SMUIN BALLET's 2016 GALA CELEBRATES COMPANY's 22Nd
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Study Guide for Teachers and Students
Melody Mennite in Cinderella. Photo by Amitava Sarkar STUDY GUIDE FOR TEACHERS AND STUDENTS 1 TABLE OF CONTENTS PRE AND POST-PERFORMANCE ACTIVITIES AND INFORMATION Learning Outcomes & TEKS 3 Attending a ballet performance 5 The story of Cinderella 7 The Artists who Created Cinderella: Choreographer 11 The Artists who Created Cinderella: Composer 12 The Artists who Created Cinderella Designer 13 Behind the Scenes: “The Step Family” 14 TEKS ADDRESSED Cinderella: Around the World 15 Compare & Contrast 18 Houston Ballet: Where in the World? 19 Look Ma, No Words! Storytelling in Dance 20 Storytelling Without Words Activity 21 Why Do They Wear That?: Dancers’ Clothing 22 Ballet Basics: Positions of the Feet 23 Ballet Basics: Arm Positions 24 Houston Ballet: 1955 to Today 25 Appendix A: Mood Cards 26 Appendix B: Create Your Own Story 27 Appendix C: Set Design 29 Appendix D: Costume Design 30 Appendix E: Glossary 31 2 LEARNING OUTCOMES Students who attend the performance and utilize the study guide will be able to: • Students can describe how ballets tell stories without words; • Compare & contrast the differences between various Cinderella stories; • Describe at least one dance from Cinderella in words or pictures; • Demonstrate appropriate audience behavior. TEKS ADDRESSED §117.106. MUSIC, ELEMENTARY (5) Historical and cultural relevance. The student examines music in relation to history and cultures. §114.22. LANGUAGES OTHER THAN ENGLISH LEVELS I AND II (4) Comparisons. The student develops insight into the nature of language and culture by comparing the student’s own language §110.25. ENGLISH LANGUAGE ARTS AND READING, READING (9) The student reads to increase knowledge of own culture, the culture of others, and the common elements of cultures and culture to another. -
Vision / Dance Innovations
2020 FEBRUARY PROGRAMS 02 /03 CLASSICAL (RE)VISION / DANCE INNOVATIONS The people you trust, trust City National. Top Ranked in Client Referrals* “City National helps keep my financial life in tune.” Michael Tilson Thomas Conductor, Educator and Composer Find your way up.SM Visit cnb.com *Based on interviews conducted by Greenwich Associates in 2017 with more than 30,000 executives at businesses across the country with sales of $1 million to $500 million. City National Bank results are compared to leading competitors on the following question: How likely are you to recommend (bank) to a friend or colleague? City National Bank Member FDIC. City National Bank is a subsidiary of Royal Bank of Canada. ©2018 City National Bank. All Rights Reserved. cnb.com 7275.26 PROGRAM 02 | CLASSICAL (RE)VISION PROGRAM 03 | DANCE INNOVATIONS TABLE OF CONTENTS 05 Greetings from the Artistic Director & Principal Choreographer 05 06 Board of Trustees Endowment Foundation Board 07 SF Ballet Leadership 08 Season News 10 Off Stage 13 Pointe and Counterpoint: The Story of Programs 02 and 03 14 PROGRAM 02 Classical (Re)Vision Bespoke Director's Choice Sandpaper Ballet 22 PROGRAM 03 Dance Innovations The Infinite Ocean The Big Hunger World Premiere Etudes 30 Artists of the Company 14 39 SF Ballet Orchestra 40 SF Ballet Staff 42 Donor Events and News 46 SF Ballet Donors 61 Thank You to Our Volunteers 63 For Your Information 64 Designing Sandpaper Ballet FOLLOW US BEFORE AND AFTER THE PERFORMANCE! San Francisco Ballet SFBallet youtube.com/sfballet SFBallet 42 San Francisco Ballet | Program Book | Vol. -
Remembering Edouard Borovansky and His Company 1939–1959
REMEMBERING EDOUARD BOROVANSKY AND HIS COMPANY 1939–1959 Marie Ada Couper Submitted in total fulfillment of the requirements of the degree of Doctor of Philosophy 2018 School of Culture and Communication The University of Melbourne 1 ABSTRACT This project sets out to establish that Edouard Borovansky, an ex-Ballets Russes danseur/ teacher/choreographer/producer, was ‘the father of Australian ballet’. With the backing of J. C. Williamson’s Theatres Limited, he created and maintained a professional ballet company which performed in commercial theatre for almost twenty years. This was a business arrangement, and he received no revenue from either government or private sources. The longevity of the Borovansky Australian Ballet company, under the direction of one person, was a remarkable achievement that has never been officially recognised. The principal intention of this undertaking is to define Borovansky’s proper place in the theatrical history of Australia. Although technically not the first Australian professional ballet company, the Borovansky Australian Ballet outlasted all its rivals until its transformation into the Australian Ballet in the early 1960s, with Borovansky remaining the sole person in charge until his death in 1959. In Australian theatre the 1930s was dominated by variety shows and musical comedies, which had replaced the pantomimes of the 19th century although the annual Christmas pantomime remained on the calendar for many years. Cinemas (referred to as ‘picture theatres’) had all but replaced live theatre as mass entertainment. The extremely rare event of a ballet performance was considered an exotic art reserved for the upper classes. ‘Culture’ was a word dismissed by many Australians as undefinable and generally unattainable because of our colonial heritage, which had long been the focus of English attitudes. -
Queensland Ballet
Queensland Front cover: Rachael Walsh as Fonteyn & Christian Tátchev as Nureyev dance The Lady of the Camellias pas de deux in François Klaus’s Fonteyn Remembered; Photographer: Ken Sparrow Below: Sarah Thompson and children taking class at the Open Day BAllet ANNuAl REPORT 2010 Queensland Ballet Thomas Dixon Centre Cnr Drake St & Montague Rd West End Queensland 4101 Australia Phone: 07 3013 6666 Fax: 07 3013 6600 Email: [email protected] Web: www.queenslandballet.com.au Christian Tátchev and Keian langdon in François Klaus’s Don Quixote (excerpt), 50th Anniversary International Gala; Photographer: Ken Sparrow Christian Tátchev as Romeo & Rachael Walsh as Juliet in François Klaus’s Romeo & Juliet; Photographer: Ken Sparrow Queensland Ballet 2010 AnnuAl RepoRt CONTENTS Company profile 1 2010 highlights 2 50 year chronology 3 Chair’s review 7 Artistic Director’s report 8 Chief Executive Officer’s report 10 2010 performance summary 11 The Company 15 Acknowledgements 17 Directors’ report 19 Lead Auditor’s Independence Declaration 25 Financial report 26 Independent auditor’s report 41 Appendix A: 2010 strategic performance 42 Appendix B: Queensland Ballet Friends 44 QUEENSlAnD BALLET 1 COMPANY PROFILE Queensland Ballet is the advanced dance training to students in ouR DReAm Years 10, 11, and 12 at Kelvin Grove State flagship ballet company of the College as well as the introductory Track By 2013, Queensland Ballet will be State of Queensland, with a Dance and Mid-Trackdance programs for recognised, not only in Queensland but reputation for a fresh, energetic Years 3 to 9. throughout Australia and also overseas, for: and eclectic repertoire ranging Community education and outreach is » creating and presenting a broad from short works for children to achieved through a range of programs. -
September 4, 2014 Kansas City Ballet New Artistic Staff and Company
Devon Carney, Artistic Director FOR IMMEDIATE RELEASE CONTACT: Ellen McDonald 816.444.0052 [email protected] For Tickets: 816.931.2232 or www.kcballet.org Kansas City Ballet Announces New Artistic Staff and Company Members Grace Holmes Appointed New School Director, Kristi Capps Joins KCB as New Ballet Master, and Anthony Krutzkamp is New Manager for KCB II Eleven Additions to Company, Four to KCB II and Creation of New Trainee Program with five members Company Now Stands at 29 Members KANSAS CITY, MO (Sept. 4, 2014) — Kansas City Ballet Artistic Director Devon Carney today announced the appointment of three new members of the artistic staff: Grace Holmes as the new Director of Kansas City Ballet School, Kristi Capps as the new Ballet Master and Anthony Krutzkamp as newly created position of Manager of KCB II. Carney also announced eleven new members of the Company, increasing the Company from 28 to 29 members for the 2014-2015 season. He also announced the appointment of four new KCB II dancers, which stands at six members. Carney also announced the creation of a Trainee Program with five students, two selected from Kansas City Ballet School. High resolution photos can be downloaded here. Carney stated, “With the support of the community, we were able to develop and grow the Company as well as expand the scope of our training programs. We are pleased to welcome these exceptional dancers to Kansas City Ballet and Kansas City. I know our audiences will enjoy the talent and diversity that these artists will add to our existing roster of highly professional world class performers that grace our stage throughout the season ahead. -
Houston Ballet Revives Artistic Director Stanton Welch AM's Epic
FOR IMMEDIATE RELEASE MEDIA CONTACT: Christian Brown Public Relations Director [email protected] [email protected] HOUSTON BALLET REVIVES ARTISTIC DIRECTOR STANTON WELCH AM’S EPIC MADAME BUTTERFLY HOUSTON, TEXAS [September 2016] From September 22 - October 2, Houston Ballet will revive artistic director Stanton Welch AM’s signature work Madame Butterfly in a program with his one-act ballet Son of Chamber Symphony. Set to Puccini’s memorable score, in an arrangement by John Lanchbery, Madame Butterfly chronicles the love story of the beautiful geisha Cio-Cio San who is betrothed to marry the handsome American, Lieutenant Pinkerton. The production unfolds dramatically on Peter Farmer’s picturesque sets, which beautifully evoke the mystery and languor of 19th century Japan. Opening the program is the company premiere of Mr. Welch’s Son of Chamber Symphony, set to music by John Adams. Houston Ballet will give seven performances of Madame Butterfly with Son of Chamber Symphony at Wortham Theater Center in downtown Houston. Tickets may be purchased by calling 713-227-2787 or by visiting www.houstonballet.org. Houston Ballet’s Son of Chamber Symphony and Madame Butterfly program is generously sponsored by: The Wortham Foundation, Inc. INTERNATIONAL ACCLAIM FOR MADAME BUTTERFLY Premiered by The Australian Ballet in 1995, Madame Butterfly was Mr. Welch’s first full-length ballet. The two-act work tells the story of the beautiful geisha Cio-Cio San who renounces her faith and her family to wed Lieutenant Pinkerton, the U.S. Naval officer who is betrothed to another woman back in the States. The centerpiece of the work is a ravishing wedding night pas de deux between Pinkerton and Cio-Cio San, which closes the first act. -
And We Danced Episode 3 Credits
AND WE DANCED WildBear Entertainment, ABC TV and The Australian Ballet acknowledge the Traditional Owners of country throughout Australia and recognise their continuing connection to land, waters and culture. We pay our respects to their Elders past and present. EPISODE THREE Executive Producers Veronica Fury Alan Erson Michael Tear Development Producer Stephen Waller INTERVIEWEES Margot Anderson Dimity Azoury Peter F Bahen Lisa Bolte Adam Bull Ita Buttrose AC OBE Chengwu Guo David Hallberg Ella Havelka Steven Heathcote AM Marilyn Jones OBE Ako Kondoo David McAllister AC Graeme Murphy AO Stephen Page AO Lisa Pavane Colin Peasley OAM Marilyn Rowe AM OBE Amber Scott Hugh Sheridan Fiona Tonkin OAM Elizabeth Toohey Emma Watkins Michael Williams SPECIAL THANKS TO David McAllister AC David Hallberg Nicolette Fraillon AM 1 Artists of The Australian Ballet past and present Artists of Bangarra Dance Theatre past and present Orchestra Victoria Opera Australia Orchestra The Australian Ballet School Tony Iffland Janine Burdeu The Wiggles The Langham Hotel Melbourne Brett Ludeman, David Ward ARCHIVE SOURCES The Australian Ballet ABC Archives National Film and Sound Archive Associated Press Getty The Apiary The Wiggles International Arts Newspix Bolshoi Ballet American Ballet Theater FOOTAGE The Australian Ballet Year of Limitless Possibilities, 2020 Brand Film Artists of The Australian Ballet Valerie Tereshchenko, Robyn Hendricks, Dimity Azoury, Callum Linnane, Jake Mangakahia Choreography David McAllister AM Cinematography Brett Ludeman and Ryan Alexander Lloyd Produced by Robyn Fincham and Brett Ludeman Filmed on location at Mundi Mundi Station, via Silverton NSW The Living Desert Sculpture Park, Junction Mine, The Imperial Fine Accommodation, Broken Hill NSW. -
For Immediate Release Media Contact
FOR IMMEDIATE RELEASE MEDIA CONTACT: Jacalyn Lawton Public Relations Manager [email protected] [email protected] HOUSTON BALLET PROUDLY ANNOUNCES ITS 2021-2022 SEASON HOUSTON, TEXAS [May 3, 2021] — Houston Ballet proudly announces its 2021-2022 season and return to live performances at its home theater at Wortham Theater Center this fall. After canceling part of its 2019-2020 season and the entirety of its 2020-2021 season due to the COVID-19 pandemic, Houston Ballet is thrilled to share the joy of its jubilant return to the stage. “We’re overjoyed to return the Wortham Theater Center stage and bring back our talented artists and supporters into the same space to share these joyous occasions once more,” says Stanton Welch AM, Houston Ballet Artistic Director. “We’ve grown from this difficult time and have been inspired by our community to keep creating art that reflects the diverse and innovative city we call home.” The 2021-2022 season lineup includes an array of works by world-renowned artists, continuing to showcase Houston as a mecca for global talent. In addition to Welch’s own works being presented, patrons will enjoy distinct stylings from choreographers such as George Balanchine, Trey McIntyre and Houston Ballet Principal Dancers Melody Mennite and Connor Walsh. Accompanying the visually stunning performances, audiences will hear iconic scores from famous composers such as Pyotr Ilyich Tchaikovsky and Leo Delibes, in addition to works set to sounds from music legends like David Bowie. “Our subscribers and supporters are as thrilled as we are to return to live performances in September, and we’re counting on the community’s continued financial support as we return after two back-to-back crises,” says Jim Nelson, Houston Ballet Executive Director. -
Too Hot to Handel Cincinnati Ballet's the Nutcracker Les Ballets
Too Hot to Handel November 29, 30 2003 Cincinnati Ballet's The Nutcracker December 5-14 2003 Les Ballets Africains February 27 2003 Dance Theatre of Harlem March 4-7, 2003 DETROIT Home of Michigan Opera Theatre David DiChiera, General Director DAIMLERCHRYSLER DaimlerChrysler Corporation Fund Copyright 2010,2003-04 Michigan Dance Series Opera Theatre No one can guarantee success. But knowing how to rehearse for it certainly helps. With over 250 relationship managers dedicated to one-on -one service, a full array of the latest financial products, and an emphasis on helping local businesses succeed, the Standard Federal Commercial Banking team makes sure your needs are always front and center. For more information, call 1-248-822-5402 or visit standardfede ralbank.c om . True Possibility. Standard Federal Bank ABN AMRO standardfederalbank.com ©2003 Standard Federal BankNA Copyright 2010, Michigan Opera Theatre Sur ender to Love DETROIT OPERA HOUSE . HOME OF MICHIGAN OPERA THEATRE ]B~VO 2003-2004 The Official Magazine of the Detroit Opera House BRAVO IS A MICHIGAN OPERA THEATRE PUBLICATION Winer CONTRIBUTORS Dr. David DiChiera, General Director Matthew S. Birman, Editor Laura Wyss cason Michigan Opera Theatre Staff PUBLISHER ON STAGE Live Publishing Company TOO HOT TO HANDEL. .4 Frank Cucciarre, Design and Art Direction Program ............ .5 Blink Concept &: Design, Inc. Production Artist Profiles .................. ... ...... .6 Chuck Rosenberg, Copy Editor Toby Faber, Director of Advertising Sales Rackham Symphony Choir ..... .. .............. .7 Marygrove College Chorale and Soulful Expressions Ensemble 7 Physicians' service provided by Henry Ford Medical Center. Too Hot to Handel Orchestra ... .... .... ........ 7 THE NUTCRACKER .9 Pepsi-Cola is the official soft drink and juice provider for the Detroit Opera House. -
The Australian Ballet 1 2 Swan Lake Melbourne 23 September– 1 October
THE AUSTRALIAN BALLET 1 2 SWAN LAKE MELBOURNE 23 SEPTEMBER– 1 OCTOBER SYDNEY 2–21 DECEMBER Cover: Dimity Azoury. Photography Justin Rider Above: Leanne Stojmenov. Photography Branco Gaica Luke Ingham and Miwako Kubota. Photography Branco Gaica 4 COPPÉLIA NOTE FROM THE ARTISTIC DIRECTOR Dame Peggy van Praagh’s fingerprints are on everything we do at The Australian Ballet. How lucky we are to have been founded by such a visionary woman, and to live with the bounty of her legacy every day. Nowhere is this legacy more evident than in her glorious production of Coppélia, which she created for the company in 1979 with two other magnificent artists: director George Ogilvie and designer Kristian Fredrikson. It was her parting gift to the company and it remains a jewel in the crown of our classical repertoire. Dame Peggy was a renowned Swanilda, and this was her second production of Coppélia. Her first was for the Borovansky Ballet in 1960; it was performed as part of The Australian Ballet’s first season in 1962, and was revived in subsequent years. When Dame Peggy returned to The Australian Ballet from retirement in 1978 she began to prepare this new production, which was to be her last. It is a timeless classic, and I am sure it will be performed well into the company’s future. Dame Peggy and Kristian are no longer with us, but in 2016 we had the great pleasure of welcoming George Ogilvie back to the company to oversee the staging of this production. George and Dame Peggy delved into the original Hoffmann story, layering this production with such depth of character and theatricality. -
S Tudy Guide
Study Guide Young Person’s Guide To The Orchestra 1 Table of Contents Learning Outcomes & TEKS Addressed 3-4 Attending a Ballet Performance 5 Choreographer & Composer 6-7 Music & Movement 8-13 Looking Closer: The Instrument Families 14-23 You Try It: Activities 24-28 Appendices 29-36 2 Learning Outcomes Students who attend the performance and utilize the study guide will be able to: Describe the 4 instrument families; Name at lease 1 instrument from each family; Describe how each family creates vibrations to make sound; Describe at least one dance from Young Person’s Guide to the Orchestra in words or pictures; Demonstrate appropriate audience behavior. Teks addressed §112.11. Science, Kindergarten (6) Force, motion, and energy. The student knows that energy, force, and motion are related and are a part of their everyday life §112.39. Physics, High School (7) Science concepts. The student knows the characteristics and behavior of waves. §117.112. Music, Grade 3 (1) Foundations: music literacy. The student describes and analyzes musi- cal sound. §117.109. Music, Grade 2 (1) Foundations: music literacy. The student describes and analyzes musical sound. (6) Critical evaluation and response. The student listens to, responds to, and evaluates music and musical performances. §117.211. Theatre, Middle School (5) Critical evaluation and response. The student responds to and evaluates theatre and theatrical performances. 3 Teks addressed Continued §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 and culture to another. -
January 2020 Resident Choreographers
® Global Resident Choreographer Survey JANUARY 2020 Summary Dance Data Project® (DDP) has conducted an initial examination of resident choreographer positions globally within the ballet industry. DDP found that among the 116 international and U.S. ballet companies studied, a significant majority have hired men as resident choreographers. The study reveals that 37 of the 116 ballet companies surveyed globally employ resident choreographers. Twenty-eight of these 37 companies have placed exclusively men in this position (76%). DDP found that 22 of the 69 U.S. ballet companies surveyed employ resident choreographers. Sixteen of these 22 domestic companies have hired exclusively men in this position (73%). DDP also found that 15 of the 47 international ballet companies examined employ resident choreographers. Only 2 of these 15 companies have hired exclusively women (13%), although one international company employs four resident choreographers (1 woman, 3 men). © DDP 2020 Dance DATA Global Resident Project] Choreographer Survey Introduction A note about resident choreographers: The position of resident choreographer is one of the most secure opportunities for the otherwise freelance choreographer. The position offers a contract with a steady salary, the possibility of benefits, a group of dancers with whom to workshop, time, access to set, costume, lighting designers and a regular audience. Most ballet companies do not employ resident choreographers, given the expense of an additional employee and funding regular commissions. Quite often, an artistic director serves as a de facto resident choreographer, regularly creating for the company and producing new works. DDP reviewed as many prominent dance publications1 as possible and consulted several leaders of ballet companies and dance venues in the U.S.