A Teacher's Handbook

Home , Frederic Franklin, Houston Ballet, John Lanchbery, La lugubre gondola, The Brides of Dracula, The Marquees

Edited by Carol Meeder, Director of Arts Education, 2004 Updated, December 2010 Cover photograph by Duane Rieder Artists: Eva Trapp and Robert Moore

The 2011 Production of Dracula is sponsored by

A Teacher’s Handbook for Pittsburgh Ballet Theatre’s

A co-production of Pittsburgh Ballet Theatre and Houston Ballet

Choreography by Ben Stevenson Music by Franz Liszt Music Arranged by John Lanchbery

Student Matinees Sponsored by In-Step Programs Sponsored by

Pittsburgh Ballet Theatre's Arts Education programs are also supported by the following:

Allegheny Regional Asset District Pennsylvania Department of Community Anne L. and George H. Clapp Charitable & Economic Development and Educational Trust PNC Charitable Trusts Dominion Foundation PNC Equity Securities, LLC Henry C. Frick Educational Fund of the PNC Foundation Buhl Foundation James M. and Lucy K. Schoonmaker The Grable Foundation Foundation William Randolph Hearst Endowed Edith L. Trees Charitable Trust Fund for Arts Education UPMC Health Plan The Heinz Endowments Mary Hillman Jennings Foundation Martha Mack Lewis Foundation Pennsylvania Council on the Arts

Introduction

Dear Educator:

Pittsburgh Ballet Theatre would like to thank you for taking your students to see our production of Dracula. We know that it is difficult for educators to fit the arts into an already very busy academic schedule and we appreciate your belief in its importance in the education of our children. You are in good company: William Bennett, former U.S. Secretary of Education, describes the arts as

“. . . an essential element of education, just like reading, writing, and arithmetic. Music, dance, painting, and theater are all keys that unlock profound human understanding and accomplishment.”

Dracula will help unlock that understanding: it is a wonderful way to engage students in the arts. The story of the Count is iconic in literature, folklore and popular culture. Its broad familiarity and appeal make the production accessible—even to those who have not seen a ballet before—creating an avenue into the multifaceted world of the performing arts. Your students will be immersed in dance, theater, and music: they will be captivated by the lavish and atmospheric set design, costuming, and lighting; thrilled by the dark and romantic music by 19th century Hungarian composer Franz Liszt; and enchanted by the choreography—the classical ballet, folk dance, and stage magic that are the heart of the production.

It is our goal to provide you with a meaningful experience at the Benedum, a performance of the highest quality, and study materials to assist you as you prepare your students for the performance. This handbook provides the tools to help your students understand and appreciate Dracula and the art of ballet. We thank you for teaching about the arts in your classroom, and for your commitment to keeping Arts Education a vital part of your school curriculum.

We will see you at the theater!

Terrence S. Orr Artistic Director

How to Use This Handbook

This handbook offers a unique opportunity to explore the making of a ballet. This production of Dracula was premiered to the world on March 13, 1997. Unlike 19th century ballets, the artists who contributed to this production can tell us in their own words about the research and inspirations that went into the arrangement of the music, the choreography, and creating the scenery and costumes for the ballet. This handbook, therefore, is designed to emphasize the creative and collaborative processes.

The activities in this handbook are grouped according to narrative, technical and choreographic elements. Each activity is designed to meet one or more of the stated objectives, which are essential to understanding the function and integrity of the ballet art form. In addition, the suggested Classroom Activities and the background information that support them also address the Academic Standards for the Arts and Humanities put forth by the Pennsylvania Department of Education. These activities are offered as springboards to the creative imaginations of teachers and students for adaptation to individual instructional needs.

The collaborative nature of producing a ballet can lend itself to expanding the ballet experience beyond your classroom. Literature, geography, and history are woven together through the lore of Dracula. Art teachers can tie in exercises that underscore the techniques used to achieve specific effects, and work alongside the technical education classes for a demonstration of how a sketch is translated, built and painted into a piece of scenery. There is also an opportunity for the art teacher to incorporate designing and drawing costume ideas and techniques in a lesson keyed to Dracula. Whatever your opportunities for interdisciplinary utilization of this handbook are, we know the students will benefit by an expanded awareness of the many talents needed to put together a production such as the ballet. Enjoy!

Academic Standards and Objectives

The Pennsylvania Department of Education Academic Standards for the Arts and Humanities are the guidelines for what students should know and be able to do in both the performing and visual arts, in addition to understanding the arts in relation to the humanities. Below we have included the Dance Content Standards developed by the National Dance Association which are specific to dance in the standards' unifying themes of production, history, criticism and aesthetics in addition to the components that yield an overall knowledge of the Arts and Humanities.

DANCE CONTENT STANDARDS: 1. Identifying and demonstrating movement elements and skills in performing dance 2. Understanding choreographic principles, processes, and structures 3. Understanding dance as a way to create and communicate meaning 4. Applying and demonstrating critical and creative thinking skills in dance 5. Demonstrating and understanding dance in various cultures and historical periods 6. Making connections between dance and healthful living 7. Making connections between dance and other disciplines

Knowledge of the Arts and Humanities incorporates carefully- developed and integrated components such as:

 Application of problem solving skills  Extensive practice in the comprehension of basic symbol systems and abstract concepts  Application of technical skills in practical production and performance  Comprehension and application of the creative process  Development and practice of creative thinking skills  Development of verbal and nonverbal communication skills

This handbook is designed to aid you in your task of enabling your students to experience the arts while at the same time having a useful, educational experience. The content and activities within this book focus on at least one of the above content standards and can be used as components to achieve knowledge in the Arts and Humanities as a whole.

Academic Standards and Objectives (continued)

The "Introduction" to the Pennsylvania Department of Education Academic Standards for the Arts and Humanities states that "Dance Education is a kinesthetic art form that satisfies the human need to respond to life experiences through movement of the physical being." Becoming educated about the classical art of ballet even extends beyond dance education into music, theater, visual arts and humanities.

At the very least, the experience of attending a ballet performance will help your students develop an appreciation of their cultural environment, and through the activities outlined in this hand book, the students should be able to –

9.1 Production, Performance and Exhibition of Dance, Music, Theater and Visual Arts  Demonstrate how a story can be translated into a ballet.

9.2 Historical and Cultural Contexts  Demonstrate how a choreographer uses music, movement and mime to help create a ballet.

9.3 Critical Response  Demonstrate how costumes, scenery and lighting help support plot, theme and character in a ballet.

9.4 Aesthetic Response  Write a thoughtful, informed critique of a performance.

What to Expect at the Benedum Center

It is a special privilege to attend a live performance at the Benedum Center. Polite behavior allows everyone, including the dancers, to fully enjoy and concentrate on the performance. Discuss with your students the following aspects of audience etiquette:

1. Once inside the Benedum Center you will not be permitted to leave and re-enter the building.

2. Programs are available to students for use in follow-up classroom activities. Upon entering the theater, teachers should pick up the programs for their school at the Patron Services table. The playbill includes a synopsis, historic information on the ballet, casting and biographies of Pittsburgh Ballet Theatre artists.

3. Be sure to sit in the section assigned to your school. An usher will be happy to help you find where your school's seats are located.

4. You may talk to your neighbor in a normal speaking voice prior to the performance and during intermission. Remember the performance begins with the first note of the musical Overture. During the performance even the softest whisper can be distracting. PLEASE DO NOT TALK DURING THE PERFORMANCE.

5. There will be one intermission. This gives the dancers time to rest or make elaborate costume changes, the production staff time to make major set changes, and students time to stretch their legs and use the rest rooms.

6. The taking of pictures is prohibited during a performance, so it is best to leave your cameras at home.

7. Applause is the best way to communicate with the dancers. It tells them that you are enjoying the performance. If you see something you like, feel free to applaud!

8. Remain with your class. The Benedum Center is very large, and it is easy to get lost.

9. Chewing gum, food and drink are not acceptable in the theater.

10. The Benedum Center is considered a Historic Landmark. There are a lot of different things that the students can look for when they arrive. In the next section, there are different items listed with some interesting facts about each.

Things to Look for at the Benedum Center

1. The Marquees - When you arrive at the theater, note the marquees on the front and the Penn Avenue sides of the theater. They were designed in 1928 to showcase the "new" electric lights. By the terms of the Historic Landmark agreement there is only limited reference to the new name of the theater – Benedum Center. See if your students can find all of the references to the Benedum Center and to the original name, the Stanley Theater.

2. Grand Lobby - All but one of the murals on the ceiling of the Grand Lobby were destroyed over the years. Celeste Parrendo, the painter who recreated them, worked from photographs of the designs and from one well-preserved mural for the colors. Much of her work was done with Q-Tips. She tried to lie on her back and paint as Michelangelo did with the Sistine Chapel; however, the blood ran out of her hand, and she couldn't paint. She quickly found ways to kneel or stand on the scaffolding in order to finish her painting.

3. Orchestra Pit - It is divided into two sections, each of which can be raised or lowered by the built-in hydraulic lift. When there is a smaller orchestra, half of the pit is raised and additional seating is installed. If an orchestra is not required, the entire pit may be raised for seating.

4. Proscenium Arch - The opening around the stage is the proscenium. In accordance with the guidelines of the Historic Landmark restoration, the original elaborately painted plaster arch has been restored. (You can see the top of the arch from the balcony.) An exception to the restoration guidelines was made for the wooden acoustical arch that your students will see. The panels in the arch can be adjusted to change the acoustics of the theater, or they can be opened to accommodate vocalists, actors or musicians.

5. Chandelier - Believe it or not, this beautiful centerpiece to the theater's elaborate dome weighs 2 tons or 4,000 pounds and has over 50,000 pieces. When it is cleaned, the chandelier is lowered to a certain point and then scaffolding is built around it. Each crystal is washed in soapy water and replaced.

6. The Stage - This is the third largest stage in the country. The first is the Metropolitan Opera in New York City and the second is the Indiana University School of Music in Bloomington. The full stage measures 144 feet wide by 78 feet deep. The performance space that you will see is 56 feet by 56 feet. The wooden floor is covered with marley, a black rubber-like, non-skid surface.

History of the Benedum Center for the Performing Arts

Pittsburgh Ballet Theatre performs in the Benedum Center for the Performing Arts. Built in 1928, the theater was originally called the Stanley Theater and was constructed in conjunction with the Clark Office Building. Over the years many big name entertainers, big bands and rock-and-roll groups have performed at the Stanley.

When the theater opened, there was a Wurlitzer organ in the orchestra pit that had been purchased for $125,000. It was used for sing-a-longs and silent movies until 1936. That year, the St. Patrick's Day flood destroyed the organ. The water rose to the edge of the balcony before leveling off. Three men were trapped in the theater for three days before being rescued in pontoon boats by the police.

Two other companies owned the Stanley prior to the Benedum Foundation. In 1976, the Cinemette Corporation bought it. In 1977 DiCesare-Engler Productions purchased the building and used it for rock concerts until 1982. In 1984, The Benedum Foundation bought the run-down theater and decided to restore it to its grandeur. The budget for the project was $42 million, which included both the restoration and the purchase of the property behind the theater.

Since the building is considered a Historic Landmark, special rules had to be followed in the restoration. No major structural changes could be made to the building without special permission. The colors, fabric, and other materials used had to be as close to the original as possible. The painters scraped down through the layers of paint to find the original colors. The colors of the carpeting were discovered when a workman found a small piece in a heating duct. The murals on the ceiling of the Grand Lobby were restored using original photographs.

Every effort was made to have as many of the materials as possible made in Pittsburgh or Pennsylvania. The carpet was woven in England, but the drapery fabric was made in York, Pennsylvania on one of the two remaining jacquard looms in the United States. It took seven weeks to make the 400 yards needed.

The architects were given permission to add the wooden acoustical arch that is directly in front of the original proscenium. It has special panels that can be moved to change the acoustics of the hall to accommodate vocalists, instrumentalists, or actors.

The size of the Stanley stage and the dressing rooms were deemed inadequate, therefore the architects requested special permission to add a support building. It was given and the Pittsburgh Cultural Trust purchased the block of land adjacent to the theater for the addition. The additional space also allowed the construction of one of the largest stages in the country. The first is in the Metropolitan Opera House at Lincoln Center, New York City. The second is the stage at Indiana University School of Music in Bloomington, Indiana.

The Benedum Center for the Performing Arts is owned by the Pittsburgh Cultural Trust. Constituents that perform there regularly include Pittsburgh Ballet Theatre, Pittsburgh Opera, Pittsburgh CLO and the Broadway Series.

History of Pittsburgh Ballet Theatre

Pittsburgh Ballet Theatre was born in 1969 when a brash Yugoslavian choreographer, Nicolas Petrov, convinced the community that a Pittsburgh ballet company was within the realm of possibility. Petrov had joined the dance faculty of the Pittsburgh Playhouse in 1965, and by 1968 his students had mounted several small ballets and his version of The Nutcracker. He managed to secure famed ballerina Violette Verdy as guest artist in the role of Sugar Plum Fairy—a casting coup that caught the public’s eye and ensured the production's success. Tickets for that first production of The Nutcracker were just 99 cents each.

From that moment on, Petrov had one mission: to create a professional ballet company in Pittsburgh. He enlisted the help of Mrs. Leon Falk, Jr., an influential board member of the Pittsburgh Playhouse. She soon shared Petrov’s vision and worked tirelessly to build support for the Company. In 1969 PBT was incorporated as an affiliate of Point Park College (now Point Park University).

The new company debuted at the Pittsburgh Playhouse in April 1970 and presented its first subscription season at the Syria Mosque. The season—one performance of Swan Lake and four of The Nutcracker—was sold out.

PBT captured the interest of many of the country's leading dancers, teachers, and choreographers, who gave generously to the developing ballet company. Edward Villella and Violette Verdy of New York City Ballet, Ted Kivitt and Natalia Makarova of American Ballet Theatre and a host of other stars made regular guest appearances with PBT. Ruth Page and other noted choreographers set their ballets on the Company, taught master classes and coached dancers. Henry Heymann (for whom the University of Pittsburgh’s Henry Heymann Theatre is named) designed costumes and scenery. These celebrated dance professionals helped give Pittsburgh Ballet Theatre national exposure in its early years.

In 1974, Petrov invited his friend Frederic Franklin to join PBT as co-Artistic Director. A world-renowned dancer, director and choreographer and a recognized authority on Giselle, Franklin staged the work for PBT that season. By 1976, Pittsburgh Ballet Theatre had earned accolades from the leading dance critics of the day. In an international review by Clive Barnes, PBT was called “the best of the new companies springing up outside New York City."

PBT became independent of Point Park College in 1977; that same year Petrov and Franklin were replaced with former London Festival Ballet principal dancer John Gilpin, who stayed less than a year due to health problems. French dancer and choreographer Patrick Frantz was named Artistic Director in 1978. Frantz emphasized contemporary works in the Company's repertoire, adding Harald Lander’s masterpiece, Etudes, a work that at the time was in the repertoire of just one other American company—American Ballet Theatre. Frantz choreographed several new ballets for PBT and during the 1981-82 season, the Company made its New York debut with Ruth Page's The Merry Widow. Frantz also oversaw the development of the PBT School, which today has an enrollment of more than 300 students.

Pittsburgh Steeler Lynn Swann, an ardent dance fan, was an instrumental supporter of the School, and joined the board during Frantz’s tenure.

Patricia Wilde was appointed Artistic Director in 1982. A protégé of George Balanchine, Wilde was a celebrated former principal dancer with New York City Ballet and one of the world’s foremost classical ballerinas. She was renowned for her clean, precise technique and elegant artistry. She added Balanchine ballets to the repertoire but also looked to contemporary choreographers to expand the ballet experience for both her dancers and the audience. She commissioned the world premiere of Tabula Rasa by Ohad Naharin (now in the repertoire of ballet companies on six continents) and brought works by Alvin Ailey (The River) and Choo San Goh to PBT for the first time.

In 1987, PBT moved its performances from Heinz Hall to the new Benedum Center for Performing Arts. Also under Wilde’s leadership, the Company undertook its first international tour—a much celebrated trip to Taiwan. In 1989, PBT’s comprehensive arts education program was launched, reaching 6,000 children that first year. It continues to provide local schools with materials and on-site workshops.

Patricia Wilde retired in 1997 and after an extensive search the Board of Trustees hired Terrence S. Orr to replace her. Orr was Ballet Master with the American Ballet Theatre in New York and Artistic Director for the Stars of American Ballet. A native of Berkeley, California, Orr trained at the San Francisco Ballet School and became principal dancer with the Company. In 1965, he left San Francisco to join the American Ballet Theatre in New York where he was made a principal in 1972.

Mr. Orr opened the 1997-98 season with the much anticipated Pittsburgh premiere of Dracula, a co-production between PBT and the Houston Ballet. Dracula played to sold-out houses both in Houston and Pittsburgh (PBT will stage the ballet once again in February 2011). Under Mr. Orr’s direction, Alice In Wonderland, Cleopatra, Madame Butterfly, and Carmen were added to PBT's repertoire, and in December 2002, PBT built an all-new production of The Nutcracker with choreography by Mr. Orr, and set in 1904 Pittsburgh.

In 2000, Mr. Orr began a series of commissions for contemporary ballets inspired by American music. Launching the project with Indigo in Motion, he commissioned three works by innovative choreographers that paid tribute to jazz music and musicians with strong roots in Pittsburgh. This commitment to contemporary new works has continued each year with ballets set to music by Sting, Bruce Springsteen, Paul Simon, Frank Sinatra, and longtime and beloved Pittsburgh performer Etta Cox. In step with Mr. Orr’s emphasis on innovation and challenge, in 2009 PBT took on Light / The Holocaust and Humanity Project, a searing ballet by Stephen Mills.

In 2010-2011, as with each new season, PBT continues to build a rich tradition of presenting works that that inspire, entertain and achieve even greater heights of artistic excellence.

What is Ballet?

Ballet tells a story using music and dance instead of words and consists of movements that have been developed over the centuries. Classical ballet is found all around the world in countries such as France, the United States, China, Japan, Russia and in South America.

Ballet began in the royal courts of Italy over four hundred years ago. When Catherine de Medici married the future King Henry II of France in 1533, she brought the art form to France where it flourished. Dance became a larger part of court life during the reign of Louis XIV, a great supporter of the arts. His nickname, The Sun King, is from his favorite role, which he performed for many years. Slowly, ballet made its way from the royal courts to the stage.

The earliest ballets were created using themes and stories from classical literature and mythology. In the first half of the 19th century the "Romantic Movement" influenced art, literature, music, and ballet. The movement was concerned with the supernatural world of spirits and magic. It often showed women as passive and fragile. These themes are reflected in the ballets of the time and are called "romantic ballets." Giselle and La Sylphide were created during this time.

Ballets created during the latter half of the 19th century such as Swan Lake, The Nutcracker and The Sleeping Beauty, represent "classical ballet" in its grandest form. Their main purpose was to display classical technique and virtuosity. Complicated sequences that show off demanding steps, leaps and turns are choreographed into the story.

Ballets created during the 20th century are called "contemporary ballets." They do not always have a definite story line; however, they often have a theme, concentrating on emotions and atmosphere in order to arouse feelings in the audience. Emotions and reactions differ from person to person when viewing this style of ballet. George Balanchine, founder of the New York City Ballet and considered by many as the greatest classical choreographer of the 20th century, played a large part in bringing American ballet to the respect and eminence it holds today in the world of dance.

There are also new ballets which are being created that are patterned after traditional ballets in their structure and form. These ballets incorporate contemporary choreographic innovations while using classical forms and traditional stories and fairy tales such as Ben Stevenson's Cinderella, Dracula, and Cleopatra, Derek Deane's Alice in Wonderland and Terrence Orr’s The Nutcracker.

Twentieth century choreographers continue to create diverse styles of ballets, and ballet companies are giving dance audiences a wide range of ballets from which to choose. From old classics to new works, it is an exciting time for dance and balletomanes!

What Are Pointe Shoes?

Founder of New York City Ballet and famous choreographer George Balanchine once said that if no pointe work existed, he would not be a choreographer. Pointe shoes allow a ballerina to create the illusion of lightness and to project an increased sense of daring. Without pointe shoes, much of the magical quality of ballet would be lost.

Ballerinas began dancing on pointe between 1815 and 1830 using soft shoes reinforced by stuffed toes and starch. Since then, pointe dancing and the toe shoe have evolved considerably. Today pointe shoes provide comfort and support for a dancer, whether she is on pointe or in a flat position.

The contemporary pointe shoe is handmade by American and European manufacturers. The tip is made of a hardened box or block made of densely packed layers of fabric and paper hardened by glue. This box of glue and fabric encases, protects and supports the toes and gives them a small platform on which to perch. The rest of the shoe is made of a leather outer sole, a sturdy insole and a supple shank. The side and top of the shoe are covered with a cotton lining and an outer layer of satin, canvas or leather.

Dancers don't just put on pointe shoes and begin dancing. Selecting and preparing shoes is a very involved process. Dancers usually have a favorite cobbler who makes their shoes to very exacting specifications, including measurements, materials and finishing elements. Because of the handmade nature of each pair of shoes, no two pairs are ever identical. To ensure a proper fit, a dancer must have a fitting for each new pair of shoes.

Once a dancer has selected new pointe shoes, she must prepare them. It takes an hour or longer to "ready" a shoe for dancing. Each dancer has her own personal way of preparing her shoes. Dancers will darn the shoes to provide traction and to prevent the satin from fraying. Some pound the point with a hammer or squeeze the box in a door to soften it. Some cut the satin off the tips and use a carpenter's file to rough up the sole. To mold the shoes and prolong wear, dancers line the inside with floor wax or shellac. Finally, the ballerina attaches elastic and ribbons to hold the shoe in place. Legend has it that one dancer glued her entire foot to her shoe to keep it in place!

Dancers break in shoes by wearing them to class and rehearsal. Once they are broken in, dancers set that pair aside for a performance and use another pair. Dancers may change their pointe shoes several times during a performance depending on the range of difficulty of the ballet. Each female dancer goes through 100-120 pairs of pointe shoes each season at the Pittsburgh Ballet. It's no wonder the Ballet spends $80,000 on pointe shoes each year!

Getting to Know Corps de Ballet Dancer

AYGUL ABOUGALIEVA

Aygul Abougalieva has been a professional dancer with Pittsburgh Ballet Theatre since the 2006-2007 season.

I was born in Ufa, Russia. After graduation from The Rudolf Nureyev Ballet School in Ufa I moved to Moscow, where I got my first job. I danced with the Moscow Festival Ballet, Russian National Ballet and later Moscow City Ballet. I have toured all around the world. Before joining Pittsburgh Ballet Theatre, I danced with the Colorado Ballet. This is my fifth season with PBT.

Greatest influence in ballet: Rudolf Nureyev and Mikhail Barishnykov.

Favorite thing about dance: Applause and flowers.

Least favorite thing about dance: Tiredness.

Favorite choreographers: George Balanchine, Twyla Tharp, etc.

Family: My husband Nurlan, who is a principal dancer here at PBT, and our daughter Diana, who is learning ballet at PBT.

Favorite restaurant in Pittsburgh: We like Tokyo Restaurant.

Favorite food: Russian cuisine: pelmeni (a kind of dumpling), borscht (beet soup); Italian pasta; and I like any kind of dessert.

Favorite ice cream flavor: Chocolate.

Favorite vacation: Ocean, beach.

What three things can always be found in your refrigerator? Fruits, juices, yogurt. You will never find soda in my fridge.

Any pets? We have two kitty cats. They are cute and fluffy.

Advice to students: Never stop improving yourself.

Getting to Know Principal Dancer NURLAN ABOUGALIEV

Nurlan Abougaliev has been a professional dancer with Pittsburgh Ballet Theatre since the 2006-2007 season.

I was born in Kazakhstan. I came to the United States from Moscow, Russia, in 2003 with my wife Aygul and my beautiful daughter, Diana. Aygul is also a dancer with Pittsburgh Ballet Theatre in the Corps de Ballet. I met my wife in Moscow at the Russian National Ballet. We have toured extensively around the world. After coming to the United States, I danced with Ballet International. We came to Pittsburgh Ballet Theatre after working with the Colorado Ballet. I hope we will be able to work with PBT and Terrence S. Orr for a long time.

When I was a child and ballet came on the TV, I would change the channel because I was not interested. But when I was ten, someone came to my hometown from the ballet academy in Alma-Ata. They thought I had the right physical qualities – straight legs, good feet, and the correct stature – to be a ballet dancer. I attended the academy in Alma-Ata from age ten to eighteen. By the time I finished, I wanted to be a professional. I danced in the city of Cheboksar in Russia, and then went to Moscow to study with a teacher from the Bolshoi Ballet. It was then that I received an invitation to join the Russian National Ballet.

Hometown: Moscow, Russia.

Number of years as a dancer: Eighteen years. This is my fifth season at PBT.

Favorite role: Siegfried in Swan Lake. Also The Sleeping Beauty, Giselle, and Jose in Carmen.

Greatest influence: My wife and daughter.

Favorite music: Classical and pop music.

Favorite food: National foods from Kazakhstan and Russian foods. Also barbeque.

Favorite vacation: Anywhere, as long as I am with my family.

Family: My wife and daughter in Pittsburgh. In Kazakhstan I have 6 brothers and 1 sister. None of them are dancers. Our eight-year old daughter, Diana, is teaching us English and we try to speak only Russian at home so that she will know both languages.

Favorite restaurant: Tokyo Restaurant.

Future plans: I like teaching: after my performing career, I would like to open a ballet school.

Dracula Synopsis

In his scenario for the ballet version of Dracula, Ben Stevenson distilled the essence of Bram Stoker's novel, retaining key characters and dramatic situations. He amended elements of the novel to make it possible to tell the story in the language of ballet and to make the work more theatrically compelling.

In Mr. Stevenson's version, the ballet takes place entirely in Transylvania, with the first and third acts transpiring in Dracula's castle and the second act in the village. While many film and stage versions have satirized the story of Dracula, Mr. Stevenson treats the subject very seriously. "Dracula is evil," he observes. "I've tried to keep the chilling side of the story in my treatment for the ballet."

Act I: The Crypt of Dracula's Castle

In the evening, Count Dracula and his wives awaken from their coffins in the crypt of his castle. In order to satisfy the lust of the Count, Renfield, Dracula's trusted henchman, arrives in a coach with Flora, a lovely young girl from the village.

Act II: The Village

The innkeeper and his wife are celebrating the eighteenth birthday of their daughter Svetlana with the villagers. Frederick, a young man from the village, is in love with her, and asks the innkeeper for her hand in marriage. At the height of the festivities, Count Dracula, who has been informed of the beauty of Svetlana, arrives to abduct her.

Act III: The Bedroom of Count Dracula

Flora and the other brides await the return of Count Dracula. He enters with Svetlana, who is to become his next bride. At the climax of her initiation, Frederick, accompanied by the priest and the innkeeper, storms into the Count's bedroom in an attempt to save her.

The Music COMPOSER JOHN LANCHBERY ON HIS SCORE FOR DRACULA

“As he did with his production of Peer Gynt in 1981, Ben Stevenson provided me with a detailed and highly theatrical scenario for the ballet, broken down into acts, scenes, and numbers, all vivid in their description of their musical needs. Naturally, I looked for music that would fit Ben's detailed and descriptive scenario. It is indeed a joy to work with a choreographer as coherent as he.

Ben and I were attempting to create an atmosphere of mid-nineteenth century terror overtaking a Hungarian village. The novel Dracula, written towards the end of the nineteenth century, can be called the last great Gothic novel.

I think the music of Liszt is particularly appropriate for this story. He flourished right through the Gothic period in literature. An avid reader all his life, Liszt would have devoured every Gothic novel possible. Some of his compositions are based on Gothic literature: Byron's Mazeppa and Goethe's Faust and Tasso are examples. Moreover he was keenly interested in the supernatural (he admired the unearthly qualities of Paganini) and the morbid, shown by such composition titles as “The Lugubrious Gondola”, “The Mephisto Waltzes” (there were four of them), “Pensees des Morts,” and “Czaradas Macabres.”

At the outset, Ben and I met in London to discuss which composer to use for the score. As Ben left me, he said, "I am coming back to London in a week. Try to find something for Dracula to change into a bat and fly around the stage."

Later I remembered an amazing work for piano and orchestra by Liszt, "The Dance of Death" … a series of brilliant variations on the ancient hymn "Dies Irae." A short and terrifying introduction on orchestra is interrupted by brilliant arpeggios and scale passages on solo piano. On Ben's return I played him a recording of the opening, and I saw from his face that I'd found our composer.

When I began working on the score, I realized that solo piano could act as an additional identifying factor for Count Dracula, and I have frequently associated a piano concertante with him therefore in my score, even orchestrating for piano and orchestra pieces written by Liszt as piano solos.

Liszt's music developed harmonically towards the end of his life. He could be called the father of impressionism in music. And some of the strange later works are atonal, i.e. written not in any recognizable key. This lends them an unearthly quality, useful for my purpose. For example, I have used “The Lugubrious Gondola” for some of Dracula's wives and the curious last tone poem “From the Cradle to the Grave” for Renfield's madness.

The earlier, simpler, more romantic music was perfect for the lovers. Liszt was a fiercely patriotic composer, and some of his treatments of Hungarian folk music are well known. I chose some lesser known for the village scene.”

The Choreography BEN STEVENSON AND THE CHALLENGES OF A NEW BALLET

When creating a new ballet that has never been performed before to a specially commissioned score, a choreographer faces a unique set of challenges that require a distinct theatrical sensibility and a highly developed dramatic imagination.

When a choreographer is producing a new version of one of the great classical ballets such as Swan Lake, The Sleeping Beauty, or Don Quixote, he can draw upon a codified performance tradition in the areas of staging and choreography which has been handed down through the generations. The scores for some of the great nineteenth-century ballets even contain very specific notations from the composer to the choreographer detailing what actions and sequences of events occur at any given moment in the music.

A choreographer creating a new full-length ballet has none of these resources upon which to draw. In many ways, a choreographer staging a new ballet is similar to the director of a new Broadway musical. But the choreographer is forced to assume a great deal more creative responsibility than a theatrical director. In addition to devising the steps for the dancers to execute, the choreographer must also serve as playwright – fashioning a libretto for the work that is both coherent and theatrically compelling. He is also a director, creating the stage pictures, directing the traffic of performers moving on and off the stage, monitoring the pacing and tempo of the production to make certain that it holds the audience's interest.

In bringing his version of Dracula to the stage, Mr. Stevenson articulates several challenges he faces. First: Is the story comprehensible to the audience? Can a spectator follow the plot solely through gesture, movement, and mime? Can the scenario of the ballet be understood without the use of language? Second: Is there enough dancing in the ballet? And finally: If a choreographer is going to tell a well- known story in a new way, how does he deal with the preconceptions an audience may bring with them about how a particular character should be portrayed?

"If you're creating a ballet version of Alice in Wonderland, there are certain built-in aspects that the audience expects. You are pretty certain that when you walk into the theater, you will see a pretty blonde girl in a blue dress, not a brunette in a red dress. But the character of Dracula in my version of this story is new. He's not the standard Bela Lugosi conception of the Count. And that is one of the biggest challenges that you face in bringing a new ballet like Dracula to the stage."

Scenic Design THOMAS BOYD ON HIS SETTINGS FOR DRACULA

"I read Bram Stoker's novel. I did a lot of research about the Balkans and Romania to get an idea of the look of the architecture, the people, the way that the mountains and sky look. I've never been to Eastern Europe, so it was intriguing for me to do this research.

The works of nineteenth century German painter Caspar David Friedrich are very evocative of the feeling and style that I was seeking. In his work, there is a sense of immortality, of timelessness, of an energy that transcends time. And it is this feeling that I am seeking to evoke in setting the scene for the ballet.

For me, Frederick bridges the gap between the Romantics and the surrealists. Many of the surreal images have an energy that transcends time and space. Certainly the story of Dracula is about transcending time, transcending death, and transcending the moral structure of the era. It's a very dark story.

My objective is to give the locations a sense of timelessness, of foreboding, of oppression (in the case of the village scene), and of timeless power.

One thing that Judanna Lynn, Ben and I have tried to do is not to get caught up in the cinematic image of Dracula. We've been steeped in that representation of Dracula. It's been such a powerful image in our collective consciousness. In designing the ballet, we've tried to avoid the trap of giving Dracula a traditional cinematic representation.

The fact that there were three distinct locations in the scenario for the ballet was very helpful to me. I was able to concentrate on three distinct looks. The first act is the crypt scene. I wanted to evoke the dark, nocturnal world in which vampires thrive. It's the underworld, Hades, the catacombs.

The second act is set in a village, the place where Dracula's world intersects the world of humans. So many of the great ballets have scenes that take place in a village or a garden: Giselle, Swan Lake, and Coppelia. But, there's a difference in our version of Dracula. This is not your typical 'happy peasants in the village scene.' There's a classic dichotomy here. These peasants live near Dracula's castle, under the shadow of evil.

The third act is set in Dracula's bedroom. It's a transitional place where he brings his ‘guests’—the doorway to his world. The bedroom is a combination of visceral images, of flesh, and of other elements that are less expected."

Costume Design DESIGNER JUDANNA LYNN ON HER COSTUMES FOR DRACULA

"My costume designs for Dracula don't have a real historical period, except for the late nineteenth century. Evil is timeless! I'd say it's around 1880.

In doing research for the production, I spent a couple of days watching Dracula movies…especially the first film version, with Bela Lugosi, which was so aesthetically pleasing, so artistic. I like the art references to the sort of high Victorian symbolist painters of the late nineteenth century, the kind of German Romantic allusions. That first movie is full of painterly references; there is something very poetic about it.

I also read the novel as a reference. Our production isn't really based on the novel, except very loosely. But it was interesting to read about the times and the kind of repressed sexuality and sensuality that comes out of those novels of that period. It's very intriguing.

I researched the German Romantics of the late 19th century, specifically Caspar David Friedrich (1774-1840) and Arnold Bocklin (1827-1901). I also looked at the work of Guy Puvis de Chavannes (1824-1899), a late nineteenth century French painter. In that sort of Pre-Raphaelite group of people and later Symbolists, you see a lot of ghost- like women wafting away in the twilight. They have an apparition-like appearance and are placed against murky backgrounds. There is something very ambiguous about all of these artists' work, something that's a bit psychologically disturbing.

The score for our production is made up of works composed by Franz Liszt. We aren't using the actual folk tunes of that era. We are using the works of a great composer who used this folk music to make his etudes, his symphonies, etc. So in that sense, I have not tried to recreate the peasant costumes to be authentic in the historical sense, but rather to give the piece a refinement, to suggest the peasants of that period.

I traveled to Budapest several years ago, and spent several weeks there. Even though Dracula takes place in Romania, this trip gave me a taste for the Middle European ambiance: a very smoldering, rich culture.

I also went to the Metropolitan Museum Costume Institute to look at research material on costume design of Romania. I like to look at the real thing and then abstract and modify those ideas through my particular imagination for dancers to dance in. Normal people don't have to do pirouettes and arabesques, so we have to make accommodations for doing unusual movements."

Plot, Theme and Character

The exercises in this section focus on the elements of plot, theme, and character. Though dramatic structure in its strictest definition does not exist in ballet, a story ballet does share the elements of plot, theme and character. The following two activities use the terms "synopsis" and "scenario" to illustrate the process of taking a story idea to theatrical action.

Mr. Stevenson was originally attracted to the idea of staging a ballet version of Dracula because there are so many elements in the story that lend themselves to dance. There are two superb roles for male dancers (Dracula and the young lover Frederick), as well as two demanding character parts (Dracula's henchman, Renfield and the priest who confronts the Count).

The two female principal dancers will be featured as the young maidens, Flora and Svetlana, who fall victim to Dracula's hypnotic powers. Twenty female artists from the corps will be featured in ghostly, flowing gowns as the brides of Dracula.

Mr. Stevenson on Dracula

"I've had the idea of making a ballet version of Dracula for some time. I envisioned Dracula as a classical tale, rather than something new with a rock score. In fact, in creating the scenario for Dracula, I've treated the story like a classical ballet…in the old sense. My production of Dracula uses the format of one of the great nineteenth century ballets, with three acts and a corps de ballet.

I look upon Dracula as being quite sensual. In certain versions of the vampire myth, Dracula just has to have blood, and it doesn't matter whether it comes from a cow or a horse. In my version, Dracula is lustful. . . . (He has an) attraction to his victims . . . the most beautiful young creatures he can find. . . . and he wants their blood. All his brides are beautiful. Dracula quite likes the fact that by getting the blood of a beautiful woman, he can live forever.

And Dracula has charm. He's a Count; he has impeccable manners. Women would be intrigued by him when they meet him. They would think he was very handsome and courtly."

Plot, Theme, and Character: Activity 1

WRITING PROMPTS

There are many variations on the legend of the vampire, or the “undead.” The definitive vampire, however, is Dracula. Through awareness of his legend the story seems familiar even if Bram Stoker's novel has not been read.

Write a Synopsis of Dracula Have students write a synopsis of the story of Dracula, as they understand it. After writing the synopsis, read the synopsis of Bram Stoker's novel in Worksheet: Synopsis and Scenario (page 22) and the synopsis of the ballet in Synopsis (page 14).

What elements of the Dracula story are in all three synopses?

Compare Dracula to the Twilight Series Recently the vampire-themed Twilight books and movies have become a pop culture phenomenon. Have students who have read or seen the series write an essay comparing the portrayal of the lead vampire’s character (Edward) to the traditional conception of Dracula. Possible points to consider:

▫ Appearance ▫ Personality ▫ Emotional/psychological attributes ▫ Environment

Plot, Theme and Character: Activity 2

DEVELOP A CURRENT SCENARIO AND CAST LIST FOR ACT II OF DRACULA

Sylvan, as in Transylvania and Pennsylvania is an adjective referring to forests, woods or groves. The ballet of Dracula takes place in a Transylvanian village circa 1880. The cast of characters and the scenario for Act II reflect life in that village. However, as scenic designer Thomas Boyd points out in describing his vision for the village, this is not a typical village—these villagers live near Dracula's castle, under the shadow of evil. Read the scenario for Act II on page 22 and review the cast list below. Imagine Act II taking place in Pennsylvania today. Have each student or a group of 4-6 students use the following questions to develop a scenario and a cast list based on life in your community today.

1. What is a major celebration for eighteen-year-old daughters today (high school graduation, senior prom etc.), OR at what age is a daughter most likely to celebrate an engagement?

2. Where would the celebration take place? How would the family celebrate?

3. Does only the father have an occupation? What does the mother do?

4. Who are the people most likely to attend this celebration?

5. Who would be Dracula?

CAST LIST Transylvania 1880 Pennsylvania Today

Count Dracula Flora Renfield Brides Svetlana, daughter Frederick, fiancé Innkeeper, father His Wife, mother Old Man Old Woman Priest Bar Maids Villagers Children

Worksheet: Synopsis and Scenario

SYNOPSIS: A synopsis gives us a brief overall idea of the story line of a literary or dramatic work.

SCENARIO: A scenario gives us a detailed picture of the storyline indicating the scenes and the actions of the characters.

Synopsis: Bram Stoker's novel Dracula

Count Dracula leaves his castle in Transylvania to conquer new territory in London, England. Once in London he seeks out a fair young maiden, Lucy, slowly bringing her into the world of the undead with nocturnal visits that quench his need for blood. Suitors, friends and an elderly doctor, familiar with the lore of the undead, struggle to outwit the Count and save her. Their attempts fail, and Dracula now pursues Lucy's friend Mina, another beautiful woman. The group again struggles to outwit Dracula, this time driving Dracula out of England and back to Transylvania. The small band defeats the Count with a stake through his heart just as the sun is setting.

Scenario: Act II Ben Stevenson's ballet Dracula

The Innkeeper and his wife are celebrating, with the villagers, the eighteenth birthday of their daughter, Svetlana. There is much merrymaking. Svetlana enters and dances, watched very closely by young Frederick, who is obviously in love with her. The girl's parents start to dance, remembering their own courtship. All the villagers, young and old join in the dancing. At the height of the festivities, Frederick asks the Innkeeper for his daughter's hand. He teases the boy a little, but gives his permission. Svetlana and Frederick dance together and in the coda are once again joined by the villagers. Suddenly Flora enters; she is pale and weak. The Innkeeper helps her to a chair. As the priest approaches the girl he notices the bite on her neck; everyone is horrified. A large clap of thunder illuminates Dracula's castle high on the hill. Dracula appears center stage. As if from nowhere, the priest approaches the Count with his cross held high. Flora springs to life and attacks the priest knocking the cross from his hand. The coach appears and circles the stage. Renfield rushes through the crowd; grabs Svetlana and forces her into the coach. He grabs the reigns and drives the coach in the direction of the castle. Dracula changes into a bat and flies after the coach. The villagers grab Flora, but she changes into a bride of the Count and flies to the castle.

Frederick, the Innkeeper, and the priest head for the castle to rescue Svetlana.

Plot, Theme and Character: Activity 3

CREATE A STORYBOARD FOR DRACULA, THE BALLET

A storyboard is a series of illustrations used for pre-visualizing a movie, animation, or interactive media. In this activity, students create their own storyboards, either individually or in groups, as a way to become familiar with the story and to imagine what they will see on stage.

Below is the Dracula ballet Synopsis (page 14) deconstructed into single sentences. Copy this page for as many students (or groups) as there are in class. Have students cut out each sentence and glue them onto separate, blank sheets of paper or poster board. Then ask each student (or group) to illustrate the sentence on the page. When completed, each sheet will tell part of the story of the ballet. The storyboards could then be arranged in sequence and displayed—they could even be compiled into a book format. Have the class share and discuss their storyboards. After seeing the ballet, discuss the differences and similarities between what students saw on stage and what they imagined in their storyboards.

1. Act I: (In the Crypt of Dracula’s Castle) In the evening, Count Dracula and his wives awaken from their coffins in the crypt of his castle.

2. Act I: (In the Crypt of Dracula’s Castle) Renfield, Dracula’s trusted henchman, arrives in a coach with Flora, a lovely young girl from the village.

3. Act II: (In he Village) The Innkeeper and his wife are celebrating the 18th birthday of their daughter Svetlana with the villagers.

4. Act II: (In the Village) Frederick, a young man from the village, is in love with Svetlana, and asks the Innkeeper for her hand in marriage.

5. Act II: (In the Village) At the height of the festivities, Count Dracula, who has been informed of the beauty of Svetlana, arrives to abduct her.

6. Act III: (In the Bedroom of Count Dracula) Flora and the other brides await the return of Count Dracula. He enters with Svetlana, who is to become his next bride.

7. Act III: (In the Bedroom of Count Dracula) Frederick, accompanied by the Priest and the Innkeeper, storms into the Count’s bedroom in an attempt to save Svetlana.

Music, Movement and Mime

Music and movement are the essence of dance, and in ballet there is the added dimension of pantomime gestures which can be literal or symbolic. In this section you will find activities designed to acquaint your students with the ballet's music and introduce them to the choreographic components of the ballet.

The following is a list of the music used in the score of Dracula. In addition to these selected pieces there are many orchestrated piano solos.

Totentanz 1st version Tasso, Lamento e Trionfo G. 96 Symphonic Poem No. 2 Mephisto Waltz No. 1 G. 110/2 Orpheus G. 9 Symphonic Poem No. 4 Hungarian March G. 118 From the Cradle to the Grave Symphonic Poem No. 13

A CD by Michael Moricz is included with this study guide. It examines the life of Franz Liszt and the use by John Lanchbery of Liszt's music as he created the Dracula score. Since this narrative was created for the 1999 production of Dracula there are two corrections to the text: the ballet of Dracula was created thirteen years ago, and Michael Moricz is the former Company Pianist and Assistant Conductor.

Music, Movement and Mime: Activity 1

Make up and name a step, then look up the word in French. Put the word pas in front of the French translation. Can you demonstrate your new step? Can your classmates?

EXAMPLE: steps of an old gentlemen = pas de vieux bonne homme

The Pas (pah) Step

The earliest ballet we have record of was in 1581, over four hundred years ago, of the Ballet Comique de la Reine at the Palais du Petit Bourbon. In those four hundred years the art of ballet has spread worldwide, but the language of ballet has remained that of its origin, France. For example, a dancer from the United States could travel to China, and would be able to take class in that country without any problem in understanding what the teacher wanted, for although the teacher spoke only her/his native language the names of the steps are always in French. There are at least one thousand steps in ballet with an unlimited number of permutations. Below are listed ten ballet terms that begin with the word Pas (step).

Pas d’action (pah dac' SHON): episodes in ballet that advance the plot, introduce dramatic incident or establish relationships among the characters. A combination of dancing and pantomime.

Pas battu (pas bah –TOO): beating steps.

Pas de basque (pah duh BASK): Basque steps, from folk dances of the Basque region between France and Spain.

Pas de bourré (pah duh boo-RAY): series of three steps done in any direction and/or turning. The most common is step behind on left, step side on right, close left in front of right foot in fifth position.

Pas de caractére (pas duh care act TAIR): court and folk dances.

Pas de chat (pas duh SHA): step of the cat

Pas de cheval (pas duh shu -VAL): horse's step, serves most often to translate the movement of an animal pawing on the ground with his hoof.

Pas de deux (pah duh DUH): step of two, dance for two.

Pas de trois (pah duh TWAH): step of three, dance for three.

Pas de cinq (pas duh SANK): step of five, dance for five.

Music, Movement and Mime: Activity 2

PORTRAYING CHARACTER THROUGH MOVEMENT

In a story ballet, such as Dracula, the story is told to the audience without the use of dialogue. The choreographer must use movement as a means to convey the action of the story as well as delineate the personalities of the characters in the story. The dancer will then enhance the choreography and the portrayal of the character they are playing by using facial expressions and body language. This is one of the elements that makes a dancer an artist. Listed below are characters from Dracula and some adjectives that describe them.

Divide into groups of 3-5. Put the name of each character from the ballet with their description on separate pieces of paper and place them in a hat. Each group picks a character and then creates movements that will portray that character without using words. Try to think of specific body movements and postures that convey the essence of the character. The group then picks one person to portray their character to the rest of the class.

Can the class guess which character your group selected? Which attributes are easy to demonstrate with movement? Which are difficult?

Count Dracula – mysterious, evil, controlling, dark, mystical

Flora – fearful, afraid, intrigued; after bitten by Dracula – demonic, crazy

Renfield – quirky, peculiar, eccentric

Brides – catatonic, ethereal, otherworldly

Svetlana – daughter, charming, innocent, timid, shy, apprehensive, playful, flirtatious

Frederick – fiancé, bold, showy, athletic

Innkeeper – father, gruff, crusty, loving

Innkeeper’s Wife – mother, proud, sentimental, doting

Old Man – kind, amorous, thoughtful, nostalgic

Old Woman – embarrassed, flattered, loving

Priest – kind, gentle, devout

Bar Maids – merry, playful, genial

Villagers – jovial, fun-loving, amiable

Music, Movement and Mime: Activity 3

DRACULA– An Instructional CD to Prepare Students for the Ballet Written and Hosted by Michael Moricz with David Crawford

Music that is used for the ballet of Dracula was composed during the very years in which the story is set. It was, however, just a few years ago that it was adapted and orchestrated for a ballet. Listening to the CD that accompanies this study guide will help prepare students for what they will hear as well as see at the theater. Since Franz Liszt (1811-1886) was quite a colorful character himself, Michael Moricz introduces him through a biographical narrative illustrated with the actual words of Liszt and some of his contemporaries such as composer Robert Schumann and poet Heinrich Heine. Pittsburgh actor David Crawford is heard portraying these and other historical figures. The narration then turns its attention to the Dracula music itself, which contemporary arranger and conductor John Lanchbery adapted from the original Liszt. In his narration Michael Moricz explores important influences in Liszt's life. Teachers may want to be aware of some of this information before playing the CD for students.

In the following discussion, Michael gives us some important points to listen for:

The narration emphasizes Liszt's legendary status as "The Greatest Pianist of All Time" and gives examples of reactions he elicited from audiences of his day. To parallel the darker Dracula theme, we explore the crisis he had in mid-career when he decided to abruptly retire from performing to live a less public life and concentrate on composing. In many ways Liszt was the 19th century equivalent of today's rock star, athlete or movie star. He was notorious for his involvement with princesses and countesses throughout Europe. This aspect of his lifestyle and reputation is mentioned mildly in some related anecdotes. Teachers of young students might want to be aware of this content on the CD. If questions arise, teachers may want to know that while Liszt never married, he had long-term affairs with many different women, one of whom (Marie, Countess d'Agoult), was the mother of his three children. This relationship was his most significant, although apparently he was never exclusively faithful to her. His infidelity is not specifically mentioned on the tape though a brief excerpt of a letter to Marie is read and identifies her as the mother of his children.

Also notable is that in later life, Liszt became an ordained Abbot of the church. It was part of his effort to atone for the wildness of his earlier days. However, he stayed active in society until his death in 1886 and was very much a man of the world even after his ordination.

While there are many available pictures of Franz Liszt in books on music history, it is interesting to note that most often the pictures are of the great pianist in old age. (The copy of the painting of Liszt included with this handbook may make it easier for students to connect with his early "celebrity" status.)

Now we turn our attention to the Dracula music itself. There are four characteristic types of music in the ballet. They show distinct contrasts of mood and enhance the emotions of the action and the characters.

1) Hungarian folk music influences in the music for the villagers 2) Lyrical classical music for the two lovers, Frederick and Svetlana 3) Cool, less emotional music for Dracula's "Brides" 4) Fiercely dramatic piano music for Dracula himself

John Lanchbery and Ben Stevenson, Dracula's choreographer, have used the piano exclusively to represent Dracula, thereby drawing a parallel, intentionally or otherwise, between the charismatic character of Liszt and the fictional character of Dracula.

Much of the music for Dracula is taken from sections of a famous piece by Liszt for piano and orchestra called Totentanz, which in German means "The Dance of Death." Musically the Totentanz is essentially a set of variations on the theme of the Dies Irae, a Latin chant attributed to Thomas of Celano. This melody is more than 700 years old, having made its first appearance in the Gregorian chant of the Catholic Church in the year 1250.

On the tape I play the basic Dies Irae theme on the piano, then present examples of several other works that use this famous melody:

1) Danse Macabre Camile Saint-Saens 2) Rhapsody on a Theme of Paganini Sergei Rachmaninoff 3) The Mighty Casey Michael Moricz

Additional pieces of music that use the famous Dies Irae theme but which are not heard on the tape include:

Symphonie Fantastique Hector Berlioz War Requiem Benjamin Britten Brasilian Impressions Ottorino Respighi

And these are by no means the only ones! The Dies Irae has been used by composers countless times since the early nineteenth century, and it even shows up today in contemporary film scores. (Note: Teachers may wish to know that the two excerpts of music associated with Dracula that are played on the tape BEFORE the discussion of the Dies Irae also contain musical references to that same theme.)

Another interesting aspect of Liszt's life that might bear discussion was the fact that though he was the darling of royalty and the privileged classes throughout Europe, he himself was born into a lower strata of society – lower-middle class Hungarian. Throughout his life he acted as though his status as an artist made him the equal of titled privilege, and in fact, for all intents and purposes, it did. His witticisms and devilish honesty among aristocracy and royalty endeared him to the intellectual youth of Europe, because his easy sense of equality looked ahead to changes in society that had not yet taken place.

Perhaps one of the most famous of these incidents took place when Liszt was playing for a small private audience that included the Tsar of Russia. The Tsar, showing little interest in the music, was conversing with a young woman in attendance when Liszt, clearly annoyed by the rudeness, abruptly stopped playing. When the Tsar asked him why he stopped, Liszt replied, "When the Emperor speaks, the rest of us should be silent". In this way, typical of Liszt, he was able to make an obvious and blunt point about the Tsar's rudeness without crossing the line of acceptable behavior.

On another occasion he was invited to a party at the home of a rich patroness of the arts, who clearly hoped he would favor her soireé with a performance. To this end she placed a huge grand piano conspicuously in the middle of the main room. When Liszt arrived he grasped her manipulative intent immediately, and asked her, "Madam, where is the piano?" Delighted, she pointed it out to him. "Where?" he said, looking around as though he could not see it. With obvious dismay she pointed it out and said, "Right here, maestro!" When it became impossible to pretend that he could not see it, he finally said, "Oh yes…thank you. I wanted to put my hat down somewhere." This he did, and did not play the piano that evening.

These stories are highly representative of his social audacity. It was unusual in the early nineteenth century, but Liszt was a pioneer who predated similar class-busting tendencies in the Paris of Chopin and George Sand, in late nineteenth century Berlin, or even in the 1920s throughout Europe. To many young, liberal European intellectuals, Lizst was a social hero as well as the lionized king of musicians.

This supplementary tape was written and produced by Michael Moricz for the Pittsburgh Ballet Theatre. It was recorded and edited at NEW PERSPECTIVE Studio, Pittsburgh, Pennsylvania.

Costumes, Scenery and Lighting

“I like to look at the real thing, and then abstract and modify those ideas through my particular imagination for dancers to dance in.” Judanna Lynn, Costume Designer

Creation of the full-length ballet of Dracula began eight years before its world premier by Houston Ballet on March 13, 1997. All of the costumes, scenery, and lighting were designed specifically for this production. Costumes scenery, and lighting play a visually prominent role in the production of Dracula, but the cost of producing a quality new full-length ballet is beyond the financial resources of most ballet companies. Dracula, therefore, was a collaboration between Houston Ballet and Pittsburgh Ballet Theatre. The two companies shared the cost of producing the ballet, allowing the quality of the artistic product to be maintained while addressing cost realities. As the collaborative partner, Pittsburgh Ballet Theatre was the second company to perform Dracula. The Pittsburgh Premier of Dracula was held on October 2, 1997 at the Benedum Center for the Performing Arts. Since that time Dracula has toured to Detroit, Los Angeles, Hong Kong, and Toronto. It has also been staged by Boston Ballet.

Production is the place where reality is translated into fantasy. The elements of costume, scenery and lighting are co-dependent, one complementing and enhancing the other; contributing to the telling of the story without overshadowing the fundamental art form of the production: the dance. The initial vision for this production of Dracula came from Ben Stevenson when he was Artistic Director of Houston Ballet. He developed the scenario for how the story would be translated into ballet and what look and feel the ballet would have. He picked the artists he would work with to create that look. In turn, scenic designer Thomas Boyd, costume designer Judanna Lynn, and lighting designer Timothy Hunter had to develop the sets, costumes, and lighting that would support Mr. Stevenson's vision.

The work of adopting the costumes, scenery, and lighting to the Pittsburgh Ballet Theatre Company and the Benedum Center becomes the task of the PBT production department. Costumier Janet Marie Groom and production manager Courtney Adler are responsible for "fitting" the costumes and set designs to Pittsburgh’s dancers and stage. The work that these professionals do uses a code that regardless of what language they speak, translates the specifications of the artists who designed the costumes, scenery, and lighting.

Activity 1 looks at the creative process through development of a set design. Keeping the above quote from Judanna Lynn in mind, students can retrace the steps of designer Thomas Boyd. Activities 2 and 3 illustrate the elements of communication between production professionals.

Costumes, Scenery and Lighting: Activity 1

ILLUSTRATE A SET DESIGN FOR SCENE I: DRACULA'S CRYPT

After the central idea of the dance has been established a visual accompaniment or a SET DESIGN needs to be devised. There are five general categories from which a designer can choose the basis for the set design:

Neutral background: no particular feature of pattern or shape. Decorative scenery: a picture to look at. Descriptive scenery: a background establishing the place of the action. Atmospheric scenery: a suggestion of mystery or nostalgia, the unusual or highly dramatic. Active background: for example – volcano flames, birds flying out at the audience, a growing Christmas tree.

Mr. Boyd started the process of creating the design for Dracula in his initial conversation with choreographer Ben Stevenson. As Mr. Boyd indicates, Mr. Stevenson had the synopsis for the ballet worked out and once he laid that story out to Mr. Boyd, research on the project could begin. Read about the crypt scene in Synopsis (page 14) and the thoughts of Mr. Boyd, as he understood the images that artistic director Ben Stevenson was looking for in Scenic Design (page 17). Retrace some of Mr. Boyd's research steps by looking up information on the architecture of the Balkans and Romania and by looking up art of the romantics, the surrealists, and the works of nineteenth century German painter Caspar David Friedrich.

Illustrate a set design for the crypt scene based on the information from the Synopsis, Scenic Design and your research.

HINT: For those of you with access to the Internet there is abundant information on Caspar David Friedrich and many examples of his work. Doing an Internet search will provide several suggestions of sites with information on the painter and examples of his work.

Costumes, Scenery, and Lighting: Activity 3

MAKEUP DESIGN

Makeup design and application is an important factor in the presentation of a performance to an audience. It is the design of the makeup that gives the audience its primary clues to the age, health, and vitality of the characters. The costume designer is responsible for the overall appearance of the performer, but it is the makeup designer who is responsible for the design and execution of the makeup. Working under the artistic supervision of the costume designer, the makeup artist may often conduct his or her own research about the times in which the story is set. Makeup fashions of the period as well as clothing work to create the overall authenticity and impact of the character. After establishing the norm for the period, alterations and deviations can then be used to make the character appear eccentric, out of fashion, weird, or frightening – a very important consideration in Dracula.

Since genetics, environment, health, disfigurements, fashion, age, and personality are the main influences that affect physical appearance; the makeup artist should have a comprehensive knowledge of the characters and personalities that are being created. In Dracula the challenge is to keep the characters true to normal fashions of the time (late nineteenth century) and of the place (the Balkans) while adding that otherworldly quality of vampires and the “undead.” Makeup conveys that quality.

Humans perceive the three dimensionality of an object by reading the patterns of highlight and shadow created by light falling on an object. A makeup artist can manipulate the audience's perception of an actor's face by painting artificial highlights and shadows on that face. An example would be to make a straight nose crooked by painting the bridge of the nose with a crooked artificial highlight or to make a crooked nose straight with a straight highlight line. Of course, adding three dimensional makeup such as nose putty, wax, or latex gives the makeup artist the ability to change an actor's face so much that the real person is unrecognizable behind the character.

For this activity, students become makeup artists. Copy the next page and provide the page and watercolors or pastels for students to create their own “Bride of Dracula” face.

RECREATING THE LOOK OF DRACULA'S BRIDES

In Dracula twenty dancers are transformed by makeup and costume to become the brides of Dracula. Finish drawing this face, using the colors you think would most make your bride look “undead.” Remember that she is supposed to be beautiful but also ghostly-looking and frightening. Don’t forget her hair!

Follow-up Activity 1

The follow-up activities may be the most important part of the field trip experience. They provide the teacher with a method of evaluation, and they provide the student an opportunity to extend his or her experience.

WRITE A CRITIQUE

The most revealing follow-up to a performance is to have students write a review of the performance. A review provides the teacher with an opportunity to evaluate student involvement and it gives students an opportunity to apply their newly acquired knowledge.

This activity has two parts:

1. Read the following reviews of Dracula from its world premier performance. Outline the elements of the review, noting what these critics observe and how they put the piece together.

2. Write your own review of the performance, applying what you have learned about music, choreography, and the technical elements of a performance. Some points to consider when reviewing a performance:

a. How did the ballet compare with expectations?

b. How would you evaluate the support of costumes, scenery and lighting in conveying the place, time, and mood of the story?

c. Did the elements of music, mime, and choreography come together to tell the story effectively?

d. Did any dancer stand out because of his/her characterization or technique?

e. How did the audience respond?

Follow-up Activity 2

WRITE A LETTER TO A DANCER

Write a letter to your favorite dancer from the performance you saw, telling him or her how you felt about Dracula and what you learned about ballet. Don't be afraid to ask questions! Dancers love to hear from the audience and will answer you.

Mail to: Website: Arts Education Department www.pbt.org Attn: Lisa Auel 2900 Liberty Ave. Pittsburgh, PA 15201

Glossary ballerina (bah-luh-ree'nah) A leading female dancer of a ballet company. A dancer earns the title ballerina through years of hard work and great dancing. ballet (bah-lay') From the Italian ballare, to dance. choreographer (cor-ee-og'ra-fer) Someone who makes dances. Originally the word meant someone who records dances, but has come to mean the person responsible for the design of movement in ballet. classic (klas'ik) When applied to ballet, the word classic is not the contrary of Romantic. Classic applies to a rigorous basic vocabulary of steps and movements capable of infinite variations and a system of instruction that makes such variation possible for individual dancers. corps de ballet (core, di, bah-lay') Dancers who appear only in large groups. The corps de ballet is the backbone of every ballet company. divertissement (di-ver-tis-mah') A section of a ballet consisting of dances that have no connection with the plot. entrechat (an-tray-sha') Probably from the Italian intrecciare, to weave to braid. A beating step of elevation in which the dancer jumps straight in the air from a plie and crosses his feet a number of times, making a weaving motion in the air. jeté (zhe-tay') From the French jeter, to throw. This is a jump in which the weight of the body is thrown from one foot to the other. pas de deux (pah, duh, duh') A dance for two people. pirouette (peer-oo-wet') A complete turn of the body on one foot. plié (plee-ay') From the French plier, to bend. In the classic dance, this is a bending of the knees, with the knees wide open and the feet turned outward. The function of the plié in the dancer's body is like the function of the springs in an automobile, and is necessary for the development of flexibility. port de bras (port, duh, brah') In ballet, the movement or carriage of the arms. tutu (too'too) Slang term for the very short petticoat worn by a dancer in the interest of modesty.

Bibliography

Balanchine, George. Complete Stories of the Great Ballets. Ed. Francis Mason. Garden City, New York: Doubleday, 1954.

Briggs, Asa. A Social History of England. New York, New York: The Viking Press, 1983.

Brooks, Felicity. Living Long Ago: Clothes and Fashion. London, England: Usborne Publishing Ltd., 1990.

Clarke, Mary and Clement Crisp. The Ballet Goer’s Guide. New York: Alfred A. Knopf, 1981.

Croce, Arlene. Afterimages. New York, New York: Alfred Knopf, Inc., 1977.

Gilette, Michael J. Theatrical Design and Production. California: Mayfield Publishing Company, 1987.

Grosser, Janet, Ed. Passport to Ballet. San Francisco, California: The San Francisco Ballet, 1990.

Guillot, Geneviève and Germaine Prudhommeau. The Book of Ballet. Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1976.

Dunning, Jennifer. "A 'Dracula' Beyond Stoker's Dreams." New York Times, March 17, 1997, pp. B1 & 6.

Hammond, Sandra Noll. Ballet Basics. Palo Alto, California: National Press Books, 1974.

Hanna, Judith Lynne Ph.D. Partnering Dance and Education, Intelligent Moves for Changing Times. Champaign, Illinois: Human Kinetics, 1999.

Holmes, Ann. "Houston Ballet Delivers Lavish 'Dracula,' Marking Novel's 100 Years. Christian Science Monitor, March 21, 1997.

Mezzanote, Richard, Editor-in-Chief. The Phaidon Book of Ballet. Oxford, England: Phaidon Press Ltd., 1981.

Reynolds, Nancy and Susan Reimer-Tron. In Performance: A Companion Guide to the Classics of Dance. New York, New York: Harmony books, 1980.

Rosenthal, Jean and Wertenbaker. The Magic of Light. New York, New York: Theatre Arts Books, 1972.

Searle, Humphrey. Ballet Music. London, England: Cassell & Company Ltd., 1958.

Simon and Schuster. The Simon and Schuster Book of The Ballet. New York: Simon and Schuster, 1979.

Discography

Recordings

The following is a list of some recordings of the music of Franz Lizst that was used by John Lanchbery in his arrangement for Dracula. They are available at Borders Books and Music. To enhance your experience, play music from the ballet both before and after attending the performance at The Benedum Center of the Performing Arts. It may be fun for students to improvise dances to various musical selections.

Totentanz Reiner/Janis RCA 62679 Ozawa/Zimmerman DG 423571

Mephisto Waltz and "Liszt Complete Tone Poems" From the Cradle to the Grave Philips 438 754

Tasso Philips 438 751

You may also borrow the recordings from Carnegie Library of Pittsburgh, Music and Art Department. The following is a list of CDs from the collection with the Carnegie Library catalogue numbers noted.

Liszt Waltzes Leslie Howard #5866 Liszt Sonata, Elegies, Consolations, Gretchen, Totentanz #5874 Liszt The Late Pieces Leslie Howard #5876 Liszt Dances and Marches Leslie Howard #5893 Liszt Sonate H-Moll, Huage gris, Unstern!-Sinistre, La lugubre gondola I, R.W.-Venezia #9140