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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. -
British Ballet Charity Gala
BRITISH BALLET CHARITY GALA HELD AT ROYAL ALBERT HALL on Thursday Evening, June 3rd, 2021 with the ROYAL BALLET SINFONIA The Orchestra of Birmingham Royal Ballet Principal Conductor: Mr. Paul Murphy, Leader: Mr. Robert Gibbs hosted by DAME DARCEY BUSSELL and MR. ORE ODUBA SCOTTISH BALLET NEW ADVENTURES DEXTERA SPITFIRE Choreography: Sophie Laplane Choreography: Matthew Bourne Music: Wolfgang Amadeus Mozart – Gran Partita and Eine kleine Nachtmusik Music: Excerpts from Don Quixote and La Bayadère by Léon Minkus; Dancers: Javier Andreu, Thomas Edwards, Grace Horler, Evan Loudon, Sophie and The Seasons, Op. 67 by Alexander Glazunov Martin, Rimbaud Patron, Claire Souet, Kayla-Maree Tarantolo, Aarón Venegas, Dancers: Harrison Dowzell, Paris Fitzpatrick, Glenn Graham, Andrew Anna Williams Monaghan, Dominic North, Danny Reubens Community Dance Company (CDC): Scottish Ballet Youth Exchange – CDC: Dance United Yorkshire – Artistic Director: Helen Linsell Director of Engagement: Catherine Cassidy ENGLISH NATIONAL BALLET BALLET BLACK SENSELESS KINDNESS Choreography: Yuri Possokhov THEN OR NOW Music: Piano Trio No. 1, Op. 8 by Dmitri Shostakovich, by kind permission Choreography: Will Tuckett of Boosey and Hawkes. Recorded by musicians from English National Music: Daniel Pioro and Heinrich Ignaz Franz von Biber – Passacaglia for solo Ballet Philharmonic, conducted by Gavin Sutherland. violin, featuring the voices of Natasha Gordon, Hafsah Bashir and Michael Dancers: Emma Hawes, Francesco Gabriele Frola, Alison McWhinney, Schae!er, and the poetry of -
Prospectus 2 About Us Rambert School, Is Recognised Internationally As One of the Small Group of First-Level Professional Dance Schools of the World
Director: Ross McKim MA PhD NBS (IDP) Patrons: Lady Anya Sainsbury CBE Robert Cohan CBE Prospectus 2 About Us Rambert School, is recognised internationally as one of the small group of first-level professional dance schools of the world. In order to remain so, and to support its students (given the demands they must confront), Rambert School provides a contained, bordered and protected environment through which an unusual and intense level of energy and professionalism is created, respected, treasured and sustained. “Rambert School is a place of education and training in Ballet, Contemporary Dance and Choreography. It seeks to cause or allow each student to achieve his or her unique potential personally and professionally. It encourages learning, reflection, research and creative discovery. Through these processes, as they relate to performance dance, all those at the school are provided with the opportunity to develop their vision, awareness, knowledge and insight into the world and the self. They may thus advance in terms of their art form and their lives.” Principal and Artistic Director Dr Ross McKim MA PhD NBS (IDP) Conservatoire for Dance and Drama Clifton Lodge, St Margaret’s Drive, Twickenham TW1 1QN Telephone: 020 8892 9960 Fax: 020 8892 8090 Mail: [email protected] www.rambertschool.org.uk 3 History Marie Rambert began teaching in London in 1919. In her autobiography she wrote, “In 1920 I collected the various pupils I had into a class and began teaching professionally.” This was the beginning of Rambert School which, in these early days, was based at Notting Hill Gate. Out of it grew Rambert Dance Company. -
Paul Taylor Dance Company’S Engagement at Jacob’S Pillow Is Supported, in Part, by a Leadership Contribution from Carole and Dan Burack
PILLOWNOTES JACOB’S PILLOW EXTENDS SPECIAL THANKS by Suzanne Carbonneau TO OUR VISIONARY LEADERS The PillowNotes comprises essays commissioned from our Scholars-in-Residence to provide audiences with a broader context for viewing dance. VISIONARY LEADERS form an important foundation of support and demonstrate their passion for and commitment to Jacob’s Pillow through It is said that the body doesn’t lie, but this is wishful thinking. All earthly creatures do it, only some more artfully than others. annual gifts of $10,000 and above. —Paul Taylor, Private Domain Their deep affiliation ensures the success and longevity of the It was Martha Graham, materfamilias of American modern dance, who coined that aphorism about the inevitability of truth Pillow’s annual offerings, including educational initiatives, free public emerging from movement. Considered oracular since its first utterance, over time the idea has only gained in currency as one of programs, The School, the Archives, and more. those things that must be accurate because it sounds so true. But in gently, decisively pronouncing Graham’s idea hokum, choreographer Paul Taylor drew on first-hand experience— $25,000+ observations about the world he had been making since early childhood. To wit: Everyone lies. And, characteristically, in his 1987 autobiography Private Domain, Taylor took delight in the whole business: “I eventually appreciated the artistry of a movement Carole* & Dan Burack Christopher Jones* & Deb McAlister PRESENTS lie,” he wrote, “the guilty tail wagging, the overly steady gaze, the phony humility of drooping shoulders and caved-in chest, the PAUL TAYLOR The Barrington Foundation Wendy McCain decorative-looking little shuffles of pretended pain, the heavy, monumental dances of mock happiness.” Frank & Monique Cordasco Fred Moses* DANCE COMPANY Hon. -
Wayne Mcgregor | Random Dance
WAYNE MCGREGOR | RANDOM DANCE FEBRUARY 13, 2014 OZ SUPPORTS THE CREATION, DEVELOPMENT AND PRESENTATION OF SIGNIFICANT CONTEMPORARY PERFORMING AND VISUAL ART WORKS BY LEADING ARTISTS WHOSE CONTRIBUTION INFLUENCES THE ADVANCEMENT OF THEIR FIELD. ADVISORY BOARD Amy Atkinson Karen Elson Jill Robinson Anne Brown Karen Hayes Patterson Sims Libby Callaway Gavin Ivester Mike Smith Chase Cole Keith Meacham Ronnie Steine Jen Cole Ellen Meyer Joseph Sulkowski Stephanie Conner Dave Pittman Stacy Widelitz Gavin Duke Paul Polycarpou Betsy Wills Kristy Edmunds Anne Pope Mel Ziegler A MESSAGE FROM OZ Welcome and thank you for joining us for our first presentation as a new destination for contemporary performing and visual arts in Nashville. By being in the audience, you are not only supporting the visiting artists who have brought their work to Nashville for this rare occasion, you are also supporting the growth of contemporary art in this region. We thank you for your continued support. We are exceptionally lucky and very proud to have with us this evening, one of the worlds’ most inspiring choreographic minds, Wayne McGregor. An artist who emphasizes collaboration and a wide range of perspectives in his creative process, McGregor brings his own brilliant intellect and painterly vision to life in each of his works. In FAR, we witness the mind and body as interconnected forces; distorted and sensual within the same frame. As ten stunning dancers hyperextend and crouch, rapidly moving through light and shadow to a mesmerizing score, the relationship between imagination and movement becomes each viewer’s own interpretation. An acronym for Flesh in the Age of Reason, McGregor’s FAR investigates self-understanding and exemplifies the theme from Roy Porter’s novel by the same name, “that we outlive our mortal existence most enduringly in the ideas we leave behind.” Strap in. -
Glen Tetley: Contributions to the Development of Modern
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and Learning 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with with permission permission of the of copyright the copyright owner. owner.Further reproductionFurther reproduction prohibited without prohibited permission. without permission. GLEN TETLEY: CONTRIBUTIONS TO THE DEVELOPMENT OF MODERN DANCE IN EUROPE 1962-1983 by Alyson R. Brokenshire submitted to the Faculty of the College of Arts and Sciences Of American University In Partial Fulfillment of The Requirements for the Degree Of Masters of Arts In Dance Dr. -
Bournonville À Biarritz 6Th Édition
ACADEMIE Bournonville à Biarritz 6th édition from July 28th to August 2nd 2014 Artistic director Monik Elgueta - Biarritz Artistic consultant Eric Viudes In partnership with the city of Biarritz and the Centre Chorégraphique National Malandain Ballet Biarritz Auguste Bournonville (1805-1879) Teachers Auguste Bournonville who was the son of Antoine frank andersen Bournonville, a French dancer and Director of the Royal Danish Ballet from 1985 ballet teacher who lived in exile in to 1994 and from 2002 to 2008 and of the Royal Swedish Ballet from 1995 to 1999. Danemark, studied ballet with his Professor of Dance Acedemy in Beijing father in Copenhagen before com- pleting his training in Paris with erik aschengreen Pierre Gardel and Auguste Vestris. Danish professor, dance historian and ballet He joined the Paris Opera in 1826, critic but left France in 1830 to become a principal at the Royal Danish Ballet and succeeded his father as a ballet dinna bjorn master, a post that he held until 1877. Throughout his life Director of the Norwegian National Ballet from he supported the lightness , the elegance and the phra- 1990 to 2002 and of the finnish National Ballet sing of the French balletic style. The style that he taught from 2001 to 2008, international guest teacher and that survived him thanks to an uninterrupted tradi- tion. The author of around fifty ballets essentially resting eva kloborg on a harmonious and happy vision of life, Bournonville, Character dancer at the Royal Danish Ballet and international guest teacher in spite of the way ballet changed during his lifetime, as testified by the “romantic ballet”, gave equal importance to male and female dancers. -
David Justin CV 2014 Pennsylvania Ballet
David Justin 4603 Charles Ave Austin TX 787846 Tel: 512-576-2609 Email: [email protected] Web site: http://www.davidjustin.net CURRICULUM VITAE ACADEMIC EDUCATION • University of Birmingham, United Kingdom, Master of Arts in Dance in Education and the Community, May 2000. Thesis: Exploring the collaboration of imagination, creativity, technique and people across art forms, Advisor: Tansin Benn • Royal Academy of Dramatic Arts, Edward Kemp, Artistic Director, London, United Kingdom, 2003. Certificate, 285 hours training, ‘Acting Shakespeare.’ • International Dance Course for Professional Choreographers and Composers, Robert Cohen, Director, Bretton College, United Kingdom, 1996, full scholarship DANCE EDUCATION • School of American Ballet, 1987, full scholarship • San Francisco Ballet School, 1986, full scholarship • Ballet West Summer Program, 1985, full scholarship • Dallas Metropolitan Ballet School, 1975 – 1985, full scholarship PROFESSIONAL EXPERIENCE Choreographer, 1991 to present See full list of choreographic works beginning on page 6. Artistic Director, American Repertory Ensemble, Founder and Artistic Director, 2005 to present $125,000 annual budget, 21 contract employees, 9 board members11 principal dancers from the major companies in the US, 7 chamber musicians, 16 performances a year. McCullough Theater, Austin, TX; Florence Gould Hall, New York, NY; Demarco Roxy Art House, Edinburgh, Scotland; Montenegrin National Theatre, Podgorica, Montenegro; Miller Outdoor Theatre, Houston, TX, Long Center for the Performing Arts, -
September 4, 2014 Kansas City Ballet New Artistic Staff and Company
Devon Carney, Artistic Director FOR IMMEDIATE RELEASE CONTACT: Ellen McDonald 816.444.0052 [email protected] For Tickets: 816.931.2232 or www.kcballet.org Kansas City Ballet Announces New Artistic Staff and Company Members Grace Holmes Appointed New School Director, Kristi Capps Joins KCB as New Ballet Master, and Anthony Krutzkamp is New Manager for KCB II Eleven Additions to Company, Four to KCB II and Creation of New Trainee Program with five members Company Now Stands at 29 Members KANSAS CITY, MO (Sept. 4, 2014) — Kansas City Ballet Artistic Director Devon Carney today announced the appointment of three new members of the artistic staff: Grace Holmes as the new Director of Kansas City Ballet School, Kristi Capps as the new Ballet Master and Anthony Krutzkamp as newly created position of Manager of KCB II. Carney also announced eleven new members of the Company, increasing the Company from 28 to 29 members for the 2014-2015 season. He also announced the appointment of four new KCB II dancers, which stands at six members. Carney also announced the creation of a Trainee Program with five students, two selected from Kansas City Ballet School. High resolution photos can be downloaded here. Carney stated, “With the support of the community, we were able to develop and grow the Company as well as expand the scope of our training programs. We are pleased to welcome these exceptional dancers to Kansas City Ballet and Kansas City. I know our audiences will enjoy the talent and diversity that these artists will add to our existing roster of highly professional world class performers that grace our stage throughout the season ahead. -
Frame of Mind William Forsythe | Rafael Bonachela
MEDIA RELEASE March 26, 2015 AUSTRALIAN PREMIERE SEASON SYDNEY DANCE COMPANY’S FRAME OF MIND WILLIAM FORSYTHE | RAFAEL BONACHELA NINE MELBOURNE SHOWS ONLY MAY 6 TO 16, BOOK NOW! ★★★★ ½ - It’s sublime. – Sunday Telegraph Astonishing… powerful, personal and poetic… quite simply, breathtaking. – Limelight Magazine ★★★★ - It’s a delight…a potent blend of technique, daring and playfulness. - SMH Could be seen again and again without exhausting its possibilities. - The Australian ★★★★ - Passionate… precise… breath-stealing. – The Guardian Sydney Dance Company The Wharf, Pier 4, 15 Hickson Road, Sydney, NSW 2000, Australia MEDIA RELEASE March 26, 2015 As part of its Australian premiere season, Sydney Dance Company is set to presen t a limited run of its acclaimed double bill, Frame of Mind, at Southbank Theatre, Melbourne . This is an exceptional opportunity to experience two mesmerising danceworks - legendary American choreographer William Forsythe’s acclaimed masterpiece Quintett, and Rafael Bonachela’s newly created Frame of Mind, direct from its world premiere Sydney performances. Created in 1993, William Forsythe’s Quintett is one of the most renowned contemporary dance works of the 20th Century. This highly poetic and powerful work, developed in collaboration with Ballet Frankfurt dancers Dana Caspersen, Stephen Galloway, Jacopo Godani, Thomas McManus and Jone San Martin, was a final love letter to Forsythe’s wife, dancer Tracy-Kai Maier, who succumbed to cancer in 1994, aged 32. Quintett is set to a hauntingly beautiful soundtrack by renowned post-minimalist British composer, Gavin Bryars; his iconic 1975 composition, Jesus's Blood Never Failed Me Yet. Inspired by a grainy, chance recording of a homeless man singing, the looped vocals begin as a barely audible, distant melody, and acquire a slowly evolving, growing orchestral accompaniment, which with its insistent optimism, tinged with tragedy, creeps under the skin and magnifies the intense poignancy of the choreography. -
Jessica Lang
FROM: AMERICAN BALLET THEATRE 890 Broadway New York, New York 10003 (212) 477-3030 Kelly Ryan JESSICA LANG Since 1999, AmeriCan ChoreoGrapher JessiCa Lang has Created more than 100 works on companies worldwide including American Ballet Theatre, Alvin Ailey American Dance Theater, Pacific Northwest Ballet, BirminGham Royal Ballet (2013 ManChester Theatre Award nominee), the National Ballet of Japan and Joffrey Ballet, and her eponymous company Jessica LanG DanCe, amonG many others. Lang’s additional commissions include works for the Kennedy Center with the National Symphony OrChestra, Harris Theater and the ChiCaGo ArChiteCture Biennial (in collaboration with architeCt Steven Holl), the Dallas Museum of Art, and the Guggenheim Museum for its Works and Process series. For opera, Lang made her directorial debut creating Pergolesi’s Stabat Mater at the 2013 Glimmerglass Opera Festival, whiCh was presented at LinColn Center’s White Light Festival in 2017 performed by Jessica Lang Dance. In 2016, she choreoGraphed San Francisco Opera’s production of Aida, direCted by Francesca Zambello, which was presented at WashinGton National Opera and Seattle Opera during the 2017-18 season. Lang was ArtistiC DireCtor of JessiCa LanG DanCe from 2011 to 2019. Founded in 2011, the company had tremendous success touring and performing for audiences in more than 85 cities, presented by major venues including Lincoln Center for the Performing Arts, Los Angeles Music Center, The Kennedy Center, Harris Theater, New York City Center, Northrop Auditorium, Winspear Opera House, Tel Aviv Opera House, JaCob’s Pillow Dance Festival, BAM Fisher and Helikon Opera, amonG others. LanG is the reCipient of a 2018 Martha Hill Mid-Career Award, the 2017 Arison Award and a 2014 (more) LANG – Page 2 Bessie Award. -
Study Guide Young Person's Guide to the Orchestra
Young Person’s Guide To The Orchestra Study Guide 1 TableTable ofof ContentsContents Learning Outcomes & TEKS Addressed 3-4 Choreographer & Composer 5-6 Music & Movement 7-12 Looking Closer: The Instrument Families 13-22 You Try It: Activities 23-27 Appendices 28-35 2 Learning Outcomes Students who view the Young Person’s Guide to the Orchestra Virtual Field Trip will be able to: • Describe the 4 instrument families; • Name at lease 1 instrument from each family; • Describe how each family creates vibrations to make sound; • Describe at least one dance from Young Person’s Guide to the Orchestra in words or pictures. TEKS Addressed §112.11. Science, Kindergarten (6) Force, motion, and energy. The student knows that energy, force, and motion are related and are a part of their everyday life (A) use the five senses to explore different forms of energy such as light, heat, and sound §112.39. Physics, High School (7) Science concepts. The student knows the characteristics and behavior of waves. (C) compare characteristics and behaviors of transverse waves, including electromagnetic waves and the electromagnetic spectrum, and characteristics and behaviors of longitudinal waves, including sound waves §117.112. Music, Grade 3 (1) Foundations: music literacy. The student describes and analyzes musical sound. (B) categorize and explain a variety of musical sounds, including those of woodwind, brass, string, percussion, and instruments from various cultures; (C) use known music symbols and terminology referring to rhythm; melody; timbre; form; tempo; and dynamics, including mezzo piano and mezzo forte, to identify musical sounds presented aurally 3 TEKS Addressed §117.109.