Colorado Ballet s Swan Lake

Transcription

1 Colorado Ballet s Swan Lake A Study Guide for Students of All Ages Provided by the Colorado Ballet Department of Education & Community Engagement

2 Colorado Model Content Standards for Education This guide is designed for educators to use as a resource for bringing Colorado Ballet s Swan Lake to life. Student who read all materials included in this guide will have addressed the following: DANCE Standard 1 Movement, Technique, and Performance: Competence and confidence during a performance is the goal. Skillful movement and technique provide the practical substance for performance. Performance is the demonstration of human feeling and reasoning through movement. It is technical expertise and artistic expression through reflective practice, study, and evaluation of one s own work and the work of others. Standard 2 Create, Compose and Choreograph Creative dance involves using the dance elements of space, time, and energy to explore, improvise, and make movement phrases. The degree of sophistication in the choreographic process is evident in composition, which is a shorter work of art in progress. Choreography is the art of making dance using meaning, intent, and principles of structure and design. In dance, there are three levels of creativity that define and solve artistic problems in presenting a work of art notation, movement vocabulary, and style. Standard 3 Historical and Cultural Context: The Historical and Cultural Context in dance focuses on understanding the relevance of dance. The aim is to know dance from a variety of cultures: understand how dance shapes and reflects cultures and history through time; and acknowledge dance in society as creative, expressive, communicable, and social. Standard 4 Reflect, Connect, and Respond: Reflect upon dance to stimulate the imagination and challenge the intellect; connect it with other disciplines to enrich and enhance the spectrum of knowledge; and respond to it to deepen and refine one's emotional nature. Represent dance as art in oral and written communications. Critique and analyze new dance works, reconstructions, and masterpieces. Distinguish the aesthetic values of dance, and discover the artistic intent. SOCIAL STUDIES Standard 1 History Standard 2 Geography MUSIC Standard 1 Expression of Music Standard 4 Aesthetic Valuation of Music HEALTH & PHYSICAL EDUCATION Standard 1 Movement Competence and Understanding READING, WRITING, COMMUNICATING Standard 1 Oral Expression and Listening Standard 3 Writing and Composition 2

3 Table of Contents Synopsis of the Ballet... 4 The White Duck: A Russian Fairy Tale with Discussion Questions & Suggested Activities... 5 Marius Petipa: Biography with Discussion Questions & Suggested Activities... 7 Ballet 101: Feet and Arm Positions... 8 Pointe Shoe FAQ... 9 Peter Ilyich Tchaikovsky: Biography with Discussion Questions & Suggested Activities Coloring Sheet: Tchaikovsky Odette/Odile: Opposites Synonyms and Antonyms Worksheet Origami Swan Instructions Romantic Era Historical and Cultural Context Tutu History Coloring Sheets My Day at Swan Lake: Illustration and Text Worksheet Behind the Scenes: Jobs at the Ballet How to be a Good Theatre Audience The Education & Community Engagement Department Thank You! Evaluation This study guide is designed for educators to use as a resource in incorporating dance, in particular, a field trip to see Colorado Ballet s production of Swan Lake, into their curriculum. Please let us know if these materials are useful to you, or if there is anything further we can do to provide support for your efforts to integrate the arts into your core areas. Feedback is welcome anytime. Please consider filling out the evaluation at the end of this guide, or contact Samantha Hyde, Director of Education, at or samantha.hyde@coloradoballet.org. Thank you! 3

4 Synopsis of the Ballet Act I: A meadow near the castle. Afternoon. Prince Siegfried has organized a hunting party to celebrate his twenty-first birthday. The peasants of the district have been given a holiday and have arranged a picnic which the Prince has promised to attend. The picnic is interrupted by the arrival of the Queen Mother, who reminds her son that it is his duty at his coming-of-age ball to choose a bride from one of six eligible princesses. As the day draws to a close, the peasants take their leave. The Prince, sad at the thought of his carefree youth slipping away, is roused out of his mood by Benno, who has sighted a flight of swans. The Prince, deciding the night is still to be enjoyed, orders pursuit, and the hunters leave. Act II: Some hours later. By the lake. As Prince Siegfried enters the forest to hunt, he suddenly sees a magnificent swan in flight. He carefully takes aim, but, to his astonishment, the bird transforms into the most beautiful girl, and he withdraws into the trees to observe her. Unable to restrain his curiosity, he steps out, only to startle and frighten her. He assures her he will do no harm and asks her to explain the marvel he has just seen. Impressed by his gentleness, Odette unburdens the story of her plight. She tells him she is a Princess of high birth who fell under the spell of an evil sorcerer, whom we know to be Baron Von Rothbart, and now her fate is to be a swan; only in hours of darkness may she assumer her human guise. Indeed, this very lake is filled with her mother s tears. She tells him she is condemned for eternity, and only if a young prince swears eternal fidelity to her and marries her can she find release. Only then can the spell be broken. But, if he should betray her, then she must remain a swan forever. At that moment, the sorcerer appears. The Prince in his passion reaches for his crossbow, but Odette immediately protects the sorcerer with her body, for she knows that if he is killed before the spell is broken, she too will die. The sorcerer disappears, and Odette slips away into the forest. Siegfried realizes his destiny is changed. Dawn approaches and Odette is compelled by the spell to her guise as a swan. Siegfried is left distraught. Act III: The next night, the Great Hall. Guests from many royal houses assemble for the birthday ball, including six princesses and their courts, whom the Queen Mother has chosen as eligible maidens for her son s hand. The Queen Mother commands the entertainment to begin, then invites the princesses to dance. Prince Siegfried dances with each of the beautiful young maidens in turn. The Queen Mother urges Siegfried to make a decision, but, haunted by the memory of Odette, he refuses. A fanfare announces the arrival of the Baron Von Rothbart with his daughter Odile. Siegfried, who is dazzled by Odile s beauty and seduced by her resemblance to Odette, declares his love and fidelity. Rothbart and Odile triumphantly reveal their deception, as well as Rothbart s true identity as the evil sorcerer. Siegfried rushes into the night, realizing he is the victim of an evil plot. Act IV: The lakeside. That night. The swan-maidens are anxious at the disappearance of Odette. She appears and tells of the sorcerer Rothbart s treachery; before dawn, she intends to die. A great storm rages. Siegfried, bursting into the glade, discovers her and begs her forgiveness. As dawn approaches, Rothbart appears again as a sorcerer. Odette tells Siegfried she must kill herself, or she will forever be a swan. Siegfried, knowing that his destiny is forever changed, declares he will die with her, thus breaking the power of Rothbart. The lovers throw themselves into the lake. Rothbart is mortally struck and his power ended. 4

5 The White Duck A Russian Fairy Tale Although the exact inspiration for Swan Lake s libretto (or story) is unknown, tales featuring birdwomen have been around for centuries. Some argue that the ballet is based on either The Stolen Veil, a story by German author Johann Karl August Musäus, or this one (original author unknown): There was once a prince who married a most beautiful princess, but they were only together for a short time when he was called away on a long journey. What was to be done? As the princess wept, the prince begged her to keep her chin up, and to promise that while he was away she would avoid strangers and keep herself tucked away in her rooms. As soon as the prince departed, she locked herself in her room. One day, a woman who seemed very kind came to visit the princess. Why should you spend your days cooped up in your room? she asked. Why not go out into the garden for some fresh air? At first, the princess would not hear of it, but she convinced herself that stepping outside just for a minute couldn t hurt. Once outside, the princess came across a beautiful, cool stream. It s very hot today, said the woman, why don t you go for a dip? No, I shouldn t, said the princess, but the water looked so refreshing that she decided to slip off her gown and step into the water. At that instant, the woman struck the princess on her back, saying, Be a white duck and sit in the water! and the princess was transformed into a white duck. Then the woman, who was really a witch, disguised herself as the princess. The prince soon came home from his journey, and the witch ran out to greet him, kissing him and welcoming him home. The prince was so overjoyed to return to his bride, he did not see the deception. The white duck soon laid three eggs. When they hatched, two ruddy, hearty boys, and one small, sickly boy emerged. The duck-princess took care of her ducklings, and soon they were splashing about and frolicking in the stream. They became adventurous, and each day, despite warnings from their mother, the little ducks strayed further and further away from her as they played. One day, the ducklings wandered even farther than usual, and found themselves in the prince s courtyard. The witch knew immediately who they were, and angrily plotted an evil scheme. She lured the ducklings inside, fed them and put them to bed, and ordered for kettles to be set to boiling and knives to be sharpened. The two strong ducklings fell right to sleep, but the tiny duckling saw through the witch, and stayed awake. In the middle of the night the witch crept to the door of the chamber and whispered, Are you asleep, my little ones? and Tiny called back: We cannot sleep for thoughts that chill us; We dare not sleep, for they mean to kill us. Fires are being kindled, Kettles are being hung, Knives are being sharpened! They are not asleep! The witch said to herself. She went away for a time and then crept back to the door of the chamber. Are you asleep, my little ones? she cried, but Tiny called back again: We cannot sleep for thoughts that chill us; We dare not sleep, for they mean to kill us. Fires are being kindled, Kettles are being hung, Knives are being sharpened! 5

6 Why is it the same voice that answers me? the witch wondered. She opened the door quietly, and seeing that the two strong brothers were fast asleep, she waved her hand over them in a magic spell so that they would never wake. In the morning the white duck called to her children, but they did not reply, and she knew that something dreadful had happened. She flew to the prince s castle, and there lay her three sons in the courtyard, all still and white. She rushed to them and called out in a human voice: Quack, quack, my sons! Quack, quack my beloved ones! In want I reared you, With tears I suckled you, You slept - I lay sleepless; You ate - I went hungry! Upon seeing this, the prince asked his wife, Have you ever seen anything like it? The duck is speaking in a human voice! I don t hear it, said the witch. And, calling the servants, she ordered the white duck to be driven out of the yard. They chased her away, but she circled around and returned to her sons side, and cried out over them again: Quack, quack, my sons! Quack, quack my beloved ones! The witch it was that put you to sleep. The witch it was with her wicked ways, For a snake she is and a deadly one. From you, she took your father own, Your father own and my own dear love; She drowned us all in the river swift, And turned us all into white-winged ducks, And she herself lives like a princess true! Ah, can it be so? marveled the prince, and he ordered the servants to catch the duck. She flew too quickly for them, but then the prince himself approached her and she came to him directly. He took her by the wing and said, Stand before me, fair maid! And the white duck returned to her human form as his true wife, the princess. The prince and princess caught a magic bird, and tied vials of magic water to each of its wings. The bird flew over their sons, and they came back to life and began talking and laughing. The family was reunited, and lived happily ever after. The evil witch was banished from the castle, and no one ever saw or heard from her again. Discussion Questions and Suggested Activities: Compare and contrast this story with Swan Lake. What is the same? What is different? Make up a new ending for the closing act of Swan Lake. Write your version of the story, and then make it into a dance! On a map, find France, where ballet started. Find Russia, where this story originated and where Tchaikovsky and Petipa worked together on the ballet in Find San Francisco, California, where the first full-length Swan Lake debuted in the United States in

7 Marius Petipa, Father of Classical Ballet Choreographer Widely considered to be the Father of Classical Ballet, Marius Ivanovich Petipa is perhaps the most influential Ballet Master and choreographer of Classical ballet of all time. His works remain influential today, cited as inspiration to dancers and choreographers like the great George Balanchine. Born in 1818 into a family of artists, Petipa was destined to perform. His mother was a drama teacher and a renowned tragic actress; his father, in young Marius early years, was appointed Premier Danseur and Ballet Master at both the Grand-Theatre de Marseille and the Ballet du Theatre de la Monnaie in Brussels, where the family eventually settled, and where his father, Jean, would establish the Conservatiore de la Danse. Petipa began his ballet training under his father at the age of seven. Reluctant at first, he grew to enjoy performing, and displayed natural talent, debuting at nine as a Savoyard in his father s La Dansomani. When the Belgian Revolution encouraged the family s evacuation to Bordeaux, Petipa s father took the position of Maitre de Ballet at the Ballet of the Grand Theatre, where Marius continued his training. At 20, Marius was appointed Premier Danseur for Ballet de Nantes in Nantes, France, while his younger brother, Lucien, held that position at what is now known as the Paris Opera Ballet. Lucien partnered Carlotta Grisi in the first production of Giselle, which Marius would later revive with Jules Perrot. After achieving critical success by choreographing The Pharaoh s Daughter, Petipa became Ballet Master of the Imperial Ballet Theatre in St. Petersburg, choosing Leon Minkus as his chief composer. Here, he began implementing a method of teaching ballet that would eventually be perfected by Agrippina Vaganova, a graduate of the Imperial Ballet School. Petipa reigned over the Imperial Ballet Theatre during its Golden Age, working with Imperial Theatre Director Ivan Vsevolzhsky in particular to produce spectacularly lavish ballets. When Vsevolozhsky commissioned Pyotr Tchaikovksy to compose the score for The Nutcracker, Petipa allowed his associate, Lev Ivanov, to choreograph much of the action. Although it is said that Petipa was ill at this time, it is also suggested that he anticipated that the work would not be well received and wanted to separate himself from it. Petipa was cruelly forced from his position by changing times and a new Director, but continued to work until his death at age 92, including time restaging variations from his most famous works and revivals for the great ballerina Anna Pavlova. I can state that I created a ballet company of which everyone said St. Petersburg has the greatest ballet in all Europe. -Marius Petipa Discussion Questions and Suggested Activities: Try the positions of the feet and arms in ballet (Page 8). Make sure to stand tall and straight! Imagine you are traveling to St. Petersburg to see the premiere of Swan Lake. What is the weather like? What sort of food do they eat in Russia? How to you say words like hello, goodbye, please, thank you, yes, and no? Create a travel brochure. Don t forget a map from your hotel to the theatre! 7

8 Ballet st. Heels together, toes pointing in opposing directions, creating a straight line 2 nd. Heels approximately ten inches apart, toes pointing in opposing directions. 3 rd. Feet parallel, heel of front foot touching middle of back foot. 4 th. Feet parallel, front foot approximately eight inches in front of back foot. 5 th. Feet parallel, front and back foot touching at toes and heels. Preparatory. Arms dropped, elbows sli ghtly rounded so that the arm does not touch the body, hands close but not touching. 1st. Arms raised at the level of the diaphragm, elbows slightly bent, hands close but not touching. 2nd. Arms opened to the sides, shoulders not drawn back or raised, hands at the level of the elbow. 3rd. Arms raised above, but just in front of the head, elbows rounded, hands close but not touching. Hands should be visible without raising the head. A Note on Hands: In her Basic Principles of Classical Ballet, Agrippina Vaganova says, The manner of holding the hands is very difficult to describe. All fingers are grouped freely and they are soft in their joints; the thumb touches the middle finger; the wrist is not bent, but the hand continues the general curved line of the arm from the shoulder. 8

9 Pointe Shoe FAQ What are pointe shoes made of? There are many different companies who produce pointe shoes, and therefore many ways of making them. However, contrary to popular belief, pointe shoes are not made of wood or metal. The area around a dancer s toes is called the box, and is usually made out of a plaster-like material which is applied in several layers. Think of the plaster/paper mâché-like substance that is used to create a piñata; this is similar to the material used to make the box of a pointe shoe. A leather sole creates a sturdy back of the shoe. How do dancers personalize their shoes? Each dancer sews her own ribbons onto her shoe, to place them according to her preference. Also, most dancers darn or even burn the edges of the box (or platform) to give themselves better balance and decrease slipping. To make the sole and box more flexible, dancers may bend the shoes, and bang them on the wall or floor. Do they hurt? Yes and no. If a dancer is strong and trained well enough to dance en pointe, and has the proper shoe for her foot, pointe work should not cause bleeding or disfigurement. However, dancing en pointe up to eight hours per day is bound to wear on a ballerina s feet. Some dancers choose to put small lamb s wool pads over their toes. The amount of pain a dancer endures also depends on the construction of the foot itself. For example, dancers with toes that are relatively equal in length have the advantage of more support. How long do they last? Pointe shoes break down very quickly with frequent use. A ballerina may need a new pair of pointe shoes after each performance of a full-length ballet. In fact, Evelyn Cisneros, former Prima Ballerina at San Francisco Ballet, says that at least three pairs are required to get through Swan Lake. It is possible that a professional dancer will need a new pair each week. How much do they cost? Since pointe shoes are handmade and often imported, they can cost upwards of $90 per pair. When does a dancer begin dancing en pointe? It is important that a ballet student does not begin dancing en pointe too early, before the bones in her ankles have finished growing. Therefore, the age at which dancers begin pointe work varies. However, it is usually around 11 years old. When did ballerinas begin dancing en pointe? Marie Taglioni is attributed with performing a full-length ballet en pointe for the first time, when her father created the role of La Sylphide for her in However, her shoe was most likely just a satin slipper with a leather sole, darned at the ends. Without a firm box for support, dancers from this period must have relied heavily on their strength, and suffered quite a bit. In some cases, wires were rigged onstage to carry ballerinas in a manner that resembled flight. The light, ethereal appearance of the ballerina en pointe effectively launched the Romantic Era of ballet. 9

10 Pyotr Ilyitch Tchaikovsky, Composer Inspiration is a guest that does not willingly visit the lazy. -Tchaikovsky Tchaikovsky is commonly regarded as one of the most significant composers of the late Romantic Era. Although they often contain nationalistic references to traditional Russian musicianship, Tchaikovsky s works were also startlingly Western for their time. The son of a mining engineer, Tchaikovsky began his piano training at the age of five. As his father advanced in his career, Tchaikovsky was given further opportunities to indulge his talent and interest in music, studying under the best teachers. The early 1850s saw his affinity grow for Italian composers such as Rossini, Bellini, and Donizetti, as well as the German Mozart. In 1854, at the age of 14, Tchaikovsky was inspired by Mozart to create a waltz in memory of his mother, who had died of cholera. Tchaikovsky continued his studies at the St. Petersburg Conservatory, where he consistently astonished his professors. He was invited to join the faculty after graduation, but found teaching too trying, suffering a breakdown that necessitated his retirement and relocation to Kiev with his sister. Although plagued by stage fright, Tchaikovsky became accustomed to conducting his works, including a notable performance of his Marche Solennelle on May 5, 1891 opening night of New York s Carnegie Hall. The evening was the cornerstone of a wonderfully successful U. S. tour. Ironically, Tchaikovsky counted The Nutcracker, his third and last ballet, among his least favorite works. Commissioned by Ivan Vsevolohsky, Director of the Imperial Theatres of St. Petersburg, The Nutcracker was composed in response to the success of Tchiakovsky s and Vsevolohsky s previous project, 1889 s Sleeping Beauty. Tchaikovsky died of cholera in the next year, just nine days after the debut of his Sixth Symphony, Pathetique, presumably after drinking unsanitary water. It is surmised that the Sixth Symphony was written as Tchaikovsky s own eulogy, as it references excerpts from the Russian Orthodox Mass for the Dead. Truly there would be reason to go mad were it not for music. -Tchaikovsky Discussion Questions and Suggested Activities: Play Tchaikovsky s Swan Lake score while students are playing, studying, reading, or writing. Ask students to write down how different excerpts of the score make them feel. Have students answer: If this music were a shape, what shape would it be? What color? What animal? Make their answers into movements, and link them into a dance. Have students compare the attributes of the score with the attributes of a lake. 10

11 Among the very greatest of Russian composers, Peter Tchaikovsky wrote symphonies, ballets, operas and other works, including the beloved ballet T7;e Nutcrriclm) Peter [Piotr] Ilyich Tchaikovsky ( ) frequently performed at Christmas time. In 1891 Tchaikovsky came to New York City and conducted at the official opening of Carnegie Hall. 11

12 Odette/Odile: Opposites Odile may look exactly like Odette, but she s nothing like her! Look at the words listed below, and define them if necessary. Then, write a SYNONYM, or word that means the same thing, and an ANTONYM, or word that means the opposite, for each. HOT SHARP INNOCENT CANTAKAROUS LOVE ENERGETIC SIMPLE HARMONY BRAWNY OPEN GREGARIOUS CARELESS DROLL DISCOMBOBULATED BRILLIANT FAST _blazing, cold 12

13 Origami Swan Instructions 13

14 Romantic Era History (19 th Century) Historical context: 1848: France elects Louis Napoleon as president 1848: Karl Marx and Friedrich Engels write the Communist Manifesto 1848, 1861: In the US, the California Gold Rush and the Civil War occur 1861: Czar Alexander II emancipates the serfs in Russia 1863: The Emancipation Proclamation is written declaring slaves in the United States to be free Literature: Science: 1857: Isaac Singer forms I.M. Singer & Co. which allows for mass production of the sewing machine : Florence Nightingale introduces hygienic methods 1859: Darwin publishes Origin of the Species : Pasteur presents his theory of germs Significant literary works by Dickens, Browning, Baudelaire, Flaubert, Longfellow, Whiteman, Twain, Thoreau, and Harriet Beecher Stowe were published 14

15 Dances: Quadrile - French imported the form from the English, a type of line dance or square dance Grand March - dancers paraded around the room in simple formations, created for grand balls Cotillon - a small group danced in a square formation Waltz - means to roll, a couple s dance introduced in Germany traveling to France and England Polka - a folk dance from Bohemia where dancers do a simple waltz adding a chasse step and hop Mazurka- a Polish folk dance with strong steps and hops Polka Mazurka - combines the carefree jumping of the polka with the earthy hops of the Mazurka Galop - a simple traveling couple dance where the man and woman simply chasse around Visual Arts: Monet, Corot, Ingres, and Whistler produced famous works Wagner, Verdi, Liszt, Schumann, Bizet and Tchaikovsky composed significant works (including the Swan Lake score) Swedish opera singer Jenny Lind tours the US Daily life: Industrial Revolution begins Wells Fargo & Co. founded Pony Express provides mail service in the US The New York Times, San Francisco Chronicle, and the Examiner are founded The New York Symphony holds its first public concert Baseball becomes popular in New York and Boston Factories replace cottage industries and home crafts 15

16 Tutu History Though the first tutu was merely a skirt cut just above the ankles to reveal a dancer s feet, these skirts eventually migrated north. As ballet became more and more popular two types of tutu s emerged: the long romantic version and the shorter, more provocative style (now often called the Classic tutu). The first romantic tutu is often attributed to the famous virtuoso ballerina Marie Taglioni. In 1800s Taglioni became known as the first ballerina to dance en pointe (on her tiptoes in ballet slippers). The tutus worn by Taglioni were often cut below the knee to reveal the intricacies of her famous legwork. These romantic tutus were delicate, feminine and were made of material that allowed Taglioni to move about freely floating through the air and executing the precise movements that gave her cult status. To this day the romantic tutu is still made to be long and flowing, giving the ballerina a weightless, ethereal appearance. As ballet continued to become more popular connoisseurs of the art form demanded to see more of the dancer s footwork movements. The length of the standard tutu shrank again at this point to reveal the full legs of the ballerina. The style of a tutu, commonly referred to as classic is a short, stiff skirt that juts out horizontally from a ballerina s hipbones exposing her legs entirely. The classic tutu is often worn with a leotard, which hugs the dancer s body. Both romantic and classic tutus are designed to give ballerinas a light, airy look, making it look as if they are floating when they move across the stage. Although the tutu has evolved significantly, tutus today still serve the same purpose as those designed two hundred years ago. 16

17 S111a11 Lake (1895) Choreographer:Mnrius Petipa; Composer: L. I. Ivanov With hints of German legends,swan Lake contains super- swans-actually young girls enchanted by an evil maginatural elements as well. Prince Siegfried secs a group of cian-and falls in love with the Swan Queen, Odette. 17

18 The magician wants to keep Siegfried and Odelle apart, and he devises a plan whereby his daughter, Odile, the Swan Lake (continued) Black Swan, takes on the appearance of Odette. Thus tricked, Siegfried betrays his true love, the Swan Queen. 1 8

19 Odette is now the dying wan, abandoned by Siegfried. The prince, however,agrees to join Odette in death, and Swatt Lake (continued) his love breaks the magician's spell. The swan maidens gain their freedom through Siegfried's act of devotion. 1 9

20 My Day at Swan Lake: 2 0

21 Behind the Scenes: Jobs at the Ballet Operations and Finance Creates and manages budget and policy Accounting; Human Resources; Business; Non-Profit Management Artistic Director Hires dancers and Artistic Staff, chooses productions and choreographers Professional Dancer; Business/Management Managing Directors Business Development and Long Range Planning Secures funding for major projects Fundraising; Business/Management; Non-Profit Management Administrative Accounting Manager Processes payroll and all deposits and expenses Accounting Accounting Associate Accounting; Data Entry Development Assistant Director of Development Oversees funding for the Company Corporate Development Officer Targets businesses for support Senior Major Gifts Officer Pursues large donations Development Assistant Records donations, plans events, Board liaison Grant Writer Requests funding from government and foundations Special Event and Boutique Manager Runs events, staffs volunteers, purchases merchandise Artistic Ballet Mistress Rehearses, choreographs and teaches technique Professional Dancer; Instructor Music Director & Conductor Professional Musician Company Pianist Professional Musician Company Dancers Professional Dancer Academy Academy Director Hires instructors and guest artists, directs curriculum Academy Business Manager Schedules classes, oversees registration and payment Academy Receptionist Data Entry; Customer Service Academy Dance Instructor Professional Dancer; Dancer Instructor Education & Community Engagement Director of Education Oversees all in-school and community programming Education; Dance Education Education Programs Manager Coordinates and teaches school programming Dance Education; Dance Performance Outreach Dance Instructor Dance Education; Dance Performance Production Technical Director and Production Manager Manages stagehands and backstage activities Stagecraft; Theatre; Design; Carpentry Production Stage Manager Cues stage crew during the show Facilities Manager Maintains building Company Manager Schedules dancers, writes contracts and visa applications Wardrobe Manager and Costume Designer Designs, creates and fits costumes, orders shoes Wardrobe Assistant Company Photographers and Videographers Performance Production: Master Carpenter, Prop Master, Lighting Director, Master Electrician, Pyrotechnician, Production Assistants Wellness: Company Physical Therapist, Acupuncturist, Chiropractor, Massage Therapist Public Relations & Marketing Public Relations and Marketing Manager Communicates with press, social media Marketing; Public Relations; Communications; Journalism Marketing Associate and Graphic Designer Designs marketing materials, newsletters Marketing; PR; Communications; Journalism; Graphic Design Ticketing Ticketing and Database Manager Maintains patron database, staffs sales team Sales, Customer Service, Software programming Box Office Supervisor Operates box office Group Sales Agent Sells bulk tickets Ticketing Representatives Tickets sales in box office and by phone Data Entry; Customer Service 2 1

22 How to be a Good Theatre Audience Unlike actors on your television, performers on the stage are aware of their audience and want very much to communicate their art to you, and feel your appreciation in return. By the time you arrive at a theatre for a scheduled performance, many people (choreographers, composers, dancers, technicians, costume and lighting designers, etc.) have worked very hard to bring you their best efforts. In order to show respect for those efforts, every audience member must give the performance their full attention and avoid any behavior that interferes with anyone else doing the same. We have the following rules that help us accomplish this goal: 1. Always arrive at the theatre with plenty of time to find your seats and settle down into them. Late arrivals mean disruption for everyone else, including the performers. 2. No shoving or running in the lobby. 3. No cameras, cell phones or video recorders. Flashes are dangerous for dancers and unapproved photos and videos violate copyright laws. 4. No hooting, whistling or yelling during the performance. The performance has begun when anyone on stage starts talking or dancing, or when the orchestra starts playing. You are welcome to show your appreciation for the performance with applause at the end of the ballet or sometimes at the end of a section or solo. You are also welcome to laugh if someone on stage is being intentionally funny. 5. No talking or whispering during the performance. You will have plenty of time to discuss your impressions at intermission or after the show. 6. No gum, candy or food in the theatre (it makes noise and sticky messes, and our theatre is so beautiful!). 7. Use the bathroom before the show begins or at intermission, not during the performance. 8. Enjoy! 20

23 EDUCATION & COMMUNITY ENGAGEMENT OVERVIEW Providing highest-quality educational opportunities for preschool through adults, the Education & Community Engagement Department has served the Colorado community for 17 years. The department makes 30,000 contacts each year with atrisk youth, families, teachers, and people with special needs, reaching over 225 schools and organizations. Department staff have worked with the Colorado Department of Education in the development of statewide K-12 standards and assessments for dance education, and have presented at the National Dance Education Organization s annual conference, as well as the Colorado Dance Education Organization s conferences. The mission is simple: Every. Body. Dance! Every. To make dance accessible to everyone. Body. To promote dance and movement as part of a healthy lifestyle. Dance. To encourage creativity and expression through dance, and foster an appreciation for ballet. PROGRAMS Student Matinees Started by Colorado Ballet Trustee Diane Nolen, the Student Matinee series allows students to attend the final dress rehearsal of a Colorado Ballet production on a school field trip. Each year, one performance of The Nutcracker is offered for FREE to highest Title 1% (free and reduced lunch) schools. Live Stream In the season, Colorado Ballet streamed three productions live to schools and organization all over the state, nation and globe. The Nutcracker holds strong as a favorite with over 4,000 students watching live, including access to 5 foreign countries. This is a new and exciting endeavor for Colorado Ballet to increase access to ballet and live performance for those who are unable to attend due to geographic barriers. Leap N Learn Colorado Ballet s afterschool residency program provides 12 weeks of class in creative movement and ballet foundations at more than 20 schools in the Denver Metro Area, 17 of which are high Title 1%. Students are provided with appropriate dancewear as well as reduced price ticket vouchers to a Colorado Ballet production. Select students are invited to the Leap N Learn summer camp, and one or two participants are chosen for a full-year scholarship to Colorado Ballet Academy. Warren Village Colorado Ballet enters the 12 th year of partnership with Warren Village, an organization that helps motivated low-income, previously homeless single-parent families move from public assistance to personal and economic self-sufficiency. Creative movement classes are offered at no cost on a weekly basis throughout the school year to 24 preschool students. The students study a variety of dance concepts while working on spatial awareness, problem solving and strengthening the body and brain. From the Page to the Stage A traveling interactive school assembly featuring ten Colorado Ballet Studio Company dancers, From the Page to the Stage explores ballets based on Shakespeare and the Classics of literature. Storytelling through movement, pointe shoes, male roles and athleticism in dance are discussed. Each school year schools experience the show. Workshops In an effort to provide arts opportunities integrated with core curriculum initiatives, Colorado Ballet has created unique experiences for students including Words in Motion (poetry/vocabulary and movement), Metamorphosis Moves (the life cycle of a butterfly through movement, in partnership with the Butterfly Pavilion), as well as technique classes rooted in history such as West African dance, American Folk dance, and much more. 21

24 Be Beautiful, Be Yourself In partnership with the Global Down Syndrome Foundation and the Sie Center for Down Syndrome at Children s Hospital, Colorado Ballet hosts three classes each week for more than 25 students with Down Syndrome. Colorado Ballet instructors work closely with a professional physical therapist in the classroom, teaching creative movement and ballet concepts to increase cognitive and developmental skills. Rhythm & Grace Based on Mark Morris training, Dance for Parkinson s, Rhythm & Grace brings up to 30 adults and their caregivers to Colorado Ballet Studios for a seated, low-impact workout with live accompaniment incorporating dance concepts and meditation. Company Principal, Sharon Wehner, is an instructor, along with a handful of other trained staff. Figaro In addition to recognizing sponsors, Colorado Ballet was the first ballet company to use the Figaro seatback titling system as an optional tool for new patrons. Its brief, text-like cues translate mime sequences, introduce characters, and provide synoptic background. The service is available in English and Spanish. Audio Description One performance of each full-length Colorado Ballet production is audio described for blind and visually impaired patrons. Education staff extemporaneously narrate the performance from the catwalk while speaking directly to patrons through convenient headsets with adjustable volume. Samantha Hyde, Director Jo Marie Hazelton, Programs Manager samantha.hyde@coloradoballet.org jomarie.hazelton@coloradoballet.org 22

25 Thank You Supporters of Colorado Ballet s Education & Community Engagement Programs! Muchisimas Gracias! Xcel Energy Denver Office of Children s Affairs, City of Denver Virginia Hill Foundation Bowen Family Performing Arts Fund Anadarko Denver Post Community Foundation ECA Foundation April Fund Henry E. Wurst Family Foundation Ralph L. and Florence R. Burgess Trust Dr. David Scanavino Special thanks to these supporting organizations and the Colorado Ballet Board of Trustees! Without you, these programs would not be possible. 23

26 Evaluation Please mail to Colorado Ballet, Department of Education & Community Engagement: 1075 Santa Fe Dr. Denver, CO 80204, or fax to Thank you for your feedback! Name School How did you hear about our educational programming? Were you pleased with the learning experience provided for your students? Why or why not? Were the supplementary materials useful to you? Why or why not? Were you able to incorporate the field trip into your curriculum? How? Are you confident that you will be able to incorporate movement activities in other lessons? If so, how will you do so? If not, how could we offer further support? Are there other areas of study that you wish we offered workshops in, or other program options you wish we offered? If so, which ones? Will you take advantage of our educational programming again? See additional programming at Additional Comments: 24