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Home , Anna Kisselgoff, Arthur Mitchell (dancer), Diana Adams, John Taras

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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: assassinated, Mitchell made the decision to make this Firebird, with Theatre of , premier 1982 dream possible for other African American dancers by Firebird Suite, 1945 version establishing an all-black classical company. In Creators: partnership with his teacher and friend, Karel Shook, Artistic Director: b. 1934 he started a school in an empty Harlem garage. This Composer: 1882-1971 Choreographer: 1919-2004 evolved into the internationally acclaimed company - Set and Costumes: .

Background Information: About the Artwork: As an African American, Arthur Mitchell grew up in a score, by Igor Stravinsky, was based on an loving, hard-working, church-going family; although he old Russian folk tale. It was commissioned by Serge earned money by working many jobs, he realized that he Diaghilev, artistic director, impresario and manager of wanted something more in life. One evening at a junior the Russes. Originally choreographed by high school dance, a teacher observed that he had a , it was first performed in 1910. Arthur special gift and encouraged him to audition for the New Mitchell wanted to include Firebird in his repertory York City High School of the Performing Arts. Since he and commissioned John Taras to revise it choreographically had no formal dance training, he learned a Fred Astaire and Geoffrey Holder to design sets and costumes song-and-dance number which he performed in a rented which fit the style of the Dance Theatre of Harlem. suit and top hat. He delighted the judges, but found the The demanding role of the firebird was originally first year as a dance student very difficult since he lacked danced by Stephanie Dabney and the Young Man by the skills to succeed in modern and . Finally, Donald Williams. This special work has become the he was told he would never become a dancer. This ‘signature piece’ for Dance Theatre of Harlem. greatly angered Arthur and made him determined to Creative Process of the Artist or Culture: succeed. He graduated, winning the highest dance Arthur Mitchell seeks to include a award and a scholarship to study . Instead, wide spectrum of classical ballets he accepted an offer by Lincoln Kirstein to study which are often re-designed for ethnic classical dance at the School of . There, or modern settings. Firebird was he worked with legendary choreographer George altered to reflect a Haitian jungle Balanchine, who told him that as a black dancer he setting with costumes suggesting would have to be twice as good as a white one. Soon his Gaugin’s Tahitian paintings. sense of style, freedom and elegance earned him star status Photo: NVLP New York as the only black male dancer with the “I am a fighter,and I Ballet. In the ten years that followed, Mr. Mitchell fight with my art.” Arthur Mitchell proved that he could be judged by his dancing and not his color. On the day that Martin Luther King Jr. was

Discussion Questions: you might play in achieving this. You can do this in the form After the video has been viewed: of a poem, speech or drawing. • How did Arthur Mitchell overcome his failure in his Audio-Visual Materials: first year of dance at the High School of Performing Arts? • Photo on page 1 courtesy of National Visionary Leadership What failure have you overcome? Project (NVLP) and U.S. Library of Congress. • Discuss the statement, “If you want to succeed, you will • Arthur Mitchell video footage courtesy of The National have to be twice as good as a white dancer.” Visionary Leadership Project (NVLP), www.visionaryproject.org, • What inspired Mr. Mitchell to give up his own career and the U.S. Library of Congress. as a dancer to help other African Americans? • For extended Arthur Mitchell video interview with NVLP, • Describe the traits of Mr. Mitchell’s character which please visit: www.visionaryproject.org/mitchellarthur you think have been important to his success. Additional References: Summary of the Firebird Dance: • Free At Last, selected speeches by Dr. Martin Luther King, The Firebird score, written by Igor Stravinsky for a Jr. on audio recording. Motown. 1968. ballet, is based on an old Russian folk tale. John Taras, • The Firebird, audio, narrated by . Music the choreographer selected by Mr. Mitchell, changed the of Igor Stravinsky played by the Seattle story so that it was more universal in concept and less Symphony. Delos International, Inc., CA 90038. 1991. culturally Russian. In his version of the story, a Sample Experiences: handsome young man loses his way in a dark, enchanted LEVEL I forest. A mystical Firebird flutters into sight, her brilliant • Read the summary of Firebird. Identify the different plumes sparkling like fire as she preens and alone characters and describe how they would dance their parts. in the woods. Dazzled by her beauty, the man captures Explore these ideas in movement. her. The frightened bird struggles to escape. Realizing * • The Firebird is a mythical creature with magical that such beauty can never be possessed, the young man powers. Create other mythical creatures which combine the releases her and the Firebird rewards his kindness with a characteristics of a specific animal with an element from magic feather. She flies happily away as the man nature, such as ice, fire, thunder, rain, etc. continues through the strange, enchanted wood. He LEVEL II comes upon a lovely princess and maidens dancing in the • Get the audio cassette of The Firebird and listen to the forest. The man and the princess fall in love despite the story told to music. Have the students imagine the story maidens’ warnings. The princess and her maidens are being danced as they listen. Discuss what they saw. captives of an evil wizard whose fierce monster-insects * • Use books, poems and photos to learn about birds. Think guard his kingdom against all intruders. The man fights of the specific qualities and actions of each. Select several the creatures, but they are too strong for him to and write a cinquain poem about each. Use the poems as overcome alone. Desperate, he waves the magic feather. structures for dances about birds. Instantly the Firebird appears. She dispels the evil. Peace LEVEL III and freedom return to the land. The ballet ends with a • Study the speech of Martin Luther King, Jr. In small happy marriage between the Young Man and the Princess groups, have students explore and plan a way to interpret its as the Firebird triumphantly ascends. words and meaning through dance movement. Multidisciplinary Options * • Discuss the story and outline the scenes. Divide into small • Arthur Mitchell was compelled by the ideals of Martin groups and have each group mime-dance their part of the Luther King, Jr. and the Civil Rights Movement to find a ballet. Use music if available. way to contribute something of value to the progress of African Americans. Thinking of the title of Martin Luther King’s speech, I Have a Dream, write down your own dream for an ideal future for mankind and the role • Note: source material for story from the video, Kennedy Center Tonight, Stravinsky’s Firebird by the Dance Theatre of Harlem, * Indicates sample lessons 2 WQED, Pittsburgh. DANCE

MYTHICAL CREATURES THE POWER OF NATURE AND TRANSFORMATION

LEVEL I Sample Lesson

INTRODUCTION:

In different cultures throughout history, people have created mythical creatures which appear in folk tales, dances, sculptures and drawings. Often these creatures have magical or supernatural powers. This is the case of the Firebird, which has a combined name of an animal and a natural element. This lesson is all about creating mythical creatures which have the traits of a specific animal combined with an element from nature. These mythical creatures can be well understood when a student interprets them through dance movement.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Create mythical creatures which they interpret in dance. (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:

• Music (optional).

• Drum and assortment of percussion instruments to accompany the movement.

PROGRESSION:

• Tell the story of the Firebird. Afterwards discuss the fact that the Firebird is a magical character in the story and how its name reflects certain characteristics. (It dazzles.)

• Discuss the ‘power’ that each of us associates with elements of nature and animals (e.g., thunder and lightning, tigers and elephants, etc.).

• Ask the students how they would use their bodies to show a firebird. First have them take the shape of the bird, showing two to three variations. Then discuss whether the bird would be strong or weak, fast or slow, large or small, sharp or smooth, direct or indirect. After they have discussed these ideas (each will have their own interpretation) let a few students at a time show their poses or dance their version of the Firebird.

• Discuss other birds and fish that have names reflecting qualities or elements of nature. Examples might 3 include: Thunderbird, Cloudfish, Snowbird, Tigerfish, Sunfish, Rainbird, Zebrabird, Rainbowfish.

• Explore a few of the creatures above and have the students decide how they will show the differences in the way they move to describe each one. For example, explore the way they would dance a Thunderbird and contrast it with a Snowbird. The first might be strong and bold and the second might be light and delicate. How would they show these differences in movement?

• Staying within the categories of birds and fish, have the students create names which combine two ideas. When all the ideas are listed on the board, select a few for small groups of students to improvise or have several students each pick a mythical creature of their choice to portray in movement. It works best when they start and end with a specific shape.

• Discuss the audience response to the performances. Ask them questions which direct their attention to why students were successful in showing the idea.

EXTENSIONS:

• Create a collage featuring an imaginary creature. Cut or tear magazine pictures into body parts; paste them into an overlapping collage, connecting the pieces to create an imaginary animal in motion. Add details with markers or paint.

• Expand this idea to include other animals, such as Lightning snake, Ice turtle, Tree elephants, Shadow cats, etc.

• As a class, select one of the characters as a central figure in a folk tale. Build a story around this character. Use the tools of WHO, WHERE, WHAT, WHEN, WHY AND HOW. Create a situation which has a conflict and resolution and involves the special powers of the selected character.

VOCABULARY: improvisation, mythical creature

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe your favorite part of the Firebird story.

DISCUSS: Discuss how your group decided to portray the mythical creature they selected and why.

ANALYZE: Discuss whether or not you felt your group was successful in conveying your mythical crea- ture using shapes and motion. Analyze what really worked and what you could do to make it better.

CONNECT: Discuss other animals or creatures you would be interested in showing through dance. What characteristics would you show? (size, shape, rhythm, actions, etc.)

4 DANCE

WINGED POEMS THE POWER OF NATURE LEVEL II Sample Lesson

INTRODUCTION:

Birds are quite an interesting species to study. They appear as messengers or magical creatures in stories which are found in many cultures. Painters, dancers and playwrights have woven them into their art in a variety of ways. The Firebird is the central character in this Russian folk tale and inspired Igor Stravinsky to compose a musical score for a ballet. In this ballet, the Firebird is a mythical creature with magical powers, but there are many birds in nature which are decorated in exotic ways and which have abilities that could easily make them the central character of a ballet.

This lesson is about observing birds and seeing their unique features and physical qualities. Exploring these ideas in movement can be a delightful way to develop an affinity with birds and know something about their essence.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Discuss selected bird groups and convey some of the unique qualities of each through movement. (Artistic Perception)

• Identify and abstract qualities found in nature and express them through movement. (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:

• Pictures, photos, film and videos of birds.

• Sample cinquain poems of birds (optional).

PROGRESSION:

• Tell the story of the Firebird. Afterwards discuss the characteristics of the bird and how the students would describe her. Use this as a point of departure for introducing the subject of birds. Display books or photos of birds; show a few specific birds to the class. Discuss each one and have the class call out words which describe the shape, color and special characteristics (long beak, short legs, colorful head feathers, etc.). Then write down the name of a specific bird and list the following:

• actions done by each bird • where the bird lives (habitat) • what the bird does or eats 5

• Select one of the following cinquain poems and read it to the class. Each poem gives two descriptive words, tells where the bird goes, what it does, and ends with a simile saying something about its unique character.

Cinquain Poetry Format Noun Two adjectives Three words that tell where Four doing words One word noun

EAGLE SNATCHING, SOARING CRAGGY MOUNTAIN LEDGES PROUDLY RULING AIR SPACES SKYDIVER

HUMMINGBIRD QUICK, LIGHT FLOWER TO FLOWER SIPPING, DARTING, HOVERING, FLITTING TINKERBELL

SEAGULL SQUABBLING, SWOOPING FLOATING ON AIR SHORELINE CLEAN-UP CREW SCAVENGERS

FLAMINGOS GRACEFUL, BALANCING SHALLOW, STILL WATERS WALKING, WADING, WATCHING, SHIFTING STATUES

SANDPIPERS SCURRYING, SCANNING EBB AND FLOW PLAYING WITH THE WAVES SANDSKIMMERS

PEACOCK STRUTTING, BOLD ELEGANT GARDEN DECORATIONS SPREADING THEIR TAIL FEATHERS FANS Poetry: Susan, Devon and Paul Tracey 6 • Discuss the words in each poem and have the students explore ways to show the word images in motion. This might be a shape or an action. Encourage the students to vary each idea by changing their level, finding more than one shape or action to show the same idea, changing their direction, speed or part of the body used.

• Have a few students at a time show their improvisations. Instruct the class to comment on how the movers developed their idea. Ask such questions as:

• Who used a change of level? • Did any of the movers stay in one spot? Who made their movement travel? How? • What other ways did the movers find to ‘paint’ a picture of their bird? What did you especially enjoy? Why? • What suggestions do you have for the next group? Be specific.

EXTENSIONS:

• Have the class select one of the birds they danced to draw or paint. Ask them to think of the shape and characteristics, as well as the habitat. In their painting or drawing, have students explore ways to fill shapes with textures and patterns.

• Give the form of cinquain poetry to the students. Have them select a bird of their choice and write a poem in this style either as a class, in small groups or individually. Give them the opportunity to share their poems and to create a dance to accompany the poem.

VOCABULARY: improvisation, level, direction, cinquain poetry

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe in your own words the bird that you selected to dance.

DISCUSS: Discuss what you most enjoyed about creating a dance about a specific bird. What did you find the most challenging?

ANALYZE: Discuss two of the birds that were danced and analyze the main differences between the way they were portrayed. (i.e. How did each bird use space? What kind of actions did each do?)

CONNECT: How could you use your skills and knowledge to make up a dance about other animals?

7 DANCE

DANCE A CLASSIC STORY TRANSFORMATION, FREEDOM & OPPRESSION, ENDURING VALUES

LEVEL III Sample Lesson

INTRODUCTION:

Many famous ballets are based on well-loved folk tales. Examples of this include Sleeping Beauty, Swan Lake, , Cinderella and Firebird. The Firebird is an old Russian folk tale, of which there are many versions. These story ballets have specific character roles which are danced by the premier dancers (soloists) and also group roles which are danced by the Corps de Ballet. Sometimes gesture and mime are also used to move the story line along. In these ballets, the magical or evil character dancers are often dressed in masks and elaborate costumes. The scenery, music, lighting and costumes are all important aspects of these ballets, in addition to the highly technical and dramatic dancing.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Know a version of The Firebird folk tale and organize the story into scenes which can be danced. (Historical and Cultural Context)

• Dance the role of different characters in a story. (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:

• The Firebird music by Igor Stravinsky (optional, but highly recommended).

PROGRESSION: (This can take several sessions to accomplish.)

• Tell the story of Firebird on page two of the unit.

• Discuss the idea that a story can be divided into scenes and developed into a ballet. Ask if there are students who have seen any story ballets. Which ones? How did they identify the different characters? How did the movement of the dancers convey the story ideas? What else can they share about the ballets?

• Make a list of the characters in Firebird (See the summary of the ballet). Write down adjectives which describe each character, as well as actions each character would do.

8 • Give everyone an opportunity to explore how the main characters would express themselves in dance movement. Begin with postures and shapes each character might take. For example, explore sitting shapes, standing shapes. What emotion would motivate each character?

• Ask the class to explore body shapes which represent the Firebird. Think of and explore movement words which describe the actions of the Firebird. Repeat this process with Princess of Unreal Beauty and the Young Man. Allow everyone to try these parts. Ask them to select three actions which will capture the character. In the case of the Beautiful Maidens, they might run through the spaces of the trees, dance in a follow-the-leader fashion, or playfully toss fruit from the trees back and forth to each other. The Young Man might walk through the forest, looking in different directions, spot the Firebird and hide while he observes it, then quietly sneak close and quickly capture the bird.

• Working in groups, ask the students to use their bodies to create an enchanted forest. Discuss the idea of trees, vines, flowers, rocks, etc., and have them create these shapes and arrange them as a garden. The open spaces between, as well as different levels and shapes of the objects, are important to consider. Share ideas and discuss what parts worked and what could be improved and how.

• Ask a few people to portray the Prince of Evil and others to dance the part of the Creatures of Evil. Ask the students to give action words to guide these explorations. It might be effective to have the monsters move in exaggerated, slow motion to more clearly portray their power or use actions such as flying or jumping . Also, have them try changing shapes in slow, exaggerated motion. Discuss the interpretations. Was the slow motion time effective? Try the role using a rhythmic, faster tempo. If you have the music, play the section of the monsters and see how the music affects the movements.

• When all of the main characters (premier dancers) have been explored in movement, select interested students to choreograph and dance these roles. If more than one student wants the part, have several dancers perform the main roles simultaneously. This works well if you have 3-4 action words which each is interpreting in his/her own way, i.e. walking, turning, reaching or a specific, choreographed phrase of motion.

• The following is an outline of the Dance Theatre of Harlem’s version of Firebird:

• A Young Man goes on an adventure and finds himself in an enchanted forest. • The Firebird appears and does a dance. • The Young Man captures the Firebird. • The bird struggles and the Young Man releases her. • The Firebird gives the Young Man a magic feather for his kindness. • The Young Man sees the Princess of Unreal Beauty and the beautiful maidens dancing in the forest. • The Young Man and Princess fall in love, despite warnings from the maidens. • The Prince of Evil and his giant Creatures appear and threaten the prince. • The Young Man fights the Creatures but cannot overpower them alone. • The Young Man waves the magic feather and the Firebird returns. • The Firebird dispels the evil, then peace and freedom are again restored. 9 • The Young Man and the Princess of Unreal Beauty celebrate their wedding. • The Firebird flies triumphantly away.

• There are several parts to the story, but you can choose to improvise or choreograph only a few. Begin by showing the class a way to tackle the first scene.

Example: Discuss the enchanted forest/jungle and how it could be portrayed. Instead of scenery, ask several people to create trees, flowers and vines to establish the environment. The Young Man (or several Young Men) slowly enters the forest, choosing movements which convey feelings of wonder and mystery. He should travel along a specific path and explore possible ways to turn an ordinary walk into dance movement. Use the elements of dance (level, direction, size, energy, etc.) to accomplish this. On cue, students should slowly change their shapes within the forest environment.

• After the students have sketched out and improvised their plan, they should discuss it and give suggestions as to how to be more effective. Perhaps let other students try the same scene with a different interpretation.

• After the students get an idea of how to develop a scene into dance, you can continue working to explore other scenes, or divide the class into small groups to develop one of the scenes. If you have the music, use the portion which corresponds to the scene being interpreted.

EXTENSIONS:

• It is not important that the entire story be developed into dance. It is most important that students have an opportunity to interpret the different characters through dance movement. To do this, have the students work for simplicity in their movements and gestures. They should take time to abstract and exaggerate the gestures into dance movements. They should explore the possibilities of walking like the character, taking poses which the character would take, working with entrances and exits, playing with the energy qualities and timing of the character, etc. Give the students adequate time to explore these concepts so they will understand how to communicate through dance movement and learn how it differs from a play with words. They must also be given time to critique and edit their work.

• Make a 3-D model of the way you would envision the décor of the stage. Base your designs on a specific culture of your choice.

VOCABULARY: premier dancer, corps de ballet, choreograph, improvisation, gesture, phrase

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe the character you most enjoyed portraying.

DISCUSS: Discussion questions are embedded throughout the lesson.

ANALYZE: Discuss the main differences between the Young Man and the Prince of Evil.

CONNECT: Discuss other fairy tales that have common elements to the story of the Firebird. Identify the elements.

10 A SUMMARY OF THE ORIGINAL BALLET SCENARIO

SPECIAL NOTE:

All versions of the ballet, with the exception of Bejart’s, are based on themes from Russian folk tales. John Taras’ concept for Firebird takes it out of the original Russian setting to make it more universal, and thereby broaden its appeal for today’s audiences. Geoffrey Holder’s settings and costumes, based on Haitian paintings, help make the ballet more earthy while retaining the magic of the original story. This truly collaborative effort with choreographer, designer and the company, using all its theatrical resources, has resulted in a lavish spectacle that has excited audiences world-wide. When DTH (Dance Theater of Harlem) performed Firebird at the Paris Opera House, the site of the premier of the original production, there was an unheard-of front page review in Le Monde. The acclaimed television production of DTH’s Firebird on PBS’s “Kennedy Center Tonight” received the George Foster Peabody Award and the Golden Eagle Award, among others.

SCENARIO:

The Firebird ballet is based on an old Russian folk tale, adapted to communicate through music and dance, rather than through words. When Igor Stravinsky wrote the score, he titled the different sections of the music to identify the basic themes of the story.

The main characters of the story are Prince Ivan, Princess Vasilisa, Kashchei, the evil Magician, a group of princesses, Guardian Monsters and the Firebird.

The story begins when Prince Ivan goes on an adventure and discovers Kashchei’s magic garden which has a golden apple tree. He sees that the tree is illuminated by an unnatural glow and as he searches for the source of light, he spots the exquisite Firebird. He quickly captures the bird, but releases it when she offers the prince a red feather and a promise to help if he is ever in danger. Soon, the prince observes a group of lovely princesses entering the garden. As they play with the golden apples, the loveliest of them drops hers, and it rolls towards him. Picking it up, he returns it to her and they develop a friendship. Dancing through the night, they are surprised by Kashchei’s Guardian Monsters (actually enchanted men), who capture Prince Ivan. After a great fight in which Ivan is overpowered, he remembers the magic feather and calls upon the Firebird to rescue him. The bird arrives and casts a spell over all. She directs the prince to destroy an egg hidden in a golden box, for it holds the magician’s evil power. The feat is accomplished, the monsters are freed from their spell, the prince and princess fall in love, and a celebration takes place as the Firebird ascends gloriously.

OTHER VERSIONS OF FIREBIRD:

• Adolph Bolm - 1945 • - 1949 (costumes and décor: Marc Chagall) • Serge Lifar - 1954 • John Cranko - 1965 11

• Skibine - 1965 • Brian Macdonald - 1967 • Maurice Bejart - 1970 • Alexei Ratmansky, ABT - 2012

ABOUT THE CHOREOGRAPHER

John Taras, born April 18, 1919, in New York City, started dancing at nine years of age in a Ukrainian ensemble. He choreographed his first ballet at the age of thirteen. However, it wasn’t until 1936 that he began his dance studies. He trained with Michel Fokine and made his debut with Fokine’s touring company in 1938. He studied with Madame Elizabeth Anderson-Ivantzova, Anatole Vilzak, Ludmilla Shollar and at the School of American Ballet.

He appeared with the Ford Ballet, which was made up of Ballet Caravan members who appeared at Ford Motor’s Exhibit at the 1939-40 World’s Fair and with the Littlefield Ballet in 1940-41. While on the American Ballet and Ballet Caravan tour of South America, Mr. Taras performed in Balanchine’s works for the first time. He later performed more of Mr. Balanchine’s works as well as ’s with Ballet Theatre from 1942-46. He began in the corps, moved up to soloist and eventually became the . The solos he performed in the company were the Fokine/Mikhail Morkin productions of nineteenth cen- tury classics.

Mr. Taras choreographed his first ballet, Graziana, featuring , for American Ballet in 1945. Following many successful ballets, he joined the Grand Ballet du Marquis de Cuevas in 1948 as ballet master. For the next ten years, he choreographed for the Cuevas company as well as other European dance companies.

In 1959, he returned to New York to revive and dance the role of the Baron in Balanchine’s Night Shadow for . He then joined the company as ballet master and assistant to Mr. Balanchine. During this time, he choreographed many exceptional works, including Shadow’d Ground, a ballet with photographic projections by John Braden in 1965 and staged his own version of Jeux in 1966. The original version of Jeux was choreographed by Vaslav Nijinsky. He now stages his own works and pieces from Balanchine’s repertoire for companies internationally and has often been brought in to revive or maintain the status of European companies. In 1969 he was ballet master for the Paris Opera.

He continues to flourish as a choreographer of great talent and stature. Mr. Mitchell respected his work and invited him to choreograph a fresh version of Firebird for the Dance Theatre of Harlem, which was premiered at the City Center in New York on January 12, 1982.

12 SELECTED REVIEWS ON THE FIREBIRD PREMIERE

John Taras “has made no attempt to create a ‘black Firebird,’ as a man of less talent might do. Instead, he has reminded us of the timeless quality of myth, which can be restated for each generation. He echoes the Russian music of the Princess’ dance with Slavic chain steps; yet the dance is less specifically Russian than it is an evocation of an exotic garden of delights, which might exist in the ‘Arabian Nights,’ the South Seas or any gentle setting we poor mortals can never find.

“The Firebird’s entrance and her lovely duet with the Young Man quote ‘Swan Lake,’ posing the old question ‘Is she a bird or is she a woman?’ In Taras’ version, she is both. However, when the dancer (Stephanie Dabney) sweeps evil from the stage with a thrilling circle of pique turns, the Firebird is neither bird nor human but a force of nature.

“That is as it should be. The Firebird is the natural opponent of Katchei the Magician, here called the Prince of Evil, who contains within his person the world’s forces of destruction. Taras makes the Young Man’s struggle with the Prince and his minions intensely graphic.... while the love between the Young Man and the Princess of Unreal Beauty is declared in sweet, chaste steps.

“At the end of the ballet, the Firebird rises in the air above the bridal couple, asserting once and for all the triumph of theatricality, of magic and of love.” Joseph H. Mazo, Women’s Wear Daily, January 14, 1982

“The Dance Theatre of Harlem opened last night at the City Center for a season through February 14 and it wound up its first evening with an instant hit - “Firebird” by John Taras.

“This world premiere, of course, was a new version of “The Firebird,” Stravinsky’s once startling ballet for Serge Diaghilev’s company in 1910. Re-choreographed and reconsidered many times since then, “Firebird,” as it is known, has become fair game for choreographers throughout the world.

“Mr. Taras’ version is one of the better ones. It is filled with amusing inconsistencies but it does one thing other versions do not - send its audience into a whooping spell of delirium. When the firebird figure drove out the forces of malice last night, the house cheered as if it had just seen an adventure yarn. And so it had. Good conquered evil and did so in an action-packed continuum.

“As is the fashion, this new “Firebird” does not take place in the Russia of yore, or more specifically, the Russia of the imagination of Diaghilev’s collaborators. Yes, it is a “Firebird” transposed to another clime and time....Certainly it is not a copy of Michel Fokine’s concept as it has come down to us in American Ballet Theater’s staging of the 1910 ballet as descended through a Royal Ballet version.

“For the clime in which this “Firebird” takes place is an exotic jungle. Only the parrots are missing. Prince Ivan is now called Young Man, danced by Donald Williams. Stephanie Dabney is still called Firebird, but the Russian maidens Ivan saves from the evil magician are called Beautiful Maidens and Lorraine Graves as Ivan’s love is Princess of Unreal Beauty. Sulpicio Mariano plays the magician, Kostchei as the Prince of Evil and his demons are Creatures of Evil.” Anna Kisselgoff, , January 13, 1982

13

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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