Program 3 Bedroom Folk Sharon Eyal & Gai Behar

Home , Ballet BC, Dance in Canada, Florida (ballet), Greensboro Ballet, Simone Orlando

Poesía Serge Bennathan

Minus 16 Ohad Naharin

May 9 10 11 @BALLETBC AN ARTSLANDIA #BALLETBCPROGRAM3 #TALKBALLET PUBLICATION JOIN THE BALLET BC E-LIST: BALLETBC.COM Queen Elizabeth Theatre Program 3

Bedroom Folk Sharon Eyal & Gai Behar

Poesía Serge Bennathan

Minus 16 Ohad Naharin

Learning Guide

The goal of this Learning Guide is to help students engage fully with the dance performance featured in Ballet BC’s 2018/19 production of Program 3 at the Queen Elizabeth Theatre.

TABLE OF CONTENTS

3… Welcome from Artistic Director 4… About Ballet BC 5… Interview with Serge Bennathan by Pia Lo 6… About Ballet BC’s Program 3 8… About the Artists 15… Before the Performance Lesson I - Dance 18… Before the Performance Lesson II - Storytelling 19… After the Performance Lesson III 20… Continue Your Exploration

Ballet BC would like to thank Diamond Foundation for their generous support of Ballet BC’s Student and Community Dress Rehearsal program.

Ballet BC acknowledges the financial assistance of the Province of British Columbia for Ballet BC’s Outreach and Education Program.

2 A message from Ballet BC

WELCOME TO PROGRAM 3, the final program of a memorable season! Thank you for joining and supporting us as we commemorate 10 years of inspiring dance under the artistic director of Emily Molnar. After touring across Canada, we return to Vancouver to present a celebratory evening of intriguing works. This season concludes with a riveting mix of dance, music, and design, featuring long-time collaborators Sharon Eyal and Gai Behar’s North American premiere of Bedroom Folk, followed by a world premiere by the poetic Serge Ben- nathan, and ending with the much-anticipated return of Ohad Naharin’s playful and interactive Minus 16. From collaborators Sharon Eyal and Gai Next season, we are excited to continue a dialogue about Behar, we are eager to bring the North Ameri- dance; its power to transform and connect us in ways that can premiere of Bedroom Folk to Vancouver. echo across time, place and culture. Reveling in the beauty of Intensely cool, a house beat pulses through an our humanity, the 2019/20 season opens with two works that intoxicating space as dancers move in hypnotic stir the push and pull of the everyday: the Ballet BC premiere synchronicity. Bedroom Folk showcases the raw of BUSK by Canadian choreographer Aszure Barton and the and absorbing choreographic vision of these return of B.R.I.S.A. by Johan Inger. In Program 2, we revisit talented international collaborators. the pleasure, pain and politics of young love with the timeless Romeo + Juliet by Medhi Walerski. And closing the season is Serge Bennathan has made an indelible mark a hypnotic experience of the sensory worlds of Hora by Ohad on Canadian dance with his commitment to Naharin and Bill by Sharon Eyal and Gai Behar. We hope you’ll making work that goes “back to a rougher join us for all the excitement next season will bring. artistry.” Set to an original score by Montréal- based composer and collaborator Bertrand Our commitment to excellence and collaboration and our Chénier, this world premiere of Poesía fuses mission to inspire diverse communities through dance could music and movement into an intricate conversa- not be accomplished without the dedicated participation and tion of poetic depth. Ballet BC is thrilled to once generous gifts from our audience, volunteers, sponsors, and again collaborate with this extraordinary creator. patrons. We would like to express our deepest appreciation for the tremendous and steadfast support we receive from our Acclaimed choreographer and former Artistic Founders’ Council members, subscribers, government and Director of Batsheva Dance Company, Ohad private funding agencies, our dedicated Board of Directors, Naharin, has been enthralling audiences around individual donors, in-kind contributors, the Ballet BC Up com- the globe since 1999. An instant sensation with mittee, volunteers who passionately support our work, and a Ballet BC audiences in 2017, Minus 16 features special thanks to our incredible staff and team at Ballet BC. an eclectic score ranging from Dean Martin to mambo to techno to traditional Israeli music, Finally, we are incredibly humbled by the support of our Platinum bringing a surprising originality that makes each Season Sponsor, BMO, our Performance Sponsors, Wells performance unique—an unforgettable work to Fargo and Grant Thornton, our Hotel Sponsor, Rosedale on close a remarkable season. Robson Suite Hotels, as well as our Media Sponsors, Georgia Straight, Omni Television and CityTV. This year, we have had the opportunity to tour nationally and internationally during which we Thank you for being here tonight; your support means so are honoured to serve as cultural ambassadors much to us at Ballet BC. We look forward to seeing you next for British Columbia. In the next few months, season. Enjoy the performance! we will be showcasing our work to audiences in Des Moines, New York City, Beckett (MA), —Emily & John Barcelona, Stuttgart and other cities soon to be announced. Be sure to visit our website for more details!

3 About Ballet BC An internationally acclaimed collaborative and Performing at Vancouver’s Queen creation-based contemporary ballet company Elizabeth Theatre and touring that is a leader and resource in the creation nationally and internationally. production and education of contemporary dance in Canada.

Founded in 1986, Ballet BC has been under the leader-ship Ballet BC regularly performs at of Artistic Director Emily Molnar since 2009. Ballet BC is an Vancouver’s Queen Elizabeth Theatre internationally acclaimed collaborative and creation-based (QET) in the fall, winter and spring. We contemporary ballet company that is a leader and also tour provincially, nationally and resource in the creation, production and education of internationally, and as a complement to contemporary dance in Canada. Bold and innovative, the the repertoire and activities of the Company’s distinctive style and approach has made a Company, we present national and unique and valuable national contribution to the development international guest companies as part of of dance. our subscription series. Including the QET and community performances, regional Ballet BC’s dancers are a group of open-minded and curious and national tours, audience artists, each unique for their dynamic movement while engagement activities and programming sharing an intuitive passion for dance. Ballet BC is for children and youth, more than 25,000+ committed to its role as a leader in the community through patrons see Ballet BC each season. dancer training opportunities, community and audience outreach, and professional development activities. Ballet BC’s outreach and education programs include: The Artist Salon, The Company presents a diverse repertoire of Canadian and Alternative Space Program, Sneak international work from the late 20th and early 21st Previews, Studio Visits, Pre- centuries, and is a hotbed for the creation and performance of performance Chats and Student Dress new works. Since 2009, the Company has developed a Rehearsals. Our programs directed to the repertoire of more than 45 new works by acclaimed professional dance community include: Canadian and international choreographers including William Choreographic Workshops, Professional Forsythe, Cayetano Soto, Sharon Eyal and Gai Behar, Medhi Development Program, Artist-in- Walerski, Ohad Naharin, Adi Salant, Crystal Pite, Johan Inger, Residence Program and Emerging Emanuel Gat, Gustavo Ramirez Sansano, Jacopo Godani, Artist Program, in addition to the Company 605, Jorma Elo, Wen Wei Wang, Itzik Galili, Summer Dance Intensive, which is Serge Bennathan, Walter Matteini, José Navas, Emily presented in collaboration with Arts Molnar, Lesley Telford, Nicolo Fonte, Fernando Hernando Umbrella. Magadan, Kevin O’Day, Shawn Hounsell, Gioconda Barbuto, Simone Orlando, Robert Glumbek and Aszure As a cultural institution, we bring value Barton, among others. and opportunity to the life of the community that generously supports us. Under the artistic direction of Emily Molnar, former member of We are a creative place and we work in a The National Ballet of Canada, Ballet BC and the Ballett collaborative environment. We are a Frankfurt, the Company actively fosters collaborations that company that aims to create dance at support artists, choreographers and audiences alike, its most essential: visceral, powerful, furthering the boundaries of contemporary dance. We thought provoking and transformative. embrace excellence in the practice of contemporary ballet, with its wide diversity of technique and style, honouring its roots and components.

4 INTERVIEW

It’s wonderful to have you being—and then marry this poetry with the physicality of the collaborate with Ballet BC again. work. I don’t want their minds to consciously think about the process of interpretation. Rather, I want the dancers to go within I have been blessed to have a long relationship themselves to embody that energy and then let their bodies with the company that goes back to when Reid speak. I may begin with a certain structure to the choreography, Anderson was the artistic director. Each time I but I don’t mind if that transforms as we work. What needs have witnessed the emergence of extraordinary to remain is the essence of why we are doing the movement. artists, and right now the company is spectacu- lar. I had quite a profound experience working For the dancer, my work is physically very difficult because with all of them for this creation. you have to be in the present moment all the time. You cannot anticipate what is coming because when you start to act on How did this creation begin? anticipation, your movements will appear fake. You have to When Emily Molnar approached me to work find the strength to keep pushing, to keep the presence alive. with the company, the question in my mind was: how do I leave my poetry in a society that How do you guide the dancers to achieve this? is so codified, so structured. In some ways I I speak a lot through images, and I try to convey feelings and admire people who have the courage to extract physical sensations through them. For example, I may ask oneself from society. Writer Joseph Campbell them to feel monstrous. We would explore how to go into describes this in his quote: “We must be willing the body to move in a monstrous way. There may be a sense to let go of the life we planned so as to have the of power, largeness, but also fragility, and then we’d explore life that is waiting for us.” This is not the story how to use this energy to move. of this creation, but it is simply the essence In group phrases, it’s less important for me that everyone’s that I had in me. arms are in the exact same place. It’s more important that For this piece, I also I have this sense of when they are together, they are tapping into the same essence approaching something and embracing it, and energy and, although each of them may be, physically, knowing that the journey is going to be full of a little different, together they would make total sense. That difficulty, and that you need to find a source of gives a profound sense of witnessing a collective feeling, but resilience. You can’t really think consciously because they are different individuals, the real clarity is that of about it; you have to find the source of that their collective energy. feeling and embrace it. What is interesting too is that after we spend all this time exploring and peeling back the layers, what remains is so simple. What is your creative process? Before going into the studio with the dancers, Did you take a similar process with the I spend a certain amount of time alone finding composer, Bertrand Chénier? that essence and exploring those feelings as if it Bertrand and I have worked together for many pieces and were another layer of myself. When I come into yes, we spoke a lot about energy and the general sense of the studio to start working with the dancers, I the piece, and images as well. From that, he would send me trust that my body, my flesh and muscles are some musical sketches, and suddenly, a paysage would start expressing those feelings, and I can just let my to take shape, even if we didn’t yet know where the final piece body talk. I don’t think about specific movements. would go. I always begin creating my choreography in silence, Choreographing is just the beginning. The and then we would marry this with Bertrand’s music. majority of the work is created with the dancers because what interests me is the artist. In what- As an artist who works primarily with the body, ever work that I do, I want people to see it for what part of the body most fascinates you and why? the artist who is performing it. When physical movement is initiated by one’s energy, rather than a conscious decision, it means that one is present Explain more about how the dancer and aligned within one’s body, and that presence is most is central to your creative process. interesting to me. I want to find the poetry within these dancers - the essence and the unsaid of the physical Pia Lo, GlobeDancer.com

5 PROGRAM

Bedroom Folk Poesía

World Premiere, April 2015, World Premiere, May 2019, Ballet BC Nederlands Dans Theatre I North American Premiere, Choreography, texts May 2019, Ballet BC Serge Bennathan

Creator Music Sharon Eyal Composed by Bertrand Chénier Performed by Marie Soleil Bélanger (Violin), Co-Creator Amiel Lapalme (Cello) and Bertrand Chénier (Piano, Bass, Computer) Gai Behar

Lighting Design Assistant to the Choreographer James Proudfoot Tom Weinberger

Costume Design Sound Artist and Music Kate Burrows Ori Lichtik

Performers Lighting Designer Thierry Dreyfus Brandon Alley, Emily Chessa, Parker Finley, Alexis Fletcher, Scott Fowler, Kiera Hill, Patrick Kilbane, Racheal Prince, Lighting Director Justin Rapaport, Peter Smida, Nicole Ward, Alon Cohen Kirsten Wicklund

Technical Director What interests me behind physicality is the Baruch Shpigelman resilience that the artist must find. The presence that must be sustained moment after moment, otherwise the physicality devours you from the inside. Costume Design Rebecca Hytting For the preparation of this work I read, wrote and painted; Performers I read the poetry of Rupi Kaur and François Cheng; I wrote poems and pages about being present, Brandon Alley, Anna Bekirova*, Emily about pain, love and transfiguration; Chessa, Parker Finley, Scott Fowler, Miriam Gittens*, Patrick Kilbane, Justin Rapaport, I painted whimsical possibilities, trust, desires. Peter Smida, Dex van ter Meij*, Nicole Ward, Poesía is about all of this, a burning energy Kirsten Wicklund, Sophie Whittome*, contained in the resilience of the artist. Zenon Zubyk A profound thank you to the dancers creating *Emerging Artist this work, you are simply Truth, Bertrand Chénier for all the years of complicity and beauty, Kate Burrows for her support and creativity, and everyone who tries to build This company premiere is generously a Cathedral. supported by the Charlotte and Sonya Wall Arts Fund. There is nothing to understand but everything to feel.

INTERMISSION Merci Serge Bennathan

INTERMISSION

6 PROGRAM

Isle of Capri Minus 16 Composed by Wilhelm Grosz Performed by Pérez Prado and His Orchestra

World Premiere, November 1999, It Must Be True Nederlands Dans Theater I Composed by Harry Barris Performed by The John Buzon Trio BC Premiere, May 2017, Ballet BC Courtesy of Capitol Records, under exclusive license from Universal Music Canada Inc Choreography and Costumes Hava Nagila (Traditional) Ohad Naharin Composed and performed by Dick Dale Special thanks for Lana Dale, individually and on behalf of the Dick Dale estate. Assistant to the Choreographer Bret Easterling Echad Mi Yodea (Traditional) Performed by The Tractor’s Revenge Arranged and published by The Tractor’s Revenge Lighting Design Avi Yona Bueno (Bambi) Cum Dederit Composed by Antonio Vivaldi Performed by James Bowman, The Academy of Ancient Music, Music Christopher Hogwood Courtesy of Decca Music Group, under exclusive license C’est Magnifique from Universal Music Canada Inc Composed by Cole Porter Performed by Nelson Riddle and His Orchestra Over the Rainbow Courtesy of Capitol Records, under exclusive license Composed by E.Y. Harburg and Harold Arlen from Universal Music Canada Inc Performed by Marusha

Adios Mi Chaparrita (Goodbye My Little Angel) Hooray for Hollywood (Cha Cha) Composed by Ignacio Fernandez Esperon Composed by Johnny Mercer, Richard A. Whiting Performed by Pérez Prado and His Orchestra Performed by Don Swan & His Orchestra Courtesy of Sony Music Entertainment US LATIN LLC Courtesy of Capitol Records, under exclusive license By arrangement with Sony Music Entertainment (Canada) from Universal Music Canada Inc Used by permission of Promotora Hispano Americana de © 1937 WB Music Corp. (ASCAP) Musica administered by Peer International Corporation c/o All rights reserved. Used by permission. peermusic Canada Inc. Sway You Belong to My Heart (Voglio Amarti Così) Composed by Pablo Beltrán Ruiz, Luis Demetrio, Norman Gimbel Composed by Agustín Lara Performed by Dean Martin Performed by Pérez Prado and His Orchestra Courtesy of Capitol Records, under exclusive license Courtesy of Sony Music Entertainment US LATIN LLC from Universal Music Canada Inc By arrangement with Sony Music Entertainment (Canada) Used by permission of Editorial Mexicana de música Int. S.A Used by permission of Promotora Hispano Americana de administered by Peer International Corp. c/o peermusic Canada Inc. Musica administered by Peer International Corporation c/o peermusic Canada Inc. No. 2 in E-Flat Composed by Frédéric Chopin Quizás, Quizás, Quizás Performed by Artur Rubinstein Composed by Osvaldo Farrés By arrangement with Sony Music Entertainment (Canada) Performed by Pérez Prado and His Orchestra Courtesy of Sony Music Entertainment US LATIN LLC By arrangement with Sony Music Entertainment (Canada) Performers Used by permission of Peer International Corporation c/o peermusic Canada Inc. Brandon Alley, Anna Bekirova*, Emily Chessa, Parker Finley, Alexis Fletcher, Scott Fowler, Sortilegio (Always in My Heart) Miriam Gittens*, Kiera Hill, Patrick Kilbane, Composed by Ernesto Lecuona Racheal Prince, Justin Rapaport, Peter Smida, Performed by Pérez Prado and His Orchestra Dex van ter Meij*, Nicole Ward, Kirsten Wicklund, Courtesy of Sony Music Entertainment Mexico Sophie Whittome*, Zenon Zubyk* By arrangement with Sony Music Entertainment (Canada) *Emerging Artist Tabu Composed by Margarita Lecuona Performed by Pérez Prado and His Orchestra Courtesy of Sony Music Entertainment US LATIN LLC This work is based on excerpts from Ohad Naharin’s By arrangement with Sony Music Entertainment (Canada) Zachacha (1998), Anaphaza (1993) and Mabul (1992). Used by permission of Peer International Corporation c/o peermusic Canada Inc.

7 BIOGRAPHIES 18/19 SEASON DANCERS

BRANDON Medhi Walerski, Crystal Pite, Ohad Naharin Wen Wei Wang. As well as beginning to th ALLEY and Sharon Eyal. This is Emily’s 7 season choreograph, she has co-created a mul- with the company. tidisciplinary performance space with her A North Caro- husband at their home in Vancouver. They lina native, also run a successful Bed and Breakfast Brandon Lee PARKER business together. Alley began his FINLEY dance training Parker Finley Alexis is fascinated by how exploring the at the Eastern was born in Lou- movement potential of the human body Randolph High isiana in 1997. In becomes a way of accessing the inner School when he 2014, she began landscapes of our spirits and psyches, was 14 under the direction of Britt Allen. her professional and this is the primary motivation behind He later attended the Greensboro Ballet’s training at the her own physical practice and choreo- year-long program on a full scholarship Houston Ballet graphic interests. She believes that dance and graduated from the University of Academy under is a unique vehicle with which to share, North Carolina School of the Arts spe- the instruction of Sabrina Lenzi and Sally research and discuss our collective th cializing in contemporary dance in 2012. Rojas where she performed works by humanity. Alexis is in her 14 season with Brandon has had the pleasure of attending Stanton Welch, John Neumeier, Kenneth Ballet BC. many summer intensives including Ballet MacMillan, and Ben Stevenson. After grad- Austin, Hubbard Street Dance Chicago uating in 2016, she was an apprentice for SCOTT and LINES Ballet. He has also worked Hubbard Street 2 during their 2016/2017 FOWLER with choreographers such as Crystal Pite, season. As their apprentice, she had the Born in Vancou- Sharon Eyal, Victor Quijada, Cayetano opportunity to learn works from Alice Klock, ver, Scott Fowler Soto and Stijn Celis among many others. Terence Marling, Alejandro Cerrudo, Peter trained at Arts Brandon began his professional career Chu, and Bryan Arias. She has participated Umbrella under with Hubbard Street 2 and has been a in summer programs such as Houston the direction of member of BODYTRAFFIC. This year will Ballet Summer Intensive and Springboard Artemis Gordon be Brandon’s 4th season with Ballet BC. Danse Montreal. Parker is thrilled to be and attended He would also like to thank his wonderful joining Ballet BC as a full time company summer inten- teacher, Britt Allen, for supporting him member this season. sive programs at American Ballet Theatre, every step of the way and his family and the National Ballet School and Jacob’s friends for their guidance and love. ALEXIS Pillow. He performed in Alberta Ballet’s FLETCHER The Nutcracker, Ballet BC’s Peter Pan and EMILY Alexis Fletcher in the Opening Ceremony for the 2010 CHESSA was raised Olympic Winter Games in Vancouver. Originally from on Vancouver Scott received a scholarship grant from Richmond, BC, Island where the BC Arts Council in 2010. In 2011, Emily began she received he toured the Netherlands, performing at her professional her early training Codarts and worked with Noord Neder- dance training before attending landse Dans. Scott was invited in 2013 at the Royal Arts Umbrella’s by James Kudelka to perform See#3 as Winnipeg Ballet Graduate Program. Alexis was a member a guest artist for Coleman Lemieux & School in 2006 of Arts Umbrella’s Student Company and Compagnie. Scott has been privileged to where she received the Arnold Spohr attended Springboard Danse Montreal. work with choreographers Aszure Barton, Scholarship and the Paddy Stone Scholar- After graduating in 2005, she joined Ballet Gioconda Barbuto, James Kudelka, Emily ship for choreography. After graduating BC, where she has been fortunate to work Molnar, Jacopo Godani, Wen Wei Wang, the school in 2010, she trained at Arts with creative visionaries such as Crystal Medhi Walerski, Cayetano Soto and Lesley th Umbrella in the graduate program under Pite, Emily Molnar, John Alleyne, Johan Telford. This is Scott’s 7 season with the guidance of Artemis Gordon. She par- Inger, Stijn Celis, Jacopo Godani, Walter the company. ticipated in summer programs such as the Matteini, Fernando Hernando Magadan, Movement Invention Project in New York Serge Bennathan, Gioconda Barbuto, and Springboard Danse Montreal. Since and Jorma Elo among many others. Inde- joining Ballet BC in 2012 as an apprentice, pendently she has worked collaboratively she has performed works by Emily Molnar, with creators such as Sidra Bell, James Company 605, Johan Inger, Lesley Telford, Gnam, Simone Orlando, Rob Kitsos and

8 BIOGRAPHIES

KIERA HILL with Ballet BC he has had the privilege of Contemporary Program. While at Ballet performing works by Emily Molnar, Medhi BC, Justin has had the privilege to work with Born in Van- Walerski, Cayetano Soto, Sharon Eyal, choreographers such as Crystal Pite, couver, Kiera William Forsythe, and Crystal Pite. This Ohad Naharin, Sharon Eyal, Johan completed her is Patrick’s 2nd season with the company. Inger, Emily Molnar, Medhi Walerski and professional Cayetano Soto. This is Justin’s 3rd season training at Arts with Ballet BC. Umbrella under RACHEAL the direction of PRINCE Artemis Gordon. Racheal Prince GILBERT She was a proud was raised in SMALL recipient of the BC Arts Council Scholarship Wasaga Beach, Born in Balti- Award for excellence in dance in 2011. After Ontario, and more, Mary- graduating in 2012 she apprenticed with received her land, Gilbert Ballet BC for one season. In,= 2013, she early training at Small started joined Les Ballets Jazz de Montreal where the Quinte Ballet his professional she performed leading roles in pieces by School under ballet training at Andonis Foniadakis, Itzik Galili, Rodrigo the direction of Brian Scott. She attended the age of 10 at Pederneiras, Cayetano Soto, Barak the School of Alberta Ballet’s Pre Profes- the Baltimore Marshall and Wen Wei Wang. For four years sional Program with Murray and Nancy School for the Arts. He has studied at she toured extensively with BJM performing Kilgour and received the prestigious Ali various summer programs, including in France, Germany, Italy, Spain, Switzer- Pourfarrokh Scholarship. Racheal began Dance Theater of Harlem, Nutmeg Con- land, Luxembourg, Slovenia, China, Israel, her professional career with the Alberta servatory, Miami City Ballet, American Mexico, USA and across Canada. Kiera Ballet Company where she danced for Ballet Theatre and Springboard Danse returned to Ballet BC in 2017 and is thrilled four years. She has performed works by Montreal. After graduating from the Bal- to be back for another season. William Forsythe, Crystal Pite, Itzik Galili, timore School for the Arts, he continued and Lar Lubovitch among many others. his studies at the Conservatory of Dance PATRICK Her performance highlights include Jorma at Purchase College. While at Purchase, KILBANE Elo’s 1st Flash, Emily Molnar’s between Gilbert was given the opportunity to study disappearing and becoming, and William abroad at the Hogeschool voor Muziek Patrick is from Forsythe’s Herman Schmerman. In her en Dans in Rotterdam, Netherlands. He Bainbridge spare time, Racheal enjoys working on has also performed with Toronto-based Island, Wash- handmade items for her online store as ProArteDanza. Prior to joining Ballet BC, ington. He dis- well as teaching and choreographing. She Gilbert performed for New York-based covered dance is excited to be in her 12th season with Sidra Bell Dance New York. This is his at the age of 14 Ballet BC. 10th season with Ballet BC. and studied on full scholarship at San Francisco Ballet School. He con- JUSTIN PETER tinued his training at the School of American RAPAPORT SMIDA Ballet, Pacific Northwest Ballet, and with Justin Rapaport Peter Smida Suzanne Farrell at The Kennedy Center. is from Miami, was born and Patrick worked with Oregon Ballet Theater Florida, where he raised in Kings- where he danced ballets by George Bal- began dancing ton, Ontario. A anchine and Jerome Robbins. He spent five at the age of former tennis seasons with Sarah Slipper’s NW Dance 8. He went on player, Peter Project in Portland, Oregon as a performer, to formally train studied on teacher, and choreographer. There he at New World scholarship at danced original roles in new works by Ihsan School of the Arts and The Juilliard School. the Royal Winnipeg Ballet School and Rustem, Wen Wei Wang, Danielle Agami, During his training, Justin had the opportu- graduated in 2007. He also attended Maurice Causey, Noam Gagnon, Lucas nity to learn works by Jiří Kylián, Twyla Tharp, summer programs and festivals in Banff Crandall, Didy Veldman, Olivier Wevers, Kyle Abraham, Brian Brooks and many more and Prague. After working with the Royal Patrick Delcroix, and many others. Before amazing artists. Justin has also studied at Winnipeg Ballet and Ballet Victoria, Peter moving to Vancouver he danced with Whim various summer intensives such as Ned- joined Ballet BC in 2008 and has since W’Him and worked as a freelance artist in erlands Dans Theater, Springboard Dance had the pleasure of performing works Seattle and internationally. During his time Montreal and Jacob’s Pillow by Emily Molnar, Jorma Elo, Crystal Pite,

9 BIOGRAPHIES 18/19 SEASON DANCERS

Johan Inger and Medhi Walerski, as well Telford, James Kudelka, Crystal Pite, Ballet, as well as a Vancouver Foundation as many others. In addition to his work Stephen Shropshire, Francesca Caroti, Arts Study Award and the Vancouver Ballet at Ballet BC, Peter has also worked on Fernando Hernando Magadan and Azure Society’s Memorial Scholarship. Kirsten independent projects with Donald Sales Barton among others. After completing received contemporary training through and has begun choreographing, showing the Graduate Program in 2015 Nicole was Tiffany Tregarthen & David Raymond of his work at Dances for a Small Stage and offered an apprenticeship with Ballet BC M.O.. In 2007, she won an artistry award the Shadbolt Centre for the Performing and joined as a full time member after one at the Youth America Grand Prix Finals Arts. This is his 11th season with Ballet BC. season. Nicole is elated to be entering her in NYC and earned the only Canadian 4th season with Ballet BC. placement in the Top 12 Women. She NICOLE has danced with The Washington Ballet, WARD KIRSTEN Alonzo King’s choreographic workshop, WICKLUND LUNGE Dance Collective and toured Nicole Ward extensively with Rasta Thomas’ Rock the was born in Vancouver-born Ballet. She has created works for Dances Santa Cruz de Kirsten Wick- for a Small Stage, the Dance Deck Series la Sierra, Bolivia lund studied and Arts Umbrella. Kirsten has been privi- but raised in at Goh Ballet leged to dance works by Lesley Telford, Vancouver, Academy and Medhi Walerski, William Forsythe, Johan Canada. She toured with Inger, Jacopo Godani, Gustavo Ramirez began her pro- Canada’s Youth Sansano, Walter Matteini, Wen Wei Wang, fessional training at Arts Umbrella, under Ballet Company. Company 605, Cayetano Soto, Emily the direction of Artemis Gordon and Lynn Kirsten received scholarships at American Molnar, Crystal Pite, Sharon Eyal, Ohad Sheppard. During her time there, she had Ballet Theatre, Royal Winnipeg Ballet, Naharin, and others. This is Kirsten’s 5th the opportunity of working with Lesley Boston Ballet, PNB, and Washington season with Ballet BC.

2019/20 Season

Program 1 Oct 31 Nov 1 2 Aszure Barton BUSK Johan Inger B.R.I.S.A. Program 2 Mar 4 5 6 7 Medhi Walerski Romeo + Juliet Program 3 May 7 8 9 balletbc.com Ohad Naharin Hora

Sharon Eyal & Gai Behar Bill Ballet BC danCer emily Chessa. Photo By miChael

10 EMERGING ARTISTS 18/19 EMERGING ARTISTS

ANNA DEX VAN ZENON BEKIROVA TER MEIJ ZUBYK Born in Amster- Dex van ter Meij Zenon Zubyk is dam, Anna is originally from from Toronto, Bekirova started Amsterdam Ontario, where dancing at the and started his he began his Dutch National professional dance training Ballet Academy dance training at the age of at age 10 and at the age of 10 11. In 2016, he graduated in with the Dutch joined the Arts 2016. After her graduation she moved National Ballet Academy for 8 years. Umbrella Graduate Program under the to Vancouver to study at Arts Umbrella Continuing his training in 2016 at Arts direction of Artemis Gordon. During his under the guidance of Artemis Gordon. Umbrella under the directorship of Artemis time there, Zenon had the opportunity Here she had the opportunity to work Gordon, he had the opportunity to work of performing works by Crystal Pite, with world-renowned artists such as with several brilliant artists such as Crystal Sharon Eyal, Mats Ek, Aszure Barton, Crystal Pite, Wen Wei Wang, Lesley Pite, Lesley Telford, Emanuel Gat, Doug Lesley Telford, Fernando Hernando Telford, Tom Weinberger and Cayetano Letheren, Eric Beauchesne, Rafael Sady, Magadan, James Kudelka, Emanuel Soto. She is excited and grateful to be Lukas Timulak, Tom Weinberger, Wen Gat and more. In 2017, Zenon toured one of Ballet BC’s emerging artists for the Wei Wang and Cayetano Soto. Dex joined the Netherlands, performing in the ITS 2018/2019 season. Ballet BC’s Program 2 for the amazing Festival and Netherlands Dans Theater’s Romeo + Juliet by Medhi Walerski and Shortcuts XL’17. He also performed feels very excited about joining as an in Medhi Walerski’s Romeo + Juliet MIRIAM Emerging Artist for the 2018/19 season. in Ballet BC’s Program 2. Zenon is so GITTENS thrilled to work with Ballet BC as an Miriam was born Emerging Artist this season. SOPHIE and raised in Fresno, Califor- WHITTOME nia. She grew up Born in Edmon- training at The ton, Alberta, Dance Studio Sophie Whit- of Fresno where tome attended she received a Victoria School diverse dance education. In May of 2017, of the Arts for 12 Miriam graduated from The Juilliard School years. In 2015, with a Bachelor of Fine Arts degree in she began her dance. During her time at Juilliard, Miriam professional training at Arts Umbrella in performed in works by Merce Cunning- Vancouver, BC, under the direction of ham, Martha Graham, Paul Taylor, Richard Artemis Gordon. During her time there Alston, Mathew Neenan, Zvi Gotheiner, she had the privilege to perform works Loni Landon, and Takehiro Ueyama. She by choreographers such as Sharon Eyal, furthered her training during summer inten- Crystal Pite, and Mats Ek and was able sives at chuthis., Bodytraffic, Complexions to work with artists such as, among Contemporary Ballet, Springboard Danse others, Lesley Telford, Tom Weinberger, Montreal, and Nederlands Dans Theater. and Wen Wei Wang. Sophie performed Miriam has been involved in many out- in Nederlands Dans Theatre’s/Korzo’s reach programs and fellowships which Shortcuts XL with Arts Umbrella Dance have allowed her to share her love for Company in 2017 and performed with dance with audiences and students across Ballet BC in Medhi Walerski’s Romeo + New York City and California. She has Juliet in 2018. Sophie is hugely grateful most recently performed with chuthis. for the opportunity to join Ballet BC this under the direction of Peter Chu. Miriam is year as an apprentice. thrilled to be joining as an emerging artist with Ballet BC for this upcoming season.

11 COLLABORATORS COLLABORATORS

EMILY nurture artists and choreographers, Festival – France; Julidans – Amsterdam MOLNAR, to educate and support the research Alongside their work with L-E-V, Eyal and C.M. and development of dance and artistic Behar had also been commissioned to Artistic leadership, and explore the role of the create for external companies: the Director, artist in society. For six years she Neder-land Dance Theatre’s Sara (2013); Ballet BC As Artistic Direc- served as a Director on the Board of Bedroom Folk (2015); Salt Womb (2016), tor of Ballet BC, the BC Arts Council. Half-Life for the Royal Swedish Ballet and Molnar’s vision In addition to her work with Ballet BC, more. has steered the Molnar is also Artistic Director of Dance Eyal is the recipient of numerous awards, unique company at Banff Centre for Arts and Creativity, including the 2004 Ministry of Culture Award of 18 dancers into a celebrated era of a new position designed to guide and for young dance creators and the 2009 innovation and collaboration. Since the inform all Banff Centre Dance initiatives Landau Prize for the Performing Arts in the start of her tenure in 2009, the Company throughout the year in collaboration dance category. In 2008, she was named has developed a diverse repertoire that with the Canadian and international a Chosen Artist of the Israel Cultural Excel- includes more than 45 new works by dance community. lence Foundation. Most recently, Eyal was celebrated Canadian and international awarded the prestigious Fedora Prize (2017), choreographers. and was the recipient of the 12th Belgrade Molnar is a graduate of the National Ballet SHARON Dance Festival’s Jovan Ćirilov Award (2017). School and a former member of the EYAL Eyal is currently an Associate of National Ballet of Canada, a soloist with Choreographer, Bedroom Folk Sadler’s Wells. the Ballett Frankfurt under director William Sharon Eyal Forsythe, and a principal dancer with was born in Ballet BC. An internationally respected Jerusalem. She GAI BEHAR Co-Creator, and critically acclaimed dance artist danced with the Bedroom Folk and choreographer, Molnar worked and Batsheva Dance Gai Behar (Tel- toured extensively throughout Europe, Company from Aviv, 1977) has Asia, Mexico, Canada and the U.S., 1990 until 2008 been of wide where she created works for Alberta and began choreographing within the influence of Tel Ballet, Ballet Mannheim, Ballet Augsburg, framework of the company’s Batsheva Aviv’s live music, Cedar Lake Dance, ProArteDanza and Dancers Create project. Eyal served as art and nightlife Morphoses/The Wheeldon Company and Associate Artistic Director of Batsheva scenes from New York City Ballet’s Choreographic between 2003–2004, and House Cho- 1999 to 2005. Institute, among others. Molnar’s works reographer of the company between He produced live music, underground for Ballet BC include between disappear- 2005–2012. artistic events and techno raves. ing and becoming, Aniel, 16 + a room, During 2009, Eyal began creating pieces Between 1999-2005 Behar also curated RITE, Keep Driving, I’m Dreaming, when for other dance companies in the world: and produced the events Man Without a you left, and most recently, To this day Killer Pig (2009) and Corps de Walk (2011) Shirt in Tel Aviv. The event was co-curated which premiered in November 2018. for Carte Blanche Dance of Norway; Too by Uri Katzenstein, and among other Named The Globe and Mail’s 2013 Dance Beaucoup (2011) for Hubbard Street included works by Ohad Naharin and Artist of the Year, Molnar is the 2016 Dance Chicago, and Plafona (2012) for Sharon Eyal. recipient of the Vancouver Mayor’s Arts Tanzcompagnie Oldenburg, Germany. Gai produced the second round of Ohad Award, BC Community Achievement In 2013, Eyal launches L-E-V with her Naharin’s Playback Award and the YWCA Women of Dis- long-time collaborator Gai Behar. tinction Award in Art, Culture & Design. In October 2012, Eyal and Behar pre- She was recently appointed to the Order In the past 4 years since L-E-V was miered Untitled Black in collaboration with founded, the company had more than 150 the GöteborgsOperans Danskompani in of Canada for her artistic leadership of performances some in the most exclusive Gothenburg, Sweden. In May 2013, they Ballet BC and creative contribution to venues around the world such as: The created the ethereal piece Sara for NDT 2. advancing dance in Canada. Joyce Theatre – NYC; Jacob’s Pillow – The same year they launched their dance As an active mentor, advocate, and Becket, Massachusetts; Sadler’s Wells company L-E-V. coach, Molnar follows her passion to – London, UK; The Montpellier Danse

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SERGE Bennathan is also a painter and a writer. Ballet, Cedar Lake Contemporary Ballet BENNATHAN He has written and illustrated four books: (New York), and Les Grand Ballets Choreographer, Julius le piano voyageur, The Other Moon Canadiens de Montreal, among many Poesía of Mr. Figlio, A Few Thousand Miles, and others. Serge Benna- Not-a-fear/Peurderien. Naharin’s rich contributions have gar- than was the Recently he created a web plat-form for nered him many awards and honors. artistic director his paintings: sergebennathan.com He has received a Doctor of Philosophy of Toronto’s honoris causa by the Weizmann Institute Dancemakers His paintings reflect the poetry of the human of Science (2004), the prestigious Israel from 1990 to soul; its dreams, imagination and humour. Prize for dance (2005), a Jewish Culture 2006, where Achievement Award (2008), a Doctor of twelve works he created received Dora Philosophy honoris causa by the Hebrew Mavor Moore nominations, with both OHAD University (2008), and the EMET Prize in Sable/Sand and The Satie Project awarded NAHARIN the category of Arts and Culture (2009). for Outstanding New Choreography. Choreographer, Minus 16 Naharin has also been the recipient of the Bennathan lives in Vancouver where he Ohad Naharin Chevalier de l’Ordre des Arts et des Lettres created Les Productions Figlio. Since its is the Artistic from the French government (1998), two founding in 2006 the company has produced Director and New York Dance and Performance (Bessie) nine full-length works: The Invisible Life of Choreogra- Awards, the Samuel H. Scripps American Joseph Finch(2007), a play with Jonathan pher of the Young premiered in Vancouver before touring Dance Festival Award for Lifetime Achieve- Batsheva Dance to Singapore (2008) and across Canada ment (2009), Dance Magazine Award (2009), Manga (2007), Slam for a Time Company and has been hailed as one (2009), an honorary Doctor of Fine Arts Traveller (2008) commissioned by Dancing of the world’s preeminent contemporary degree from the Juilliard School in New on the Edge Festival for its 20th anniversary, choreographers. York (2013) and an Honorary Fellowship by the Tel Aviv Museum (2014). The Strange Adventure of Myself (2009), Since 1990, he has guided the company and Conversations (2010) co-produced with an adventurous artistic vision and rein- by The Dance Centre and the Chutzpah! vigorated its repertory with his captivating THIERRY DREYFUS Festival,Elles which won the 2012 Rio Tinto choreography. Naharin is also the originator Lighting Designer, Bedroom Folk Alcan Award, M. Auburtin (2015), Just Words of an innovative movement language, Gaga, Thierry Dreyfus tells stories with lights. He (2016), and Contes Cruels (2018). which has enriched his extraordinary move- sets up interactive playgrounds where this Outside of his work with Les Productions ment invention, revolutionized the com- untouchable material becomes a media Figlio, Bennathan has created work for pany’s training, and emerged as a growing for a dialog between an architecture and dancers at SFU (2011), LADMMI (2011) force in the larger field of movement prac- a viewer. He creates fields of experience, in Montreal, Ballet BC (2011), DanseEn- tices for both dancers and non-dancers. visual landmarks, as guides to drive your eyes and enlighten vision. corps, Sarah Roche and Lise McMillan, Ohad Naharin began his dance training The School of Contemporary Dance (2014), with the Batsheva Dance Company. He As art director, producer and light designer Mocean Dance with the creation of Sable then trained in New York with the Martha since 1985, he has created unique and Island (2015). Known for his extensive Graham Company, School of American memorable atmospheres for the most work with opera companies and director Ballet, and The Julliard School, before prestigious fashion catwalks as YSL, Dior Robert Carsen, Bennathan directed his first performing internationally with Israel’s Homme, Off-White, Jil Sander, Comme mainstage opera, Rossini’s Tancredi, at the Bat-Dor Dance Company and Mauriec des Garçons, and Acné Studios. COC/Canadian Opera Company in 2005 B’jart’s Ballet du XXe Siecle in Brussels. His lighting installations/design have and Renard for the COC ensemble in 2008. Naharin’s compelling choreographic gained a worldwide recognition and Currently in production for Les Productions craft and textured movement vocabulary imprinted the identity of historical buildings Figlio, Le Conte des Mots et du Corps with have made him a favorite guest artist in (Grand Palais, Notre-Dame, B.N.F. in Paris, Gilbert Small, Stéphanie Cyr and Serge dance companies around the world. His park of the Château de Versailles) or con- Bennathan for spring 2019, works with works have been performed by prominent temporary edifices (Caisse des Dépôts the Canadian Opera Company Toronto, companies, including Nederlands Dans in Paris, Chetrit building on 52ndStreet September 2018, The Washington DC Theater, Compania Nacional de Danza - NYC, Borusan Foundation in Istanbul), Opera house, February 2019, and a solo for (Spain), Cullberg Ballet (Sweden), the music stages as Placebo, Operas and Caroline Barriere in Montreal, summer 2019. Finnish National Ballet, the Paris Opera ballets for L.E.V. Dance Company.

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C M Y K COLLABORATORS COLLABORATORS

He also designs & creates “Elements of In 2014, Weinberger won the International evening works. Among them Elles (2012) Light”, presented at major international Solo Tanz Theater Festival (Stuttgart) Sable Island (2015) Just Words (2016). design events (Design Miami Basel, Wallpa- with his first solo work, which toured to Bertrand Chénier has also composed per* Handmade at the Salone del Mobile in Brazil and Germany. Since then, he has extensively for film and documentaries. Milan). The Mural installation, Rupture (com- choreographed works at Springboard The quality of his work in this domain mission by FLOS) was presented at Euro- Dans Montreal, Arts Umbrella, SUNY has been recognized by a Gemini Award luce in Milan. His illuminations and exclusive Purchase College, Ate9 Dance Company, (2006) and numerous nominations (Jutras, lamps today thrive through commissions for Johannes Wieland Dance Company, Genie, Gemini). luxury boutiques as Versace, hotel groups YC2, and more. (Starwood, W Hotel) and restaurants. His “Elements of Light” are exclusively exhibited JAMES PROUDFOOT at the Ateliers Courbet in NYC. KATE BURROWS Lighting Designer, Poesía Costume Designer, Poesía James Proudfoot has been in Vancouver As photographer, he records, through his Originally from the U.K., Kate Burrows since 1993. He is a much sought-after images, the “characters of light”. His first has made her home in Vancouver since designer and has created lighting for many photographs book was published at Editions the 1990s. She has worked with Ballet dance and theatre companies including Lola du Regard. A new volume is being edited. BC for more than ten seasons. Some Dance, Co. Erasga, Wen Wei Dance, Joe of her most memorable highlights with Thierry Dreyfus is currently working on 3 new Ink, EDAM, The Contingency Plan, battery Ballet BC include touring to Mexico, lighting “Elements of Light”, and on a 5-star opera, Kinesis Dance, Restless Produc- Newfoundland and the Yukon as well hotel project, in Paris, opening this year. tions, Holy Body Tattoo, Dumb Instrument, as being in residence at The Banff Centre. Anatomica, Tara Cheyenne Performance, Kate has also had the pleasure of working Action At A Distance, Les Productions with many choreographers and dance TOM WEINBERGER Figlio, Mutable Subject,Trial & Eros, Out Assistant to the Choreographer, companies in BC and across Canada. Innerspace Dance, BJM, the Plastic Orchid Bedroom Folk Born in Israel, Tom Weinberger gradu- Factory, Justine A. Chambers, as well as ated from the Amal School of Arts and BERTRAND CHÉNIER the Firehall Theatre Company. Sciences. Upon graduation he joined Composer, Poesía Montréal based composer, multi- the Batsheva Ensemble in 2005 and the instrumentalist and electroacoustician, BRET EASTERLING Batsheva Dance Company in 2008, under he received his training at the Faculté Stager, Minus 16 artistic director Ohad Naharin. In 2012, he Bret Easterling is an international dance de Musique de l’Université de Montréal began freelancing and became a founding artist who received his BFA from The Juil- from 1978 to 1986. A prolific artist, he member of Sharon Eyal and Guy Behar’s liard School in 2010. He was a formative has created strong and expressive works, company, L-E-V. He danced with the member of Gallim Dance in New York City often characterized by a fusion and dia- Gothenburg Ballet where he performed before joining Ohad Naharin’s Batsheva logue between acoustic and virtual musical works by Peeping Tom, Marie Chouinard, Dance Company in Tel Aviv where he instruments, and a spectral exploration of and Alex Eckman. He was a guest artist worked for seven years. Now based in timbre. Emphasizing spontaneity and the with Michael Keegan Dolan’s Fabulous Los Angeles, Bret is the Artistic Director act of capturing the moment, his works Beast Dance Theater (2013), the Batsheva of BEMOVING, and on faculty at USC’s take form in the exploration, improvisation Dance Company (2014) and with the For- Glorya Kaufman School of Dance and and the physicality of the performer. sythe Company (2015). Westside Dance Project. He is a certi- Weinberger is a certified Gaga teacher and A major contributor to contemporary dance fied Gaga teacher who directs the Gaga for the past 12 years has taught Gaga, for over thirty years, he has created the music Intensives in Los Angeles and New York, Ohad Naharin’s repertoire, and Sharon for over fifty choreographic works, including and curated the first ever Gaga Program Eyal’s repertoire, as well as, creating his numerous collaborations with Jean Pierre at The School at Jacob’s Pillow. He also own work in companies and schools such Perreault (La Vita (1993) Eironos (1996), The stages Naharin’s repertory at collegiate as NDT, San Francisco Conservatory of comforts of Solitude (2001)), Sylvain Émard BFA programs and professional dance Dance, Arts Umbrella, Springboard Dans (Terrains Vagues (1993) Rumeurs (1996)) companies around the world. Bret has Montreal, and more. In 2016, he was a and Roger Sinha (Apricot Trees (2004), created many works of his own, receiv- Question de souffle (2011)). He started a ing the Hector Zaraspe Prize for Chore- guest artist at SUNY Purchase University fruitful collaboration with Serge Bennathan ography in 2010, and recognized as a through the Charles and Lynn Schuster- in 2006 with the creation of Absences, with Choreographic Fellow at the inaugural Ann man Foundation residency program in & Weston Hicks Choreography Fellowship collaboration with the Israel Institute. the Dancemakers in Toronto. They have since created together more then ten full at Jacob’s Pillow in 2018.

14 Before the Performance - Lesson I: Dance

Exploring What We Know About Dance

WHAT iS DAnCE?

Bending, stretching, jumping, and turning are all activities dancers do. They work hard to transform these everyday movements into the language of dance, using each step as a word to compose first a phrase, second a sentence, then a paragraph, and finally a complete idea such as a poem or a story. Dance can also be a medium for expressing a feeling such as joy, sadness, anger, or love. This is one of the greatest forms of communication we have available to us. Through movement of the body, dancers learn to convey emotions, comments, and sometimes even entire stories, without needing to speak out loud. Because dance doesn’t need the use of spoken word, people around the world who don’t speak the same language understand and respond to it. This is why dance is sometimes called a universal language. Movement to music is a natural response to our enjoyment of sounds. Even young children respond physically to music they enjoy. There are many different types and variations of dancing: from tribal to swing, to the dancing you do at a party, and to classical ballet on an opera house stage. Dance is a wonderful way of expressing our joy and challenges in life. You might explore how to communicate an emotion through movement yourself. All dance is a valid form of expression.

HiSTORy OF DAnCE

People have always danced. The first dances were part of religious and community ceremonies, but by the time of the Ancient Greeks and Romans, dancing had also become a form of entertainment. In the Middle Ages, the Church in Europe claimed that dancing was sinful, but when the Renaissance arrived in the 1400’s, dancing had become popular once again. It is in the European courts of the 16th and 17th centuries where the true origins of ballet lie.

BALLET 16th Century The word Ballet comes from the Italian ballare, meaning ‘to dance’, and it was first used to describe elaborate music, dance, and mime performed for the nobility of Europe. In France and Italy, royalty competed to have the most splen- did court. The monarchs would search for and employ the best poets, musicians, and artists. At this time, dancing became increasingly theatrical. This form of entertainment, also called the ballet de court (court ballet), featured elaborate scenery and lavish costumes, plus a series of processions, poetic speeches, music and dancing. The first known ballet, Le Ballet Comique was performed in 1581 at the wedding of the Queen of France’s sister.

17th Century The popularity and development of ballet can be attributed to King Louis XIV of France. He took dancing very seri- ously and trained daily with his dance master Beauchamp. One of his famous roles was the Rising Sun, which led him to become known as the Sun King. King Louis also set up the Académie Royale de Danse (Royal Academy of Dance) in 1661, where dance steps became structurally codified and recorded. These steps are the same steps that have been handed down through centuries, and which now form the basis of today’s classical ballet style.

18th Century By the end of the 17th century women were finally allowed to dance. One of the most famous ballerinas was Marie Camargo who shocked the audiences by shortening her skirt to just above the ankle and wearing flat shoes so that she could perform complex jumps. At this time, female dancers also began to dominate the stage over their male counterparts. Ballet companies were now being set up all over France to train dancers for the opera.

1 5 19th Century By 1830 the Romantic movement was sweeping the world of art, music, literature and philosophy, and ballet took on a whole new look. The ballerina now wore calf-length, white bell-shaped tulle skirts. To enhance the image of the ballerina as light and elusive, the pointe shoe was introduced, enabling women to dance on the tips of their toes.

20th Century Ballet Although the term “classical” is often used to refer to traditional ballet, this term really describes a group of story ballets first seen in Russia at the end of the 19th century. At this time, the centre of ballet moved from France to Russia. In Russia, the French choreographer Marius Petipa collaborated with the Russian composer Pyotr Tchaikovsky to create lavish story ballets that audiences around the globe still love today, such as Swan Lake, The Sleeping Beauty, and the holiday favourite, The Nutcracker.

In 1909, the Russian impresario Serge Diaghilev brought together a group of dancers, choreographers, composers, artists, and designers to create Les Ballets Russes. This company took Paris by storm, as it introduced short one act ballets such as Scheherazade, Les Sylphides, The Rite of Spring, Firebird, and Petrushka.

MODERn DAnCE

In the early 1900s the American dancers Isadora Duncan and Ruth St. Denis and the German dancer Mary Wigman started to pioneer the beginning of modern dance by departing from the traditional formalized structure of ballet. In a response to removing themselves of the rigid constraints and authoritarian control of ballet technique, the tutu and the pointe shoe and technical virtuosity, these pioneers of modern dance were committed to self expression.

Classical ballet relies on an illusion of lightness and effortlessness through the articulation of line and technical preci- sion. In opposition modern dance uses gravity and the weight of the body to enhance and develop movement, rather than fighting it. This tends to produce more natural and organic forms of movement in the body. Modern dancers will often slide across the space or fall to the floor only to rebound again in unexpected ways. It is not unusual for modern choreographers to invent personal techniques and styles instead of following structured forms and technique.

Alvin Ailey, Merce Cunningham, Martha Graham, José Limón, and Paul Taylor are a few examples of choreographers who developed styles that laid down the foundations of American modern dance as we know it today. Another dif- ference between classical ballet and modern dance is simply the way it looks on stage. Classical ballet relies on ornate scenery and costumes but modern dance is often performed on a bare stage, in bare feet, with very simple costuming.

Furthermore, while the story is central to a classical ballet, modern dance does not always follow a traditional narra- tive. Rather, it encourages the expression of feelings, dreams or ideas of the individual experience.

COnTEMPORARy BALLET

Contemporary Ballet pushes the boundaries and form of classical ballet. It draws on some of the elements of modern dance while at the same time including ballet techniques to create a contemporary aesthetic. By integrating the classical articulation of line and technical virtuosity to the range of motion, use of space and sense of gravity of modern dance, contemporary ballet is able to bridge the value of both forms into a varied and sophisticated movement vocabulary that has a dynamic range of expression in the body.

Feet are bare or in socks, pointe shoes, or soft slippers. A range of turned-in and turned-out leg work and floor work are used extensively. The ballet of the early 20th Century relied on ornate costumes and scenery compared to that of contemporary ballet where the set design may be more engaged by the use of light and video and costumes that expose the body. George Balanchine (New York City Ballet) is considered one of the main pioneers of contemporary ballet. To follow would be some of the world’s leading choreographers: William Forsythe, Jiˇrí Kylián, Nacho Duato, Maurice Béjart, Twyla Tharp, Alonso King, Cayetano Soto to name a few.

161616 WHAT iS A CHOREOGRAPHER?

A choreographer is someone who creates a work of dance and who crafts the sequences of movements. The word choreography literally means “dance-writing” from the Greek words χορεία γραφή. This process involves either the creation of movements by the choreographer only, or the use of improvisation during which dancers and a choreographer collaborate to create the movements. It may also be a combination of both. The choreographer may begin with a concept, idea, theme or emotion, which is further developed into a work of dance. Usually, at some point during the creation period, music will be included in the dance piece. Music styles used could be anything including classical, pop, jazz, hip-hop, electronic, etc. There is also collaboration between the choreographer and the other members of the artistic team such as the Composer, Lighting Designer, Set Designer, Costume Designer and Tech- nical Director. The audience plays an active role because their response informs the choreographer whether his or her vision has been successfully communicated.

WHAT iS A COMPOSER?

A composer is someone who writes a piece of music. A good composer is creative, versatile, and not afraid of ex- perimenting. In dance, choreographers may collaborate with a composer on an original composition, use existing music, or decide to use silence as part of the sound landscape.

The composer ensures that the music suits the project by working closely with the choreographer in the development of his or her ideas for the dance work. The music he or she writes may be instrumental, have lyrics, or be in various styles such as classical, electronic, jazz or pop, among others. What is a Dress Rehearsal?

The last step in the process before the opening night performance is the dress rehearsal. It is essentially a “dry run” where all the elements come together: choreography, lights, sets, costumes and music. Everything is in place and the dancers perform the work from start to finish as if it were a show with an audience. Up until the dress rehearsal, not all of the components have been put together so it is an opportunity for everyone to experience the show and make sure that everything is as it should be.

Elements of Dance

These are five recognized elements of dance, which include: body, action, space, time and energy. Students can develop or extend their understanding of the following elements through observing and/or participating in dance Experiences.

Body: refers to awareness of specific body parts and how they can be moved into different shapes; symmetric/asymmetric, geometric/organic, curved/angular.

Action: refers to the locomotor movements and non-locomotor movements. Locomotor action includes movement that travels through space such as leaping, darting, walking, running, hopping, skipping, galloping, sliding, etc. Non-locomotor action is where the body stays planted while the body parts initiate movement; bending, twisting, stretching, swinging, etc.

Space: refers to the space through which the dancer’s body moves, such as different levels, pathways, directions, shapes, the proximity of dancers to one another, various group formations and use of the performance/studio space.

Time: is applied as both a musical and movement element that includes rhythm, tempo, duration, beat, acceleration/deceleration, fast/slow, stillness and sometimes silence.

Energy: refers to the force applied to highlight the weight, strength and flow of a dancer’s movement.

17 Before the Performance - Lesson II: Storytelling Storytelling Without Words

Together, brainstorm things a performer must do in order to communicate without words. Possible answers could include comments on facial expressions, gestures, exaggeration, working with others.

Explore what other elements in a performance (besides the actions of the performer/dancer) can help tell a story that has no words. Possible answers could include comments on the costumes, set and music.

Make a list of possible ways to storytell without words.

ACTIVITY 1 Embodying a character through gesture

Objective: To explore character development through the body Materials: Space to move

Create a gesture for a character that expresses something about their personality. Take turns doing your gestures to create a “movement conversation”. For example, Person #1 does his/her gesture. Person #2 responds with his/her gesture. Person #1 repeats his/her gesture as a response to Person #2. During the conversation, feel free to vary your gesture slightly based on what your partner has just “said” to you. Think about the list you created in the Opening Activity.

Ask: Can you add any of these to make your gesture more expressive? What kind of story do you think could be behind the conversation you just had?

Option: Draw a costume! Think how the audience would find out more about your character by looking at what this character wears.

181818 After the Performance - Lesson III

ACTIVITY 1 Objective: Creative Discussion This activity uses dance, a non-verbal form of communication, to encourage students to become more articulate on how to express their opinions about what they have seen.

Objective: To build dance literacy among your students. Upon your return to school engage the class in a group discussion.

Questions for discussion: • Consider the work you observed • What do you remember most vividly? • How did the work make you feel?

Describe the work: • Using the elements of dance describe the movement in terms of body, space, energy, time and action. • Were there any sets used? • How was the lighting used?

Expressing opinions: • Did you enjoy the show? Why or why not? • Would you recommend this performance to a friend or family member? • How did the lighting, costumes and set help to convey the ideas or moods of the work? • Could you imagine using another style of music?

ACTIVITY 2 This activity uses writing to help stimulate observation and creative critical thinking.

Objective: Write a review for the performance. Materials: Have the students bring a journal and pen to the theatre.

Find some reviews of Ballet BC (or other companies) in the papers or online at www.balletbc.com. Read and discuss the reviews. From the reviews, make a list of questions that the students can think about when they view the performance.

Things to take note of while watching the Dress Rehearsal: • The movement and emotions expressed by the dancers. • The combination of patterns, shapes and dynamics on stage. • The relationship between the movement and the music. • The colours, textures and design elements used to enhance the movement.

Writing the Review Ask the students to write a review of the show taking into consideration the following questions. It may be useful to do an initial brainstorm as a group, and then ask them to write their individual reviews. • What is the title and who are the choreographers and collaborators? • When and where was the work created? • Describe the technical qualities of the work (movement, music, costumes, lighting and set).

19 Analyze Analyze how the work is constructed taking into consideration choice of music, use of set, costume and lighting. Comment on how these elements relate to the choreography of each work. • Identify some of the similarities and differences. • Identify some of the focal points.

interpret Based on your experience of viewing the work, describe how it made you feel. • Describe the expressive qualities you find in the work. What feelings or emotions did it evoke in you? • Does the work remind you of something you have experienced, moments or events in your life? • Why do you think the choreographer chose to make this work? • How does the work relate to other ideas or events in the world and/or in your other studies? • Would you recommend this work to others? Why? The students can print their reviews in the school newspaper or on their blog. Ballet BC would love to receive copies of their reviews. Please send them to Nina Patel at [email protected].

Ballet BC Artist Profiles, Articles and More:

Please visit our blog for in-depth artist profiles, company articles, and reviews. balletbc.com/category/news/

For more information, please contact: Nina Patel, Outreach & Education Administrator 604-732-5003 [email protected]

2020