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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. -
Performance and Discourse of Musicality in Cuban Ballet Aesthetics
Smith ScholarWorks Dance: Faculty Publications Dance 6-24-2013 “Music in the Blood”: Performance and Discourse of Musicality in Cuban Ballet Aesthetics Lester Tomé Smith College, [email protected] Follow this and additional works at: https://scholarworks.smith.edu/dan_facpubs Part of the Dance Commons Recommended Citation Tomé, Lester, "“Music in the Blood”: Performance and Discourse of Musicality in Cuban Ballet Aesthetics" (2013). Dance: Faculty Publications, Smith College, Northampton, MA. https://scholarworks.smith.edu/dan_facpubs/5 This Article has been accepted for inclusion in Dance: Faculty Publications by an authorized administrator of Smith ScholarWorks. For more information, please contact [email protected] POSTPRINT “Music in the Blood”: Performance and Discourse of Musicality in Cuban Ballet Aesthetics Lester Tomé Dance Chronicle 36/2 (2013), 218-42 https://doi.org/10.1080/01472526.2013.792325 This is a postprint. The published article is available in Dance Chronicle, JSTOR and EBSCO. Abstract: Alicia Alonso contended that the musicality of Cuban ballet dancers contributed to a distinctive national style in their performance of European classics such as Giselle and Swan Lake. A highly developed sense of musicality distinguished Alonso’s own dancing. For the ballerina, this was more than just an element of her individual style: it was an expression of the Cuban cultural environment and a common feature among ballet dancers from the island. In addition to elucidating the physical manifestations of musicality in Alonso’s dancing, this article examines how the ballerina’s frequent references to music in connection to both her individual identity and the Cuban ballet aesthetics fit into a national discourse of self-representation that deems Cubans an exceptionally musical people. -
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. -
PRESS RELEASE Ballet
PRESS RELEASE Filip Barankiewicz The Artistic Director of The Czech National Ballet ballet ON-LINE WORLD PREMIERE OF THE CZECH NATIONAL BALLET CNB YOUTUBE CHANNEL PUPPET DOS SOLES SOLOS Two choreographies / double experience During 2020/2021 season The Czech National Ballet manages to stimualate creative energy and seeking new artistic impulses. The world online premiere of works by choreographers Douglas Lee and Alejandro Cerrudo ranks among them. We value every moment when we can freely create and thus contribute to the formation of a sensitive and supportive environment… Douglas Lee and Alejandro Cerrudo worked with The Czech National Ballet since August 2020. The dancers learned to exercise in face masks, disinfect their hands, split into small closed groups, take tests, protect themselves and others, watch their health and act as an evidence that the covid era shall not destroy the arts, the live theatre. In November 2020 these artists completed their new choreographies and the works were recorded. All choreographies are part of the Phoenix production which has entered the repertory of The Czech National Ballet (the third part of the premiere is Prelude und Liebestod by Cayetano Soto). We are ready to perform all three creations whenever audiences can return to our historical building. The live premiere is still to come and we hope to reconnect soon. On March 18, 2021 at 7pm we will be showing PUPPET (choreography by Douglas Lee) and on March 25, 2021 at 7pm DOS SOLES SOLOS (choreography by Alejandro Cerrudo); both works on YouTube channel of the Czech National Ballet. Douglas Lee: ‘My ballet is called Puppet. -
CATALOGUE 2018 This Avant Première Catalogue 2018 Lists UNITEL’S New Productions of 2017 CATALOGUE 2018 Plus New Additions to the Catalogue
CATALOGUE 2018 This Avant Première catalogue 2018 lists UNITEL’s new productions of 2017 CATALOGUE 2018 plus new additions to the catalogue. For a complete list of more than 2.000 UNITEL productions and the Avant Première catalogues of 2015–2017 please visit www.unitel.de FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 Unitel GmbH & Co. KG Gruenwalder Weg 28D 82041 Oberhaching/Munich, Germany WORLD SALES CEO: Jan Mojto C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Editorial team: Franziska Pascher, Dr. Martina Kliem, Arthur Intelmann Layout: Manuel Messner/luebbeke.com Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager All information is not contractual and subject to change without prior notice. [email protected] & Marketing [email protected] All trademarks used herein are the property of their respective owners. [email protected] Date of Print: February 2018 © UNITEL 2018 All rights reserved Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director Front cover: Alicia Amatriain & Friedemann Vogel in John Cranko’s “Onegin” / Photo: Stuttgart Ballet [email protected] [email protected] ON THE OCCASION OF HIS 100TH BIRTHDAY UNITEL CELEBRATES AVAILABLE FOR THE FIRST TIME FOR GLOBAL DISTRIBUTION LEONARD BERNSTEIN 1918 – 1990 Leonard Bernstein, a long-time exclusive artist of Unitel, was America’s ambassador to the world of music. -
Press Kit for Ballets Russes, Presented by Capri Releasing
PRESENTS BALLETS RUSSES A film by Dan Geller and Dayna Goldfine. A fifty-year journey through the lives of the revolutionary artists who transformed dance. Running Time: 120 Minutes Media Contact: Anna Maria Muccilli AM Public Relations 1200 Bay St., Suite 900 Toronto, Ontario, M5R 2A5 416.969.9930 x 231 [email protected] For photography, please visit: http://www.caprifilms.com/capri_pressmaterial.html Geller/Goldfine P R O D U C T I O N S Ballets Russes Synopsis Ego, politics, war, money, fame, glamour, love, betrayal, grace… and dance. Ballets Russes is a feature-length documentary covering more than fifty years in the lives of a group of revolutionary artists. It tells the story of the extraordinary blend of Russian, American, European and Latin American dancers who, in collaboration with the greatest choreographers, composers and designers of the first half of the 20th century, transformed ballet from mere music hall divertissement to a true art form. From 1909, when Russian impresario Serge Diaghilev premiered his legendary Ballet Russe company in Paris, to 1962 when Serge Denham’s Ballet Russe de Monte Carlo performed for the last time in Brooklyn, Ballets Russes companies brought their popular, groundbreaking and often controversial choreographies to big cities and small towns around the world. Along the way, these artistic visionaries left their mark on virtually every other area of art and culture – from stage design, painting and music to Hollywood and Broadway. Through their inclusive cosmopolitanism, they also put the first African-American and Native American ballerinas on the stage. Using intimate interviews with surviving members of the Ballets Russes companies (now in their 70s, 80s and 90s) as well as rare archival materials and motion picture footage, Ballets Russes is both an ensemble character film and an historical portrait of the birth of an art form. -
Cockerel, Pierrette in Harlequinade, Blanche Ingram in Jane Eyre
Founders Stella Abrera is the Artistic Director of Kaatsbaan and a Principal Dancer with American Ballet Gregory Cary Kevin McKenzie Theatre. Ms. Abrera is from South Pasadena, California, and began her studies with Philip and Bentley Roton Martine van Hamel Charles Fuller and Cynthia Young at Le Studio in Pasadena. She continued her studies with Lorna Executive Director Diamond and Patricia Hoffman at the West Coast Ballet Theatre in San Diego. She also spent three Sonja Kostich Artistic Director years studying the Royal Academy of Dancing method with Joan and Monica Halliday at the Stella Abrera Halliday Dance Centre in Sydney, Australia. Board of Trustees Kevin McKenzie, Chair Stella Abrera Ms. Abrera joined American Ballet Theatre as a member of the corps de ballet in 1996, was Christine Augustine Gregory Cary appointed a Soloist in 2001, and Principal Dancer in August 2015. Her repertoire with ABT includes Sandy Choi Sonja Kostich the Girl in Afternoon of a Faun, Calliope in Apollo, Gamzatti and a Shade in La Bayadère, The Chris Omark Bentley Roton Ballerina in The Bright Stream, Cinderella and Fairy Godmother in Frederick Ashton’s Cinderella, Martine van Hamel Moss and Cinderella in James Kudelka’s Cinderella, Aurora in Coppélia, Gulnare and an Odalisque Board of Advisors in Le Corsaire, Chloe in Daphnis and Chloe, She Wore a Perfume in Dim Lustre, the woman in white Dancers Isabella Boylston in Diversion of Angels, Mercedes, the Driad Queen and a Flower Girl in Don Quixote, Helena in The Gary Chryst Herman Cornejo Dream, the first -
World Premiere of Angels' Atlas by Crystal Pite
World Premiere of Angels’ Atlas by Crystal Pite Presented with Chroma & Marguerite and Armand Principal Dancer Greta Hodgkinson’s Farewell Performances Casting Announced February 26, 2020… Karen Kain, Artistic Director of The National Ballet of Canada, today announced the casting for Angels’ Atlas by Crystal Pite which makes its world premiere on a programme with Chroma by Wayne McGregor and Marguerite and Armand by Frederick Ashton. The programme is onstage February 29 – March 7, 2020 at the Four Seasons Centre for the Performing Arts. #AngelsAtlasNBC #ChromaNBC #MargueriteandArmandNBC The opening night cast of Angels’ Atlas features Principal Dancers Heather Ogden and Harrison James, First Soloist Jordana Daumec, Hannah Fischer and Donald Thom, Second Soloists Spencer Hack and Siphesihle November and Corps de Ballet member Hannah Galway. Principal Dancer Greta Hodgkinson retires from the stage after a career that has spanned over a period of 30 years. She will dance the role of Marguerite opposite Principal Dancer Guillaume Côté in Marguerite and Armand on opening night. The company will honour Ms. Hodgkinson at her final performance on Saturday, March 7 at 7:30 pm. Principal Dancers Sonia Rodriguez, Francesco Gabriele Frola and Harrison James will dance the title roles in subsequent performances. Chroma will feature an ensemble cast including Principal Dancers Skylar Campbell, Svetlana Lunkina, Heather Ogden and Brendan Saye, First Soloists Tina Pereira and Tanya Howard, Second Soloists Christopher Gerty, Siphesihle November and Brent -
Tamara Rojo Artistic Director of the English National Ballet Tamara Began Dancing in Madrid at the Víctor Ullate School, Where
Tamara Rojo Artistic Director of the English National Ballet Tamara began dancing in Madrid at the Víctor Ullate School, where she took part in an extensive repertoire of classical roles. She won a Gold Medal at the Paris International Dance Competition and the Special Jury Prize unanimously. Galina Samsova asked her to join the Scottish Ballet and she later received a personal invitation from Derek Deane to join the English National Ballet, where she became director after six months. She danced the whole range of leading roles with the company, including Juliet (Romeo and Juliet) and Clara (The Nutcracker), which Derek Deane created expressly for her. Tamara joined The Royal Ballet as Principal Dancer at the invitation of Sir Anthony Dowell. She is also a regular guest of the Mariinsky Ballet, La Scala Ballet, Tokyo Ballet, New National Theatre, Tokyo, the Cuban National Ballet, the National Ballet of China, the Lithuanian National Ballet, the Mikhailovsky Ballet, the Royal Swedish Ballet and the Finnish National Ballet. She has also performed at the prestigious World Ballet Festival in Tokyo and at galas all over the world. In 2010 she was recognised for her artistic excellence with the Laurence Olivier Award for the Best New Dance Production with Goldberg: the Brandstrup - Rojo Project. She has been awarded the Prince of Asturias Prize, the Gold Medal for Fine Arts and the Encomienda de Numero de Isabel la Catolica. Other recognitions include the Prix Benois de la Danse, The Times Dancer Revelation of the Year, the National Dance Critics Award, the Barclay’s Award for Outstanding Achievement in Dance, the Positano Dance Award, Léonide Massine Premi al Valore, the Italian Critics Award, the International Arts Medal and the Madrid Performance Award. -
PDF (Volume 2)
Durham E-Theses A.J. Potter (1918-1980): The career and creative achievement of an Irish composer in social and cultural context Zuk, Patrick How to cite: Zuk, Patrick (2007) A.J. Potter (1918-1980): The career and creative achievement of an Irish composer in social and cultural context, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2911/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Chapter4 Choral works with orchestra 4.1 Introduction n view of Potter's early training as a chorister, it is perhaps surprising to find that choral music comprises a comparatively small proportion of his output: I one might have expected him to follow up his early Missa Brevis with other substantial choral works of various kinds. The fact that he did not can undoubtedly be explained by the circumstances of Irish musical life at the period: in bleak contrast to Britain, not only were good choirs few and far between, but there was little evidence of interest in choral music throughout the country at large. -
The Annual 12 Night Party
President: Vice President: No. 485 - December 2013 Simon Russell Beale CBE Nickolas Grace Price 50p when sold Cutting the cake at the Vic-Wells’ 12th Night Party 2011 - Freddie Fox 2012 - Janie Dee 2013 - Clive Rowe ... but who will be there in 2014 to do this important operation? Why not come along and find out? As you can see, there is a very special cake made for the occasion and the guests certainly enjoy the ceremony. We make sure that everybody will get a slice to enjoy. Don’t be left out, book now! The Annual 12th Night Party Our annual Twelfth Night Party will be held at the Old Vic on Saturday, 4th January 2014 from 5.00pm to 6.30pm in the second circle bar area. Tickets are £6 for Members and £7.50 for Non-Members. Please write for tickets, enclosing a stamped, self-addressed envelope, to: Ruth Jeayes, 185 Honor Oak Road, London SE23 3RP (0208 699 2376) Stuttgart Ballet at Sadler’s Wells Report by Richard Reavill The Stuttgart Ballet is one of the world’s major international ballet companies, but it does not often visit the UK. It did make a short trip to Sadler’s Wells in November with two p r o g r a m m e s a n d f i v e performances over four days. The first one, Made in Germany, featured excerpts from works choreographed in Germany for t h e c o m p a n y . T h o u g h presented in three groups with two intervals, (like a triple bill), there were thirteen items, mostly pas-de-deux and solos, and only one piece, given last, for a larger group of dancers. -
93 the Cleopatra Ballerina Who Stays
SUNDAY TELEGRAPH March 21 1993 The Cleopatra ballerina who stays out in the cold Photo: Matthew Ford In a rare interview the great ballerina Lynn Seymour tells Ismene Brown why she's so wary of public attention A LOT of typewriter ribbon has frayed on the subject of Lynn Seymour. She is 'the greatest dramatic dancer of the era', according to Dame Ninette de Valois. Yet when she joined English National Ballet in 1989, one dancer told a newspaper contemptuously, 'She teaches with a beer can in one hand and a cigarette in the other. Who needs that?' Her image has see-sawed wildly between genius and Bad Girl. Both sides of the image are fed with plenty of material: consistently awestruck reviews of her dancing - and a considerable amount of backstage bitchery about her weight problems. Or drink problems. Or temper problems. Or man problems. Or money problems. These in turn were said to explain her absences from the stage. Where Fonteyn and Sibley sailed through their careers like galleons - in public, at least - Seymour's ship was always taking in water. It is unsurprising, then, that over the years she has avoided the press like the plague. I hadn't realised quite how scarred she is by publicity - or at least by her own view of what her public image is - until I met her last week. She had refused interview requests for her own recent appearances with Scottish Ballet as Lady Capulet, and with Northern Ballet Theatre in A Simple Man, but she agreed to 'do it for Derek's thing' - Derek being the film director Derek Jarman, who asked her to play the Russian ballerina Lydia Lopokova in his new film, Wittgenstein.