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Educator Guide PBT Digital Spotlight Virtual Student Matinee Educator Guide PBT Education Department Principal Author: Victoria LaFave, PhD Student, University of Pittsburgh PBT Digital Spotlight student matinee is supported by the Jack Buncher Foundation. Artists: Hannah Carter, Lucius Kirst, The Sleeping Beauty Wedding Pas de Deux Photo: Kelly Perkovich Table of Contents Digital Spotlight Virtual Student Matinee 3 Information Pennsylvania State Standards 4 Sleeping Beauty History 5 Don Quixote History 7 Ave Maria History 9 Classical vs Contemporary Ballet 10 Breaking Down a Pas de Deux 11 Sleeping Beauty Pas de Deux 12 Don Quixote P as de Deux 13 Writing About Dance 14 Writing a Performance Review 15 Additional Resources 16 2 The PBT Digital Spotlight Virtual Student Matinee is a video featuring three different pas de deux (dances for two): T he Sleeping Beauty W edding Pas de Deux, the D on Quixote G rand Pas de Deux, and Ave Maria. These ballets range from classical to contemporary and have their own unique style of dance. The video includes brief comments by PBT Artistic Director Susan Jaffe. Educators can elect to show the video in its entirety (approximately 30 minutes) or to show just one or two of the ballets. Note that Ave Maria includes contemporary choreography, themes and costumes. Included within this P BT Digital Spotlight Educator Guide is historical and contextual information on each ballet, a breakdown of the structure of pas de deux dances, and tips for writing about dance. Below and on the P BT website there are lesson plans and a PowerPoint (pdf) instructional aid meant to be utilized along with the Pittsburgh Ballet Theatre’s (PBT) Digital Spotlight Virtual Student Matinee and this Educator Guide. The lessons are separated into grade clusters: K-2nd, 3rd-5th, 6th-8th, and 9th-12th. These clusters are not rigid designations and any lesson included within is open for adaptation for other classes and settings. The goal of these lessons is to encourage student engagement with dance as a narrative and aesthetic form. Throughout these lessons, students will adopt the role of the critic/reviewer in order to translate their impressions and critiques of the ballet into critical writing. The following guiding questions guide the lessons: 1. What is a pas de deux? What is its function in a ballet? 2. What is the relationship between aesthetics, storytelling, and dance? 3. How do we evaluate dance? 4. How do we write critically about dance? The PowerPoint instructional aid can be found online and here. K-2nd Lesson Plan: Pas de Deux Photograph 3rd-5th Lesson Plan: Critical Review 6th-8th Lesson Plan: Audience Comparative Review 9th-12th Lesson Plan: Ballet Comparative Analysis 3 State Standards Grades K-2nd Kindergarten: Creative Thinking and Expression - Communicating Through the Arts ● 9.3: Critical Response to Works in the Arts ● 9.4: Aesthetic Response to Works in the Arts First and Second Grade: Arts and Humanities ● 9.3: Critical Response ● 9.4: Aesthetic Response Grades 3rd-5th Arts and Humanities ● 9.3: C ritical Response ● 9.4: Aesthetic Response English Language Arts ● 1.4: W riting - Opinion/Argumentative CC.1.4.3-5.G, CC.1.4.1-5.H, CC.1.4.3-5.I, CC.1.4.3-5.J, CC.1.4.3-5.K Grades 6th-8th Arts and Humanities ● 9.3: C ritical Response ● 9.4: Aesthetic Response English Language Arts ● 1.4: W riting - Opinion/Argumentative CC.1.4.6-8.G, CC.1.4.6-8.H, CC.1.4.6-8.I, CC.1.4.6-8.J, CC.1.4.6-8.K, CC.1.4.6-8.L Grades 9th-12th Arts and Humanities ● 9.3: C ritical Response ● 9.4: Aesthetic Response English Language Arts ● 1.4: W riting - Opinion/Argumentative CC.1.4.9-10.G, CC.1.4.9-10.H, CC.1.4.9-10.I, CC.1.4.9-10.J, CC.1.4.9-10.K, CC.1.4.9-10.L CC.1.4.11-12.G, CC.1.4.11-12.H, CC.1.4.11-12.I, CC.1.4.11-12.J, CC.1.4.11-12.K, CC.1.4.11-12.L 4 Sleeping Beauty by Pyotr Ilych Tchaikovsky and Marius Petipa Ballet adaptation The story of T he Sleeping Beauty has a long history dating back to 1697 when Charles Perrault published “The Sleeping Beauty in the Wood” in his collection, Stories or Tales from Times Past, with Morals; Tales from Mother Goose. Since then other versions of the Sleeping Beauty story have been adapted, from the Grimms brothers to Tchaikovsky’s ballet to Disney. The story starts at the court of King Florestan XXIV where everyone is gathered to celebrate the christening of Princess Aurora. In the middle of the festivities, the wicked Fairy Carabosse interrupts. Angry because she was not invited, Carabosse delivers a curse upon the princess: she will grow up to be beautiful, but before her sixteenth birthday she will prick her finger and die. The Lilac Fairy intervenes, promising that the princess will only sleep until awakened by the kiss of a prince. In Act One, Aurora dances with several princes at her sixteenth birthday celebration until she is given a bouquet with a spindle hidden inside. Aurora and the court fall into deep sleep and Act Two opens one hundred years later. As Prince Desiré crosses paths with The Lilac Fairy, he convinces her to lead him to Aurora. After defeating Carabosse, he discovers the sleeping princess and awakens her with a kiss. Act Three celebrates the wedding of Princess Aurora and Prince Desiré. Unique to The S leeping Beauty ● The Sleeping Beauty is seen as the technical standard by which all classical ballets are measured and features some of the most aesthetically “pure” choreography in the canon. ● French and Russian critics thought Italian ballet dancers of the day – with their multiple turns, long balances, and jumps en pointe – to be too “circus-like.” However, Petipa embraced that style in T he Sleeping Beauty. He refined these 5 “stunts” through usage of clear lines and elegant geometry, creating a virtuoso style of technique that is now considered a hallmark of classical ballet. ● All of the guests at the wedding perform divertissements — short dances that entertain and have nothing to do with the actual story — to show off their skill! 6 Don Quixote by Ludwig Minkus and Marius Petipa Ballet adaptation The ballet D on Quixote is based on segments of the classic novel, The I ngenious Gentleman Don Quixote of La Mancha, by Miguel de Cervantes Saavreda. Published in two parts, in 1605 and 1615, it is a monumental work. It follows the comedic exploits of a nobleman who has read so many stories of heroic knights that he begins to believe he must set out to restore chivalry and honor to the world. The story of the Don Quixote ballet tells only one of the many tales in the novel, in fact, the story comes from Book II. Driven by the vision of his ideal woman, Dulcinea, Don Quixote begins his adventure with his trusty squire Sancho Panza in tow. Kitri, the daughter of the inn-keeper Lorenzo, is in love with Basilio but her father plans to marry her to Gamache. When Don Quixote sees Kitri he believes he has found his Dulcinea so he follows her and Basilio as they flee the city together. In Act Two, Don Quixote and Sancho find the fleeing couple in a traveler camp. Don Quixote realizes that Kitri is not his ideal woman but still respects her and her relationship with Basilio. Don Quixote falls into a deep dream after foolishly attacking a windmill that he believed to be harming Dulcinea. When he is awaked, he attempts to help distract Lorenzo and Gamache who are looking for Kitri. Unfortunately, Kitri and Basilio are discovered but through a clever ruse are married. Act Three of the ballet is the village celebration of Kitri and Basilio’s marriage. Petipa had created other short ballets with a Spanish theme, but this was the first of his grand ballets that embodied his knowledge of Spanish dance and culture, knowledge that he obtained during the three years he spent in Spain. However, all modern productions of the ballet are derived from the revival version staged by Alexander Gorsky for the Bolshoi Theatre of Moscow in 1900 and at the Imperial Ballet of St. 7 Petersburg in 1902. It is unclear what of Petipa’s original choreography remains which is why both Petipa and Gorsky are credited as the choreographers. Unique to Don Quixote ● Gorsky made the final pas de deux more technically challenging for the ballerina (the development of the male solo occurred later in the century). ● The grand pas de deux choreography benefited from many remarkable interpretations introduced to it by the dancers who inflicted it with their individual technical traits. For example, Ballerina Matilda Kshesinskaya in Gorsky’s 1902 production added thirty-two fouette turns in the coda. ● Spanish flair is added on top of classical ballet, through arm gestures pulled from flamenco, motions that reference bull fighting, and big kicks and leaps, including the famous “Kitri” or “Plisetskaya jump.” In this step from Kitri’s variation in Act 1, the dancer performing Kitri jumps into the air and kicks her back leg high into the air, appearing to almost kick herself in the head - a dramatic and breathtaking image. 8 Ave Maria by Dwight Rhoden and Giulio Caccini Ballet adaptation Dwight Rhoden choreographed Ave Maria as part of his larger ballet T he Grapes of Wrath in 1995.
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