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The Music Center's Study Guide to the Performing Arts

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The Music Center's Study Guide to the Performing Arts DANCE TRADITIONAL ARTISTIC PROCESSES ® CLASSICAL 1. CREATING (Cr) Artsource CONTEMPORARY 2. PERFORMING, PRESENTING, PRODUCING (Pr) The Music Center’s Study Guide to the Performing Arts EXPERIMENTAL 3. RESPONDING (Re) MULTI-MEDIA 4. CONNECTING (Cn) ENDURING FREEDOM & THE POWER THE HUMAN TRANSFORMATION VALUES OPPRESSION OF NATURE FAMILY Title of Work: Theatre became America’s National Ballet Company®. The Sleeping Beauty About The Artwork: Creators: The story of The Sleeping Beauty was written by Marius Company: American Ballet Theatre (ABT) Choreography: Kevin McKenzie, Gelsey Kirkland and Petipa and Ivan Vsevolojsky, based on a tale by Charles Michael Chernov, after the Perrault. Both the time and the place of this ballet are choreography of Marius Petipa (1889) relatively unimportant because the story is focused on a Music: Peter Ilyich Tchaikovsky struggle between good and evil, as represented by the Original Version World Premiere: Imperial Ballet, benevolent Lilac Fairy and the wicked fairy Carabosse. In the Maryinsky Theatre, St. Petersburg, 1890 overture, musical themes of both the good and evil fairies are Background Information: introduced. At the christening of the baby Princess Aurora, Recognized as a living national treasure, ABT was founded 5 good faries each give her a loving wish, but the fairy in 1940. The aim was to develop a repertoire of the best Carabosse, feeling left out, casts an evil wish out of revenge. ballets from the past and to encourage the creation of new She states that the princess will prick her finger when she is works by gifted young choreographers. Under the direction 16 and die. Carabosse’s music is low in pitch, strident and of Lucia Chase and Oliver Smith from 1940 to 1980, the aggressive. Luckily the Lilac Fairy had not yet given her wish Company more than fulfilled that aim. The repertoire and so was able to lessen the evil by stating that the princess includes all of the great full-length ballets of the 19th will only be in a deep sleep for 100 years, awakened by the kiss century, such as Swan Lake, The Sleeping Beauty and Giselle, of a handsome prince. Her motif is soft and compassionate. as well as the finest works from the early part of the 20th century, such as Apollo, Les Sylphides, Jardin aux Lilas and Rodeo. Creative Process of the Artist or Culture: In creating both the story and ballet, Acclaimed contemporary masterpieces such as Airs, Push Petipa told Tchaikovsky exactly how Comes to Shove and Duets are also included. In acquiring many measures he wanted for each such an extraordinary repertoire, ABT has commissioned episode, and specified the tempo, style works by several choreographic geniuses of the 20th century and scoring. Since the original premiered in such as: George Balanchine, Antony Tudor, Jerome Robbins, 1890, it has been reconstructed and Agnes de Mille and Twyla Tharp. In 1980, Mikhail updated many times. Baryshnikov became Artistic Director of ABT, succeeding Lucia Chase and Oliver Smith. Under his leadership the Gillian Murphy New York Company experienced a strengthening and refining of the Photo: Rosalie O’Connor classical tradition. In 1990, Jane Hermann and Oliver “Sleeping Beauty. is the grandest, fullest, and finest Smith took over, maintaining the past as they pursued achievement of Classical innovation. In 1992 Kevin McKenzie was appointed Artistic ballet..” Andrew Porter Director. In 2006, by and act of Congress, American Ballet The New Yorker Discussion Questions: The Stories, Music, and Magic of Classical Ballet. Black After the video has been viewed: Dog, 2007. • This story ballet is about the struggle between good • Verdy, Violette. Of Swans, Sugarplums and Satin and evil. How would you describe "good?" How Slippers - Ballet Stories for Children. Scholastic, 1997. would you describe "evil?" • Bettelheim, Bruno. The Uses of Enchantment: The • In your own words tell the beginning part of the Meaning and Importance of Fairy Tales. Alfred A. story; the middle part; and the ending part. Knopf, Inc., 1976. • In looking at the photos of the ballet, what stood out • ABT Web Page: http://www.abt.org for you? What impressed you the most? Did Sample Experiences: anything surprise you? Did anything confuse you? LEVEL I • Can you name the six good faries (Sincerity/honesty; • Ask the students to give their own definitions of good Fervor/warmth and passion; Charity; Joy; and evil. Have them describe the traits they think the Valor/courage; Lilac/most powerful)? Who was the Lilac fairy character has and the traits they think the most powerful of the good faries (Lilac Fairy) evil fairy, Carabosse, might have. Encourage them to • Who is the evil fairy? (Carabosse) Why do you think pull from the story, but add their own ideas and give she might be so evil? personal interpretations. Multidisciplinary Options: * • Encourage the students to show body postures that Bruno Bettelheim in his book, The Uses of would represent the traits and emotions of different Enchantment, states “Like all great art, fairy tales both characters in The Sleeping Beauty. These might include: delight and instruct; their special genius is that they do so happy, sad, mean, kind, lonely, proud. Ask them to in terms which speak directly to children. At the age when find movements that would represent each emotion, these stories are most meaningful to the child, his major then portray a few of the characters motivated by an emotion. problem is to bring some order into the inner chaos of his • Ask students to think of three to six good wishes they mind so that he can understand himself better.” Read or would bestow upon a baby. Share them. tell the students the story of The Sleeping Beauty and LEVEL II have them draw a picture of their favorite part. Divide • Working with the concept of opposites, have the the class into four groups: the Prologue (Christening); students explore ways to create partner shapes or Act I (The Spell); Act II (The Vision); and Act III designs that show sleeping and awake; good and evil; (The Wedding). Have students group themselves happiness and sorrow; life and death. according to the Act that matches the scene they drew. * • Divide the students into small groups and have them Then, ask the students to group their pictures in a select one of the Acts to show in a tableaux. They must sequence and make a storyboard of their Act. Ask create three different tableaux that show the main ideas them to discuss the main events that took place in that of each act making slow, smooth eight count part of the story and add descriptive words. After they transitions from one to the other. have retold that part of the story to each other, have LEVEL III each group select one person to tell their part (Act) of • Find the music to the ballet, The Sleeping Beauty written the story. Begin with the Prologue and move through by Peter Ilyich Tchaikovsky. Listen to the overture and all the Acts to the end, using the pictures to help. This see if you can discover the themes or motifs that can be done again using different storytellers from each represent the Lilac Fairy and the Fairy Carabosse. group. Let them bring their own meaning to the tale. Discuss the qualities of each motif and give reasons for your choices. If you were the composer, what Audio-Visual Materials: instruments would you select for each character. Why? • Video: The Sleeping Beauty, courtesy of American • Tell the story of the ballet. Have students retell the Ballet Theatre. * different parts in their own words, elaborating on each • Photos: Rosalie O'Connor, Gene Schiavone and part. Divide into small groups and have each select MIRA. Courtesy of ABT. one part to interpret through dance. The dance should • Drawings of costumes by Willa Kim. begin and end with a tableau, and use movements that Additional References: express/convey the events and emotions in their act. • Hamilton, Meredith. A Child's Introduction to Ballet: 2 * Indicates sample lesson Libretto of the Ballet: Prologue - The Christening: Dawn in the Castle Throne Room King Florestan and his Queen are at last celebrating the christening of their long awaited newborn daughter Aurora. Catalabutte, the King’s loyal minister, is checking the invitation list to make sure that no one has been forgotten. The good fairies, led by the Lilac Fairy, have been invited to be godmothers to the little Princess. Upon her they bestow magical gifts, blessing her with every imaginable virtue so that some day she can marry the perfect prince. This, in turn, will seal the security and happiness of the kingdom. Just as the ceremony is coming to a happy conclusion, the evil fairy Carabosse arrives and, in revenge for being left off the invitation list, declares that the Princess will prick her finger with a spindle and die. Averting this tragedy, the Lilac Fairy promises that Aurora will not die, but will instead fall into a deep sleep that will last a hundred years or more. At the end of that time, a king's son shall awaken her with a kiss. King Florestan at once forbids all persons in the kingdom to keep a keep a spindle, under pain of death. Act I - The Spell: Sixteen years later in the Castle Garden It is Princess Aurora’s sixteenth birthday, and princes from the four corners of the earth seek her hand in marriage. Before the festivities begin, Catalabutte catches the village gossips with a banned spindle. The King blames Catalabutte for the presence of the banned spindle and condemns him to death. In response to the Queen’s pleas, the King shows mercy and grants a pardon.
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