‘‘This is an Africanstory that happens to parallel my ownlife. Young Simba’s loving educationfrom his father, his rebellion and hiseventual struggle to regain a foot-hold inhis native land were very familiar tome.” He calls his work on ‘The LionKing’: “a tribute to the New SouthAfrica... like Simba, I too lost family andclose friends during my time away, butreturned home victorious to the openElton John and Tim Rice

Simba



arms of my newly freed countrymen and family.”

’World Music: The Rough Guide’ says:“South Africa is distinguished by themost complex musical history, thegreatest profusion of styles and the mostintensely developed recording industryanywhere in Africa.” South Africa’smusical history, especially in the pastcentury, is linked to its national historyand the racist system of apartheid, inwhich black South Africans wereconfined to small areas, their movementsand rights tightly controlled by the whiteminority. Because the growth of its musicwas so closely tied to the country’shistory, a study of South African music isa perfect foundation for furtherexploration into South African history.

AFRICAN MUSICAlthough the continent of Africa holdsmany different cultures, most have this incommon: music is an integral part ofeveryday life. In Africa, lives arepermeated with music. Music has afunction in society beyond simpleentertainment. Songs are written toentertain, but also to teach, encourage,mourn, heal. Music serves a socialfunction, helping to strengthen the circleof society. It “deepens the connectionbetween people who have come togetherfor reasons casual or profound” (Helen QKivnick, ‘Where is the Way: Song andStruggle in South Africa’). Africa, south ofthe Sahara desert, takes in a variety ofnations and cultures, yet all African musichas some common traits. The following

characteristics can be heard in the sound-track of ‘The Lion King’.

REPETITION: Repeated pattern of soundand rhythm.

IMPROVISATION: Because music is anintegral part of African life, it is oftenspontaneous, made up on the spot.Improvised, spontaneous creation of music and words is a highly-regarded skill.

POLYPHONY: Two or more melody linesplayed simultaneously, workingtogether into a greater whole.

POLYRHYTHMS: Two or more rhythmpatterns playing at the same time.

CROSS-RHYTHMS: The accents of a songcoming just after the accents of anaccompanying rhythmic instrument orother rhythmic device, such as hand-clapping or foot-stamping. Also calledsyncopation, in a simplified form.

CALL AND RESPONSE: A choral form inwhich a leader sings or speaks a line,which is echoed and perhapsextended upon by a larger group.Call and response can also workbetween two groups.

POPULAR SONG AND THE MUSICAL THEATREHow are the songs in musical theatredifferent from the popular music youhear every day? A song you hear on arecording, on the radio or at a concertmay create a character or tell a story,

but its primary purpose is to express amood or an atmosphere, and create amemorable tune.

In a musical, a song must help in thestorytelling. A song in a musical shouldact as a kind of shorthand, moving thestory forward, telling you somethingabout the character’s inner life orchanging the character in ways that thespoken word cannot. At the turn of the20th century, the beginning of musicaltheatre, theatre music was popular music.Songwriters brought a vibrant, fast-talkingquality to songwriting, throwing off thelong accepted models of the Europeanopera and operetta. But for pioneers ofthe musical, the theatre, along withvaudeville, burlesque and later recording,radio and the movies, was just anotherforum for songs. There was no attempt toblend the songs into the story.

The musical changed forever in 1927,with ‘Show Boat’, based on EdnaFerber’s 1926 novel about life inAmerica after the Civil War. ComposerJerome Kern and lyricist OscarHammerstein II were determined tocreate an organic work of art from the musical, in which songs,music and text all combined to tell the story. As Denny Flinn Martin writes in ‘Musical! A Grand Tour’: “Criticsdescribed Kern as having left musicalcomedy behind for something they described as opera or light opera composing. In fact, it was puremusical theatre.”

ENGLAND

ENGLISHKEY STAGES 3 & 4En1, Group discussion and interaction3. To participate effectively as members of different

groups, pupils should be taught to:a)make different types of contributions to groups,

adapting their speech to their listeners and the activity

b) take different views into account and modify their own views in the light of what others say

En1, Drama4. To participate in a range of drama activities and to

evaluate their own and others’ contributions, pupils should be taught to:a)use a variety of dramatic techniques to explore

ideas, issues, texts and meaningsb)use different ways to convey action, character,

atmosphere and tension when they are scripting and performing in plays (for example, through dialogue, movement, pace)

c)appreciate how the structure and organisation of scenes and plays contribute to dramatic effect

d)evaluate critically performances of dramas that they have watched or in which they have taken part.

En1, Drama11. The range should include:

a) improvisation and working in roleb)devising, scripting and performing in playsc)discussing and reviewing their own and

others’ performances.

En3, Composition1. Pupils should be taught to draw on their reading and

knowledge of linguistic and literary forms when composing their writing.

Writing to imagine, explore, entertaina)draw on their experience of good fiction, of

different poetic forms and of reading, watching and performing in plays

b)use imaginative vocabulary and varied linguistic and literary techniques

c) exploit choice of language and structure to achieve particular effects and appeal to the reader

Writing to inform, explain, describee) form sentences and paragraphs that express

connections between information and ideas precisely (for example, cause and effect, comparison)

f) use formal and impersonal language and concise expression

g) consider what the reader needs to know and include relevant details

h) present material clearly, using appropriate layout, illustrations and organisation

ART & DESIGNKEY STAGE 3Investigating and making art, craft and design2. Pupils should be taught to:

a) investigate, combine and manipulate materials and images, taking account of purpose and audience

Knowledge and understanding4. Pupils should be taught about:

c) continuity and change in the purposes and audiences of artists, craftspeople and designers from Western Europe and the wider world (…different cultures such as Aboriginal, African, Islamic and Native American)

Breadth of study5. During the key stage, pupils should be taught the

knowledge, skills and understanding through:c) using a range of materials and processes,

including ICT (for example, painting, collage, print making, digital media, textiles, sculpture)

d) investigating art, craft and design… from a range of historical, social and cultural contexts

PSHEKEY STAGE 3 AND KEY STAGE 4Breadth of opportunities4. During the key stage, pupils should be taught the

knowledge, skills and understanding through opportunities to:g) consider social and moral dilemmas

CITIZENSHIPKEY STAGE 3Developing skills of enquiry andcommunication2. Pupils should be taught to:

a) think about topical political, spiritual, moral, social and cultural issues, problems and events

c) contribute to group and exploratory class discussions, and take part in debates.

MUSICKEY STAGE 3Controlling sounds through singing andplaying – performing skills1. Pupils should be taught how to:

b)perform with increasing control of instrument-specific techniques

c) practise, rehearse and perform with awareness of different parts, the roles and contribution of the different members of the group, and the audience and venue

Responding and reviewing – appraising skills3. Pupils should be taught how to:

a)analyse, evaluate and compare pieces of musicb) communicate ideas and feelings about music

using expressive language and musical vocabulary to justify their own opinions

WALES

ENGLISHKEY STAGE 3Oracy, Range1. Talk for a range of purposes, including:

● explanation, description and narration● exploration and consideration of ideas, literature

and the media● argument, debate, prediction and persuasion● analysis

3. Participate in a wide range of drama activities, including role-play, and in the performance of scripted and unscripted plays

Oracy, Skills1. Listen attentively, both in situations where they remain

mostly silent and where they have the opportunitiesto respond immediately

Reading, Skills2. Respond, both imaginatively and intellectually, to the

substance and style of what they read3. Reflect on the writer’s presentation of ideas, the

motivation and behaviour of characters, the development of plot and the overall impact of a text

Writing, Range1. Write for a variety of purposes and develop their

own distinctive and original styles, recognising theimportance of commitment and vitality in what they write

2. Write to inform, instruct, explain, argue, narrate, report, describe and persuade

5. Write for aesthetic and imaginative purposes6. Use writing for thinking and learningWriting, Skills7. Develop their ability to write scripts and dialogue by:

● using their experience of reading, performing and watching plays● using dialogue to convey character

KEY STAGE 4Oracy, Range1. Talk for a range of purposes, including: explanation,

description, narration, exploration, hypothesis, analysis, discussion, argument and persuasion

Writing, Range1. Write for a range of purposes including writing to:

explore, entertain, inform, explain, describe, argue, persuade, instruct, analyse, review and comment

ARTKEY STAGE 3UnderstandingPupils should be taught to:1. Analyse, compare, contrast and evaluate their own

work and that of other artists, craftworkers anddesigners, using their knowledge to enrich andinform their work

During which pupils should be given opportunities to:2. Explore the diverse ways that artists,

craftworkers and designers from different culturesand periods work

3. Extend their work, methods and results of their investigation, modifying and refining their work through discussion and reflection

MakingPupils should be taught to:1. Identify and work with the visual element of art, craft

and design in the making of images and artefacts2. Explore and experiment with materials, images

and ideas

During which pupils should be given opportunities to:3. Experience a wide range of techniques and media to

realise their ideas, express their feelings and communicate meaning

PSEKEY STAGE 3 AND KEY STAGE 4Attitudes and valuesPSE provision should enable pupils to:● Have respect for themselves and others● Develop a sense of personal responsibility towards

the environment and a concern for the quality of life both in the present and the future

SkillsPSE provision should enable pupils to:● Make moral judgements and resolve moral issues

and dilemmas

MUSICKEY STAGE 3PerformingPupils should be taught to:2. Play a wide range of instruments with increasingly

sophisticated technique and with control of subtle changes within the musical elements

During which pupils should be given opportunities to:4. Maintain an individual instrument part in a group

piece and/or play a short solo partAppraisingPupils should be taught to:2. Discuss and evaluate live and recorded music,

including their own compositions and performances

NORTHERN IRELAND

ENGLISHKEY STAGES 3 AND 4Talking and listening: Purpose Pupils should take an active part in conversations anddiscussions, formally and informally, for a variety ofpurposes, including:

● expressing thoughts, attitudes, feelings and opinions

Talking and listening: Expected outcomesIn the context of these activities, pupils should developthe ability to:

f) discuss issuesk) interact with others in group discussion for a

variety of curricular purposesWriting: PurposePupils should have opportunities to write for a variety ofpurposes, including:

● inform and explain; describe; narrate; report; instruct; persuade; interpret and analyse

Writing: ContextWriting will arise from a variety of experiences andcontexts, including:

● a wide range of texts including literary, non-literary and media texts

● dramaWriting: RangeTheir writing should include:

● descriptions● scripts

Writing: Expected outcomesPupils should have opportunities, within a meaningfulcontext and arising out of their own work, to developthe ability to:

b)present and structure coherently, ideas, information and opinions

ART AND DESIGNKEY STAGE 3Investigating and realising in art and designPupils should have opportunities to:

c) make a personal response, through two and three dimensional work, to a wide range of stimuli, including observations and experiences of the natural and made environments

i) analyse and compare the work of artists, designers and craftworkers from different cultures and contexts, and use the information to inform their own work

Materials, tools and processesPupils should have opportunities to:

a)use and combine a variety of drawing, painting and graphic materials, tools and processes

e) use a variety of natural and man-made materials to create reliefs and sculptures

CURRICULUM LINKS



DRAMAKEY STAGE 4Principles

● the ability to express ideas and emotions in dramatic form

Making● use drama to explore relationships, their own and

others’ attitudes, beliefs and emotions about the world in which they live

● develop and sustain a role● work productively as part of a group in and out

of role● use dramatic skills, forms, language and text

appropriate to audience, context, purpose and task

Appraising● A critical understanding, in written and non-written

form, of their own work and that of other people● A critical knowledge of dramatic context and the

ability to analyse forms, theatrical genres and conventions

MUSICKEY STAGE 3Improving and ComposingPupils should have opportunities to:

c) explore the structural, expressive and stylistic potential of the elements of music

Interpreting and PerformingPupils should have opportunities to:

c) perform a variety of music which requires independent part-playing or singing

d)develop skills in ensemble playingListening and appraisingPupils should have opportunities to:

a) identify and evaluate their own contribution to group compositions and performances

e) listen to and appraise their own music and that of others

SCOTLAND

ENGLISH LANGUAGE 5-14Listening: Listening in groupsLevel D: Listen to others in group or one-to-oneactivities and respond relevantly by questioning,supporting an opinion or offering an alternate point of viewLevel E: Listen to others in group or one-to-oneactivities and respond relevantly, so as to showawareness of others’ opinions, suggestions and/or feelings

Talking: Talking in groupsLevel D: Talk to others in a group or one-to-oneactivity, and contribute appropriately to the purpose ofthe activity by asking and answering questionsrelevantly and by making statements which show someawareness of the ideas of othersLevel E: Talk readily to others in a group or one-to-oneactivity, and contribute appropriately to the purpose ofthe activity by asking and answering questionsrelevantly, by commenting upon the ideas of others andby showing some awareness of their feelings

Reading for informationLevel A: Find, with teacher support, an item ofinformation from an informational or reference textLevel B: Find and use, with teacher support,information specific to their needs from a range of informational and reference sourcesLevel C: Find and use information specific to their needs from a range of informational and reference sources

Writing: Functional writingLevel D: Write in a variety of forms to communicatekey events, facts or ideas, using appropriateorganisation and vocabularyLevel B: Write in a variety of forms to communicatekey events, facts, points of view and ideas, usingappropriate organisation and specialist vocabulary

Writing: Imaginative writingLevel D: Write imaginative pieces in various genres,using appropriate organisation and vocabularyLevel E: Write imaginative pieces in various genres,making some use of appropriate literary conventions

DRAMA 5-14Investigating and experimentingAll levels A-E: Improvise and experiment withmovement, speech, space, physical objects and sound,showing imagination and inventiveness appropriate to age and stage of development. As they progressthrough the levels, pupils should show increasingunderstanding and control of the media and processesof drama

Using movement and mimeLevel D: Show control of gesture, movement and mime and ability to adapt these in a variety of drama activitiesLevel E: Use gesture, movement and mimeappropriately in a range of contexts, showing sensitivity and flexibility to changing situations within the drama activity

Using languageLevel D: Show ability to adapt the use of languagewithin a range of contexts. Contribute orally to theplanning of drama activities. Participate in a scriptedpiece of workLevel E: Show confidence and flexibility in usinglanguage appropriately in varying roles and changingsituations. Contribute to planning and evaluation ofdrama activities. Participate in scripted pieces

Creating and designingLevel D: Adopt and develop roles appropriate to avariety of drama situations With support, show attentionto authenticity, based on personal observation ofeveryday situations. Collaborate in working towards theresolution of problems, issues and tasksLevel E: Accept, develop and sustain roles appropriate toa variety of drama situations. Show some understanding ofissues of authenticity and stereotyping. Show evidence ofeffective co-operation in working towards the resolution ofmore complex problems, issues and tasks

Communicating and presentingLevel D: Work co-operatively and communicateeffectively with others in a variety of drama activitiesCollaborate in the organising of a presentation,demonstrating an awareness of how to communicatewith an audienceLevel E: Work co-operatively and communicateeffectively with others in a variety of drama activities. As part of a group, devise, rehearse and present work,including scripted work. Demonstrate an ability tocommunicate appropriately with different audiences

Observing, listening, reflecting, describing and respondingLevel D: Following careful listening and observing,and with teacher support, identify and describe some aspects of their experience of drama. Commentconstructively on their own and others’ contributions.Express and justify opinions on aspects of the mass mediaLevel E: Through reflection and discussion, based oncareful observation and listening, reflect upon what hasbeen learned in terms of personal understanding andknowledge and skills gained. Discuss and evaluate theperformances of others

ART AND DESIGN 5-14Using mediaLevel D: Use a range of media, in painting, printing,modelling, 3D construction, or fabric-related activities,showing some understanding of the qualities of these,and evidence of personal choiceLevel e: Consider, select and use appropriately arange of media, occasionally combining some of these

Creating and designingLevel D: Produce images which show furtherunderstanding of the qualities of visual elements and their use. Suggest a solution to a design problemby drawing, usual presentation or a simple modelLevel e: Demonstrate understanding of the use ofvisual elements in a wide range of activities. Evaluateideas in response to a design brief. Select the mostappropriate one and produce a prototype

Observing, reflecting, describing and respondingLevel D: Research information abut an artist ordesigner and their work from supplied sources. Make ajudgement about their own or an artist’s work usingappropriate vocabulary. Make a personal evaluation ofown or others’ designs, showing some understanding ofa design processLevel e: Find out about an artist or designer and theirwork by collating materials and information from severalsources. Make one or two personal statements abouttheir own and an artist or designer’s work, showing anunderstanding of the use of the visual elements tosupport an opinion. Evaluate their own design work,showing an understanding of a design process,indicating modifications where appropriate

MUSIC 5-14Using instrumentsAll levels: Individually and in groups, play a rangeof pitched and non-pitched instruments, applying avariety of appropriate techniquesLevel D: Play confidently and expressively, sustainingmore challenging melodies and rhythms on a range ofinstruments, sometimes using a form of written notationLevel e: Demonstrate increased musicianship andtechnical abilities whilst playing a widening range of instruments

Communicating and presentingAll levels: Work co-operatively in a group whilemusic making or inventing, showing a respect for theopinions of others. When and where appropriate,present and perform arrangements, songs,improvisations, sound pictures, inventions to the teacher,another group, the rest of the class, or a wider audience

Observing, listening, reflecting, describing and respondingAll levels: Demonstrate awareness of sound andresponsiveness to music in a variety of styles producedby self and others.Level d: Identify music in a variety of idioms. Discussthe effect of the use of particular instruments on themood and character of music. Demonstrate auralperception by working out familiar tunes by ear.Give/accept constructive criticisms of performing and inventingLevel e: Recognise simple concepts such as repetition,sequence and pattern learned through exploring andinventing music. Identify and discuss the features andcharacteristics of various musical styles. Give/acceptconstructive and informed criticisms of performing and inventing

Project Editors: Fay Wolftree, Giles Woodrow, Judith Bloor Teaching Contributors: Ron Powls, Alex Pett Study Guide Contributing Author: Peter Royston Education Consultants: Rapport Learning

Photo credits: All production photography byCatherine Ashmore, from Original LondonCompany unless otherwise noted. Page 3 GeoffHoyle as ‘Zazu’ from the Original Broadway Company(Photograph by Per Breiehagen); Page 4 Andile Gumbias ‘Simba’ by Johan Persson; Page 5 Tsidii Le Loka as‘Rafiki’ from the Original Broadway Company(Photograph by Per Breiehagen); Page 6 JamesSimmons as ‘Scar’ (2004 London Company); Page 7David Christopher and Yaa as ‘Zebras’; Page 8 AkoMitchell as ‘Mufasa’ (2004 London Company); OriginalCostume Design sketch by Julie Taymor; Page 9 RobEdwards as ‘Scar’; Page 10 Photograph of Julie Taymorby Kenneth Van Sickle; Page 11 Brown Lindiwe Mkhizeas ‘Rafiki’ (2004 London Company), Cornell John as‘Mufasa’; Page 13 Rob Edwards as Scar, Paulette Ivoryas ‘Nala’, Ako Mitchell as ‘Mufasa’ with James Simmonsas ‘Scar’ (2005 London Company), Luke Youngblood as‘Young Simba’, Dominique Moore as ‘Young Nala’;Page 14 S’Bu Ngema from the Original DutchCompany (Photograph by Per Breiehagen); Roger Wrightas ‘Simba’; Page 15 Alexia Khadime as ‘Nala’ (2003London Company); Page 16 Roger Wright as ‘Simba’;Page 17 2010 London Company by Johan Persson;Page 18 James Simmons as ‘Scar’; Page 19 RogerWright as ‘Simba’ and Paulette Ivory as ‘Nala’; Page21 Martyn Ellis as ‘Pumbaa’, Luke Youngblood as ‘YoungSimba’ and Simon Gregor as ‘Timon’, Roger Wright as‘Simba’, Brown Lindiwe Mkhize as ‘Rafiki' and AkoMitchell as ‘Mufasa’ (both 2004 London Company),Gregory Gudgeon as ‘Zazu’, George Asprey as ‘Scar’(2008 London Company – Photo by Johan Persson),Alexia Khadime as ‘Nala’ (2003 London Company);Page 22 Original Costume Design sketch by JulieTaymor; Page 23 Photograph of Julie Taymor byKenneth Van Sickle; Page 24 Roger Wright as ‘Simba’;Photograph of Elton John and Tim Rice by Tony Russell.Page 25 Original Dutch Company (Photograph by DeenVan Meer). All images © Disney.

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EDUCATION PROGRAMME THE AWARD-WINNING …€¢ Exploring characters and learning presentational techniques through speaking and listening • Exploring functions of masks from different