THEATREMUSIC
TRADITIONAL ARTISTIC PERCEPTION (AP) ® CLASSICAL CREATIVE EXPRESSION (CE) Artsource CONTEMPORARY HISTORICAL & CULTURAL CONTEXT (H/C) The Music Center’s Study Guide to the Performing Arts EXPERIMENTAL AESTHETIC VALUING (AV) MULTI-MEDIA CONNECT, RELATE & APPLY (CRA)
ENDURING FREEDOM & THE POWER THE HUMAN TRANSFORMATION VALUES OPPRESSION OF NATURE FAMILY
Title of Work: introduces him to the life of a sophisticated Parisian. Babar The Story of Babar, the Little Elephant assimilates French culture and style, learns to speak the language, buys a fashionable suit and acquires a passion for Creators: French pastries. When he returns to his jungle home, Producer: The Children’s Theatre Company Artistic Director, 1984-1997: Jon Cranney Babar is crowned the new elephant King and with his Queen Celeste, the story closes with a promise of future Background Information: adventures and travels. A man of international repute, Jon Cranney was the Artistic Director of The Children’s Theatre Company (CTC) in Creative Process of the Artist or Culture: Minneapolis, Minnesota from 1984 - 1997. He credits his The biggest challenge in bringing a book off the page and education in the professional theatre to a 13-year tenure at onto the stage lies in expanding two-dimensional artwork to Minneapolis’s acclaimed repertory stage, The Guthrie Theater. three. In this story it was of primary importance to create There he served in a number of capacities, including actor, an accurate scale of the elephant characters to the human director, stage manager and artistic administrator, under the ones. The book’s illustrations served as blueprints to leadership of such eminent directors and teachers as Michael establish the physical relationships. The costumes for Babar Langham and founder Tyrone Guthrie. Accustomed to and his elephant friends needed to look exactly like the working with the classic texts of Sophocles, Shakespeare and characters in the book and allow the characters to come Molière, at the CTC, Mr. Cranney presented a repertoire of alive and dance with flexibility! Because the costumes were classics in children’s literature, such as Little Women, Madeline’s almost impossible to see out of, ‘animal handlers’ guided Rescue and The Hobbit. He was at the forefront in the actors on and off the stage. While on stage, the actors establishing The CTC’s tradition of taking a book’s in the elephant ‘skins’ knew where to go only by following a illustrations, page by page, and adapting them with magical carefully drawn pattern on the floor. The play’s creative precision to the stage. Mr. Cranney has led exchanges with the team left nothing to chance, largest children’s theatres in the former Soviet Union and China, inventing action for the scenes directing respectively, The Adventures of Tom Sawyer, 1989, in the story and carefully chore- and The 500 Hats of Bartholomew Cubbins, 1991. ographing every movement and stage picture to create a larger- About the Artwork: than-life illusion of the beloved he Story of Babar, the Little Elephant is the first book in the T French classic. series by French author/illustrator Jean de Brunhoff. As the
story unfolds, Babar is fleeing from the jungle to escape the What The Children’s Theatre Company does is allow children to hunter who killed his mother. Young Babar arrives in Paris as grow and learn and feel - to go on a stranger and is befriended by a rich old lady who journeys to strange and exotic and even familiar places, and experience those worlds through the Minnesota medium of art.” Jon Cranney
Discussion Questions: Additional References: After the video has been viewed: • de Brunhoff, Jean. The Story of Babar the Little • What language, other than English, do the Elephant. Random House Inc., New York, NY: 1937. characters speak in the play? Can you understand • Weber, Nicholas Fox .The Art of Babar, The Work of the words by watching the characters’ actions? Jean and Laurent de Brunhoff. Harry N. Abrams, New • Describe Babar’s voice. What musical instrument is York, NY: 1989. used for the sounds he makes? Sample Experiences: • Does the department store’s staff think it strange LEVEL I to have an elephant shopping for a suit of clothes? • Read other books in the Babar series such as Travels of • How do they treat Babar? Babar and Babar the King. • What things in the play did you find funny? • Discuss the death of Babar’s mother which may be • What things did you find surprising? frightening to younger children. Talk about how despite • Does the department store remind you of a his sadness, Babar is able to survive and find others who contemporary clothing store? Why or why not? love him and whom he grows to love. • What does it mean to be ‘civilized’? Is Babar • On a map, trace Babar’s journey from North Africa to civilized? Paris, France. • After Babar has been dressed in his new green * • Explore ways that one art form can inspire the creation suit, does he look like the character from the of new works in other art forms. Babar books? LEVEL II Multidisciplinary Options: • Experiment with fabric remnants and fake fur to make • Elephants are a strange and interesting order of puppets of the Babar characters and present a puppet mammals called the Proboscidea. The name refers to a play of a Babar book. proboscis, or long tube-like appendage known as a • Research the history, culture, climate, agriculture, trunk. Have students research the elephant, the architecture, recreation, etc., of Babar’s adopted home, biggest land animal today, suggesting topics such Paris, France. as: the elephant’s tusks, teeth, and diet; the * • Create characters based on animal studies, transforming structure of an elephant’s trunk and the many key animal traits into human characteristics. things for which it is used; the two different native LEVEL III elephants, Indian and African; Stone-Age relatives, • Select a picture book and have the class improvise the woolly mammoth and the mastodon, and a action and scenes suggested by the book’s illustrations. rather small mammal related to the elephant, the • Analyze the cast of characters in the Babar books. hydrax. Make a list of their names and write three adjectives Audio-Visual Materials: which describe the personality and/or physicality of each. • Artsource® video excerpt: The Story of Babar, the * • Study the Babar books from a visual arts perspective, Little Elephant, courtesy of The Children’s Theatre referring to The Art of Babar, The Work of Jean and Company. Laurent de Brunhoff by Nicholas Fox Weber. • Photos: courtesy of The Children’s Theatre Company. • Book illustrations from The Story of Babar, the Little Elephant by Jean de Brunhoff © 1933, Random House, Inc. Illustrations used with permission from current book rights holder, Hachette Livre (Paris). * Indicates sample lessons 2
THEATRE ARTISTIC INSPIRATIONS TRANSFORMATION
LEVEL I Sample Lesson
INTRODUCTION:
The text and illustrations of the classic French children’s book, The Story of Babar, the Little Elephant, inspired The Children’s Theatre Company to create a play with the same title. Through this process, something literary became something theatrical. All forms of artistic expression can be points of departure for new creations in other art forms. This sample lesson will explore some of those possibilities.
OBJECTIVES: (Student Outcomes)
Students will be able to:
• Use music, visual arts, stories and poems as sources of inspiration for expression in new art forms. (Creative Expression)
• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Aesthetic Valuing)
MATERIALS:
• Several musical selections, large fine art prints and selected All book illustrations throughout unit used stories or poems. Pens, pencils, crayons, markers and paper. with permission of Hachette Livre
PROGRESSION: (These are suggestions for many different lessons.)
Use the following exercises to stir the artistic imaginations of your students. Encourage them to make bold choices as they write, compose, draw or dance from one form to another.
• Music: Play a piece of music for the class, allowing them to listen quietly with their eyes closed. After it has played through once, play it again, but this time ask them to write or draw to the music. Suggest that they write a story for the music, creating characters, a plot and a setting. Or, suggest that they translate the music into something visual, a drawing, a painting or a collage.
• Visual Art: Position a large art reproduction on the classroom blackboard. Give the class some quiet time to study the artwork. What seems to be happening in the picture? What mood does it evoke? Next, use the artwork to inspire playwriting or poetry. If the painting could come to life, what would the people in it be doing or saying? Make those people characters in a play and write the first scene. If the painting is an abstract or is a realistic landscape, challenge the students to think of the painting as a setting and write a scene that could only happen there. The students could also write a poem responding to the style or mood of the painting or sculpture.
3 • Stories and Poems: Read a favorite story or poem to the class and discuss the plot and main characters so that everyone has a good grasp of the events. Next, ask the class to choreograph the story as an interpretive dance. Cast the parts, allowing the students to interpret the characters’ motivations and emotions through movement. Compose a rhythmic score to the story with homemade percussion instruments and perform the dance with musical accompaniment.
EXTENSION:
• Select one children’s book and express it in as many art forms as possible. Create music (in any style), a dance (ballet, modern, jazz or street), an illustration, a poem, a play or an opera based on the same literary source.
VOCABULARY: playwriting, characters, setting, plot, choreograph, motivations (of characters), opera
ASSESSMENT: (Aesthetic Valuing)
DESCRIBE: Describe the images, colors, mood and ideas that came to mind when the music was played.
DISCUSS: Discuss why you chose the characters you did for your story. Describe one of your favorite characters.
ANALYZE: Think about the story you created and what you could change or add to make it even more interesting.
The Story of Babar, the Little Elephant The Children’s Theatre Company, 1989 Photo: Giannetti Studio 4
THEATRE THE HUMAN ZOO THE POWER OF NATURE
LEVEL II Sample Lesson
INTRODUCTION:
People have often attributed human characteristics to animals: the sly fox, the brave lion, the timid mouse, etc. In fairy tales, fables and children’s literature, creatures of all kinds have been made to speak and behave in human terms. The reverse is also true: people have been described as ‘stubborn as a mule,’ ‘proud as a peacock,’ ‘wise as an owl,’ etc. These clichés, with which both animals and humans have been endowed, may have no basis in truth. The purpose of this exercise is not to pursue these assumptions, but to stimulate the imagination and improvise ways to create character elements based upon animal traits. Refer to dance Artsource® Unit, Lily Cai, Sample Lesson III.
OBJECTIVES: (Student Outcomes)
Students will be able to:
• Choose an animal to imitate, selecting certain behaviors to transfer to a human characterization. (Artistic Perception)
• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Aesthetic Valuing)
MATERIALS: None.
PROGRESSION:
• Begin by discussing the ways that the behavior of people you know, or have observed, reminds you of certain animals. Discuss movement or posture habits which resemble those of specific animals, such as the giraffe, the turtle, or the tiger. Talk about the uncanny way that dog owners sometimes look like their dogs!
• Then ask students to carefully observe an animal, its walk, carriage, sound quality or pattern, etc. A class trip to the zoo would give the students ample choices for their animal selections. After studying their animals, have the class perform their animals, duplicating their behaviors and voices.
• Next have the students select two of their animals’ traits to use in a character improvisation. The choices they make should reveal their characters, and stimulate ideas for creative physicalizations. Here are some examples: Animal - Seal Character - A young man at a bowling alley. Choose the seal’s flipper movements and voice to transfer to the young man who claps his arms/hands and cheers in a seal-like bark when he bowls a strike.
5 Animal - Mynah Bird Character - A hairdresser at a beauty salon. Choose the incessant chatter and sudden, jerky head movements of the bird to transfer to an animated and very verbal stylist rolling up curlers in a customer’s hair.
• Share the characterizations with the class. How did the selected animal traits illuminate the characters’ personalities and provide ideas for posture and movement? If the students were to analyze themselves, what ‘animals’ would they ‘be’?
EXTENSIONS:
• Create restaurant scenes with characters based on animals, i.e., some customers are bears, some are squirrels, some are goats, etc., and the waiters include an ostrich, a poodle and an octopus.
• Improvise scenes in a veterinarian’s waiting room where the human characters exhibit animal traits belonging to their pets.
VOCABULARY: endow, improvise, characterization, physicalization
ASSESSMENT: (Aesthetic Valuing):
DESCRIBE: Describe the specific movements and characteristics of the animal you selected.
DISCUSS: Discuss why you selected the specific traits for your person characterization.
ANALYZE: Discuss how and why the animal traits helped shape each character’s personality and provided ideas for the posture and movement.
CONNECT: Discuss ways in which animals and people are alike from your point of view. Different?
The Story of Babar, the Little Elephant The Children’s Theatre Company, 1989 Photo: Giannetti Studio 6
THEATRE THE ART OF BABAR THE POWER OF NATURE
LEVEL III Sample Lesson INTRODUCTION:
The book, The Art of Babar, The Work of Jean and Laurent de Brunhoff, by Nicholas Fox Weber examines the charm and beauty of the Babar illustrations and explores the technical aspects of the de Brunhoffs’ style. Schooled as a fine artist, painter Jean de Brunhoff created Babar and produced the first seven books of the series between 1931 and 1937, the year of his untimely death. In 1946 his artist son, Laurent, took up where Jean left off. He wrote and illustrated his first Babar book when he was twenty-one and has now done thirty Babar books. The Art of Babar shows the development from rough sketches to final illustrations and includes material which has never before been reproduced.
OBJECTIVES: (Student Outcomes)
Students will be able to:
• Study and analyze the Babar books from a visual arts perspective. (Artistic Perception and Aesthetic Valuing)
• Paint a character study in the de Brunhoff style. (Artistic Perception, Creative Expression, Historical and Cultural Context)
• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Aesthetic Valuing)
MATERIALS:
• The Art of Babar, The Work of Jean and Laurent de Brunhoff by Nicholas Fox Weber, or a collection of the Babar books.
• Non-toxic permanent markers and pens; water-colors and brushes.
PROGRESSION: (The analysis of the design elements and the drawing/painting may take several sessions.)
STEP 1 - analysis
• Observe how the artists Jean and Laurent de Brunhoff use the elements of line, shape, color, form, value and texture in their work. Show the class selected illustrations as examples. The Story of Babar, the Little Elephant has six illustrations which span two pages, as do most of the other Babar books. Study each 7 illustration and explore the visual arts vocabulary suggested below.
• Color * - Visual sensation dependent on the reflection or absorption of light from a given surface (hue, value, and intensity being the primary characteristics).
How is color used to direct the eye around the painting, drawing attention to the most important aspects? (Intense colors against a light background, etc.)
How and when did the artist use warm colors and cool colors?
• Line * - An identifiable path of a point moving in space. It can vary in width, direction, and length.
Are the lines in the illustration predominantly curved or straight?
Does the use of line in the foreground, middleground, and background change or remain the same? (Bold lines in the foreground, light lines in the middleground, broken or very light lines in the background.)
• Value * - Light and dark; the gradations of light and dark on the surface of objects.
How does the artist use light in the painting?
How does he suggest time of day or season?
How does he use light to focus attention on one area or another?
• Shape * - A two-dimensional area or plane that may be organic or inorganic, free-form or geometric, open or closed, natural, or of human origin.
Are the shapes in the illustration organic and natural, or inorganic and of human origin?
• Form * - A three-dimensional volume with the same qualities as shape, or the illusion of three dimensions.
How does the artist use form to depict depth in his painting? (The forms in the foreground appear larger than the same forms or other forms in the back- ground.)
Do some forms overlap on the picture plane?
8 Are some forms silhouettes?
• Texture * - The surface quality of materials, either actual (tactile) or visual.
Can you find examples in the illustrations of surfaces which are smooth, rough, furry, wet, sticky, hard or soft?
STEP 2 - drawing & painting
• Pass out drawing paper, pens, ink and watercolors. Ask your students to draw a favorite character from the Babar series in the style of the de Brunhoffs. After they have selected their characters, have them first do line drawings in non-toxic, permanent markers or pens. Then have them color their artwork using watercolors and brushes.
• Create a Babar gallery in your classroom and exhibit the paintings!
EXTENSIONS:
• Show the slides from The Children’s Theatre Company production of The Story of Babar, the Little Elephant. Observe how the shapes from the illustrations were transferred into the forms on the stage.
• Look at reproductions of fine artists whose work influenced the de Brunhoffs: Reubens, Matisse, Seurat, Titian and Klee. What qualities or characteristics do you see in the de Brunhoffs’ work? Visit an art museum to see the masterpieces first-hand.
VOCABULARY: color, line, value, shape, form, texture
ASSESSMENT: (Aesthetic Valuing)
DESCRIBE: Use the questions under each element of art to describe the illustrations drawn by Jean and Laurent de Brunhoff.
DISCUSS: Discuss why illustrations that accompany a book might be different than drawings or paintings without text attached.
ANALYZE: Discuss the value in studying the style of specific artists and what is learned when students work in these specific styles.
CONNECT: Discuss how drawings expand the concepts, characters, point of view in poems, stories and historical events.
* All visual arts definitions are taken from the Visual and Performing Arts Framework for California Public
9 BACKSTAGE WITH BABAR
How did The Children’s Theatre Company’s costume designers and stitchers make the clothes for Babar? With a 65" neck, a 110" waist and standing 8' tall, Babar’s vital statistics are far and away the largest they had ever had to work with. In fact, above the doorway to the costume shop hung a sign reading “House of Very Large Sizes”!
The suit of clothes Babar purchased at the Bon Marché department store required 16 yards of bright green fabric for the pants and coat, six yards for a shirt, one yard of upholstered fabric for a bow tie and one yard of wide black felt for a derby hat. But the costumes Babar and his elephant friends wore were only part of the enormous process of creating the living, lovable creatures for the play. Each elephant ‘skin’ required 10-14 yards of fake fur and 25 yards of steel hoop boning encased in muslin which was used in the limbs and trunks to make them moveable.
The costume designers, working with the prop master, decided to make two different kinds of elephant ‘skins’: four-legged and two-legged. The two-legged elephants, with one actor inside, did most of the standing and sitting, and the four-legged elephants, with two actors inside, did most of the walking and dancing.
The two-legged skins had helmets and 4" foam shoes built into them so that even though the actor inside was only 6' tall, the elephant stood 8' tall. These large skins were shaped around a steel structure and weighed about 40 pounds each. Because they were so heavy, most of the actors worked out with weights in order to be strong enough to wear the skins and dance in them.
When the curtain went up on opening night, the audience was amazed at what they saw - it was as if they had stepped into the pages of the storybook! There was Babar, with the same colored fur, sporting the same green suit, in the same poses, and sharing the same adventures they The Story of Babar, the Little Elephant had come to know and love. The Children’s Theatre Company, 1989 Photo: Giannetti Studio
10 get married to Mio’s sister Cecile and together they had three little boys of their own. They named them Laurent, Mathieu and Thierry.
At night, when the children went to bed, Cecile would usually read to them stories by the Brothers Grimm, Hans Christian Andersen, Beatrix Potter or A.A. Milne. But one night, instead of reading a story, Cecile made one up. It was something she had never done before and would never do again. Her story went like this:
“A little elephant was happily playing in the jungle when a hunter shot his mother. The scared elephant ran away to a town where he found a lost purse in the street, enabling him to go to a large shop where, after playing with the elevator, he bought some clothes. Having thoroughly enjoyed himself in the town, he was persuaded by his cousins to return to the jungle.”
And at that point, the real story begins. Jean took his wife’s simple tale, expanded it, wrote it down in a childlike cursive script in a large notebook and painted illustrations to accompany each scene. The notebook was made purely for the enjoyment of the family. But the family persuaded Jean that he should share his lively, colorful tale with the rest of the world. (He proposed The de Brunhoff Legacy: that Cecile be credited as an author of the book, but she refused.) One year later, in 1931, Jean’s brother Michel, If author/illustrator Jean de Brunhoff’s life story read as published the notebook just as it was, with the cursive simply as one of his Babar books it would begin: script and in a large-size format.
Once upon a time, December 9, 1899 to be exact, a The reasons for the book’s success are numerous: the little boy was born in France. The little boy’s name was story was a simple yet intriguing adventure; the colors Jean. Jean de Brunhoff. Because Jean’s father was a were bright and inviting; the scenes were detailed and publisher, the little boy grew up loving books. compact. Essentially, each page was loaded with information - the cursive script moved the story along When Jean became a young man, he learned to paint. but the real narrative was in the pictures. And each He studied painting at the Académie de la Grande picture was full of some poignant emotion, either Chaumière Paris. His teacher was a man named Othon sorrow, ecstasy, private grief, quiet pleasure, or complete Friesz. And it was there at the Académie that he met his joyful abandon - all told with the stroke of the pen, the life-long friend Emile, or ‘Mio,’ Sabouraud. sweep of the brush. Jean’s forte lay in never saying too much - either in words or n pictures - and in keeping his Though Jean painted many of his own pictures and fantasies ‘believable,’ combining the purely imaginary portraits, he particularly liked to go to the Louvre with the plausible and real. museum in Paris and replicate paintings by the great masters. But as much as he loved to paint, Jean himself Drawing on his strong classical training as well as his did not become a great master painter. He did, however, own happy life, de Brunhoff created the enduring and loveable character Babar, whose family grew along with This biograpical sketch was extracted from The Art of Babar, The de Brunhoff’s own. Following the first Babar story, de Work of Jean and Laurent de Brunhoff by Nicholas Fox Weber, Harry Brunhoff created five additional adventures: The Travels N. Abrams: NY: 1989. Permission to reprint this article courtesy of The Children’s Theatre of Babar, Babar the King, Babar and Zephir, Babar and Company, Minneapolis, Minnesota. (Continued on Page 12) 11 His Children, and Babar and Father Christmas.
The final two stories were commissioned works done in black and white for the Daily Sketch, a London newspaper. After de Brunhoff’s untimely death at the age of 37, the commissioned stories were published as picture books and Jean’s 13-year-old son Laurent was asked to color in two of the black and white line proofs. Familiar with Babar since his first ‘appearance’ in his mother’s bedtime story and a ‘consultant’ to his father on color and character choices, Laurent was a natural. And so the legacy of Babar was passed from father to son. Later, Laurent even studied art at the same school as his father and was taught by the same man - Othon Friesz. Since that time, Laurent has kept Babar alive, writing and illustrating more than 25 of his own Babar adventures. Even today, Babar lives on.
“Moral instruction, as much as entertainment was clearly one of Jean de Brunhoff’s primary goals. Time and again, he gives evidence that perseverance and gentleness prevail. The proper balance of confidence and humility repeatedly leads to triumph. The points are clear. And good accoutrements of living - especially stylish clothing and fine food - help immeasurably in softening life’s blows.”
Nicholas Fox Weber, The Art of Babar
ELEPHANT FACTS:
• A mother elephant’s pregnancy lasts nearly two years.
• At birth an elephant weighs 200 pounds. An adult elephant may weigh as much as 14,000 pounds.
• The average elephant is more than 11 feet tall - and that's when standing on all four legs.
• An elephant’s skin is one inch thick.
• The trunk alone of an elephant weights 300 pounds and can stretch to 6 feet long. It is as sensitive as a human’s fingers and can provide many services for an elephant: shooting water, lifting tree trunks or plucking just one blade of grass. Elephants drink, smell, feed themselves and fight with their trunk. They depend more on smell than any other sense - and at times are able to smell a human three miles away.
• The earliest use of elephants was for war. King Porus of India used them in fighting against Alexander the Great.
• Elephants are good swimmers and can climb steep heights. But you’ll never know when they’re in a hurry because they cannot run or trot or gallop.
12 ABOUT THE PRODUCING ORGANIZATION The Children’s Theatre Company
As North America’s largest theatre for young people and their families, The Children’s Theatre Company (CTC) is rooted in the belief that early experience with the arts will have a profound effect on children’s participation in the cultural life of their communities. Since its founding in 1965, CTC has dedicated itself to creating the finest entertainment and enrichment, developing an international reputation for staging innovative original works and spirited adaptations of the best of children’s literature.
Over one hundred stories of wonder, fantasy, mystery and adventure, foolishness and wisdom, have been brought to life through the vitality and magic of CTC’s theatrical productions. Known for its ability to vividly recreate the storybook page on stage, the Company - together with guest artists from around the country - gives life to characters from the pens of such contemporary author/illustrators as Dr. Seuss (The 500 Hats of Bartholomew Cubbins), Tomie dePaola (Strega Nona) and Jean de Brunhoff (The Story of Babar, the Little Elephant). Award-winning playwrights have adapted classic stories from such time-honored authors as Louisa May Alcott (Little Women) and Robert Louis Stevenson (Treasure Island) and have developed new plays from contemporary material (Coyote Discovers America and On the Wings of the Hummingbird: Tales of Trinidad).
The Children’s Theatre Company resides in a theatre complex designed by award-winning architect, Kenzo Tange. There, CTC’s Resident Acting Company, performing apprentices, and 90 professionals comprise the full-time staff who work with more than 300 technicians and adult and child actors each year. Under the leadership of Jon Cranney, Artistic Director from 1985-1997, they forged the Theatre’s reputation for unsurpassed technical achievement and stage magic, creating breathtaking sets, spectacular costumes, and moving performances that endure in their audiences’ memories for a lifetime.
The Story of Babar, the Little Elephant The Children’s Theatre Company Photo: Giannetti Studio 13 SLIDESHOW NARRATIVE
The Story of Babar, the Little Elephant
Producer: The Children’s Theatre Company Featured Artist: Artistic Director, 1985-1997, Jon Cranney
1. Babar in his new suit of clothes in the Bon Marché department store.
2. Babar in his new suit.
3 - 4. Babar with his patron, the Old Lady.
5. The Old Lady and Babar doing stretching exercises.
6 - 7. Babar and his cousin Céleste.
8. The coronation and wedding of King Babar and Queen Céleste.
The Story of Babar, the Little Elephant, 1995-96. Photos are courtesy of The Children’s Theatre Company.
14
rtsource ® A The Music Center’s Study Guide to the Performing Arts
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Introduction
ARTSOURCE®: THE MUSIC CENTER’S STUDY GUIDE TO THE PERFORMING ARTS
Artsource® highlights works of art and artists of stature from diverse cultures. It represents early to contemporary art forms in the disciplines of dance, music and theatre and complements the programs and performances of the Music Center’s resident companies and artist roster.
The arts are ancient, enduring and universal forms of communication. Artists present their perceptions, reflections, and points of view which influence, and are influenced by, the culture and period of time in which they exist. Artsource ® Contributors
Project Director Melinda Williams
Project Coordinator Susan Cambigue-Tracey
Writers: Dance Susan Cambigue-Tracey Diana Cummins, Carole Valleskey, Madeleine Dahm, Deborah Greenfield, Barbara Leonard, Melinda Williams
Music Rosemarie Cook-Glover Ed Barguiarena, Susan Cambigue-Tracey, Barbara Leonard, Connie Hood, Annette Simons, Marilyn Wulliger, Diana Zaslove, John Zeretzke
Theatre Barbara Leonard Kathryn Johnson
Technical Production donated by Paul Tracey
Layout and Logo* Design Maureen Erbe Design *Received the LULU AWARD for excellence in graphic design and advertising, sponsored by the Los Angeles Advertising Women (LAAW) Additional Artwork & Artsource® Logo Graphic H. P. Law & Partners
The Music Center of Los Angeles County wishes to thank the artists featured in this publication for their outstanding artistry and their generosity in allowing us to share their creative spirit in the classroom. Sincere appreciation is also extended to the members of the Center’s Board of Directors and Education Council for their guidance in developing these resource materials, Music Center volunteers for their help in organizing, proofing and editing Artsource® units; the professionals who provided field review; and the dedicated teachers who tested the Artsource® units in their classrooms.
Mark Slavkin Vice President for Education Melinda Williams Director of Education