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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. -
98Th ISPA Congress Melbourne Australia May 30 – June 4, 2016 Reimagining Contents
98th ISPA Congress MELBOURNE AUSTRALIA MAY 30 – JUNE 4, 2016 REIMAGINING CONTENTS ACKNOWLEDGEMENT OF PEOPLE & COUNTRY 2 MESSAGE FROM THE MINISTER FOR CREATIVE INDUSTRIES, 3 STATE GOVERNMENT OF VICTORIA MESSAGE FROM THE CHIEF EXECUTIVE OFFICER, ARTS CENTRE MELBOURNE 4 MESSAGE FROM THE DIRECTOR OF PROGRAMMING, ARTS CENTRE MELBOURNE 5 MESSAGE FROM THE CHAIR, INTERNATIONAL SOCIETY FOR THE PERFORMING ARTS (ISPA) 6 MESSAGE FROM THE CHIEF EXECUTIVE OFFICER, INTERNATIONAL SOCIETY FOR THE PERFORMING ARTS (ISPA) 7 LET THE COUNTDOWN BEGIN: A SHORT HISTORY OF ISPA 8 MELBOURNE, AUSTRALIA 10 CONGRESS VENUES 11 TRANSPORT 12 PRACTICAL INFORMATION 13 ISPA UP LATE 14 WHERE TO EAT & DRINK 15 ARTS CENTRE MELBOURNE 16 THE ANTHONY FIELD ACADEMY SCHEDULE OF EVENTS 18 THE ANTHONY FIELD ACADEMY SPEAKERS 22 CONGRESS SCHEDULE OF EVENTS 28 CONGRESS PERFORMANCES 37 CONGRESS AWARD WINNERS 42 CONGRESS SESSION SPEAKERS & MODERATORS 44 THE ISPA FELLOWSHIP CHALLENGE 56 2016 FELLOWSHIP PROGRAMS 57 ISPA FELLOWSHIP RECIPIENTS 58 ISPA STAR MEMBERS 59 ISPA OUT ON THE TOWN SCHEDULE 60 SPONSOR ACKNOWLEDGEMENTS 66 ISPA CREDITS 67 ARTS CENTRE MELBOURNE CREDITS 68 We are committed to ensuring that everyone has the opportunity to become immersed in ISPA Melbourne. To help us make the most of your experience, please ask us about Access during the Congress. Cover image and all REIMAGINING images from Chunky Move’s AORTA (2013) / Photo: Jeff Busby ACKNOWLEDGEMENT OF PEOPLE MESSAGE FROM THE MINISTER FOR & COUNTRY CREATIVE INDUSTRIES, Arts Centre Melbourne respectfully acknowledges STATE GOVERNMENT OF VICTORIA the traditional owners and custodians of the land on Whether you’ve come from near or far, I welcome all which the 98th International Society for the Performing delegates to the 2016 ISPA Congress, to Australia’s Arts (ISPA) Congress is held, the Wurundjeri and creative state and to the world’s most liveable city. -
Nutcracker – the Story of Clara the AUSTRALIAN BALLET EDUCATION
TEACHER’S RESOURCE KIT SECONDARY SCHOOLS Nutcracker – The Story of Clara THE AUSTRALIAN BALLET EDUCATION Contents 05/ Synopsis 08/ The Creatives 10/ Spotlight on Nutcracker – The Story of Clara with Artistic Director David McAllister 11/ The Music 12/ Invitation to the Dance: Graeme Murphy on the origins of his Nutcracker 15/ Curricular activities TEACHER RESOURCE KIT | NUTCRACKER - STORY OF CLARA | 2 THE AUSTRALIAN BALLET EDUCATION Leanne Stojmenov. Photography Justin Ridler. Nutcracker – The Story of Clara Choreography Graeme Murphy Creative associate Janet Vernon Concept Graeme Murphy and Kristian Fredrikson Music Piotr Ilyich Tchaikovsky Set and costume design Kristian Fredrikson Original lighting design John Drummond Montgomery recreated by Francis Croese Film collage Philippe Charluet TEACHER RESOURCE KIT | NUTCRACKER - STORY OF CLARA | 3 THE AUSTRALIAN BALLET EDUCATION Leanne Stojmenov and Kevin Jackson. Photography Justin Ridler TEACHER RESOURCE KIT | NUTCRACKER - STORY OF CLARA | 4 THE AUSTRALIAN BALLET EDUCATION Nutcracker – The Story of Clara Amelia Soh, Natasha Kusen and artists of the Australian Ballet. Photography Daniel Boud SYNOPSIS ACT I During a sweltering Christmas Eve in Melbourne in the late During a troubled sleep Clara descends into hallucination. 1950s, the ageing Clara, once a famous Russian ballerina, She dreams that she encounters herself as a child and once struggles home through the scorching heat with her meagre again is terrified by shadows in the night. Then, as the clock shopping. All she can afford is a few provisions and a tiny strikes midnight on this final Christmas, she witnesses the death Christmas tree, which she places on a table. The music of of the man she loved and is caught in the destructive chaos of Tchaikovsky’s The Nutcracker from her radio fills her with the Russian Revolution. -
A Mixed Blessing at the Ballet 01
Daily Telegraph July 28 2001 A mixed blessing at the ballet Photo Sheila Rock As Anthony Dowell leaves the Royal Ballet, dance critic Ismene Brown assesses his 15-year regime as director - and stars pay tribute below AT THE Royal Ballet the countdown has begun to the end of an era. A week tonight, amid flowers, Champagne and tears, Sir Anthony Dowell, the longest-serving ballet director since the company’s founder, Ninette de Valois, will end his 15-year regime. He was undoubtedly one of the great world stars of dancing, and the “Celebration Programme” will mark his achievements as such. But about his success as director of the company, opinion is far from unanimous. What makes a good director? The question has never been more of a poser than during Dowell\s captaincy of the ballet, in the most turbulent years of the Royal Opera House’s history. There are many pluses on Dowell’s account sheet - his maintenance of high classical technical standards, his welcoming of key foreign artists into the Royal (particularly Sylvie Guillem and Irek Mukhamedov), his inspiring coaching, to which leading guest stars attest opposite. The rise of Darcey Bussell to world acclaim, the forging of a superb partnership between Mukhamedov and Viviana Durante, this final, nostalgic and beautiful 2000-01 season - these are positive memories. He will be noted as a conservative, and many welcomed this after an insecure period of modernising under his predecessor, Norman Morrice. Whether conservatism has served the company well for the future, though, is debatable. In the shifting landscape of ballet, conservatism is not enough to hold steady. -
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. -
Prix De Lausanne 2021 Video Edition International Ballet Competition
Press release Prix de Lausanne 2021 Video Edition International ballet competition Lausanne, November 20th, 2020: Due to the sanitary situation and related restrictions, the Fondation en faveur de l'Art Chorégraphique has had to rethink the usual form of its main event, the Prix de Lausanne. Therefore, the Fondation announces the new format for this year’s competition: The Prix de Lausanne will exceptionally be a Video Edition with a 9-member Jury present in Switzerland. Due to the sanitary situation and related restrictions, the Fondation en faveur de l'Art Chorégraphique has had to reinvent its main event but its priorities remain the same: providing opportunities for young talented dancers and fulfilling its mission as a charitable foundation. The Fondation is therefore pleased to announce that the 49th edition of its Prix de Lausanne, from January 31st to February 7th, 2021, will be a Video Edition. The event will require only the Jury’s 9-member presence on site in Switzerland. Every selected candidate will be able to demonstrate their talent and compete for a scholarship or apprenticeship via video submission and not in person in Switzerland. Classical and contemporary variations, as well as a ballet class, will be evaluated and marked separately. As in previous years, 20 finalists will be selected and judged at the end of the week, before the winners’ announcement during the Finals on Saturday, February 6th, 2021. The Prix de Lausanne’s Partner Schools and Companies will follow the competition week and will be able watch the videos privately through our Networking Forum and thus offer their support to all of the 81 candidates. -
1X 86Min Feature Documentary Press Kit
ELLA 1x 86min Feature Documentary Press Kit INDEX ! CONTACT DETAILS AND TECHNICAL INFORMATION………………………… P3 ! PROGRAM DESCRIPTIONS.…………………………………..…………………… P4-6 ! KEY CAST BIOGRAPHIES………………………………………..………………… P7-9 ! DIRECTOR’S STATEMENT………………………………………..………………… P10 ! PRODUCER’S STATEMENT………………………………………..………………. P11 ! KEY CREATIVES CREDITS………………………………..………………………… P12 ! DIRECTOR AND PRODUCER BIOGRAPHIES……………………………………. P13 ! PRODUCTION CREDITS…………….……………………..……………………….. P14-22 2 CONTACT DETAILS AND TECHNICAL INFORMATION Production Company WildBear Entertainment Pty Ltd Address PO Box 6160, Woolloongabba, QLD 4102 AUSTRALIA Phone: +61 (0)7 3891 7779 Email [email protected] Distributors and Sales Agents Ronin Films Address: Unit 8/29 Buckland Street, Mitchell ACT 2911 AUSTRALIA Phone: + 61 (0)2 6248 0851 Web: http://www.roninfilms.com.au Technical Information Production Format: 2K DCI Scope Frame Rate: 24fps Release Format: DCP Sound Configuration: 5.1 Audio and Stereo Mix Duration: 86’ Production Format: 2K DCI Scope Frame Rate: 25fps Release Formats: ProResQT Sound Configuration: 5.1 Audio and Stereo Mix Duration: 83’ Date of Production: 2015 Release Date: 2016 ISAN: ISAN 0000-0004-34BF-0000-L-0000-0000-B 3 PROGRAM DESCRIPTIONS Logline: An intimate and inspirational journey of the first Indigenous dancer to be invited into The Australian Ballet in its 50 year history Short Synopsis: In October 2012, Ella Havelka became the first Indigenous dancer to be invited into The Australian Ballet in its 50 year history. It was an announcement that made news headlines nationwide. A descendant of the Wiradjuri people, we follow Ella’s inspirational journey from the regional town of Dubbo and onto the world stage of The Australian Ballet. Featuring intimate interviews, dynamic dance sequences, and a stunning array of archival material, this moving documentary follows Ella as she explores her cultural identity and gives us a rare glimpse into life as an elite ballet dancer within the largest company in the southern hemisphere. -
Australians Headed to the 2017 Prix De Lausanne
Australians headed to the 2017 Prix de Lausanne dancemagazine.com.au /2017/01/australians-prix-de-lausanne/ The Prix de Lausanne is widely regarded as one of the most elite ballet competitions in the world. Taking place at the end of January/beginning of February each year, it welcomes carefully selected competitors to Théâtre de Beaulieu in Switzerland for a week of technique classes, absorbing repertoire and, eventually, competition. In addition to the exposure each dancer receives to artistic directors and choreographers from across the globe, there are many prestigious scholarships and company contracts up for grabs. Get to know six of the 10 Australian dancers selected to compete at the 2017 Prix de Lausanne below. Dance Informa asked them about their background, favourite dancewear and food, and how they’re preparing for the competition. Rose Dalton Age: 15 School: Fulltime at Tanya Pearson Classical Coaching Academy, Sydney. Previous training: The Premier Dance Academy, Brisbane. Awards and accomplishments thus far: Obtained distinctions in both RAD and Cecchetti Examinations; 2016 RAD Isobel Anderson Awards Finalist in Sydney; invited to the 2017 YAGP New York Finals. Top dance icon: “There are so many! I can’t choose one! I’d say Sylvie Guillem for her flawless lines and exceptional technique, and Natalia Osipova – she inspires me with her passion and artistry!” Favourite dancewear accessories: “I love my new Fleecys socks! They are so warm and go well over my pointe shoes.” Rose Dalton with Lucinda Dunn. Photo courtesy of What we can find her doing on her off day: “If I wasn’t Dalton. -
2013 Helpmann Awards Winners Announced! Full List of Winners At
HELPMANN AWARDS MEDIA RELEASE MONDAY 29TH JULY 2013 2013 HELPMANN AWARDS WINNERS ANNOUNCED! FULL LIST OF WINNERS AT www.helpmannawards.com.au The 13th Annual Helpmann Awards were presented tonight live in Sydney at the Joan Sutherland Theatre, Sydney Opera House and broadcast on Foxtel’s Arena. Co-hosts Eddie Perfect and Christie Whelan Browne kicked off the night’s proceedings with an incredibly entertaining opening number written specifically for the occasion by the multi-talented Mr Perfect himself. The Helpmann Awards recognise distinguished artistic achievement and excellence across the major disciplines of Australia's live performance industry. In total 43 awards were presented this evening by some of Australia’s most celebrated talent including, Tina Arena, Baz Luhrmann, Sarah Murdoch, John Waters, Hugh Sheridan, Marcus Graham, Elizabeth Debicki, Patrick Brammall, Chloe Dallimore, Erika Heynatz, Ashley Zukerman, Miranda Tapsell, Rob Mills, Sharon Millerchip, Toby Schmitz, Alison Bell, David Harris, Wayne Scott Kermond, Lynette Curran, Christen O’Leary, Russell Dykstra, Esther Hannaford, The Hon. George Souris, Ewen Leslie, Jennifer Vuletic and Helen Thomson. Further showcasing Australia’s unique and diverse live performance industry, show highlights included live performances by Tim Minchin, the casts of GREASE and HOT SHOE SHUFFLE, Sydney Dance Company, Silvie Paladino and the Sydney Children’s Choir, Emma Birdsall and Timomatic. In addition, as previously announced pop music icon Kylie Minogue OBE and Arts philanthropist David Blenkinsop CBE AM were co-recipients of the 2013 JC WILLIAMSON AWARD. By bestowing this award, Live Performance Australia (LPA) recognises individuals who have made an outstanding contribution to the Australian live entertainment industry and shaped the future of our industry for the better. -
Swallow Program
RIVERSIDE THEATRES PRESENTS NATIONAL THEATRE OF PARRAMATTA BY STEF SMITH THEATRE 21 – 30 APRIL FROM THE FROM LORD FROM FROM HON TROY MAYOR CLR NATIONAL ROBERT GRANT MP PAUL GARRAD THEATRE OF LOVE PARRAMATTA DIRECTORATE DEPUTY PREMIER LORD MAYOR DIRECTOR MINISTER FOR JUSTICE AND PARRAMATTA CITY COUNCIL RIVERSIDE THEATRES POLICE, MINISTER FOR THE As Lord Mayor of Parramatta I am Riverside has always wanted and ARTS, MINISTER PAULA ABOOD, excited to welcome you to the first needed a resident theatre company FOR RACING WAYNE HARRISON AM, production from National Theatre of S. SHAKTHIDHARAN, to be truly a lively and distinctive Welcome to the inaugural Parramatta, Swallow. The launch of ANNETTE SHUN WAH performance venue. We need artists production from National Theatre the theatre company last November in situ interpreting local issues of the of Parramatta, Swallow. marked the culmination of years of A new theatre is cause for day, working with the local community celebration. A new national theatre The NSW Government is proud planning and its debut season of and giving the place a creative heart, is an opportunity to capture the to be part of a multi-year funding performances is highly anticipated. an enquiring mind and a soul that can creative diversity of the nation. As agreement in 2015 that lead to the National Theatre of Parramatta is a take flight. Now we have our own the inaugural production of National dream that was National Theatre of wonderful addition to the cultural National Theatre of Parramatta that Theatre of Parramatta, Swallow Parramatta, becoming a reality. On landscape here in the heart of Global aims to put the nation on stage. -
Dame Margaret Scott AC DBE
Having trouble viewing this email? You can view it online. Like | @LivePerfAust | Follow | Forward VALE Dame Margaret Scott AC DBE LPA was very saddened to hear of the passing of Dame Margaret Scott AC DBE who died last week in Melbourne at the age of 96. Margaret or "Maggie" as she perferred to be called was a pioneer of Australian dance. She had been involved in most, if not all, of the major developments in dance education in Australia since the mid 1960s, including the establishment of the country’s dance organisation, Ausdance and The Australian Ballet Foundation. In 1964 she was appointed Founding Director of The Australian Ballet School and continued this role until 1990. During her time as Director she transformed the school from humble beginnings to an internationally recognised training institution discovering and nurturing elite performers. Born in Johannesburg, South Africa, Maggie moved to London initially accepted into the Sadler's Wells Ballet School but joined the Sadler's Wells Ballet shortly after. Dissatisfied with her prospects she resigned and successfully auditioned for Ballet Rambert. She arrived in Australia in 1947 as part of Ballet Rambert's overseas tour and chose to stay. Passionate about dance and education she was an advocate for Australian dance and taught many dancers and choreographers including Graeme Murphy AO and Meryl Tankard. Maggie changed the landscape of dance in Australia and was awarded the Order of the British Empire in 1977 and made a Dame in 1981. Maggie received Live Performance Australia’s James Cassius Williamson Lifetime Achievement Award in 2007. -
SOH-Annual-Report-2016-2017.Pdf
Annual Report Sydney Opera House Financial Year 2016-17 Contents Sydney Opera House Annual Report 2016-17 01 About Us Our History 05 Who We Are 08 Vision, Mission and Values 12 Highlights 14 Awards 20 Chairman’s Message 22 CEO’s Message 26 02 The Year’s Activity Experiences 37 Performing Arts 37 Visitor Experience 64 Partners and Supporters 69 The Building 73 Building Renewal 73 Other Projects 76 Team and Culture 78 Renewal – Engagement with First Nations People, Arts and Culture 78 – Access 81 – Sustainability 82 People and Capability 85 – Staf and Brand 85 – Digital Transformation 88 – Digital Reach and Revenue 91 Safety, Security and Risk 92 – Safety, Health and Wellbeing 92 – Security and Risk 92 Organisation Chart 94 Executive Team 95 Corporate Governance 100 03 Financials and Reporting Financial Overview 111 Sydney Opera House Financial Statements 118 Sydney Opera House Trust Staf Agency Financial Statements 186 Government Reporting 221 04 Acknowledgements and Contact Our Donors 267 Contact Information 276 Trademarks 279 Index 280 Our Partners 282 03 About Us 01 Our History Stage 1 Renewal works begin in the Joan 2017 Sutherland Theatre, with $70 million of building projects to replace critical end-of-life theatre systems and improve conditions for audiences, artists and staf. Badu Gili, a daily celebration of First Nations culture and history, is launched, projecting the work of fve eminent First Nations artists from across Australia and the Torres Strait on to the Bennelong sail. Launch of fourth Reconciliation Action Plan and third Environmental Sustainability Plan. The Vehicle Access and Pedestrian Safety 2016 project, the biggest construction project undertaken since the Opera House opened, is completed; the new underground loading dock enables the Forecourt to become largely vehicle-free.