Nutcracker Study Guide, 2012 Salt Creek Ballet Page 2
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Nutcracker Three Hundred Sixty-Seventh Program of the 2012-13 Season ______Indiana University Ballet Theater Presents
2012/2013 Peter Ilyich Tchaikovsky NutcrackerThe Three Hundred Sixty-Seventh Program of the 2012-13 Season _______________________ Indiana University Ballet Theater presents its 54th annual production of Peter Ilyich Tchaikovsky’s The Nutcracker Ballet in Two Acts Scenario by Michael Vernon, after Marius Petipa’s adaptation of the story, “The Nutcracker and the Mouse King” by E. T. A. Hoffmann Michael Vernon, Choreography Andrea Quinn, Conductor C. David Higgins, Set and Costume Designer Patrick Mero, Lighting Designer Gregory J. Geehern, Chorus Master The Nutcracker was first performed at the Maryinsky Theatre of St. Petersburg on December 18, 1892. _________________ Musical Arts Center Friday Evening, November Thirtieth, Eight O’Clock Saturday Afternoon, December First, Two O’Clock Saturday Evening, December First, Eight O’Clock Sunday Afternoon, December Second, Two O’Clock music.indiana.edu The Nutcracker Michael Vernon, Artistic Director Choreography by Michael Vernon Doricha Sales, Ballet Mistress Guoping Wang, Ballet Master Shawn Stevens, Ballet Mistress Phillip Broomhead, Guest Coach Doricha Sales, Children’s Ballet Mistress The children in The Nutcracker are from the Jacobs School of Music’s Pre-College Ballet Program. Act I Party Scene (In order of appearance) Urchins . Chloe Dekydtspotter and David Baumann Passersby . Emily Parker with Sophie Scheiber and Azro Akimoto (Nov. 30 & Dec. 1 eve.) Maura Bell with Eve Brooks and Simon Brooks (Dec. 1 mat. & Dec. 2) Maids. .Bethany Green and Liara Lovett (Nov. 30 & Dec. 1 eve.) Carly Hammond and Melissa Meng (Dec. 1 mat. & Dec. 2) Tradesperson . Shaina Rovenstine Herr Drosselmeyer . .Matthew Rusk (Nov. 30 & Dec. 1 eve.) Gregory Tyndall (Dec. 1 mat.) Iver Johnson (Dec. -
Muscle Imbalance Explained (4Pp).Qxp Layout 1 19/08/2014 10:46 Page 1
DUK Info Sheet 13 - Muscle Imbalance Explained (4pp).qxp_Layout 1 19/08/2014 10:46 Page 1 13 Muscular Imbalance Explained By Kim Hutt, 2014 Muscles are responsible for maintaining Muscle imbalances in themselves are not BOX 1 posture, creating positions, absorbing painful. However, when they reach the shock, producing heat, protecting the point of affecting joint mechanics or 3 Common Biomechanical body’s internal organs and stabilizing altering movement patterns, they can lead Imbalances and moving joints. Muscles account for to injury and pain. It is worth noting here approximately 40-45% of an average that injuries that are not associated with 1 Turnout – holding turnout in ballet for adult’s body mass. They are comprised of muscle imbalance (for example, if you go prolonged periods without including muscle cells, which are the only human over on your ankle and sprain a ligament), training in internal or neutral rotation cells able to produce active tension. may also affect movement patterns in an can often lead to short and tight This means that muscles are able to attempt to avoid pain, and consequently external rotators in the hip and long shorten, lengthen or maintain the same lead to muscular imbalance. Therefore it and weak internal rotators. length against a resistance. For example, is important to highlight that dancing the leg works against gravity when through any pain can indirectly lead to 2 Some dancers, in an attempt to working in the air or against ground muscle imbalance. In short, muscle develop their chest musculature utilize reaction forces when controlling landings imbalance can be a symptom or a weights and overwork the chest from jumps. -
The Psychosocial Effects of Compensated Turnout on Dancers: a Critical Look at the Leading Cause of Non-Traumatic Dance Injuries
University of Tennessee at Chattanooga UTC Scholar Student Research, Creative Works, and Honors Theses Publications 5-2018 The psychosocial effects of compensated turnout on dancers: a critical look at the leading cause of non-traumatic dance injuries Rachel Smith University of Tennessee at Chattanooga, [email protected] Follow this and additional works at: https://scholar.utc.edu/honors-theses Part of the Medicine and Health Sciences Commons Recommended Citation Smith, Rachel, "The psychosocial effects of compensated turnout on dancers: a critical look at the leading cause of non-traumatic dance injuries" (2018). Honors Theses. This Theses is brought to you for free and open access by the Student Research, Creative Works, and Publications at UTC Scholar. It has been accepted for inclusion in Honors Theses by an authorized administrator of UTC Scholar. For more information, please contact [email protected]. The Psychosocial Effects of Compensated Turnout on Dancers 1 The Psychosocial Effects of Compensated Turnout on Dancers: A Critical Look at the Leading Cause of Non-Traumatic Dance Injuries Rachel Smith Departmental Honors Thesis University of Tennessee at Chattanooga Department of Health and Human Performance Examination Date: March 22, 2018 ________________________________ ______________________________ Shewanee Howard-Baptiste Burch Oglesby Associate Professor of Exercise Science Associate Professor of Exercise Science Thesis Director Department Examiner ________________________________ Liz Hathaway Assistant Professor of Exercise -
The Schooltime Performance Series Nutcracker
teacher resource guide schooltime performance series the nutcracker National Ballet Theatre of Odessa about the meet the cultural A short history on ballet and promoting performance composer connections diversity in the dance form Prepare to be dazzled and enchanted by The Nutcracker, a Pyotr Ilyich Tchaikovsky (1840–1893) was an important Russian timeless and beloved ballet performance that is perfect for children composer who is famous for his romantic, melodic and emotional Ballet’s roots In the 20th century, ballet continued to evolve with the emergence of of all ages and adults who have grown up watching it during the musical works that are still popular and performed to this day. He Ballet has its roots in Italian Renaissance court pageantry. During notable figures, such as Vaslav Nijinsky, a male ballet dancer virtuoso winter holiday season. is known for his masterful, enchanting compositions for classical weddings, female dancers would dress in lavish gowns that reached their who could dance en pointe, a rare skill among male dancers, and George Balanchine, a giant in ballet choreography in America. The Nutcracker, held all over the world, varies from one production ballet, such as The Nutcracker, Swan Lake and The Sleeping Beauty. ankles and dance before a crowd of aristocrats, wealthy merchants, and company to another with different names for the protagonists, Growing up, he was clearly musically gifted; Tchaikovsky politically-connected financiers, such as the Medici family of Florence. Today, ballet has morphed to include many different elements, besides traditional and classical. Contemporary ballet is based on choreography, and even new musical additions in some versions. -
A SEASON of Dance Has Always Been About Togetherness
THE SEASON TICKET HOLDER ADVANTAGE — SPECIAL PERKS, JUST FOR YOU JULIE KENT, ARTISTIC DIRECTOR 2020/21 A SEASON OF Dance has always been about togetherness. Now more than ever, we cannot“ wait to share our art with you. – Julie Kent A SEASON OF BEAUTY DELIGHT WONDER NEXTsteps A NIGHT OF RATMANSKY New works by Silas Farley, Dana Genshaft, Fresh, forward works by Alexei Ratmansky and Stanton Welch MARCH 3 – 7, 2021 SEPTEMBER 30 – OCTOBER 4, 2020 The Kennedy Center, Eisenhower Theater The Harman Center for the Arts, Shakespeare Theatre The Washington Ballet is thrilled to present an evening of works The Washington Ballet continues to champion the by Alexei Ratmansky, American Ballet Theatre’s prolific artist-in- advancement and evolution of dance in the 21st century. residence. Known for his musicality, energy, and classicism, the NEXTsteps, The Washington Ballet’s 2020/21 season opener, renowned choreographer is defining what classical ballet looks brings fresh, new ballets created on TWB dancers to the like in the 21st century. In addition to the 17 ballets he’s created nation’s capital. With works by emerging and acclaimed for ABT, Ratmansky has choreographed genre-defining ballets choreographers Silas Farley, dancer and choreographer for the Mariinsky Ballet, the Royal Danish Ballet, the Royal with the New York City Ballet; Dana Genshaft, former San Swedish Ballet, Dutch National Ballet, New York City Ballet, Francisco Ballet soloist and returning TWB choreographer; San Francisco Ballet, The Australian Ballet and more, as well as and Stanton Welch, Artistic Director of the Houston Ballet, for ballet greats Nina Ananiashvili, Diana Vishneva, and Mikhail energy and inspiration will abound from the studio, to the Baryshnikov. -
Getting to “The Pointe”
Running head: GETTING TO “THE POINTE” GETTING TO “THE POINTE”: ASSESSING THE LIGHT AND DARK DIMENSIONS OF LEADERSHIP ATTRIBUTES IN BALLET CULTURE Ashley Lauren Whitely B.A., Western Kentucky University, 2003 M.A., Western Kentucky University, 2006 Submitted to the Graduate Faculty under the supervision of Gail F. Latta, Ph.D. in partial fulfillment of the requirements for the degree of Doctor of Education in Leadership Studies Xavier University Cincinnati, OH May 2017 Running head: GETTING TO “THE POINTE” Running head: GETTING TO “THE POINTE” GETTING TO “THE POINTE”: ASSESSING THE LIGHT AND DARK DIMENSIONS OF LEADESHIP ATTRIBUTES IN BALLET CULTURE Ashley Lauren Whitely Dissertation Advisor: Gail F. Latta, Ph.D. Abstract The focus of this ethnographic study is to examine the industry-wide culture of the American ballet. Two additional research questions guided the investigation: what attributes, and their light and dark dimensions, are valued among individuals selected for leadership roles within the culture, and how does the ballet industry nurture these attributes? An understanding of the culture was garnered through observations and interviews conducted in three classically-based professional ballet companies in the United States: one located in the Rocky Mountain region, one in the Midwestern region, and one in the Pacific Northwest region. Data analysis brought forth cultural and leadership themes revealing an industry consumed by “the ideal” to the point that members are willing to make sacrifices, both at the individual and organizational levels, for the pursuit of beauty. The ballet culture was found to expect its leaders to manifest the light dimensions of attributes valued by the culture, because these individuals are elevated to the extent that they “become the culture,” but they also allow these individuals to simultaneously exemplify the dark dimensions of these attributes. -
Dresden.De/Events Visit Dresden Christmas Magic in the Dresden Elbland Region
Winter Highlights 2018/2019 www.dresden.de/events Visit Dresden Christmas magic in the Dresden Elbland region Anyone who likes Christmas will love Dresden. Eleven very distinct Christmas markets make the metropolis on the Elbe a veritable Christmas city. Christmas in Dresden – that also means festive church concerts, fairy tale readings and special exhibitions. Or how about a night lights cruise on the Elbe? Just as the river itself connects historic city-centre areas with gorgeous landscapes, so the Christmas period combines the many different activities across the entire Dresden Elbland region into one spellbinding attraction. 584th Dresden Striezelmarkt ..................................................... 2 Christmas cheer everywhere Christmas markets in Dresden .................................................. 4 Christmas markets in the Elbland region ................................... 6 Events November 2018 – February 2019 ............................................... 8 Unique experiences ................................................................... 22 Exhibitions ................................................................................. 24 Advent shopping ....................................................................... 26 Prize draw .................................................................................. 27 Packages .................................................................................... 28 Dresden Elbland tourist information centre Our service for you ................................................................... -
Youth Ballet's the Nutcracker: COVID-19 Style
THE GLEANER HOLIDAY FEATURES 4 DECEMBER 18, 2020 Youth Ballet’s The Nutcracker: COVID-19 style by Ava Hoelscher The dancers have of The Gleaner certainly felt the effects of COVID this Nutcracker The Dubuque City season. Noah Ripperger, Youth Ballet’s production ‘23, dancing the role of of The Nutcracker is an the Nutcracker, said, “The annual holiday tradition quality of the show will be for dancers and their fans. different; that’s not because Christmas would not of the dancers’ talents. It’s feel the same without the simply because we are in whimsical storytelling, a pandemic and have had beautiful dancing, colorful a hard time working with costumes, and familiar restrictions.” melodies. Though the company This year, the high typically has a strict one- miss policy for rehearsals, number of COVID cases in Falling into the 2020 Nutcracker the Dubuque community that has been altered this created fear that the ballet The Nutcracker cast of 2019 performing their last snow dance routine during last year’s holi- year to allow for proper would be cancelled. day season. quarantines. Often mul- However, the company’s “I’m looking forward to has sold out. Berning noted ences and are grateful that tiple dancers are missing directors were committed showing everyone what we that though it will feel the tradition continues this from each rehearsal, which to giving their dancers a have worked so hard on,” different to perform for a year. Senior Emilia Harris has made it difficult for the performance opportunity. said Berning. “I’m also glad much smaller audience, she said that watching dancers company to properly space They implemented pre- we can provide many peo- feels lucky that they are perform The Nutcracker as and rehearse group scenes. -
Iolanta Bluebeard's Castle
iolantaPETER TCHAIKOVSKY AND bluebeard’sBÉLA BARTÓK castle conductor Iolanta Valery Gergiev Lyric opera in one act production Libretto by Modest Tchaikovsky, Mariusz Treliński based on the play King René’s Daughter set designer by Henrik Hertz Boris Kudlička costume designer Bluebeard’s Castle Marek Adamski Opera in one act lighting designer Marc Heinz Libretto by Béla Balázs, after a fairy tale by Charles Perrault choreographer Tomasz Wygoda Saturday, February 14, 2015 video projection designer 12:30–3:45 PM Bartek Macias sound designer New Production Mark Grey dramaturg The productions of Iolanta and Bluebeard’s Castle Piotr Gruszczyński were made possible by a generous gift from Ambassador and Mrs. Nicholas F. Taubman general manager Peter Gelb Additional funding was received from Mrs. Veronica Atkins; Dr. Magdalena Berenyi, in memory of Dr. Kalman Berenyi; music director and the National Endowment for the Arts James Levine principal conductor Co-production of the Metropolitan Opera and Fabio Luisi Teatr Wielki–Polish National Opera The 5th Metropolitan Opera performance of PETER TCHAIKOVSKY’S This performance iolanta is being broadcast live over The Toll Brothers– Metropolitan Opera International Radio Network, sponsored conductor by Toll Brothers, Valery Gergiev America’s luxury in order of vocal appearance homebuilder®, with generous long-term marta duke robert support from Mzia Nioradze Aleksei Markov The Annenberg iol anta vaudémont Foundation, The Anna Netrebko Piotr Beczala Neubauer Family Foundation, the brigit te Vincent A. Stabile Katherine Whyte Endowment for Broadcast Media, l aur a and contributions Cassandra Zoé Velasco from listeners bertr and worldwide. Matt Boehler There is no alméric Toll Brothers– Keith Jameson Metropolitan Opera Quiz in List Hall today. -
Swan Lake Audience Guide
February 16 - 25, 2018 Benedum Center for the Performing Arts, Pittsburgh Choreography: Marius Petipa and Lev Ivanov Staging: Terrence S. Orr Music: Peter Ilyich Tchaikovsky Swan Lake Sponsors: The Benter Foundation, The Pittsburgh Foundation, Eden Hall Foundation, Anonymous Donor February 16 - 25, 2018 Benedum Center for the Performing Arts | Pittsburgh, PA PBT gratefully acknowledges the following organizations for their commitment to our education programming: Allegheny Regional Asset District Henry C. Frick Educational Fund of The Buhl Anne L. and George H. Clapp Charitable Foundation Trust BNY Mellon Foundation Highmark Foundation Claude Worthington Benedum Foundation Peoples Natural Gas Eat ‘n Park Hospitality Group Pennsylvania Council on the Arts Edith L. Trees Charitable Trust Pennsylvania Department of Community ESB Bank and Economic Development Giant Eagle Foundation PNC Bank Grow up Great The Grable Foundation PPG Industries, Inc. Hefren-Tillotson, Inc. Richard King Mellon Foundation James M. The Heinz Endowments and Lucy K. Schoonmaker Cover Photo: Duane Rieder Artist: Amanda Cochrane 1 3 The Setting and Characters 3 The Synopsis 5 About Swan Lake 6 The Origins of the Swan Lake Story 6 Swan Lake Timeline 7 The Music 8 The Choreography 9 The Dual Role of Odette + Odile 9 Acts 1 & 3 10 Spotlight on the Black Swan Pas de Deux 10 The Grand Pas Explained 11 What’s a fouette? 11 Acts 2 & 4 12 Dance of the Little Swans 13 The White Act 13 Costumes and Scenic Design 13 Costumes By the Numbers 14 The Tutus 14 A Few Costume Tidbits! 15 Did You Know? Before She was the Black Swan 16 Programs at the Theater 17 Accessibility 2 The Setting The ballet takes place in and near the European castle of Prince Siegfried, long ago. -
Ballet Notes Giselle
Ballet Notes Giselle May 27 – 31, 2009 Chan Hon Goh as Giselle. Photo by David Cooper. 2008/09 Orchestra Violins Clarinets • Fujiko Imajishi, • Max Christie, Principal Souvenir Book Concertmaster Emily Marlow, Lynn Kuo, Acting Principal Acting Concertmaster Gary Kidd, Bass Clarinet On Sale Now in the Lobby Dominique Laplante, Bassoons Principal Second Violin Stephen Mosher, Principal Celia Franca, C.C., Founder James Aylesworth, Jerry Robinson Featuring beautiful new images Acting Assistant Elizabeth Gowen, George Crum, Music Director Emeritus Concertmaster by Canadian photographer Contra Bassoon Karen Kain, C.C. Kevin Garland Jennie Baccante Sian Richards Artistic Director Executive Director Sheldon Grabke Horns Xiao Grabke Gary Pattison, Principal David Briskin Rex Harrington, O.C. Nancy Kershaw Vincent Barbee Music Director and Artist-in-Residence Sonia Klimasko-Leheniuk Derek Conrod Principal Conductor • Csaba Koczó • Scott Wevers Yakov Lerner Trumpets Magdalena Popa Lindsay Fischer Jayne Maddison Principal Artistic Coach Artistic Director, Richard Sandals, Principal Ron Mah YOU dance / Ballet Master Mark Dharmaratnam Aya Miyagawa Raymond Tizzard Aleksandar Antonijevic, Guillaume Côté, Wendy Rogers Chan Hon Goh, Greta Hodgkinson, Filip Tomov Trombones Nehemiah Kish, Zdenek Konvalina, Joanna Zabrowarna David Archer, Principal Heather Ogden, Sonia Rodriguez, Paul Zevenhuizen Robert Ferguson David Pell, Piotr Stanczyk, Xiao Nan Yu Violas Bass Trombone Angela Rudden, Principal Victoria Bertram, Kevin D. Bowles, Theresa Rudolph Koczó, Tuba -
Nutcracker-Story-With-PBT-Photos.Pdf
ACT ONE It is Christmas Eve in Pittsburgh over 100 years ago. This is the Stahlbaum’s house in the Shadyside neighborhood. On the street outside, Mr. Drosselmeyer and his Nephew unload Christmas gifts from their cart to take to the Stahlbaum’s party. The Nephew wears a mask because he has been cursed by the Rat King. The mask scares some of the people attending the party. Inside the house, Marie, Dr. Stahlbaum’s daughter, gets ready for the party. She’s reading a book called Kaufmann’s Christmas Stories for Boys and Girls. Her parents present her with two special gifts because she’s growing up: a beautiful scarf and a pair of pointe shoes. The Stahlbaum’s Christmas Eve party begins. There are adults and children dancing, trimming the Christmas tree, and exchanging gifts. Drosselmeyer and the Nephew enter the party. Drosselmeyer makes a pirate doll and other dolls come to life and dance! Drosselmeyer gives Marie a wooden Nutcracker doll. Marie’s brother Fritz breaks the Nutcracker, and the Nephew and Drosselmeyer fix it for Marie. Everyone at the party is afraid of the Nephew because of his mask. But Marie knows that he is kind. After much fun and festivity, the party ends. The guests leave, and the Stahlbaum family exchange their own gifts and go to bed. But Marie has forgotten her Nutcracker. As the clock strikes midnight, she tiptoes back downstairs to find him. Marie is not alone, though. The whole house is under a kind of spell. Giant rats and mice skitter after Marie.