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Teacher's Resource Teacher’s Resource Kit ARTISTIC DIRECTOR LI CUNXIN La Sylphide PRINCIPAL PARTNER LA SYLPHIDE Contents La Sylphide, Genre and Style 3 Historical Context 4–7 The Story of La Sylphide 8 About Artistic Director Li Cunxin 9 Meet Janette Mulligan, Stager 10 Q&A with Janette Mulligan 11–13 Appreciation Activities 1–3 14 Choreographic Activities 1–2 21 Attending a Queensland Ballet performance 23–24 Ballet Vocabulary 25–26 References 27 Photo cover credit Cover: Meng Ningning and Shane Wuerthner Creative Direction: Designfront Photographer: Georges Antoni Styling: Peter Simon Phillips Make up: Nicole Thompson, Senior Artist M.A.C Hair: Hair by Koh Teacher’s Resource Kit Queensland Ballet Education Program 2015 LA SYLPHIDE Queensland Ballet’s Education Program Queensland Ballet is dedicated to enriching lives through dance. We do this through an exciting program of performances, dance workshops, training programs, public talks, industry experiences, children’s events, online resources and more. Dance to Live Celebrate Dance Dance can provide a variety of physical, social We want to help you get the most from your and creative benefits when integrated into a Queensland Ballet experience. You might like healthy lifestyle. At Queensland Ballet, we are to join in with a theatre-based activity, such as always seeking new opportunities to encourage watching a class on stage before a performance, our community to get up and dance! Our weekly or attend a post-performance Q&A. Watch our adult dance classes are a fun way to increase behind-the-scenes videos on YouTube, explore fitness, while the Dance for Parkinson’s program Backstage on our website or follow us on Facebook offers intrinsic benefits for people living with to learn what happens in the wings. Take a young Parkinson’s disease. dancer to a children’s workshop and see how ballet can ignite their passion. Whatever you decide, Dance to Learn our aim is to connect you and your students with the art of ballet. Queensland Ballet is committed to supporting dance education for both teachers and students, and our School and Studios Program is designed with this in mind. Initiatives such as dance workshops in schools, our Adopt a Dancer program and performance-related teachers’ resources, aim to be curriculum-relevant, highly enjoyable and provide pathways for further learning in dance. 2 Teacher’s Resource Kit Queensland Ballet Education Program 2015 LA SYLPHIDE La Sylphide Context Genre and Style La Sylphide was first choreographed Genre and style allow observers to group dances by their similarities by Filippo Taglioni in 1832 during (Adshead, 1988). Genres are broader categories that may encompass the Romantic era. In 1836 August a number of historical styles. Some examples of genres include ballet, Bournonville choreographed modern dance and post-modern dance. Historical styles are narrower the ballet afresh in his own style, categories and can be used to reference a historical era (Adshead, 1988). still incorporating elements of Romanticism. In 2015 Queensland Examples of historical styles within the ballet genre include Court ballet, Ballet presents the award-winning Ballet d’ action, Romantic ballet, Classical ballet, Modern ballet and production of La Sylphide from Post-modern ballet. Danish choreographer Peter Schaufuss. The Peter Schaufuss Within a historical style there are also choreographic styles, meaning production incorporates many the style of a specific choreographer (Adshead, 1988). An example of elements of the Romantic ballet, as a choreographic style is August Bournonville’s style, labelled after his introduced by August Bournonville. own name. DATE GENRE HISTORICAL STYLE CHOREOGRAPHIC STYLE 1500 — 1600s Ballet Court ballet 1700s Ballet d’ action c.1800 — c.1880 Romantic ballet Bournonville ballet c.1880 — c.1910 Classical ballet Early to Mid 1900s Modern ballet Late 1900s and 2000s Post-modern ballet Note: A ballet can be choreographed in a historical style after the historical period. For example a Classical ballet could be created in 2014, using Classical ballet elements and characteristics. The Classical period (late 1800s) is the time in history when Classical ballets were most prominent. Portrait of Louis Mérante and Emma Livry in La Sylphide 1860s 3 Teacher’s Resource Kit Queensland Ballet Education Program 2015 LA SYLPHIDE LA SYLPHIDE Historical Context • The height of the Romantic era in ballet was during the 1830s through to the 1850s. However there were Romantic ballets created as early as 1806, such as Paul et Virgine, and as late as 1870, such as Coppélia (Anderson, 1986; Au, 1988). • The Romantic era for ballet was influenced by socio-cultural action of the time. The French Revolution contributed to development of ballet themes, moving from narratives concerning the gods to those that explored the lives of ordinary people (Debney, 1993). • The Industrial Revolution, in particular the creation of railways, allowed people to travel more easily between countries. As such, Romantic ballet choreographers developed an interest in exotic lands and cultures, particularly countries from the East (Anderson, 1986; Debney, 1993). • Romantic ballets often blended realism and fantasy, including elements of beauty, passion, The writer Charles Nodier, whose views emotion, imagination, nature, and the supernatural influenced the narrative ofLa Sylphide (Anderson, 1986; Au, 1988; Debney, 1993). • The movement style was characterised by soft and rounded arms and head positions with their upper body in a forward tilt. This made the dancers’ movements very graceful and gentle, contributing to the ethereal atmosphere of Romantic ballets (Steeh, 1982). • The soft pointe shoe was created, replacing the heeled slippers of Ballet d’action. This allowed female dancers to rise onto pointe for very brief moments, creating a floating, ethereal effect (Debney, 1993). • The famous white bell-shaped knee-length tutu was also created, allowing the female dancers more freedom of movement (Debney, 1993). • Newly invented gas lighting was used along with fly wires to assist in portraying supernatural themes (Debney, 1993). 4 Teacher’s Resource Kit Queensland Ballet Education Program 2015 LA SYLPHIDE LA SYLPHIDE Historical Context Continued August Bournonville & the Bournonville Ballet Style • Although France was seen as the leader in the evolution of the Romantic ballet style, ballet was being performed throughout Europe (Au 1988). This includes Copenhagen, Denmark, where August Bournonville created his personal choreographic style titled after his own surname. • August Bournonville (1805–79) was born in Copenhagen, Denmark. He studied dance under his father, a French ballet master, as well as Italian choreographer Vincenzo Galeotti, and French choreographer Jean Georges Noverre. After finishing his training, he became a soloist dancer for the Royal Ballet in Copenhagen. He later choreographed for the Royal Danish Ballet where he created more than 50 ballets (Walter, 1979). • The Bournonville ballet style was influenced by the Paris Opera Ballet and Romanticism. The ballets still featured romantic tutus, soft and rounded arms and an ethereal atmosphere (Walter, 1979). The young August Bournonville • In contrast, Bournonville’s choreography places equal emphasis on male and female roles and is characterised by quick and precise footwork, fluid phrases, natural grace, light jumps and beauty (Ballet Austin, 2011b; Walter, 1979). • Rather than portraying exaggerated emotions (a prominent characteristic of Romantic ballets), Bournonville ballets portray a more balanced human nature (Walter, 1979). • Bournonville developed his own technique and created his own training program to teach it (Ballet Austin, 2011a). • Many of Bournonville’s ballets were preserved by the Royal Danish Ballet. They were not well known outside of Denmark until the Company began touring them after World War 2 (Au, 1988). 5 Teacher’s Resource Kit Queensland Ballet Education Program 2015 LA SYLPHIDE LA SYLPHIDE Historical Context Continued August Bournonville’s La Sylphide The oldest Romantic ballet to have been performed continuously since its premiere at the Royal Theatre in Copenhagen in 1836, Bournonville’s La Sylphide was first presented by the Royal Danish Ballet. • La Sylphide’s narrative was influenced by the views of French writer Charles Nodier who described life as fluctuating between “bliss and despair” (The Ballet Bag, 2010). This concept inspired the idea of an unfortunate hero, forever chasing an elusive, supernatural force and ultimately facing a tragic destiny – an underlying theme in Bournonville’s La Sylphide. • Bournonville developed the characters of Filippo Taglioni’s original ballet, delving deeper into their relationships with each other (Ballet Austin, 2011c). • The ballet incorporates elements of both Romanticism (knee-length tutus) and Bournonville ballet style (quick and precise footwork, fluid phrases and light jumps). Marie Taglioni, La Sylphide, Alfred Edward Chalon (RA), Richard James Lane (A.R.A). lithograph, coloured by hand, London. • The original score was composed by 19-year old Museum no. S.2610-1986 nobleman Herman Severin von Løvenskjold. In this score, Løvenskjold combines a sense of narrative and character leitmotifs with lively dance sequences (The Ballet Bag, 2010). • It is said that Bournonville’s decision to use Løvenskjold as the composer for his new ballet encountered some opposition. Some detractors had even planned to boo at the premiere! Ultimately the music was so
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