PRESENTS

EDUCATOR GUIDE Photo by Kim Kenney. 2016-2017 Dear Educators, Welcome to ArtsBridge’s 2016-17 Field Trip Season! We are thrilled to present Snow White, performed by ’s Fellowship Ensemble. This exciting one-hour version of the classic fairytale is designed especially for younger audiences, giving your students great exposure into the beautiful world of ballet. Snow White, follows the well-known story and allows students an opportunity to cheer on the young heroine and her prince as they foil the plots of the evil queen!

Thank you for sharing this special experience with your students. We hope this field trip guide helps you connect the performance to your in-classroom curriculum in ways that you find valuable. In the following pages, you will see guidelines regarding your field trip, contextual information about the performance and related subjects, as well as a variety of pre and post discussion questions and assessment activities. Please “pick and choose” materials and ideas from the guide to meet your class’ unique needs.

We look forward to inspiring and educating your students through the arts at the world-class Cobb Energy Performing Arts Centre!

See you at the theatre,

The ArtsBridge Team

ArtsBridge presents Atlanta Ballet Centre for Dance Education’s Snow White Educator Guide 2 DEAR EDUCATOR

Atlanta Ballet and Atlanta Ballet Centre for Dance Education are committed to bringing you and your students the highest quality educational programs available. We continually strive to meet the ever-growing needs of students and the educational community. Please take a moment, after viewing the ballet and using this study guide, to complete the survey enclosed at the end of this guide. Your feedback is the only way we can continue to deliver high quality programs.

This study guide was designed to acquaint both you and your students with Snow White, as well as provide an interdisciplinary approach to teaching your existing curriculum and skills. This study guide was prepared by Atlanta Ballet staff members with educational backgrounds. Every attempt was made to ensure that this study guide can be used to enhance your existing curriculum.

We hope both you and your students enjoy the educational experience of Atlanta Ballet and have fun along the way!

Sharon Story Nicole Kedaroe Dean, Centre for Dance Education Centre Programs Manager

ArtsBridge presents Atlanta Ballet’s Snow White Educator Guide 3 TABLE OF CONTENTS

ArtsBridge Information and Guidelines About The Cobb Energy Performing Arts Centre...... 5 Field Trip Guidelines...... 6 Transportation Information...... 7 Directional Map...... 8 Theatre Etiquette...... 9 Pre-Show Activities ...... 10

Background Information and Teacher Resources Suggested Resources...... 11 Curriculum Connections...... 12 Synopsis of the Ballet...... 13 The Choreographer...... 15 The Composer...... 16 History of The Grimm Brothers ...... 17 History of Atlanta Ballet...... 18 A Brief History of Ballet...... 20 Who’s Who in the Ballet ...... 21 Dance Vocabulary...... 22 Student Activities Creating a Ballet...... 23 Pantomime ...... 24* Answer This ...... 25 Who am I?...... 26 Extra! Extra!...... 27 Character Education ...... 28 Dance Vocabulary Matching Quiz...... 30 Coloring Activity...... 31 Evaluation Form...... 32

*This page is from the Ballet Workbook Series The Nutcracker and the Mouse King, E.T.A. Hoffmann

ArtsBridge presents Atlanta Ballet’s Snow White Educator Guide 4 ABOUT COBB ENERGY PERFORMING ARTS CENTRE

The landmark Cobb Energy Performing Arts Centre is a cultural, entertainment DID YOU KNOW? and special events venue of a national significance. Atlanta’s first major performing • More than 250,000 patrons arts facility in four decades, Cobb Energy Centre boasts state-of-the art systems, visit the Cobb Energy Centre amenities and design features that allow the expression of any artistic idea and each year. captivate performers, patrons and event planners. The Centre’s strong suit is • The Cobb Energy Centre versatility. It can accommodate events as diverse as Broadway, concerts, corporate opened in 2007. functions, private parties and family entertainment. • The Cobb Energy Centre has The Centre’s distinctive façade and three-story lobby – highlighted by a 65-foot, two main spaces: floor-to-ceiling glass curtain wall – offer visitors a grand welcome and stunning John A. Williams Theatre, introduction to a venue of great warmth, elegance and possibilities. Nothing speaks 2,750 seats “special occasion” like the majestic lobby – a gathering space and promenade with two grand staircases, specially designed, colored- glass chandeliers and walls of Kessel D. Stelling Ballroom, Venetian plaster. 10,000 square feet The Centre’s 2,750-seat John A. Williams Theatre captures the richness and intimacy • No seat is more than 160 feet from center stage in the John of vintage theatres. Yet it incorporates modern touches and technology – including A. Williams Theatre. advanced sound, lighting and acoustical elements – that allow fine-tuning for each performance. With equal poise, the Theatre can host concerts, opera, drama, • There are 1,000 parking comedy, lectures, dance and spoken word. spaces on site. • The Centre is located one mile For special occasions and events – from wedding receptions and themed parties from the new Braves stadium to corporate banquets and black-tie galas- the Centre’s flexible spaces include a and only 15 minutes from 9,500- square foot Courtyard, 3,100-square-foot Terrace and 10,000-square-foot downtown Atlanta. Ballroom – divisible into three independent spaces, each with autonomous sound and lighting controls. The Ballroom’s pre-function area is ideally suited for pre-and post- • ArtsBridge programs began in 2007 and reach 30,000 – event gatherings. 40,000 to 50,000 students each year.

ArtsBridge presents Atlanta Ballet Centre for Dance Education’s Snow White Educator Guide 5 FIELD TRIP GUIDELINES

Below are simple guidelines for ArtsBridge Field Chaperones: Chaperones have a job to perform while Trips to Cobb Energy Performing Arts Centre. at the Centre. Please make sure that your chaperones Please read carefully and contact us at are interspersed among students, and that they are (770) 916-2805 if you have questions. prepared for the day’s responsibilities. Please discuss restroom visits, emergencies, behavior, etc. with your chaperones prior to arrival. Reservations: All field trip admissions are to be made in Behavior: Students and teachers are encouraged to enjoy advance. Please do not bring more than the number of seats performances, applaud and express enthusiasm in a manner reserved. Performances are expected to sell out and we will that is appropriate for the performance, yet not disruptive not be able to accommodate an increase in numbers at the last for others. We request that all phones, tablets and any other minute. All patrons, including teachers and chaperones, must electronic devices be completely turned off or on silent have a reservation in order to attend these performances. mode during the performance. We ask that chaperones on Children under the age of three are not permitted to attend. upper levels watch for students tossing or throwing items to lower levels and prevent students from climbing or leaning Payment: Payments must be made in full, 3 weeks prior to on railings. No student can leave the audience chamber the day of show or we will not be able to accommodate your without an accompanying chaperone. Students/classes that reservation. An invoice will be given to you at the time your are disruptive may be asked to leave the performance with reservation is made. Once you have paid in full, we will send a no refund. (See Theatre Etiquette on Page 7) confirmation, which will serve as your school’s ticket into the performance. ArtsBridge reserves the right to cancel unpaid Departure: Performances last approximately one hour. reservations after the payment due date. Upon conclusion of the performance, classes will be dismissed to the designated parking area to board their Transportation: The Centre can accommodate school buses and return to school. buses, vans and cars. Please be aware that vans and cars will incur a $6 per vehicle parking fee. A third party contractor runs Lunch: There is no facility for students to eat lunch in the the Centre’s garage and charges this fee. There is no charge Cobb Energy Centre. We recommend students eat lunch at for parking school buses. All buses, vans and cars must comply the Galleria Specialty Mall, Cumberland Mall, at a park on the with directions provided by on-site staff. route to/from the venue or on their bus. Arrival: All vehicles should approach the Cobb Energy Performing Arts Centre from AKERS MILL ROAD (map enclosed). Upon entering the driveway, buses will be directed to the circular drive where they will temporarily pull up to the curb for unloading. A Cobb Energy Performing Arts Centre representative will board the bus and check-in your school. Students will be immediately unloaded and buses will be directed to their designated parking areas. Seating: Students are seated as they arrive, starting with the floor level, first row. The exception to this is for programs with older and younger students in attendance at the same time. In this case, students in kindergarten and first-grade will be seated in the first few rows of the theatre. There are three levels of seating, with the back row of the top level no more than 160 feet from the stage. Restrooms: Please seat your entire group, before taking restroom breaks so that you can be easily found. Students MUST be accompanied by adult chaperones when going to the restroom. We encourage that you take groups so there are fewer trips.

ArtsBridge presents Atlanta Ballet Centre for Dance Education’s Snow White Educator Guide 6 TRANSPORTATION INFORMATION

Buses: All school buses must approach the building After the Show: After the performance, buses will be from AKERS MILL ROAD on the North side of the parked in the Centre’s surface lot in numerical order and building. This will be crucial in assuring a fairly smooth representatives will assist you in locating your bus(es). We flow of traffic. There will be Centre representatives encourage everyone to board their buses as quickly and guiding you. Buses will pull onto the site from behind the safely as possible. For safety reasons, we hold all buses building and then drive to the front. PLEASE MAKE SURE until everyone has boarded, so please make your way YOUR DRIVERS USE THE MAP BELOW. There is no charge directly to the surface parking lot following the to park school buses on-site. performance (see map below). Checking In: When you arrive at the front of the Cars/Vans/SUVs: You will approach the building in building, a representative from the Centre will board your the same manner, but will park in our parking deck. bus to check-in your school. You and your bus driver will Please note there is a $6 per vehicle parking fee for cars/ be given a large number that will be taped to the bus vans/SUVs. After you have parked, make your way to level windows. Please remember your number, as it will help 2 of the deck and to the west side (theatre side) of the you find your bus after the performance. building. When you emerge from the parking deck, there will be a Centre representative to check you in and direct you to your seats.

ENTER FROM AKERS MILL RD.

C o b b Cobb G a Energy l le r Centre ia P k w y .

ArtsBridge presents Atlanta Ballet Centre for Dance Education’s Snow White Educator Guide 7 ADDITIONAL MAP FOR ALL VEHICLES ATTENDING

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2800 Cobb Galleria Pkwy, Atlanta, GA 30339

ArtsBridge presents Atlanta Ballet Centre for Dance Education’s Snow White Educator Guide 8 THEATRE ETIQUETTE

A live performance is a unique experience shared between performers and audience members. Unlike television or movies, audience distractions can disrupt the performers, production and audience. Before you arrive at the Cobb Energy Centre, please review the following information with your students and chaperones, and help ArtsBridge create a meaningful experience for all.

• Arrive early. Groups are seated on a first come, • Talk before and after the performance only. first served basis. Seats are not assigned for Remember, the theatre is designed to amplify sound, ArtsBridge events. so the other audience members and the performers on stage can hear your voice! • Food, drink, candy, gum, etc. is not permitted in the theatre. • Use the restroom before the performance or wait until the end. • Silence or turn off all electronic devices. We encourage you to share your ArtsBridge experience at the Cobb • Appropriate responses such as laughing and Energy Performing Arts Centre via social media, but applauding are appreciated. Pay attention to the please refrain from doing so or texting during artists on stage – they will let you know what is performances; the glow from your device is distracting. appropriate. • Photography and video/audio recording of any kind is • If you need assistance during the show, please find not allowed in the theatre during the performance. your nearest volunteer usher. • Respect the theatre. Remember to keep your feet off • As you enter and exit the theatre, remember to walk of the seats and avoid bouncing up and down. and stay with your group. • When the house lights dim, the performance is about • Open your eyes, ears, mind and heart to the entire to begin. Please stop talking at this time. experience. Enjoy yourself!

ArtsBridge presents Atlanta Ballet Centre for Dance Education’s Snow White Educator Guide 9 PRE-SHOW ACTIVITIES

Before attending an ArtsBridge Field Trip, review the following questions and vocabulary with your students:

1. H ow many of you have experienced a live theatre performance? What did you see?

2. W hat are some of the differences between going to the theatre and watching television or going to a movie?

3. T he BAD Audience Member! A fun way to review theatre etiquette with your students is to have them point out bad audience behavior during a show. Here’s one way to illustrate this concept: a. Have students present something to the class. The key is they are “actors” and the class is the audience. b. Once they are into the activity, you (the teacher) leave the room and then re-enter. Enter loudly, chew gum, step on people’s feet, talk to them, etc. Be the worst audience member. Find a seat and continue to talk to others, ask what’s going on in the performance, take pictures, talk on your cell phone etc. c. Ask the class to list all the bad behavior. Write these on the board. d. Ask the audience members how they felt when the bad audience member came into the theatre. Could they hear the actors? Were they distracted? e. Ask the actors how they felt. Could they concentrate on their performance?

4. Review the stage diagram below with the students. Draw the diagram on the whiteboard and have students come up and write in each part of the stage.

Stage Performer Point of View

Upstage Upstage Right Upstage Center Left

Stage Center Stage Left Right Center Stage Left Down Down Down Stage Stage Right Stage Stage Right Center Left

House Right House Audience Point of View Left

ArtsBridge presents Atlanta Ballet Centre for Dance Education’s Snow White Educator Guide 10 SUGGESTED RESOURCES

The Ballet Workbook Series | Donna Jones Carver and Sally E. Weatherford

Bowmar Orchestral Library | CCP/Belwin, Inc. (CD Series)

The Complete Grimm’s Fairy Tales | Introduction by Padriac Colum. Commentary by Joseph Campbell. Illustrations by Josef Scharl. New York: Pantheon Books, 1944

Grimm’s Fairy Tales | Illustrations by Leonard Weisgard. Garden City, NY: Nelson Doubleday, 1954.

The Brothers Grimm Popular Folk Tales | Translated by Brian Alderson. Illustration by Michael Foreman. Garden City, NY: Doubleday, 1978.

ArtsBridge presents Atlanta Ballet’s Snow White Educator Guide 11 CURRICULUM CONNECTIONS GRADES K-6

Activity When to Teach Curriculum Connection

Watching the Ballet Before the performance Language Arts: Experience traditional and contemporary literature through a variety of media.

Creating a Ballet After the performance Language Arts: Identify the main characters. Identify character’s actions, motives, emotions, traits, and feelings.

Answer This... Before the performance Language Arts: Respond to questions about literature.

Who Am I? Before the performance Language Arts: Respond to questions about literature.

Extra, Extra! After the performance Language Arts: Communicate ideas by using the writing process.

Dance Vocabulary After the performance Language Arts: Increase vocabulary to reflect a growing range of interests.

ArtsBridge presents Atlanta Ballet’s Snow White Educator Guide 12 SNOW WHITE SYNOPSIS

Once upon a time in midwinter, when the snowflakes were falling like feathers from heaven, a queen sat sewing at her window, which had a frame of black ebony wood. As she sewed she looked up at the snow and pricked her finger with her needle. Three drops of blood fell into the snow. The red on the white looked so beautiful that she thought to herself, “If only I had a child with lips as red as blood and hair as black as the wood in this frame.”

Soon afterward she had a little daughter who had lips as red as blood and hair as black as ebony wood, and they called her little Snow White. But as soon as the child was born, the queen died.

A year later the king took another wife. She was a beautiful woman, but she was proud and arrogant, and she could not stand it if anyone might surpass her in beauty. She had a magic mirror. Every morning she stood before it, looked at herself, and said: “Mirror, mirror, on the wall, who in this land is fairest of all?” To this the mirror answered: “You, my queen, are fairest of all.” Then she was satisfied, for she knew that the mirror spoke the truth.

Snow White grew up and became ever more beautiful. When she was a teenager, she was as beautiful as the light of day, even more beautiful than the queen herself. One day, the queen asked her mirror: “Mirror, mirror, on the wall, who in this land is fairest of all?” It answered: “You, my queen, are fair; it is true. But Snow White is a thousand times fairer than you.” From that hour on, whenever the queen looked at Snow White, her heart turned over with envy.

Then she summoned a huntsman and said to him, “Take Snow White out into the woods. I never want to see her again.” The huntsman obeyed and led Snow White into the enchanted forest. He took out his hunting knife and was about to stab her, but the huntsman could not bring himself to harm her and told her to flee. She ran as far as her feet could carry her, and, just as evening was about to fall, she came across a house. She went inside to rest and fell asleep.

After dark, the masters of the house, seven dwarfs, returned home. She looked so peaceful that they decided to let her sleep. The next morning when Snow White woke up, the seven dwarfs startled her, but they were friendly. She told them that her stepmother had tried to kill her, that the huntsman had spared her life, and that she had run the entire day, finally coming upon their house. The dwarfs said, “You can stay with us and have everything you want.”

Every morning the dwarfs went into the mountains looking for ore and gold, so she spent her days alone. The good dwarfs warned her to be wary of the evil queen and to not invite visitors inside the

ArtsBridge presents Atlanta Ballet’s Snow White Educator Guide 13 house. So she kept house for them. Now the queen, believing that she was again the most beautiful woman of all, asked her familiar question of the magic mirror. It answered: “You, my queen, are fair; it is true. But Snow White, beyond the mountains with the seven dwarfs, is still a thousand times fairer than you.” This startled the queen, for she knew that the mirror did not lie, and she realized that the huntsman had deceived her and that Snow White was still alive.

Then she went into her most secret room and made a poisoned apple. From the outside it was beautiful, and anyone who saw it would want it. But anyone who might eat it would die. The queen disguised herself as a peasant woman and headed straight to the seven dwarfs’ house. She knocked on the door. Snow White stuck her head out the window and said, “I am not allowed to let anyone in.” “That is all right with me,” answered the peasant woman. “I’ll easily get rid of my apples. Here, I’ll give you one of them.” Snow White stuck her hand out and unknowingly took the poisoned fruit. She barely had a bite in her mouth before she fell to the ground dead.

When the dwarfs came home that evening, they found Snow White lying in bed. She was not breathing at all. As they mourned Snow White and prepared her coffin, a young prince passed by their cottage in the woods. He was so taken by her beauty that he fell instantly in love with Snow White. He leaned over and kissed her ruby lips. Magically, breath returned to Snow White’s body, and she awoke as if from a long slumber. The prince told her what had happened and then said, “I love you more than anything else in the world. Come with me to my father’s castle. You shall become my wife.” Snow White loved him too, so she went with him. They then lived happily ever after.

ArtsBridge presents Atlanta Ballet’s Snow White Educator Guide 14 MEET THE CHOREOGRAPHER

BRUCE WELLS

Bruce Wells is an internationally acclaimed choreographer who began his career with ’s . Following this, he was the resident choreographer for Connecticut Ballet, , and Pittsburgh Ballet Theater. In addition, Mr. Wells’ appear in the repertory of , Dance Theater of Harlem, Atlanta Ballet, , Ballet Chicago, Milwaukee Ballet, Nashville Ballet, Nevada Dance Theater, and, most recently, .

Mr. Wells has taught for the schools of Boston Ballet, Oregon Ballet Theater, City Ballet School of San Francisco, The Vancouver Ballet Society in British Columbia, Jacob’s Pillow, Kansas City Ballet, and Pacific Northwest Ballet.

ArtsBridge presents Atlanta Ballet’s Snow White Educator Guide 15 MEET THE COMPOSER

JULES MASSENET 1840-1893

The leading operatic composer of his generation in , Jules Massenet was born in Montaud, France on May 12, 1842. He studied at the Conservatoire, winning the Prix de Rome in 1863. In Paris once more, after his obligatory three year stay at the Villa Medici in Rome, he achieved initial success with his operas Don César de Bazan and Marie-Madeleine. He returned to Paris in time to shoulder a gun during the siege of 1870 in the Franco-Prussion War. He then settled down to teaching counterpoint at the Conservatoire, writing operas and enjoying the footlight existence of the opera composer. Though he was principally an opera composer, he also wrote ballets, orchestral works, and several oratorios. His personal charm and the style of the operas he wrote, at the particular time he wrote them, brought him wide popularity. Massenet died in Paris on August 13, 1912.

ArtsBridge presents Atlanta Ballet’s Snow White Educator Guide 16 THE GRIMM BROTHERS

Jacob Ludwig Carl Grimm was born on January 4, 1785 in Hanau, . Just over a year later, on February 24, 1786, his little brother Wilhelm Carl Grimm was born. Their father was a lawyer, and they had six more brothers and one sister.

In 1802, Jacob went to study law at the University of Marburg. As always, his little brother followed him, and he entered law school in 1803. During their university years they began to collect folk and fairy tales. Folklore is a series of stories that have been passed down from parents to children by word of mouth, but at that time many had not been published in books. The Grimms were especially interested in stories that included Germany and German culture.

Jacob and Wilhelm published their first book of fairy tales, Children’s and Household Tales, in 1812. There were 86 folktales. Readers were so happy to see the stories they had been told as children collected together that the book was a success. In the next volume of Grimms Fairy Tales, the brothers added 70 more stories. It went on growing like this for six more editions. Finally, the book contained over 200 stories! It is probably the best-known work of German literature. Even if you don’t know the brothers Grimm, you definitely know a Grimm fairy tale.

If only all brothers were as close as the brothers Grimm. They were always together. Even when Wilhelm married his wife, Henriette, Jacob continued to live with them! The brothers Grimm were both professors and scholars. In fact, Jacob Grimm is considered to be the father of the study of German history. They both taught as professors in Germany’s capitol at the University of . They became known throughout Europe as experts on folktales, language, and anything German. They were so into books that they both became librarians as well! During their lifetimes, they published many more very important books, including German Mythology, Old German Tales, The History of the German Language, and even the German Dictionary.

Grimm fairy tales include stories of kings, magic, and talking animals. Even though the stories are sometimes scary, fairy tales allow us to work through our fears. They often teach us a lesson about moral values, such as the difference between right and wrong.

ArtsBridge presents Atlanta Ballet’s Snow White Educator Guide 17 ATLANTA BALLET PAST AND PRESENT

Atlanta Ballet was founded over eight decades ago by dance visionary Dorothy Moses Alexander (1904-1986). Miss Dorothy had a dream of bringing quality ballet to the Atlanta community. The result was the Dorothy Alexander Dance Concert Group - the first step in the regional ballet movement that swept the nation. In 1946, the Company, now named Atlanta Civic Ballet, became the first dance company in the nation to help fund a symphony. The season’s annual proceeds were donated to the Atlanta Youth Symphony, which would later become Atlanta Symphony Orchestra.

In 1958, Miss Dorothy invited Robert Barnett, a soloist with the acclaimed New York City Ballet and a protégé of George Balanchine, to join the Company as a principal dancer. Upon her retirement in 1963, Barnett was named artistic director and introduced many Balanchine masterworks into the repertoire, including The Nutcracker. For more than 30 years, Mr. Barnett expanded Miss Dorothy’s dream of excellence.

John McFall became Atlanta Ballet’s third artistic director in 1994. Mr. McFall’s imagination and innovative vision brought contemporary premieres, numerous new full-length ballets, and several world premiere productions to Atlanta. His pioneering spirit inspired collaborations with Big Boi of OutKast, Indigo Girls, The Red Clay Ramblers, the New Birth Missionary Baptist Church Choir, and the Michael O’Neal Singers.

Mr. McFall created an ensemble company of extraordinary professional dancers from every corner of the world, including Uraguay, Taiwan, South Korea, the Phillipines, Brazil, Columbia, Australia, Canada, and the United States. He provided the world’s most innovative choreographers, including Christopher Hampson, , Helen Pickett, and Violette Verdy, with an artistic home while exposing Georgia audiences to exciting new works.

Upon John McFall’s retirement in 2016, Gennadi Nedvigin was named Atlanta Ballet’s fourth artistic director in the Company’s 87-year history. Mr. Nedvigin joined Atlanta Ballet after an illustrious dance career that included his training at the famed School and nineteen seasons, 16 as a principal dancer, with . As artistic director, he will present a varied repertory that will reintroduce some of the finest classical and neoclassical works in existence, while also bringing in new works from the most sensational and sought-after choreographers in the world. He will use his vast experience to nurture the Company, helping the dancers achieve the highest level of artistry, and elevate the national and international profile of Atlanta Ballet.

ArtsBridge presents Atlanta Ballet’s Snow White Educator Guide 18 ATLANTA BALLET PAST AND PRESENT continued

Atlanta Ballet is the oldest professional in America, the largest self-supported arts organization in Georgia, and the official Ballet of Georgia.

Atlanta Ballet’s eclectic repertoire spans the history of ballet, highlighted by the most beloved classics and the most inventive originals. Although a nationally renowned leader in the promotion and education of dance, Atlanta Ballet’s roots have been firmly grounded in the Atlanta community and vital to the city’s cultural growth and revitalization.

The Company has also served as an ambassador for Atlanta nationally and internationally, performing around the globe - from the stages of Taipei in Taiwan to the Presidential Palace and the Sejong Cultural Arts Center in Seoul, Korea. In 1996, the Company performed during the Olympic Arts Festival/Cultural Olympiad, and, in 1999, Atlanta Ballet debuted in , performing John McFall’s enchanting Peter Pan as the centerpiece of Royal Festival Hall’s millennium celebration. In 2013, Atlanta Ballet embarked on a two- week tour to , where it was one of only two American dance companies represented at the ’s inaugural “International Ballet Season.”

In 1995, Atlanta Ballet opened the Centre for Dance Education, dedicated to nurturing young dancers while providing an outlet for adults to express their creativity through different courses. The Centre offers classes for children as young as two, an acclaimed pre-professional division, and a spectrum of dance classes ranging from ballet to hip-hop. Students enrolled in the Centre’s programs enjoy opportunities to perform with the professional Company, and students receive first priority in casting for roles in Atlanta Ballet’s Nutcracker, as well as other productions.

The Centre for Dance Education also prides itself on its renowned community programs. School programs have increased the spirit and grades of thousands of metro Atlanta schoolchildren. The Centre has been a tireless leader of dance education.

Through endeavors such as these, Atlanta Ballet continues Miss Dorothy’s vision.

ArtsBridge presents Atlanta Ballet’s Snow White Educator Guide 19 A BRIEF HISTORY OF BALLET

Ballet as we know it today began during the Renaissance around the year 1500 in . In fact, the terms “ballet” and “ball,” as in a masked ball, come from the Italian “ballare,” “to dance.” When Catherine de Medici of Italy married the French King Henry II, she introduced early dance styles into court life in France.

At first, the dancers wore masks, layers upon layers of brocaded costuming, pantaloons, large headdresses, and ornaments. Such restrictive clothing was sumpuous to look at but difficult to move in. Dance steps were composed of small hops, slides, curtsies, promenades, and gentle turns. Dancing shoes had small heels and resembled formal dress shoes rather than any contemporary ballet shoe we might recognize today.

The official terminology and vocabulary of ballet was gradually codified in French over the next 100 years, and, during the reign of Louis XIV, the king himself performed many of the popular dances of the time. Professional dancers were hired to perform at court functions after King Louis and fellow noblemen had stopped dancing.

A whole family of instruments evolved during this time as well. The court dances grew in size, opulence, and grandeur to the point where performances were presented on elevated platforms so that a greater audience could watch the increasingly pyrotechnic and elaborate spectacles. Jump ahead 200 years and take a look at the proscenium stage at the War Memorial Opera House - the elevation of the stage and dramatic height of the curtained opening reminds us of this development firsthand.

From Italian roots, ballets in France and developed their own stylistic character. By 1850 Russia had become a leading creative center of the dance world, and as ballet continued to evolve, certain new looks and theatrical illusions caught on and became quite fashionable. Dancing en pointe (on toe) became popular during the early part of the nineteenth century, with women often performing in white, bell-like skirts that ended at the calf.

Pointe dancing was reserved for women only, and this exclusive taste for female dancers and characters inspired a certain type of recognizable romantic heroine - a sylph-like fairy whose pristine goodness and purity inevitably triumphs over evil or injustice.

In the early twentieth century, the Russian theater producer Serge Diaghilev brought together some of Russia’s most talented dancers, choreographers, composers, singers, and designers to form a group called the Ballet Russes. The toured Europe and America, presenting a wide variety of ballets. Here in America, ballet grew in popularity during the 1930s when several of Diaghilev’s dancers left his company to work and settle in the U.S. Of these, George Balanchine is one of the best-known artists who firmly established ballet in America by founding the New York City Ballet. Another key figure was Adolph Bolm, the first director of San Francisco Ballet School.

For more information, see My Ballet Book by Kate Castle.

ArtsBridge presents Atlanta Ballet’s Snow White Educator Guide 20 WHO’S WHO IN THE BALLET OFF STAGE

Artistic Director: Stage Manager: Head of the ballet, makes all the final and creative In charge of all that happens backstage in decisions. performances and rehearsals.

Ballet Master/Mistress: Technical Director: In charge of all company rehearsals and classes, Coordinates the lighting, sets, costumes, and all including staging, setting, and coaching the dancers. backstage crew members.

Choreographer: Wardrobe Mistress/Master: Creates all movement/dance for the ballet. Assists with the costumes, tells the performers how to wear them and take care of them. Composer: Writes the music score for the ballet. Wigs & Makeup Designer: Designs and supervises all the hairstyles, wigs, and Costume Designer: makeup. Designs the costumes and supervises their construction. ON STAGE

Crew: Cast: Assists in construction, installation, and changes of All performers on stage. the set, costumes, lights, and props. Ballerina: Dresser: Female dancer. Helps dancers put on their costumes correctly. Dancers: Lighting Designer: Performers who dance or move to tell the story. Plans the design, colors, and frequency of light changes on stage. Premiere Danseur: Male dancer. Properties Manager: Designs and supervises all objects that are not a part Soloists: of the set or costumes. All dancers who perform dances by themselves.

Set Designer: Designs the set and scenery, supervises set construction.

ArtsBridge presents Atlanta Ballet’s Snow White Educator Guide 21 DANCE VOCABULARY

Ballet - A theatrical art form using dance, music, and scenery to create a story.

Classical Ballet - A traditional style of ballet, which stresses the academic technique developed through the centuries.

Modern Ballet - A type of ballet from the twentieth century. To this day, modern ballet looks to re-invent itself and reach out in an ever-increasing facet of creation and movement.

Balletomane (bal-lay-toe-mane) - A ballet fan or enthusiast.

Choreograph - To design or plan movements of a dance.

Pantomime - Acting by body movements and gestures without speaking.

Pas de Deux - A dance for two people used to display their beautiful technique.

Pointe Shoes - The satin ballet shoes used by dancers when dancing on their pointes (toes). Pointe shoes are reinforced with a box constructed of numerous layers of strong glue in between layers of material. Pointe shoes are not made of cement or wood.

Tutu - The short classical ballet skirt made of many layers of net. A romantic tutu is a long net skirt reaching below the calf.

Adagio (u-da-zhe-o) - A succession of slow, soft, lyrical, and continuous movements. Adagio creates the illusion that the positions flow from one into another.

Allegro (a-leg-grow) - Involves fast and dynamic movements, usually jumping steps and sequences.

Arabesque (ah-rah-besk) - A position on one leg with the other leg raised behind the body and extended in a straight line.

Grande Jeté - A big jump from one foot to the other in which the working leg is brushed into the air and appears to have been thrown.

Plié (plee-ay) - Bent, bending - of the knee or knees.

Pirouette (peer-o-wet) - A rotation or spin - a complete turn of the body on one foot, on pointe, or demi- pointe (half-pointe).

ArtsBridge presents Atlanta Ballet’s Snow White Educator Guide 22 CREATING A BALLET

This is a teacher-led activity. Make sure you have reviewed “Dance Vocabulary” and “Who’s Who in Ballet” before beginning this activity.

Select a story that the class has read or will read together and create a ballet from that story. Tell the story with movement/dance only - do not use words! Now that you have studied all the people involved in creating a ballet…

-Assign each student or a group of students a role -Select the characters -Select what scenes will be danced by the corps de ballet and soloists and as pas de deuxs -Select music for each scene (classical music is suggested) -Put the ballet together

This should take the class a few days to accomplish. Make sure you keep their choices (music, etc.) to a minimum or it will take them too long.

AN ALTERNATE IDEA FOR OLDER OR MORE ADVANCED STUDENTS Let each group select its own story and complete the same tasks. When performing for each other, have them guess the story on which each ballet is based.

Helpful Hints... Creating a dance is just like writing a story. It must include a beginning, middle, and end.

Use the following sheet on pantomime to help create movement sequences.

ArtsBridge presents Atlanta Ballet’s Snow White Educator Guide 23 PANTOMIME

Pantomime (sometimes called just mime) is the art of using actions or gestures without words as a means of communication. It plays an important role in ballet, as it helps the audience better understand the story and what the characters are feeling. A dancer must use the arms, hands, fingers, head, eyes, and feet to make a role “come alive.” Here are descriptions of some of the most familiar gestures used in ballet.

Anger Fist shaken Ask Hands clasped together in pleading gesture Beautiful Hand circling face Call Hand or hands cupped around mouth Dancing Hands rolling/circling each other as arms follow port de bras from front of body to high overhead Death Arms straight in front, crossed at wrists with hands in fists Fear Body leaning away with hands open and palms out Hear Hand pointing to or cupping ear I/Me/Mine Hand to chest indicating oneself Love Hands over heart Marriage Index finger pointing to ring finger on left hand Money Pretending to count coins from one hand to another and/or rubbing thumb and fingers of same hand together with hand facing up and toward other person No/Never With palms down, hands waving over each other crossing at wrist Obey/Come Here Strong point to the floor with index finger Pray Hands flat, palms together in front of hestc with arms extended Quiet/Don’t Speak Finger pressed against lips or hand clasped over mouth Remember/Think Touch or point to temple Royal Hand circling top of head to indicate crown Sad Finger tracing tears down face or wiping tears away off cheek See Finger pointing to eyes Shoot Pretending, or using prop, to aim bow and arrow or holding fingers in the shape of a handgun Sleep Hands in praying position, held on side of face with head inclined as though resting on a pillow Why/Where/What Hands open, palms up, arms opening from in front of body to demi-second You Arm extending to another person with hand open, palm up, or direct point with finger

ArtsBridge presents Atlanta Ballet’s Snow White Educator Guide 24 ANSWER THIS

1. The opening scene of the ballet takes place in a ______.

2. The fairies wore what kind of traditional ballet costume?

3. Snow White had skin as white as ______, lips as red as ______, and hair as black as ______.

4. Snow White’s stepmother, the queen, commanded the huntsmen to do what? Did they obey the command?

5. When all of the dancers on stage are moving together, performing the same movement, this is called “dancing in unison.” Did you see the performers dancing in unison at today’s show?

6. Who broke the evil queen’s spell? How did he or she do it?

6. prince/with a kiss a prince/with 6.

5. yes 5.

4. take Snow White into the forest to kill her/no kill to forest the into White Snow take 4.

3. snow/blood/ebony 3.

2. tutu 2.

1. forest 1.

Answer key: Answer

ArtsBridge presents Atlanta Ballet’s Snow White Educator Guide 25 WHO AM I?

1. I write all the music for the ballet. Who am I? ______

2. I am a female dancer in the ballet. Who am I? ______

3. I am in charge of all that happens backstage. Who am I? ______

4. I am the head of the ballet and make all the creative decisions. Who am I? ______

5. We are the musicians who play music for the ballet. Who are we? ______?

5. orchestra 5.

4. artistic director artistic 4.

3. stage manager stage 3.

2. ballerina 2.

1. composer 1.

Answer key: Answer

ArtsBridge presents Atlanta Ballet’s Snow White Educator Guide 26 Now that you have seen Atlanta Ballet Fellowship EXTRA! EXTRA! presents Snow White, write a newspaper story telling people what you saw. ATLANTA BALLET TIMES

Write your headline here:

Write your story here: Draw your picture here:

ArtsBridge presents Atlanta Ballet’s Snow White Educator Guide 27 CHARACTER EDUCATION

Match the character trait with a scene from Snow White: GENEROSITY, COMPASSION, COURAGE, TRUTHFULNESS, KINDNESS

1. ______The dwarfs letting Snow White live in their house.

2. ______The huntsman letting Snow White escape.

3. ______The mirror when it spoke to the queen.

4. ______Snow White running away through the dark forest.

5. ______

The peasant woman pretended to demonstrate ______when offering the apple to Snow White.

5. Generosity 5.

4. Courage 4.

3. Truthfulness 3.

2. Compassion 2.

1. Kindness 1. Answers:

ArtsBridge presents Atlanta Ballet’s Snow White Educator Guide 28 CHARACTER EDUCATION

Can you write about a time you felt compassion? ______

Why is it important to show kindness to others? ______

ArtsBridge presents Atlanta Ballet’s Snow White Educator Guide 29 DANCE VOCABULARY MATCHING QUIZ

1. Tutu 6. Choreograph 2. Adagio 7. Balletomane 3. Pas de Deux 8. Plié 4. Ballet 9. Allegro 5. Pantomime

______Theatrical art form using dance. ______To plan the movements of a dance. ______Involving fast and dynamic movements, usually jumping steps. ______The short classical ballet skirt made of many layers of net. ______Acting by body movements and gestures without speaking. ______A dance for two. ______Bending of the knees or knee ______A ballet fan or enthusiast. ______A succession of slow, soft, lyrical, and continuous movements.

.

1 2

9 7

6 8

4 3

5 Answers:

ArtsBridge presents Atlanta Ballet’s Snow White Educator Guide 30 COLORING ACTIVITY

Create your own magical castle!

ArtsBridge presents Atlanta Ballet’s Snow White Educator Guide 31 After seeing the Kids in Step performance and using this study guide, please take a moment to fill out this evaluation form. Your answers will assist us in planning future programs and meeting the needs of your students.

Please return to: Atlanta Ballet 1695 Marietta Boulevard NW, Atlanta, GA 30318 Attention: Community Programs

Name of school and system: ______Grade level: ______Subject area taught: ______Your name: ______Title: ______Which Kids In Step performance did you and your students attend? ______

Rate the following on a scale from 1-5, 5 being the best 1. The ballet was a positive experience for you and your students. 1 2 3 4 5 2. I used the activities from the study guide. 1 2 3 4 5 3. The activities in the study guide were helpful in preparing students for the production. 1 2 3 4 5 4. The study guide and attending the performance complemented my existing curriculum. 1 2 3 4 5 5. I would attend this program or another Kids In Step performance again. 1 2 3 4 5

6. Which activity did you and your students enjoy the most? ______7. Did your students impression/opinion of ballet change after this experience? ______8. Is there anything you would like to see added or changed? ______9. Additional comments or suggestions: ______

ArtsBridge presents Atlanta Ballet’s Snow White Educator Guide 32