Cinderella Resource Pack

Total Page:16

File Type:pdf, Size:1020Kb

Cinderella Resource Pack CINDERELLA A BALLET BY DAVID NIXON OBE RESOURCE PACK Introduction This resource pack gives KS2 and KS3 teachers and pupils an insight into Northern Ballet’s Cinderella. It can be used as a preparatory resource before seeing the production, follow up work after seeing the production or as an introduction to Northern Ballet or ballet in general. Contents • The History of Cinderella • • Characters • • Story • • About Northern Ballet’s Cinderella • • Costumes • • Sets • • Music • • Creative Team • • Terminology • • Gallery • Click on the links on each page to Terminology is highlighted and can find out more (external websites). be found at the back of this pack. This resource pack was created in autumn 2019. Photos Bill Cooper, Riku Ito, Emma Kauldhar and Dolly Williams. Cinderella is a universal story which has been re-written and retold in many different countries and cultures around the world. The oldest account of the story is from China, dating back to the 9th century AD. The well-known classic fairy tale was written by Charles Perrault and published in France as Cendrillon in 1697. Cendrillon told the story of a virtuous girl, whose mother dies, resulting in her being treated inhumanely by her family. In the end she is rescued by magical love from her mother beyond the grave. Task: How many elements of the Cinderella story do you know? A Stepmother and two Stepsisters A ball which Cinderella is not allowed to attend A visit by a Fairy Godmother The History of Receiving glass slippers Being home by midnight Losing a glass slipper Cinderella A Prince searching for the girl that fits the slipper There are numerous films, books, ballets and pantomimes which tell the story of Cinderella, all with their own interpretation. The first major ballet production of the fairytale was choreographed by Marius Petipa for Marinsky Ballet in St Petersburg, Russia in 1893. Most famously, composer Sergei Prokofiev wrote a new score for Cinderella, performed at the famous Bolshoi Theatre in Moscow, Russia in 1945, choreographed by Rostislav Zakharov. Performed after the Second World War when communist Russia was in a state of oppression, Cinderella was a popular story to portray in the country as a story of a down-trodden girl triumphing against all odds. The history of Northern Ballet’s Cinderella Over the last 50 years, Northern Ballet have created and performed four 1993 Choreographed by Christopher Gable different versions of Cinderella, by four differentchoreographers. Christopher Gable said of Cinderella: ‘Cinderella is principally a story about the difficulties of growing up. In every version Cinderella has to come to terms with the fact that life is not always easy, 1973 and that it is only by meeting Choreographed by Laverne Meyer with our problems and solving them that we can hope to Laverne Meyer’s interpretation of come to a successful maturity.’ Cinderella was a classical fantasy, Cinderella was Gable’s first full- closely following Charles Perrault’s length ballet and was received Cendrillon. It was a ballet of three Christopher Gable with critical acclaim, hailed acts which was new for Northern ‘a Cinderella for the 90s’. Ballet - before this the Company had only ever performed one act ballets. Poster from the autumn 2019/spring 2020 tour Laverne Meyer of David Nixon’s Cinderella 2019 1979 2013 David Nixon chose to revive his 2013 Choreographed by Robert De Warren Choreographed by David Nixon OBE production of Cinderella for autumn 2019 / Robert De Warren revived David Nixon’s Cinderella first spring 2020. There are some adaptations in Johann Strauss’ ballet, premièred in Leeds in 2013 and this revival including a new Fabergé inspired Aschenbrödel, which means toured extensively in 2014. In ballroom. Cinderella in German. Prior to his career as a dancer, Nixon Northern Ballet’s revival the performed in Valery Panov’s last time the ballet had been Cinderella, dancing his most performed was over 60 years memorable performances with before in Vienna. The story is his wife. This left him with a set in a department store and is fondness for the tale and a wish a ballet of three acts. to create his own Cinderella ballet. The ballet is set in Imperialist Russia, a wintery Task: landscape for the classic Cinderella is a famous story told all over fairytale. the world. Create a list of all the versions of Cinderella you know including books, films, theatre shows and TV programmes. Here are two to get you started: Poster from the 1980 tour of Robert De Poster from the 2014 tour of David A Cinderella Story (2004) Warren’s Cinderella Nixon’s Cinderella Disney’s Cinderella (1950) Characters Cinderella Prince Mikhail A lonely young woman who is forced to become The Prince who falls in love with Cinderella a servant for her Stepmother after her Father’s at the winter ball and, with only her crystal untimely death. She longs to be accepted and slipper as a clue, searches high and low for to escape the suffering and oppression that the mysterious girl for whom the shoe will fit. has been forced upon her. Cinderella is played Prince Mikhail is played by two dancers; by two different dancers; showing a young showing a young Prince and an adult Prince. Cinderella and an adult Cinderella. Count Serbrenska Prince and Princess Mulakov Cinderella’s father, a loving parent who dies Parents to Prince Mikhail and good friends of Count tragically at a picnic in the countryside of Moscow. Serbrenska, they were at the picnic on the terrible day of the Count’s death. They host the ball where the Prince first asks Cinderella to dance. Stepmother Nikolai Cinderella’s Stepmother who, overcome with Prince Mikhail’s best friend who tries to stop grief, blames Cinderella for the Count’s death Cinderella’s Stepmother interfering at the ball, and and forces her to become her servant. helps the Prince in his search to find Cinderella after she leaves behind her crystal slipper. Natasha and Sophia Magician Cinderella’s Stepsisters. They are jealous of the Moved by Cinderella’s kindness, the Magician attention Cinderella receives and, under their insists Cinderella will go to the ball and uses his mother’s orders, are not allowed to have anything amazing magic to conjure a beautiful sleigh which to do with Cinderella. transports Cinderella, under a starlit sky, to the winter ball. Story: Act 1 A winter market in Moscow The countryside outside Moscow ime has passed and Cinderella is Tshopping at the winter market. Released momentarily from the drudgery of her servant life, she enjoys watching the spectacle of stilt walkers, acrobats, jugglers and a Magician. The Prince and his friends watch on as the Magician starts his performance. Cinderella recognises the Prince as the young boy from the picnic years ago but the Prince doesn’t even look at the poor young woman that Cinderella has become. Cinderella returns home followed by her Stepsisters who are excited about the events at the market. They want Cinderella to join in with their games but, rejecting her once again, her Stepmother reminds her that she is not to have anything to do with her daughters. t is an idyllic summer afternoon and a picnic is being The crystal lake Iheld to celebrate Cinderella’s birthday. Her Father, Count Serbrenska, gives her a shawl as a gift and they are joined by Cinderella’s Stepmother and her Stepsisters, Natasha and Sophia. inderella flees to the Prince and Princess Mulakov, who are good friends of the beautiful crystal lake; her Count, arrive with their son, Prince Mikhail. As the afternoon C sole refuge from the life continues, the young people play and the adults stroll or join she leads. The lake is full of a shooting party on the other side of the river. skaters and amongst them Natasha and Sophia decide to play a game with Cinderella’s is the Prince, his friends new shawl and accidentally throw it to the other side of the and the Magician from the bridge. Having been warned not to cross the river, the girls market. Cinderella’s do not go after the shawl. Seeing how upset his daughter is, ice-dancing is impressive Count Serbrenska goes to retrieve the shawl when tragedy and catches everyone’s strikes and he dies. attention. Cinderella’s Stepmother, falling into grief and despair, reaches out to her daughters but blames Cinderella for the On returning home, Cinderella finds her Stepsisters have received invitations to a winter Count’s death and offers her no comfort. ball. Cinderella has been invited too but her Stepmother rips up her invitation and reminds her that she belongs downstairs. Summer passes and as the bereaved family arrive at their new house in Moscow, Cinderella’s Stepmother makes it Cold and alone in the kitchen, Cinderella thinks sadly of the past and of what her life has clear that Cinderella’s new life is no longer as a daughter but become. Hearing a knock at the door, she finds the Magician from the market square as a servant for her family. shivering in the dark. Finding comfort in his company she invites him in. The Magician, inspired by Cinderella’s generosity, insists that Cinderella will go to the ball. Story: Act 2 The drawing room The winter ball he Prince is in search of the girl Tfrom the ball and shows the family the slipper. He ignores Cinderella as she serves the company, but her Stepmother shows the Prince that this is the girl who fits the shoe. Feeling fooled and embarrassed, he becomes angry and flees the room. The kitchen inderella is humiliated and for the first time, Cstands up to her Stepmother.
Recommended publications
  • 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.
    [Show full text]
  • CINDERELLA Curriculum Connections California Content Standards Kindergarten Through Grade 12
    San Francisco Operaʼs Rossiniʼs CINDERELLA Curriculum Connections California Content Standards Kindergarten through Grade 12 LANGUAGE ARTS WORD ANALYSIS, FLUENCY, AND VOCABULARY DEVELOPMENT Phonics and Phonemic Awareness: Letter Recognition: Name the letters in a word. Ex. Cinderella = C-i-n-d-e-r-e-l-l-a. Letter/Sound Association: Name the letters and the beginning and ending sound in a word. C-lorind-a Match and list words with the same beginning or ending sounds. Ex. Don Ramiro and Dandini have the same beginning letter “D” and sound /d/; but end with different letters and ending sounds. Additional examples: Don Ramiro, Don Magnifico, Alidoro; Cinderella, Clorinda. Syllables: Count the syllables in a word. Ex.: Cin-der-el-la Match and list words with the same number of syllables. Clap out syllables as beats. Ex.: 1 syllable 2 syllables 3 syllables bass = bass tenor = ten-or soprano = so-pra-no Phoneme Substitution: Play with the beginning sounds to make silly words. What would a “boprano” sound like? (Also substitute middle and ending sounds.) Ex. soprano, boprano, toprano, koprano. Phoneme Counting: How many sounds in a word? Ex. sing = 4 Phoneme Segmentation: Which sounds do you hear in a word? Ex. sing = s/i/n/g. Reading Skills: Build skills using the subtitles on the video and related educator documents. Concepts of Print: Sentence structure, punctuation, directionality. Parts of speech: Noun, verb, adjective, adverb, prepositions. Vocabulary Lists: Ex. Cinderella, Opera glossary, Music and Composition terms Examine contrasting vocabulary. Find words in Cinderella that are unfamiliar and find definitions and roots. Find the definitions of Italian words such as zito, piano, basta, soto voce, etcetera, presto.
    [Show full text]
  • As Transformações Nos Contos De Fadas No Século Xx
    DE REINOS MUITO, MUITO DISTANTES PARA AS TELAS DO CINEMA: AS TRANSFORMAÇÕES NOS CONTOS DE FADAS NO SÉCULO XX ● FROM A LAND FAR, FAR AWAY TO THE BIG SCREEN: THE CHANGES IN FAIRY TALES IN THE TWENTIETH CENTURY Paulo Ailton Ferreira da Rosa Junior Instituto Federal Sul-rio-grandense, Brasil RESUMO | INDEXAÇÃO | TEXTO | REFERÊNCIAS | CITAR ESTE ARTIGO | O AUTOR RECEBIDO EM 24/05/2016 ● APROVADO EM 28/09/2016 Abstract This work it is, fundamentally, a comparison between works of literature with their adaptations to Cinema. Besides this, it is a critical and analytical study of the changes in three literary fairy tales when translated to Walt Disney's films. The analysis corpus, therefore, consists of the recorded texts of Perrault, Grimm and Andersen in their bibliographies and animated films "Cinderella" (1950), "Snow White and the Seven Dwarfs" (1937) and "The little Mermaid "(1989) that they were respectively inspired. The purpose of this analysis is to identify what changes happened in these adapted stories from literature to film and discuss about them. Resumo Este trabalho trata-se, fundamentalmente, de uma comparação entre obras da Literatura com suas respectivas adaptações para o Cinema. Para além disto, é um estudo crítico e analítico das transformações em três contos de fadas literários quando transpostos para narrativas fílmicas de Walt Disney. O corpus de análise, para tanto, é composto pelos textos registrados de Perrault, Grimm e Andersen em suas respectivas bibliografias e os filmes de animação “Cinderella” (1950), “Branca de Neve e os Sete Anões” (1937) e “A Pequena Sereia” (1989) que eles respectivamente inspiraram.
    [Show full text]
  • British Ballet Charity Gala
    BRITISH BALLET CHARITY GALA HELD AT ROYAL ALBERT HALL on Thursday Evening, June 3rd, 2021 with the ROYAL BALLET SINFONIA The Orchestra of Birmingham Royal Ballet Principal Conductor: Mr. Paul Murphy, Leader: Mr. Robert Gibbs hosted by DAME DARCEY BUSSELL and MR. ORE ODUBA SCOTTISH BALLET NEW ADVENTURES DEXTERA SPITFIRE Choreography: Sophie Laplane Choreography: Matthew Bourne Music: Wolfgang Amadeus Mozart – Gran Partita and Eine kleine Nachtmusik Music: Excerpts from Don Quixote and La Bayadère by Léon Minkus; Dancers: Javier Andreu, Thomas Edwards, Grace Horler, Evan Loudon, Sophie and The Seasons, Op. 67 by Alexander Glazunov Martin, Rimbaud Patron, Claire Souet, Kayla-Maree Tarantolo, Aarón Venegas, Dancers: Harrison Dowzell, Paris Fitzpatrick, Glenn Graham, Andrew Anna Williams Monaghan, Dominic North, Danny Reubens Community Dance Company (CDC): Scottish Ballet Youth Exchange – CDC: Dance United Yorkshire – Artistic Director: Helen Linsell Director of Engagement: Catherine Cassidy ENGLISH NATIONAL BALLET BALLET BLACK SENSELESS KINDNESS Choreography: Yuri Possokhov THEN OR NOW Music: Piano Trio No. 1, Op. 8 by Dmitri Shostakovich, by kind permission Choreography: Will Tuckett of Boosey and Hawkes. Recorded by musicians from English National Music: Daniel Pioro and Heinrich Ignaz Franz von Biber – Passacaglia for solo Ballet Philharmonic, conducted by Gavin Sutherland. violin, featuring the voices of Natasha Gordon, Hafsah Bashir and Michael Dancers: Emma Hawes, Francesco Gabriele Frola, Alison McWhinney, Schae!er, and the poetry of
    [Show full text]
  • Prospectus 2 About Us Rambert School, Is Recognised Internationally As One of the Small Group of First-Level Professional Dance Schools of the World
    Director: Ross McKim MA PhD NBS (IDP) Patrons: Lady Anya Sainsbury CBE Robert Cohan CBE Prospectus 2 About Us Rambert School, is recognised internationally as one of the small group of first-level professional dance schools of the world. In order to remain so, and to support its students (given the demands they must confront), Rambert School provides a contained, bordered and protected environment through which an unusual and intense level of energy and professionalism is created, respected, treasured and sustained. “Rambert School is a place of education and training in Ballet, Contemporary Dance and Choreography. It seeks to cause or allow each student to achieve his or her unique potential personally and professionally. It encourages learning, reflection, research and creative discovery. Through these processes, as they relate to performance dance, all those at the school are provided with the opportunity to develop their vision, awareness, knowledge and insight into the world and the self. They may thus advance in terms of their art form and their lives.” Principal and Artistic Director Dr Ross McKim MA PhD NBS (IDP) Conservatoire for Dance and Drama Clifton Lodge, St Margaret’s Drive, Twickenham TW1 1QN Telephone: 020 8892 9960 Fax: 020 8892 8090 Mail: [email protected] www.rambertschool.org.uk 3 History Marie Rambert began teaching in London in 1919. In her autobiography she wrote, “In 1920 I collected the various pupils I had into a class and began teaching professionally.” This was the beginning of Rambert School which, in these early days, was based at Notting Hill Gate. Out of it grew Rambert Dance Company.
    [Show full text]
  • Sweetbox Download
    Sweetbox download click here to download Best Sweet box free stock photos download for commercial use in HD high resolution jpg images format. sweet box, free stock photos, sweet box, sweet . sweet box. Download thousands of free photos on Freepik, the finder with more than a million free graphic resources. Best Sweet Box Free Vector Art Downloads from the Vecteezy community. Sweet Box Free Vector Art licensed under creative commons, open source, and. Sweetbox | Sweetbox to stream in hi-fi, or to download in True CD Quality on www.doorway.ru box 10x10cm - Sweet box - Download Free 3D model by Javier Martín Hidalgo ( @www.doorway.ru). Sweetbox Everything's Gonna Be Alright. Closed captioning no. Identifier Sweetbox_Everythings_Gonna_Be_Alright. Scanner Internet Archive. Watch the video, get the download or listen to Sweetbox – Somewhere for free. Somewhere appears on the album Adagio. Discover more music, gig and. Sweet Box Android latest APK Download and Install. Cases Photographers and VideMakers. Each Sweet box icon is a flat icon. All of them are vector icons. They're available for a free download in PNG of up to x px. For vectors, such as SVG, EPS, . Of the million Sweetbox downloads, , were of “Life Is Cool,'” , of “Don't Push Me,” and , of “Cinderella. You can download or listen to the songs of Sweetbox: Miss You, Everything's Gonna Be Alright, Don't Push Me, Everything's Gonna Be Alright (Classic Version ). Download the song of Sweetbox — I Know You're Not Alone, listen to the track, watch clip and find lyrics. A very fresh and modern effect where you make a color change of a COMPLETE BOX of candies.
    [Show full text]
  • Into the Woods Character Descriptions
    Into The Woods Character Descriptions Narrator/Mysterious Man: This role has been cast. Cinderella: Female, age 20 to 30. Vocal range top: G5. Vocal range bottom: G3. A young, earnest maiden who is constantly mistreated by her stepmother and stepsisters. Jack: Male, age 20 to 30. Vocal range top: G4. Vocal range bottom: B2. The feckless giant killer who is ‘almost a man.’ He is adventurous, naive, energetic, and bright-eyed. Jack’s Mother: Female, age 50 to 65. Vocal range top: Gb5. Vocal range bottom: Bb3. Browbeating and weary, Jack’s protective mother who is independent, bold, and strong-willed. The Baker: Male, age 35 to 45. Vocal range top: G4. Vocal range bottom: Ab2. A harried and insecure baker who is simple and loving, yet protective of his family. He wants his wife to be happy and is willing to do anything to ensure her happiness but refuses to let others fight his battles. The Baker’s Wife: Female, age: 35 to 45. Vocal range top: G5. Vocal range bottom: F3. Determined and bright woman who wishes to be a mother. She leads a simple yet satisfying life and is very low-maintenance yet proactive in her endeavors. Cinderella’s Stepmother: Female, age 40 to 50. Vocal range top: F#5. Vocal range bottom: A3. The mean-spirited, demanding stepmother of Cinderella. Florinda And Lucinda: Female, 25 to 35. Vocal range top: Ab5. Vocal range bottom: C4. Cinderella’s stepsisters who are black of heart. They follow in their mother’s footsteps of abusing Cinderella. Little Red Riding Hood: Female, age 18 to 20.
    [Show full text]
  • Connection/Separation
    Friday, February 12, 2021 | 4 PM MANHATTAN SCHOOL OF MUSIC OPERA THEATRE Tazewell Thompson, Director of Opera Studies presents Connection/Separation Featuring arias and scenes from Carmen, Così fan tutte, Die Zauberflöte, La clemenza di Tito, L’elisir d’amore, Le nozze di Figaro, Les pêcheurs de perles, and Lucio Silla A. Scott Parry, Director MSM Opera Theatre productions are made possible by the Fan Fox and Leslie R. Samuels Foundation and the Joseph F. McCrindle Endowment for Opera Productions at Manhattan School of Music. Friday, February 12, 2021 | 4 PM MANHATTAN SCHOOL OF MUSIC OPERA THEATRE Tazewell Thompson, Director of Opera Studies presents Connection/Separation Featuring arias and scenes from Carmen, Così fan tutte, Die Zauberflöte, La clemenza di Tito, L’elisir d’amore, Le nozze di Figaro, Les pêcheurs de perles, and Lucio Silla A. Scott Parry, Director Myra Huang, Vocal Coach & Pianist Kristen Kemp, Vocal Coach & Pianist Megan P. G. Kolpin, Props Coordinator DIRECTOR’S NOTE In each of our lives—during this last year especially—we may have discovered ourselves in moments of wanting, even needing some sort of human connection, but instead finding separation by any number of barriers. In the arias and scenes that follow, we witness characters in just this kind of moment; searching for meaningful contact yet being somehow barred from achieving it. Through circumstance, distance, convention, misunderstanding, pride, fear, ego, or what have you, we may find ourselves in situations similar to the characters in this program, while looking forward to the days when connection can be more easily achieved and separation the exception to the rule.
    [Show full text]
  • Nicolle Greenhood Major Paper FINAL.Pdf (4.901Mb)
    DIVERSITY EN POINTE: MINIMIZING DISCRIMINATORY HIRING PRACTICES TO INCREASE BALLET’S CULTURAL RELEVANCE IN AMERICA Nicolle Mitchell Greenhood Major paper submitted to the faculty of Goucher College in partial fulfillment of the requirements for the degree of Master of Arts in Arts Administration 2016 Abstract Title of Thesis: DIVERSITY EN POINTE: MINIMIZING DISCRIMINATORY HIRING PRACTICES TO INCREASE BALLET’S CULTURAL RELEVANCE IN AMERICA Degree Candidate: Nicolle Mitchell Greenhood Degree and Year: Master of Arts in Arts Administration, 2016 Major Paper Directed by: Michael Crowley, M.A. Welsh Center for Graduate and Professional Studies Goucher College Ballet was established as a performing art form in fifteenth century French and Italian courts. Current American ballet stems from the vision of choreographer George Balanchine, who set ballet standards through his educational institution, School of American Ballet, and dance company, New York City Ballet. These organizations are currently the largest-budget performing company and training facility in the United States, and, along with other major US ballet companies, have adopted Balanchine’s preference for ultra thin, light skinned, young, heteronormative dancers. Due to their financial stability and power, these dance companies set the standard for ballet in America, making it difficult for dancers who do not fit these narrow characteristics to succeed and thrive in the field. The ballet field must adapt to an increasingly diverse society while upholding artistic integrity to the art form’s values. Those who live in America make up a heterogeneous community with a blend of worldwide cultures, but ballet has been slow to focus on diversity in company rosters.
    [Show full text]
  • Bournonville À Biarritz 6Th Édition
    ACADEMIE Bournonville à Biarritz 6th édition from July 28th to August 2nd 2014 Artistic director Monik Elgueta - Biarritz Artistic consultant Eric Viudes In partnership with the city of Biarritz and the Centre Chorégraphique National Malandain Ballet Biarritz Auguste Bournonville (1805-1879) Teachers Auguste Bournonville who was the son of Antoine frank andersen Bournonville, a French dancer and Director of the Royal Danish Ballet from 1985 ballet teacher who lived in exile in to 1994 and from 2002 to 2008 and of the Royal Swedish Ballet from 1995 to 1999. Danemark, studied ballet with his Professor of Dance Acedemy in Beijing father in Copenhagen before com- pleting his training in Paris with erik aschengreen Pierre Gardel and Auguste Vestris. Danish professor, dance historian and ballet He joined the Paris Opera in 1826, critic but left France in 1830 to become a principal at the Royal Danish Ballet and succeeded his father as a ballet dinna bjorn master, a post that he held until 1877. Throughout his life Director of the Norwegian National Ballet from he supported the lightness , the elegance and the phra- 1990 to 2002 and of the finnish National Ballet sing of the French balletic style. The style that he taught from 2001 to 2008, international guest teacher and that survived him thanks to an uninterrupted tradi- tion. The author of around fifty ballets essentially resting eva kloborg on a harmonious and happy vision of life, Bournonville, Character dancer at the Royal Danish Ballet and international guest teacher in spite of the way ballet changed during his lifetime, as testified by the “romantic ballet”, gave equal importance to male and female dancers.
    [Show full text]
  • Northern Ballet School Welcome Pack 2021/22 (PDF)
    Northern Ballet School Manchester Welcome Pack ———— Join the movement Year 2021/22 ——— northernballetschool.co.uk Welcome to your Northern Ballet School Introduction from the College Principal of ICTheatre and Northern Ballet School ------ Congratulations on accepting your place to study at the Norther Ballet School. As the country emerges from the impact of the Covid 19 pandemic, whilst the green shoots of a changing industry are beginning to take hold, we are so excited to welcome you to our college. Our faculty of practitioners, artists and teachers are all incredibly motivated to share their diverse, first-hand professional expertise with you - as you begin your journey. Your first few days and weeks will see you step Ready yourself to open your mind, to embrace the outside your comfort zone, meet new, like-minded new and the unfamiliar. Prepare to stretch yourself people, and encourage you to embrace your both physically and mentally. Be open to new things, new Northern Ballet School family and all of the new ways of thinking, working, and performing. Learn opportunities that lie ahead. You will soon find to say ‘yes’ with the understanding that you will yourself surrounded by genuinely creative people discover and explore new enrichments, friendships bursting with ideas and potential. and industry connections that will provide you with all you need to enhance your ability to start a Manchester is such an exciting and energetic city, fulfilling career in the creative industries. and I would incite you to explore all the subtleties, scenes, and scenarios it offers up to its effervescent Lao Tzu, a Chinese philosopher, once said ‘every student population.
    [Show full text]
  • Madame Ballet' As Establish a Perth-Based Ballet Company Western Australian Author Ffion Murphy As a Result of Those Who Had Prepared the Ground for Her
    Michelle Potter reveals how Bousloff, whose youth had been lived out Russian dancer Kira Bousloff boldly of a suitcase as she travelled the world as a dancer with the Ballets Russescompanies created an environment for dance of Colonel de Basil, decided to remain in to flourish in Western Australia Australia in 1939 at the end of a tour by the Covent Garden Russian Ballet. She recalls When I came to the airport here in little Perth, that decision in an oral history interview at the end of the world, I put my feet on the recorded for the National Library in 1990: ground, I looked around, and I said loudly and strongly 'That's where I'm going to live and I was sitting in my hotel room in Melbourne that's where I'm going to die'. on my own and I had a strong feeling that my father (who had died many years ago) -Kira Bousloff touched my shoulder. It was a physical feeling practically. Then I had suddenly this strong ira Bousloff, or Kira Abricossova as feeling that I had to stay in Australia. So she was known during her early without even thinking twice (of course, you see, Kperforming career, was the founder of I'm a bit queer, eccentric, but that's the truth, the West Australian Ballet, one of Australia's that's what happened) I ran down the stairs and earliest state-based ballet companies-the rang up ... a very good friend and I said, 'I want first, in fact, to call itself a state company.
    [Show full text]