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Study Guide for Teachers and Students
Melody Mennite in Cinderella. Photo by Amitava Sarkar STUDY GUIDE FOR TEACHERS AND STUDENTS 1 TABLE OF CONTENTS PRE AND POST-PERFORMANCE ACTIVITIES AND INFORMATION Learning Outcomes & TEKS 3 Attending a ballet performance 5 The story of Cinderella 7 The Artists who Created Cinderella: Choreographer 11 The Artists who Created Cinderella: Composer 12 The Artists who Created Cinderella Designer 13 Behind the Scenes: “The Step Family” 14 TEKS ADDRESSED Cinderella: Around the World 15 Compare & Contrast 18 Houston Ballet: Where in the World? 19 Look Ma, No Words! Storytelling in Dance 20 Storytelling Without Words Activity 21 Why Do They Wear That?: Dancers’ Clothing 22 Ballet Basics: Positions of the Feet 23 Ballet Basics: Arm Positions 24 Houston Ballet: 1955 to Today 25 Appendix A: Mood Cards 26 Appendix B: Create Your Own Story 27 Appendix C: Set Design 29 Appendix D: Costume Design 30 Appendix E: Glossary 31 2 LEARNING OUTCOMES Students who attend the performance and utilize the study guide will be able to: • Students can describe how ballets tell stories without words; • Compare & contrast the differences between various Cinderella stories; • Describe at least one dance from Cinderella in words or pictures; • Demonstrate appropriate audience behavior. TEKS ADDRESSED §117.106. MUSIC, ELEMENTARY (5) Historical and cultural relevance. The student examines music in relation to history and cultures. §114.22. LANGUAGES OTHER THAN ENGLISH LEVELS I AND II (4) Comparisons. The student develops insight into the nature of language and culture by comparing the student’s own language §110.25. ENGLISH LANGUAGE ARTS AND READING, READING (9) The student reads to increase knowledge of own culture, the culture of others, and the common elements of cultures and culture to another. -
Nutcracker – the Story of Clara the AUSTRALIAN BALLET EDUCATION
TEACHER’S RESOURCE KIT SECONDARY SCHOOLS Nutcracker – The Story of Clara THE AUSTRALIAN BALLET EDUCATION Contents 05/ Synopsis 08/ The Creatives 10/ Spotlight on Nutcracker – The Story of Clara with Artistic Director David McAllister 11/ The Music 12/ Invitation to the Dance: Graeme Murphy on the origins of his Nutcracker 15/ Curricular activities TEACHER RESOURCE KIT | NUTCRACKER - STORY OF CLARA | 2 THE AUSTRALIAN BALLET EDUCATION Leanne Stojmenov. Photography Justin Ridler. Nutcracker – The Story of Clara Choreography Graeme Murphy Creative associate Janet Vernon Concept Graeme Murphy and Kristian Fredrikson Music Piotr Ilyich Tchaikovsky Set and costume design Kristian Fredrikson Original lighting design John Drummond Montgomery recreated by Francis Croese Film collage Philippe Charluet TEACHER RESOURCE KIT | NUTCRACKER - STORY OF CLARA | 3 THE AUSTRALIAN BALLET EDUCATION Leanne Stojmenov and Kevin Jackson. Photography Justin Ridler TEACHER RESOURCE KIT | NUTCRACKER - STORY OF CLARA | 4 THE AUSTRALIAN BALLET EDUCATION Nutcracker – The Story of Clara Amelia Soh, Natasha Kusen and artists of the Australian Ballet. Photography Daniel Boud SYNOPSIS ACT I During a sweltering Christmas Eve in Melbourne in the late During a troubled sleep Clara descends into hallucination. 1950s, the ageing Clara, once a famous Russian ballerina, She dreams that she encounters herself as a child and once struggles home through the scorching heat with her meagre again is terrified by shadows in the night. Then, as the clock shopping. All she can afford is a few provisions and a tiny strikes midnight on this final Christmas, she witnesses the death Christmas tree, which she places on a table. The music of of the man she loved and is caught in the destructive chaos of Tchaikovsky’s The Nutcracker from her radio fills her with the Russian Revolution. -
David Mcallister AM Awarded Prestigious Queen Elizabeth II Coronation Award by the Royal Academy of Dance
David McAllister AM awarded prestigious Queen Elizabeth II Coronation Award by the Royal Academy of Dance Credit: David McAllister is surprised at a special lunch gala in Sydney with the presentation of the QEII Award. Photo by Chris Pavlic David McAllister AM was surprised at a special gala lunch held in Sydney by Friends of The Australian Ballet with the presentation of the QEII award The award was presented on behalf of the Academy by President of the RAD Dame Darcey Bussell DBE (virtually) and Audrey Nicholls OAM FRAD You are able to download images here. For further information visit: www.royalacademyofdance.org 28 April 2021: The Royal Academy of Dance (RAD) today announced it has awarded its highest honour the Queen Elizabeth II Coronation Award to David McAllister AM. David, immediate past Artistic Director of The Australian Ballet and a Vice-President of the RAD, was bestowed with this award in recognition of his contribution to The Australian Ballet as a dancer and director, as well as being a vital supporter and advocate for dance. The QEII Coronation Award, the Academy’s most prestigious accolade, was instituted in 1953 to commemorate the coronation of Her Majesty Queen Elizabeth II. The first recipient in 1954 was Dame Ninette de Valois. Since then it has been awarded to many of the greatest names in dance, in recognition of outstanding services to the art form. Former recipients include Dame Marie Rambert DBE, Sir Frederick Ashton, Rudolf Nureyev and Carlos Acosta CBE. It was most recently awarded to Karen Kain in 2019. The award was presented to David at a special lunch gala organised by the Friends of The Australian Ballet in Sydney. -
Medallists of the Genée International Ballet Competition 2018 Announced
PRESS RELEASE: 12 August 2018 Medallists of the Genée International Ballet Competition 2018 Announced Joshua Green, from Australia & Monet Hewitt, from New Zealand awarded coveted gold medals Silver medals awarded to Caitlin Garlick, from Australia & Basil James, from the UK Bronze medals awarded to Enoka Sato, from Japan & Jordan Yeuk Hay Chan, from Hong Kong Genée 2019 will take place in Toronto, Canada Download video content here Discover more on the Genée Facebook page The Royal Academy of Dance (RAD) is pleased to announce the medallists of the prestigious Genée International Ballet Competition 2018, held at Hong Kong City Hall on 12 August. After a week of intensive coaching from world-renowned teachers and choreographers the competitive Final saw the coveted gold medal awarded to Joshua Green, aged 17 from Australia, trained by Karen Ireland & Monet Hewitt, aged 16 from New Zealand, trained by Joye Lowe. Silver medals were awarded to Caitlin Garlick, trained by Karen Ireland & Basil James, trained by Anthony Dowson and Jennifer Hale. Enoka Sato, trained by Annette Roselli & Jordan Yeuk Hay Chan, trained by Yui Man Cheung, were awarded the bronze medal. Joshua Green started dancing in 2016 under the watchful eye of Karen Ireland at Karen Ireland Dance Centre. In April 2018, he travelled to New York and was selected as a top 20 dancer at the Youth America Grand Prix finals. He also received a scholarship to The John Cranko Schule. After completing the Genée, he stays in Hong Kong as one of the selected finalists of the Asian Grand Prix. Monet Hewitt from Auckland, New Zealand, began dancing when he was 8 years old at Philippa Campbell School of Ballet under the tutelage of Joye Lowe, Jane Turner and Geordan Wilcox. -
Jose Sebastian Named Director of ABT Incubator
CONTACT: Kelly Ryan [email protected] Delia Brengel [email protected] AMERICAN BALLET THEATRE APPOINTS JOSE SEBASTIAN AS NEW DIRECTOR OF ABT INCUBATOR SEBASTIAN TO SUCCEED DAVID HALLBERG IN “ABT INCUBATOR: PASS THE BATON” PROGRAM, WEDNESDAY, OCTOBER 14 AT 6:00 P.M. ON YOUTUBE AND IGTV American Ballet Theatre has appointed ABT dancer Jose Sebastian as the new director of ABT Incubator, ABT’s annual choreographic workshop. Sebastian succeeds ABT Principal Dancer David Hallberg, who has led ABT Incubator since its inception in 2010. An online presentation marking this leadership transition, as Hallberg steps into his new role as Artistic Director of The Australian Ballet and as Sebastian steps up to carry forward ABT’s commitment to choreographic innovation, will take place on Wednesday, October 14 at 6:00pm. This digital event will feature a discussion of ABT Incubator’s past, present, and future with Hallberg and Sebastian, moderated by ABT Artistic Director Kevin McKenzie. “ABT Incubator: Pass the Baton,” streamed for free on ABT’s YouTube channel and @ABTOfficial IGTV, will also feature film footage and images from the Company’s previous two ABT Incubator workshops, as well as a performance excerpt of a new work recently created by ABT Incubator alumna Gabrielle Lamb for ABT dancer Zimmi Coker. “ABT Incubator: Pass the Baton” is produced for ABT by Dianna Mesion and Pierce Jackson. (more) JOSE SEBASTIAN APPOINTED DIRECTOR OF ABT INCUBATOR – Page 2 Under the direction of Hallberg, ABT Incubator was established in 2018, building on earlier choreographic workshops that Hallberg catalyzed for the Company. Open to ABT dancers and outside choreographers chosen through an audition process, ABT Incubator provides its participants time and resources to generate and inspire new ideas for the creation of new work. -
Full Production and Guest Artist Details Don Quixote
Full Production and Guest Artist Details Don Quixote A THRILLING TALE OF HANDSOME BULLFIGHTERSAND UNBRIDLED PASSION Bursting with gravity-defying jetes, fearless lifts, and impressive fouette turns, Nina Ananiashvili’s exuberant Don Quixote features Spanish matadors and spirited ballerinas performing some of the most technically demanding choreography in classical ballet. The chivalrous noble, Don Quixote, sets off on an adventure with his loyal squire, Sancho Panza, while lovers Kitri and Basilio battle against all odds to unite in true love. Based on Cervantes' iconic Spanish novel, Don Quixote is a must-see ballet for all the family—a glorious dance spectacle packed with virtuoso dancing, stunning costumes, a fanciful storyline and a lively cast of characters. Choreography Marius Pepita, Alexander Gorsky Additional Choreography Nina Ananiashvili Music Ludwig Minkus Set & Costume Design Thomas Mika Lighting Design Billy Chan Live Accompaniment City Chamber Orchestra of Hong Kong Conductor Judith Yan GRAND THEATRE, HONG KONG CULTURAL CENTRE Live Accompaniment OPENING NIGHT 30 OCT 2020 Fri 7:30pm 31 OCT–1 NOV 2020 Sat–Sun 2:30pm & 7:30pm $1,000 (Limited VIP Tickets), $680, $480, $280, $140 Suitable for ages 3 and above The Nutcracker THE WORLD’S MOST POPULAR HOLIDAY BALLET This sparkling Christmas tradition receives a new lease on life in Terence Kohler’s beloved production, returning once again to Hong Kong! Join Clara and Fritz on their unforgettable journey as they valiantly battle the villainous Rat King, and the Nutcracker Prince -
Houston Ballet Revives Artistic Director Stanton Welch AM's Epic
FOR IMMEDIATE RELEASE MEDIA CONTACT: Christian Brown Public Relations Director [email protected] [email protected] HOUSTON BALLET REVIVES ARTISTIC DIRECTOR STANTON WELCH AM’S EPIC MADAME BUTTERFLY HOUSTON, TEXAS [September 2016] From September 22 - October 2, Houston Ballet will revive artistic director Stanton Welch AM’s signature work Madame Butterfly in a program with his one-act ballet Son of Chamber Symphony. Set to Puccini’s memorable score, in an arrangement by John Lanchbery, Madame Butterfly chronicles the love story of the beautiful geisha Cio-Cio San who is betrothed to marry the handsome American, Lieutenant Pinkerton. The production unfolds dramatically on Peter Farmer’s picturesque sets, which beautifully evoke the mystery and languor of 19th century Japan. Opening the program is the company premiere of Mr. Welch’s Son of Chamber Symphony, set to music by John Adams. Houston Ballet will give seven performances of Madame Butterfly with Son of Chamber Symphony at Wortham Theater Center in downtown Houston. Tickets may be purchased by calling 713-227-2787 or by visiting www.houstonballet.org. Houston Ballet’s Son of Chamber Symphony and Madame Butterfly program is generously sponsored by: The Wortham Foundation, Inc. INTERNATIONAL ACCLAIM FOR MADAME BUTTERFLY Premiered by The Australian Ballet in 1995, Madame Butterfly was Mr. Welch’s first full-length ballet. The two-act work tells the story of the beautiful geisha Cio-Cio San who renounces her faith and her family to wed Lieutenant Pinkerton, the U.S. Naval officer who is betrothed to another woman back in the States. The centerpiece of the work is a ravishing wedding night pas de deux between Pinkerton and Cio-Cio San, which closes the first act. -
May 19 – June 30, 2021
LOUISVILLE BALLET MAY 19 – JUNE 30, 2021 CHORSHOW Louisville Ballet Studio Company Dancer Louisville Ballet Studio Elizabeth Abbick Company Artist from “The Movement” / Sarah Bradley from “Circadian” / ChorShow 2021 ChorShow 2021 #CHORSHOW 2021 Featuring new works by Danielle Rowe, Justin Michael Hogan, Sanjay Saverimuttu, Natalie Orms, and Brandon Ragland. Cinematography & Post Production by KERTIS: Producers: Aaron Mikel & Sawyer Roque Videographers: Aaron Mikel & Alan Miller Editors: Kaylee Everly, Tobias Van Kleeck, & Wesley Bacon Lighting: Jesse Alford Costume Design: Alexandra Ludwig Stage Manager: Kim Aycock Technical Director: Brian Sherman Louisville Ballet would like to thank our generous donors for making this production possible. Louisville Ballet would also like to thank The Fund for the Arts for its generous investment in our Organization and support for our fellow arts organizations across the state. We also deeply appreciate the Kentucky Arts Council, the state arts agency, which provides operating support to Louisville Ballet with state tax dollars and federal funding from the National Endowment for the Arts, as well as significant advocacy on behalf of Louisville Ballet and our fellow arts organizations across The Commonwealth. 2 NOTES FROM THE ROBERT ARTISTIC DIRECTOR CURRAN Welcome to the final, original film of our fully digital Season of Illumination, Choreographers’ Showcase, fondly known as #ChorShow, a program created by and for our Louisville Ballet dancers. This always popular, often sold out, in-studio production might feel a little different this year, but the process and the intimacy remain. As always the final production features new works by dancers from the Company, as well as a piece by San Francisco-based guest choreographer, Danielle Rowe, this time created remotely, from a screen to our studio. -
2021-QB-Academy-Prospectus.Pdf
Prospectus 2021 CONTENTS Queensland Ballet acknowledges the traditional custodians 02 Academy Director’s welcome of the land on which we train and perform. Long before we 04 About Queensland Ballet Academy arrived on this land, it played host to the dance expression 06 Training and career pathways of our First Nations Peoples. We pay our respects to their Elders, past, present and emerging, and acknowledge 07 Training programs the valuable contribution they have made and continue 08 Kelvin Grove State College to make to the cultural landscape of this country. 10 Career entry programs 11 Workshops and activities 12 Living in Brisbane 14 Academy location and facilities 17 Career development 18 Fostering health and wellbeing 19 Auditions 19 Fees, scholarships and bursaries 21 Our leadership team Photography, unless otherwise labelled — David Kelly 01 ACADEMY DIRECTOR’S WELCOME On behalf of Queensland Ballet, I warmly welcome your consideration of our Academy’s elite training programs. Queensland Ballet Academy takes great pride in nurturing the future custodians of our exquisite artform. Combining world-class ballet training with an emphasis on student wellbeing, our Academy offers a unique educational pathway comparable to the finest international ballet schools. Our current training programs build on the extraordinary expertise of Queensland Ballet’s founder, Charles Lisner OBE. The establishment of the Lisner Ballet Academy in 1953 inspired Queensland Ballet’s commitment to nurturing and developing young dancers. Queensland Ballet Academy honours that legacy. As the official training provider for Queensland Ballet, our graduates have unparalleled access to the Company and its connection to the professional industry and wider dance community. -
Coppelia-Teacher-Resource-Guide.Pdf
Teacher’s Handbook 1 Edited by: Carol Meeder – Director of Arts Education February 2006 Cover Photo: Jennifer Langenstein – Pittsburgh Ballet Theatre Principal Dancer Aaron Ingley – Pittsburgh Ballet Theatre Corps de Ballet Dancer Ric Evans – Photographer 2 Introduction Dear Educator, We have often thanked you, the academic community and educators of our children, for being partners with us in Arts Education. We have confirmed how the arts bring beauty, excitement, and insight into the experience of everyday living. Those of us who pursue the arts as the work of our lives would find the world a dark place without them. We have also seen, in a mirror image from the stage, how the arts bring light, joy, and sparkle into the eyes and the lives of children and adults in all walks of life. Pittsburgh Ballet Theatre strives not only to entertain but to demonstrate the significance and importance of presenting our art in the context of past history, present living, and vision for the future. In this quest we present traditional ballets based on classic stories revered for centuries, such as Coppelia and Cinderella; and contemporary ballets by artists who are living, working, and creating everyday, such as our jazz program Indigo In Motion and the premiers we have done to the music of Sting, Bruce Springsteen, and Paul Simon. In this way we propel our art into the future, creating new classics that subsequent generations will call traditional. It is necessary to see and experience both, past and present. It enhances our life and stirs new ideas. We have to experience where we came from in order to develop a clear vision of where we want to go. -
24 June – 3 July | State Theatre Centre of WA
STATE 24 June – 3 July | State Theatre Centre of WA Artistic Director: Aurélien Scannella Air and Other Invisible Forces Choreographer: Graeme Murphy Creative Associate: Janet Vernon Staging Directors: Bradley Chatfield & Catherine Goss Set Designer: Gerard Manion Costume Designer: Akira Isogawa Lighting Designer: Damien Cooper Composer: Giya Kancheli Slow Haunt Choreographer: Melanie Lane Costume Designer: Akira Isogawa Lighting Designer: Damien Cooper Composer: Chris Clark Graeme Murphy Choreographer – Air and Other Invisible Forces Graeme Murphy was born in Melbourne and studied at The Australian Ballet School. He has danced with The Australian Ballet, Sadler’s Wells Ballet (London) and Ballets Félix Blaska (France). In 1976 he was appointed Artistic Director of Sydney Dance Company (then known as The Dance Company NSW), a position he held until 2007. During his 31-year tenure, he created more than 50 works, including 30 full-length productions. Murphy received an AM (Member of the Order of Australia) in 1982 for his Services to Dance and three honorary doctorates – Hon. D. Lit. Tas (1990), Hon. D. Phil. Qld (1992) and Hon. D. Lit. UNSW (1999). He was honoured at the Inaugural Sydney Opera House Honours in 1993 and named a National Living Treasure in 1999 by the National Trust of Australia. He has received a Helpmann Award for Best Choreography, Body of Work – a Retrospective (2001); the prestigious James Cassius Award (2002); the Green Room Award for Concept and Realisation, Swan Lake (2003); a Centenary Medal (2003); named Cultural Leader of the Year by the Australian Business Arts Foundation, receiving the Dame Elisabeth Murdoch Award (2004) and was listed among Australia’s 50 Most Glamorous Exports at a special celebration hosted by the Australian Government and Austrade (2005). -
East by Northeast the Kingdom of the Shades (From Act II of “La Bayadère”) Choreography by Marius Petipa Music by Ludwig Minkus Staged by Glenda Lucena
2013/2014 La Bayadère Act II | Airs | Donizetti Variations Photo by Paul B. Goode, courtesy of the Paul Taylor Dance Company East by Spring Ballet Northeast Seven Hundred Fourth Program of the 2013-14 Season _______________________ Indiana University Ballet Theater presents Spring Ballet: East by Northeast The Kingdom of the Shades (from Act II of “La Bayadère”) Choreography by Marius Petipa Music by Ludwig Minkus Staged by Glenda Lucena Donizetti Variations Choreography by George Balanchine Music by Gaetano Donizetti Staged by Sandra Jennings Airs Choreography by Paul Taylor Music by George Frideric Handel Staged by Constance Dinapoli Michael Vernon, Artistic Director, IU Ballet Theater Stuart Chafetz, Conductor Patrick Mero, Lighting Design _________________ Musical Arts Center Friday Evening, March Twenty-Eighth, Eight O’Clock Saturday Afternoon, March Twenty-Ninth, Two O’Clock Saturday Evening, March Twenty-Ninth, Eight O’Clock music.indiana.edu The Kingdom of the Shades (from Act II of “La Bayadère”) Choreography by Marius Petipa Staged by Glenda Lucena Music by Ludwig Minkus Orchestration by John Lanchbery* Lighting Re-created by Patrick Mero Glenda Lucena, Ballet Mistress Violette Verdy, Principals Coach Guoping Wang, Ballet Master Phillip Broomhead, Guest Coach Premiere: February 4, 1877 | Imperial Ballet, Bolshoi Kamenny Theatre, St. Petersburg Grand Pas de Deux Nikiya, a temple dancer . Alexandra Hartnett Solor, a warrior. Matthew Rusk Pas de Trois (3/28 and 3/29 mat.) First Solo. Katie Zimmerman Second Solo . Laura Whitby Third