DRACULA

STUDY GUIDE ABOUT Canada’s Royal Winnipeg Réjean Brandt Photography Réjean Brandt PHOTO: PHOTO: Company Dancers

Gweneth Lloyd and Betty Farrally founded Canada’s Royal Winnipeg Ballet School nearly 75 years ago. The two women met when Lloyd was running a school in Leeds, England and Farrally was her student. They both immigrated to Canada in 1938, and settled in Winnipeg. There they offered dance classes to the community – starting out with only six students in their first year. Word quickly spread, however, and by year two their enrolment had grown and they were able to establish the “Winnipeg Ballet Club.” By 1943, The Winnipeg Ballet was formed with all of its dancers coming from the Club. Six years later, the Company officially became a not-for-profit cultural institution. In 1951, the Company was invited to perform for then Princess Elizabeth during her visit to Winnipeg, just prior to her becoming Her majesty Princess Elizabeth’s visit to Winnipeg visit to Elizabeth’s Princess Her majesty Queen of England. Following her coronation in 1953, she bestowed The Winnipeg Ballet’s “Royal” designation. Between the Royal Winnipeg Ballet (RWB) School’s two divisions of study, there is a place for virtually every type of dance student: from preschoolers to adults, those new to dance and those aspiring to become professional dancers. Gweneth Lloyd, Betty Farrally, Betty Farrally, Lloyd, Gweneth T-B includes a command performance which introduces her to The Winnipeg Ballet (1951) The Winnipeg Ballet her to which introduces performance includes a command

DRACULA STUDY GUIDE | 1 PREPARING To see the ballet

This booklet is designed to enhance the student’s experience at Canada’s Royal Winnipeg Ballet’s performance of DRACULA. The activities and information included are organized to help students prepare, understand, enjoy, and respond to their experience watching the performance.

DURING THE PERFORMANCE: AFTER THE Enjoy the ballet! As part of the audience, your attendance is as essential to the ballet PERFORMANCE: performance as the dancers themselves. Prior to arriving at the theatre, discuss Process and respond proper audience etiquette using the keywords below. These steps will help students to the performance handle their feelings and enthusiasm appropriately. It is also very important to arrive by engaging in class on time or even early for the performance in order to allow enough time to settle in discussions or writing a and focus on the performance. letter to the RWB. We love CONCENTRATION: Always sit still and watch in a quiet, concentrated way. This to get feedback from our supports the dancers so that they can do their best work on stage. student groups. QUIET: Auditoriums are designed to carry sound so that the performers can be WRITE TO: heard, which also means that any sound in the audience (whispering, laughing, Canada’s Royal Winnipeg Ballet rustling papers or speaking) can be heard by dancers and other audience members. 380 Graham Avenue Your movement or checking your phone and texting disrupts the performance for Winnipeg, MB, R3C 4K2 everyone, so always ensure that phones and other electronic devices are turned off during the entire performance. E [email protected] facebook.com/RWBallet By watching quietly and attentively you show respect for the dancers. The RESPECT: twitter.com/RWBallet dancers show respect for you (the audience) and for the art of dance by doing their very best work. instagram.com/RWBallet pinterest.com/RWBallet APPRECIATION: Do clap at the end of a dance (when there is a pause in the music) if you feel like showing your appreciation.

At Canada’s Royal Winnipeg Ballet, our mandate is:

“To enrich the human experience by teaching, creating and performing outstanding dance.” Whether touring the world’s stages, visiting schools, offering rigorous dance classes for all experience levels, or performing at Ballet in the Park each summer, the RWB consistently delivers world class dance and instruction to the citizens Samanta Katz Samanta of Winnipeg and far beyond. PHOTO: PHOTO: Find out more about us at rwb.org. RWB Company Dancers

DRACULA STUDY GUIDE | 2 ABOUT Ballet

The First Ballet that have been handed and allow the audience to with the Russian composer In 16th century France and down through centuries, see her intricate footwork Pyotr Tchaikovsky to create Italy, royalty competed to and which now form the and complex jumps, which the lavish story ballet have the most splendid basis of today’s classical often rivaled those of the spectacles such as Swan court. Monarchs ballet style. men. Ballet companies Lake, The Sleeping Beauty would search for and The First were now being set up and The Nutcracker. Today, employ the best poets, Professional Dancers all over France to train these still form the musicians and artists. At first, ballets were dancers for the opera. The basis of the At this time, dancing performed at the Royal first official repertoire of companies all became increasingly Court, but in 1669 King (a collection of dancers over the world. theatrical. This form of who train professionally) Louis opened the first One Act Ballets entertainment, also called was based at the Paris opera house in Paris. In 1909, the Russian the ballet de court (court Opera and opened in 1713. Ballet was first viewed impresario Serge ballet), featured elaborate publicly in the theatre The Diaghilev brought scenery and lavish as part of the opera. By 1830, ballet as a together a group of costumes, plus a series The first opera featuring theatrical art form dancers, choreographers, of processions, poetic ballet, entitled Pomone, truly came into its own. composers, artists speeches, music and included created Influenced by the Romantic and designers into his dancing. The first known by Beauchamp. Women Movement, which was company, the Ballets ballet, Le Ballet comique de participated in ballets at sweeping the world of Russes. This company la Reine, was performed at court, but were not seen art, music, literature and took Paris by storm as court in 1581 by the Queen in the theatre until 1681. philosophy, ballet took it introduced, instead of France (and her ladies) Soon, as the number of on a whole new look. The of long story ballets in at her sister’s wedding. performances increased, ballerina ruled supreme. the classical tradition, The Sun King courtiers who danced Female dancers now short one act ballets In the 17th century, for a hobby gave way to wore calf-length, white, such as, Schéhérazade, the popularity and professional dancers who bell-shaped tulle skirts. Les Sylphides, The Rite development of ballet trained longer and harder. To enhance the image of of Spring, Firebird and could be attributed to The physical movement the ballerina as light and Petrouchka. Some of the King Louis XIV of France. of the first professional ethereal, the pointe shoe worlds greatest dancers, He took dancing very dancers was severely was introduced, enabling including Anna Pavlova seriously and trained daily hindered by their lavish women to dance on the (1881-1931), Vasslav with his dance master, and weighty costumes tips of their toes. Nijinsky (1889-1950) and Pierre Beauchamp. One and headpieces. They also Classical Ballet choreographers Mikhail of the King’s famous wore dancing shoes with Although the term Fokine (1880-1942) and roles was the Rising Sun tiny heels, which made it “classical” is often used to George Balanchine which led him to become rather difficult to dance refer to traditional ballet, (1904-1983) were part of known as the “Sun King.” with pointed toes. this term really describes Diaghilev’s company. King Louis also set up Revealing Feet and Ankles a group of story ballets the Academie Royale de Early in the 18th century first seen in Russia at the Danse (Royal Academy of in Paris, the ballerina, end of the 19th century. Dance) in 1661, where, for Marie Camargo, shocked At this time, the centre of the first time, steps were audiences by shortening ballet moved from France structurally codified and her skirts to just above the to Russia. In Russia, the recorded by Beauchamp. ankle. She did this to be French choreographer These are the same steps freer in her movements collaborated

DID YOU KNOW … ? SEE FOR YOURSELF! Dancing ballet puts Do a search for images of ballet a lot of wear on a dancers throughout the ages. dancer’s shoes. Some Can you notice the differences dancers need to get in costumes over time? What do new shoes every week! Marie Camargo, with her ankles exposed with her ankles Marie Camargo, most dancers wear today?

DRACULA STUDY GUIDE | 3 THE LIFE OF A DANCER

The career of a dancer is relatively short and it is not unusual to spend more years training than dancing professionally. As in Olympic-level sport, the movements demanded of the human body in ballet are very specific and require great precision and care. For that reason, the physique must be prepared for a professional ballet career at a young age. The professional training period usually consists of at least seven years of intensive, precise work. Ideally, girls and boys should begin their professional training by age ten. Training is a very progressive process. The young professional student begins with daily classes, practicing the basic ballet positions and movements, learning body placement and how to move through the space with balance and artistry. As the student progresses, time spent in classes each week increases, as do the difficulty and extensiveness of the skills taught. In addition to daily class in classical technique, students also receive instruction in variation (solo) work, pointe (dancing on the toes), (a dance for two), character (ethnic), jazz and modern dance. Prior to the introduction of pointe work, a number of criteria must be considered. These include the amount of previous training, a dancer’s strength and ability, as well as age as it relates to the bone development in the dancer’s feet. Pas de deux and repertoire (the collection of different ballets a dance company performs) are introduced only when the student has adequate strength, ability and training. Students who graduate to a professional ballet company usually begin dancing as a member of the (ensemble). After a few years, corps de ballet members whose artistry, technical ability, musicality and ability to communicate with the audience set them apart may be promoted to first or second . Finally, the highest achievement in the company, the position of principal

Sophia Lee PHOTO: Réjean Brant Photography Réjean Brant Sophia Lee PHOTO: dancer, is attainable by only a few select dancers.

ESTABLISHING DANCE IN NORTH AMERICA Almost all companies and dancers are influenced by Diaghilev’s Ballet Russes. The first visit by this company to North America in 1916-1917 stimulated great interest in ballet. Dancers from the were instrumental in furthering this new interest in ballet. For example, dancer George Balanchine went to the United States and founded the New York City Ballet (originally called the American Ballet). He became renowned for perfecting the abstract ballet and for establishing neo-classicism through his choreographic masterpieces such as Serenade, Agon and Concerto Barocco. Ninette de Valois and Marie Rambert also went on to found, respective, England’s Royal Ballet and the Rambert Dance Company. It is from these English roots that two English Women, Gweneth Lloyd and Betty Farally, founded the Royal Winnipeg Ballet in 1939 (the oldest ballet company in Canada). Celia Franca also came to Canada and in 1951, she founded The National Ballet of Canada in Toronto. Some of the worlds greatest dancers, including Anna Pavlova (1881-1931), Vasslav Nijinsky (1889-1950) and choreographers Mikhail Fokine (1880-1942) and George Balanchine (1904-1983) were part of Diaghilev’s company.

DRACULA STUDY GUIDE | 4 BALLET Shoes

THE POINTE SHOE SLIPPERS, BOOTS AND SHOES Proper footwear is the most important piece of attire for Male dancers wear a soft ballet slipper, a tightly ballet dancers. There are many different kinds of dance fitting shoe made of fabric or leather. The slipper shoes, including ballet slippers, character shoes/boots has a pleated toe rather than the hard fabric block of and jazz shoes. Perhaps the most well-known shoe is the pointe shoe, and a pair will usually last from one the pointe shoe (the shoes for dancing on the toes) of to three weeks. Women also dance in the soft ballet the female dancer. Making pointe shoes is a difficult slippers in roles where no pointe work is required. and precise art. For each size of pointe shoe, there is A character or jazz shoe is worn in many modern a basic form called the last, upon which the shoe is ballets. The female character shoe is very much like molded. Sizes generally range from 1 1⁄2 to 5 1⁄2. To build a street shoe and comes in similar sizes. It has a low the shoe, the shoemaker uses several layers of fabric, heel and a strap or tie to secure it to the foot. The starting with a cotton lining and a flannel-type fabric men’s shoe also resembles a street shoe but has a to form the slipper. In the toe section, seven fabrics of soft sole like that of a ballet slipper. The jazz shoe varying thickness are bonded together into a block form worn by both male and female dancers resembles a with special glue. Finally, the shoe is covered with satin, flat street shoe, but is actually a specialized dancing glued together, dried and stitched for strength. shoe. Some ballets also require dancers to wear soft Each individual dancer has specific requirements for her leather designed boots. shoes. For example, the width of the block required may vary from dancer to dancer. The vamp (length of the shoe covering the toe), the width and height of the heel and the stiffness of the leather sole may also be tailored to fit an individual dancer’s needs. (It is interesting to note that there is no designated left or right shoe in the pair.) The shoemaker will put his mark on each completed shoe, along with the size and brand name. Dancers come to rely on a specific maker and are usually hesitant to have anyone else make their shoes. Most pointe shoes are a basic pink colour and can be painted or dyed to match a particular costume.

Dancers also make further adjustments to a completed pointe shoe. Some dancers prefer the sole to be more flexible and the box to be much softer than those in a brand new shoe. A number of methods, such as beating the shoe on the floor, slamming the pointe in a doorframe or even pounding it with a hammer will achieve the softening desired! Dancers sew their own ribbons on the shoes, and in some cases, sew on elastics to help hold the shoe securely to the foot. Dancers keep their shoes clean using a special cleaning fluid. All of this care is taken for shoes that will probably last for only a few performances, and often, if a particular role calls for a great deal of pointe work, for only one performance. A dancer rehearsing a role calling for a lot of pointe work could go through four to six pairs a week, with each pair costing approximately $75.

Amanda Green PHOTO: Aleli Estrada

DRACULA STUDY GUIDE | 5 OTHER FORMS OF DANCE

Other forms of dance include modern, jazz, character During the 1920s North Americans introduced jazz and folk dance. Each of these forms has unique historical into various forms of vaudeville show business, eagerly characteristics and artistic ideology. While classicism adopting this style. still plays a major role in most North American ballets, many choreographers incorporate these other Character dance is a general term for all kinds of techniques to introduce variation into their work. dance that reside outside the bounds of the classic- academic dance, which derive from traditional and Modern or contemporary dance originated in the United national sources. Character dance is usually done as States and Europe in the 19th century in opposition a form of entertainment for an audience. Examples to the classic-academic dance (or danse d’école) as include the Italian Tarantella, Hungarian Czardas and set up by Beauchamp in the French court of Louis XIV. the Polish . The first pioneers of modern dance were interested in breaking away from the rigid forms of classical ballet. Folk dance has developed within the traditional Isadora Duncan (1877–1927) for example, was inspired environment of ethnic peoples. Coined in the 18th by Greek dances of antiquity; she danced barefoot and century, “folk dance” is a term that differentiates wore revealing costumes. Ruth St. Denis (1879–1968) “dances of the people” from the more regulated dance was inspired by eastern art. With modern dance, of higher social classes. Folk dance occurs primarily movement became freer. For example, in modern dance for its own inherent enjoyment or for an attached the torso can move without restriction whereas in ballet, social significance, rather than for an audience. the back is almost always held straight. In modern American Square dancing and English Morris dancing dance, movements also became more “earth-bound”, are two typical examples of folk dance. as opposed to ballet where movements are light and As you can see, the world of dance is an “air-bound”. interconnected whole with a rich history of tradition Jazz dancing, like jazz music, evolved from African tribal which has been passed down from generation to dances and rhythms. African-Americans adapted the generation. Within the dance world there are no African dance technique of isolating individual moving boundaries of nationality or race, making the art of parts of the body to the needs of their new social dance a truly global experience. surroundings. The name “jazz” first surfaced in 1917. RWB Professional Division Students PHOTO: Leif Norman Division Students PHOTO: RWB Professional

DRACULA STUDY GUIDE | 6 DRACULA Synopsis

CHOREOGRAPHY: Mark Godden ASSISTANT OF THE CHOREOGRAPHER: Cindy Marie Small MUSIC: Gustav Mahler NARRATION: Written & performed by Richard Hurst SET AND COSTUME DESIGN: Paul Daigle LENGHT: 2 hours, 11 minutes LIGHTING DESIGN: David Morrison

CHARACTERS fierce curiosity to discover the true nature of his captor and a strong will to escape. Later, after becoming CONT DRACULA A centuries-old vampire and convinced that the count has moved to London, Harker Transylvanian nobleman, Count Dracula inhabits emerges as a brave and fearless fighter. a crumbling castle in the mountains. Beneath a veneer of aristocratic charm, the count lives a life JACK SEWARD A talented young doctor, formerly shrouded in darkness and mystery. He can change Van Helsing’s pupil. Seward is the administrator of an his physical form, exhibits super human strength insane asylum not far from Dracula’s English home. and can control even the weather. His powers are Although Lucy turns down Seward’s marriage proposal, limited, however—for instance, he cannot enter a his love for her remains, and he dedicates himself to victim’s home unless invited, cannot cross water her care when she suddenly takes ill. After her death, unless carried, and is rendered powerless by he remains dedicated to fighting the count. daylight. ARTHUR HOLMWOOD Lucy’s fiancé and a friend of MINA MURRAY Jonathan Harker’s fiancée. her other suitors. Arthur is the son of Lord Godalming Mina is a practical young woman who works as a and inherits that title upon his father’s death. In the school teacher. Eventually victimized by Dracula course of his fight against Dracula’s dark powers, herself, Mina is also the best friend of the count’s Arthur does whatever circumstances demand. first victim in the novel, Lucy Westenra. Mina is in many ways the heroine of the novel, embodying QUINCEY MORRIS An American from Texas, and purity, innocence, and faith—virtues she maintains another of Lucy’s suitors. Quincey proves himself despite her suffering at the vampire’s hands. She is a brave and good-hearted man, never begrudging intelligent and resourceful, and her research leads Holmwood his success in winning Lucy’s hand. Quincey Van Helsing’s men to Castle Dracula. ultimately sacrifices his life in order to rid the world of Dracula’s influence. LUCY WESTENRA Mina’s best friend and an attractive, vivacious young woman. The first DR. ABRAHAM VAN HELSING A Dutch professor, character in the novel to fall under Dracula’s spell, described by his former pupil Dr. Seward as “a Lucy becomes a vampire, which compromises her philosopher and metaphysician, and one of the most much-praised chastity and virtue, and banishes her advanced scientists of his day.” Called upon to cure soul from the promise of eternal rest. Determined the ailing Lucy Westenra, Van Helsing’s contributions that such an end is unfit for an English lady of Lucy’s are essential in the fight against Dracula. Unlike his calibre, Van Helsing’s crew hunts down the demon comrades, Van Helsing is not blinded by the limitations she has become and kills it, following the rituals of of Western medicine: he knows that he faces a force vampire slaying, and thus restoring Lucy’s soul to that cannot be treated with traditional science and her body and to heaven. reason. Knowledgeable about vampire folklore, Van Helsing becomes Dracula’s chief antagonist and the JONATHAN HARKER A solicitor, or lawyer, whose leader of the group that hunts Dracula down and firm sends him to Transylvania to conclude a real destroys him. estate transaction with Dracula. Young and naïve, Harker quickly finds himself a prisoner in the castle and barely escapes with his life. He demonstrates a

DRACULA STUDY GUIDE | 7 DRACULA Synopsis Continued

ACT I Scene 1 - ESTATE IN ENGLAND, LATE 1800’S Scene 2 – RED DANCE

Having already been inducted into Dracula’s world, Mina Murray (a friend of Lucy Westenra, who is unaware Lucy collapses in her bedroom. Her nightmares and of the fate which has befallen her), travels to a convent sleepwalking have the household staff concerned. in Budapest after being summoned to the side of her ill Troubled by her erratic moods, Lucy’s three suitors fiancé, Jonathan Harker. In order to advance his career, and a medical specialist, Dr. Abraham Van Helsing, Jonathan has recently travelled to Transylvania to assist are summoned to her bedside. Close to hysterical Count Dracula in buying real estate in England. Mina and seemingly paranoid, Lucy faints. Van Helsing and Jonathan are together after a long absence when determines Lucy to have unexplainable loss of blood. A she chances upon his diary. Mina reads that Dracula had transfusion is required. Suspicious that supernatural abandoned Jonathan in the castle where he encountered forces are at work, Van Helsing discovers two tiny holes three vampire women. Though lured by their strange in Lucy’s neck. Research material from the mansion seduction, Jonathan has managed to escape. Mina is library is brought to the doctor. Van Helsing abandons enticed by Jonathan’s experiences in the castle and medical remedies and surrounds Lucy’s bedroom with part of her feels drawn to that world. Having no secrets garlic and crosses. Lucy appears dead to the doctor and from Jonathan, she divulges this desire. Jonathan is three suitors. shocked by Mina’s behaviour, which is similar to that of the vampire women. Repressing these desires, Mina Scene 2 – LUCY’S CRYPT assures Jonathan of her love by sealing the diary’s secrets. Holding her under his dark spell, Dracula claims his prize by initiating Lucy into the tomb. Van Helsing and the suitors, suspicious of Lucy’s death, break into the Scene 3 – THE CRYPT AT DRACULA’S CASTLE IN tomb. Armed with crosses and stakes they manage to TRANSYLVANIA, LATE 1800’S free Lucy from Dracula’s evil empire. Mina has been taken captive by Dracula who offers her ACT II a place to live in the world of the living dead, the place she read about in Jonathan’s diary. Dracula leaves Mina drained of blood as he hears Van Helsing and Scene 1 – RED DANCE Lucy’s suitors inside the castle. Finding Mina alive, they This bacchanal is inspired by the traditions of classical hunt for Dracula. The daylight is fast approaching and dance along with elements of folklore and folkdance. Dracula is forced to battle the men. With all enslaved, The wolf and dancers reflect different aspects of the Count tortures Jonathan by performing his blood Dracula and his world. ritual on Mina. Witnessing Jonathan’s anguish, Mina manages to weaken Dracula by draining him of his blood. Mina then seizes a cross and wakens the dazed men. They surround Dracula and, like Vlad of Wallichia, kill him.

DID YOU KNOW … ? Johnny W. Chang and Tara Birtwhistle, who were the first dancers to enchant audiences as Dracula and Lucy in 1997 at the Royal Winnipeg Ballet, are now both Ballet Masters for the Company and have played a huge role in instructing the dancers for the revival this year.

DRACULA STUDY GUIDE | 8 FURTER LEARNING

THE IMPORTANCE OF LOVE THE APPEAL OF HORROR

The various men in Lucy and Mina’s lives Stephen King once stated that horror often serves as demonstrate the kind of self-sacrificial, freely giving a barometer of those things which trouble the night love for which Christian teaching calls in their thoughts of a whole society. Following up on this willingness to donate their own blood and to risk observation, Skal contends that horror films reflect their own lives to save these women from Dracula’s current societal issues and concerns by denoting how clutches. That they fail to do so in one case, Lucy’s, the fear of totalitarianism in the 1930s gave birth to does not lessen the importance of this theme; for movies like Frankenstein (1931), the fear of radiation Stoker presents the destruction of vampiric Lucy gave flight to the creature features of the 1950s, the war as nonetheless a self-giving, loving act, mercifully in Vietnam gave rise to a new breed of zombie movie delivering Lucy from eternal damnation, And, clearly, as represented by 1968’s Night of the Living Dead, self-giving love does carry the day in the other case, Watergate inspired mistrust for authority figures and Quincey Morris’ devotion to Dracula’s destruction films like Nightmare on Elm Street (1984), and serial costs him his life, but he counts that loss as gain, killers encouraged an interest in movies like Silence of because he does not expire before he sees Mina the Lambs . cleansed of the blemish that Dracula had given her. As important as societal concerns are in understanding Such love is the very antithesis of the dominating will the popularity of the horror genre, it should be kept in to power that animates Dracula throughout the book, mind that many of these movies, productions and novels and is generally recognized as a noble, virtuous goal operate on universal or cross-cultural fears. and aspiration. What studies have shown, are from these findings, The theme of the simultaneous allure and danger the attraction to horror can be determined by three of sexuality—specifically, female sexuality—is the fundamental characteristics: tension, relevance, and clearest example of this tendency. Dracula’s brides unrealism. seduce both Jonathan Harker and Dr. Van Helsing, and both men find them at the same time tempting TENSION and troubling, repulsive and irresistible. Horror films create tension through mystery (Rosemary’s Seward experiences a similar emotional reaction Baby, 1968), suspense (The Haunting, 1963), gore (The when confronted with the need to slay vampiric Lucy. Evil Dead, 1982), terror (The Shining, 1980), and shock And Lucy’s death, the supposed “threat” of a fully (Suspira, 1977): sexual woman in the Victorian mind, then, emerges as one of the more problematic but also persistent The tension engendered by horror material differs from themes in Stoker’s work. the tension produced by action-adventure and dramatic material because of the presence of otherworldly forces. THE FIRST VAMPIRE – VLAD THE IMPALER Movies like The Exorcist and novels like Dracula reflect a strong sense of the supernatural, yet what about Vlad Dracula Also called Vlad Tepes (pron. Tsepesh) material with more realistic antagonists like those in or Vlad the Impaler, Vlad Dracula was a Romanian Psycho and Jaws ? hero of the fifteenth century. Born in 1431, Vlad Tension based on the distortion of natural forms Dracula ruled Wallachia (a region of southern either as a supernatural force or perception of gross Romania) off and on from 1448 until his death in abnormality, is one of three fundamental characteristics 1476. He successfully warded off enemy attacks of of horror cinema that appeals to audiences. his capital city Tirgoviste by displaying the impaled corpses of 20,000 Turkish captives outside the city. Bram Stoker encountered the name Dracula in William Wilkinson’s 1820 Account of the Principalities of Wallachia and Modavia and apparently chose to DID YOU KNOW … ? use the name and the Transylvanian setting for his Stoker began Dracula in 1890, two years after Jack novel. the Ripper terrorized London. The lurid atmosphere these crimes produced made their way into Stoker’s novel and were thought to have a large impact on his writing at the time.

DRACULA STUDY GUIDE | 9 FURTHER LEARNING

RELEVANCE UNREALISM

Interest can be sparked in a variety of different ways Most people who view horror movies understand that but relevance is one of the more common avenues the filmed events are unreal, which furnishes them by which interest in horror material is established. with psychological distance from the horror portrayed The universal relevance of horror is the degree to in the film. In fact, there is evidence that young viewers which it touches on the ubiquitous aspects of fear who perceive greater realism in horror films are more and terror, as they apply to the themes of darkness, negatively affected by their exposure to horror films danger, and death. The archetype of darkness is than viewers who perceive the film as unreal (Hoekstra, said to embody absolute evil and is well represented Harris, & Helmick, 1999). Several factors reinforce in cinematic horror. Danger, as symbolized by the the fictional nature of cinematic depictions of horror. unknown and death are two additional universal Even the music track for many horror pictures serves fears that work their way into horror pictures. From a a distancing function in the sense that while music can purely evolutionary standpoint, avoiding dark places induce tension by supplying additional information and where predatory animals may hide, attempting to creating suspense, it also injects an air of unreality into understand that which is presently unknown, and a picture because our everyday actions are not normally finding ways to postpone death have survival value accompanied by music. This unreality is viewed to be a and may have been passed onto future generations consequence of the psychological distance which fiction through an evolutionary process. According to many provides and through which the appeal of horror cinema psychoanalytic thinkers, universal fears make a is realized. horror film more relevant.

Tension, relevance, and unrealism describe horror genre appeal but do not explain why people find these features appealing or how these features contribute to the popularity of horror fiction. Explaining horror appeal requires a deeper analysis of human psychology than is possible using the tension, relevance, and

Gargoyles RWB Company PHOTO: David Cooper RWB Company PHOTO: Gargoyles unrealism descriptors.

DRACULA STUDY GUIDE | 10 CLASSROOM Activities

ACTIVITY 1 for although the teacher spoke only her/his native language the names of the steps are always in French. WRITING EXERCISE There are at least one thousand steps in ballet with an There are many variations on the legend of unlimited number of permutations. the vampire, or the “undead.” The definitive Below are listed ten ballet terms that begin with the vampire, however, is Dracula. Through word Pas (step). awareness of his legend the story seems familiar even if Bram Stoker’s novel has not Pas d’action (pah dac’ SHON): episodes in ballet been read. Write a Synopsis of Dracula Have that advance the plot, introduce dramatic incident students write a synopsis of the story of or establish relationships among the characters. A Dracula, as they understand it. After writing combination of dancing and pantomime. the synopsis, read the synopsis of the ballet. What elements of the Dracula story are in both Pas battu (pas bah –TOO): beating steps. synopses? Pas de basque (pah duh BASK): Basque steps, from OR Compare Dracula to the Twilight Series, folk dances of the Basque region between France and True Blood or Vampire Diaries Series. Spain. Recently the vampire-themed books, movies Pas de bourré (pah duh boo-RAY): series of three steps and TV Shows have become a pop culture done in any direction and/or turning. The most common phenomenon. Have students who have read or is step behind on left, step side on right, close left in seen the series write an essay comparing the front of right foot in fifth position. portrayal of the lead vampire’s characters to the traditional conception of Dracula. Possible Pas de caractére (pas duh care act TAIR): court and folk points to consider: dances. Pas de chat (pas duh SHA): step of the cat * Appearance Pas de cheval (pas duh shu -VAL): horse’s step, serves * Personality most often to translate the movement of an animal * Emotional/psychological attributes pawing on the ground with his hoof. * Environment Pas de deux (pah duh DUH): step of two, dance for two. ACTIVITY 2 (pah duh TWAH): step of three, dance for MOVEMENT/ MUSIC three. Make up and name a step, then look up the Pas de cinq (pas duh SANK): step of five, dance for five. word in French. Put the word pas in front of the 30 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,

DRACULA STUDY GUIDE | 11 Sophia lee PHOTO: REJEAN BRANDT PHOTOGRAPHY BRANDT REJEAN PHOTO: Sophia lee CLASSROOM Activities

ACTIVITY 3 language. This is one of the elements that makes a dancer an artist. Listed below are characters from MOVEMENT/ MUSIC Dracula and some adjectives that describe them. PORTRAYING CHARACTER THROUGH Divide into groups of 3-5. Put the name of each MOVEMENT character from the ballet with their description on In a story ballet, such as Dracula, the story is separate pieces of paper and place them in a hat. told to the audience without the use of dialogue. Each group picks a character and then creates The choreographer must use movement as a movements that will portray that character without means to convey the action of the story as well using words. Try to think of specific body movements as delineate the personalities of the characters and postures that convey the essence of the character. in the story. The group then picks one person to portray their The dancer will then enhance the choreography character to the rest of the class. and the portrayal of the character they are Can the class guess which character your group playing by using facial expressions and body selected? Which attributes are easy to demonstrate with movement? Which are difficult? Count Dracula – mysterious, evil, controlling, dark, mystical Mina –charming, innocent, timid, shy, apprehensive, playful, flirtatious Van Helsing – intelligent, doctor, brave, focused Discuss these characters before the exercise to find traits you would like to add. ACTIVITY 4 WRITING EXERCISE/ WRITE A CRITIQUE 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? Sophia lee PHOTO: REJEAN BRANDT PHOTOGRAPHY BRANDT REJEAN PHOTO: Sophia lee

DRACULA STUDY GUIDE | 12 QUESTIONS

PRE-PERFORMANCE QUESTIONS 1) Would you want to live forever? List the pros and cons of eternal life. 2) What problems arose when the world went from an agrarian society to an industrial society? How do people’s lives change as technology improves? 3) From Nosferatu to Count Chocula to the recent Twilight vampires, why is pop culture so infatuated with vampires?

POST PERFORMANCE QUESTIONS 1) The production of Dracula is an adaptation of Bram Stoker’s novel. What are the limitations or advantages of a stage production versus what is found in the novel? 2) Why does the story start at Dracula’s castle in Transylvania and move to London? How would the story change if it took place only in London or only in Transylvania? 3) How does the year that the play is set have bearing on the story? What is happening in the world at the time of the story is set? 4) Who would you consider the hero of the story? Why would you classify this character as the hero? 5) Describe the characteristics of Van Helsing. What does he represent in this story? 6) How are women portrayed in the play? What are the similarities and differences of Lucy and Mina? 7) How would the story change if the gender of the characters is flipped? For example, Dracula is female, Van Helsing is female and the first victims are male. Sophia Lee, Liang Xing PHOTO: REJEAN BRANDT PHOTOGRAPHY BRANDT REJEAN Sophia Lee, Liang Xing PHOTO:

DRACULA STUDY GUIDE | 13 Katie Bonnell, Liang Xing PHOTO: REJEAN BRANDT PHOTOGRAPHY BRANDT REJEAN Katie Bonnell, Liang Xing PHOTO:

LIKE ALL LIVE PRODUCTIONS, EACH BALLET PERFORMANCE ONLY HAPPENS ONCE.

It is a combination of the performers on stage and the audiences in front of them that make each performance unique. For this reason, it is in the audience’s best interest to be visibly and audibly attentive and appreciative – the better the audience, the better the performance on stage will be.

LET US KNOW WHAT YOU THINK! Write to: Canada’s Royal Winnipeg Ballet | 380 Graham Avenue | Winnipeg, MB, Canada R3C 4K2 E [email protected]