Teacher s Study Guide. March 20 th 2014

Transcription

1 Teacher s Study Guide March 20 th 2014 Snow White The Kentucky Arts Council, the state arts agency, provides operating support to the Lexington Ballet with state tax dollars and federal funding from the National Endowment for the Arts. Page 1

2 TABLE OF CONTENTS KY Core Academic Standards & Program Review pg 3 The Story of Snow White pg 6 Lexington Ballet s Presentation of Snow White pg 7 Attending a Ballet Performance pg 7 Ballet Audience Etiquette pg 8 The Historic Lexington Opera House pg 9 Elementary Lesson Plans pg 10 Middle/High School Lesson Plans pg 13 Appendix A: Glossary of Ballet Terms pg 15 Appendix B: Liz Lerman s Critical Response Process pg 17 Page 2

3 KY Core Academic Standards: Primary Arts & Humanities Dance Me a Story: Elementary Lesson Plans Big Idea: Structure in the Arts 1.15 Students make sense of and communicate ideas with movement. Primary Skills and Concepts Dance Students will begin to recognize and identify elements of dance (space, time, force) and basic dance forms using dance terminology use the elements of dance in creating, copying and performing patterns of movement independently and with others observe, describe and demonstrate locomotor (e.g. walk, run, skip, gallop) and nonlocomotor (e.g. bend, stretch, twist, swing) movements Big Idea: Processes in the Arts 1.15 Students make sense of and communicate ideas with movement Students create works of art and make presentations to convey a point of view. Primary Skills and Concepts Dance Students will be actively involved in creating and performing dance alone and with others begin to learn how to use knowledge of the elements of dance and dance terminology to describe and critique their own performances and the performances of others identify possible criteria for evaluating dance (e.g., skill of performers, originality, emotional impact, variety, interest) demonstrate behavior appropriate for observing the particular context and style of dance being performed; discuss opinions with peers in a supportive and constructive way College and Career Readiness Anchor Standards for Reading Common Core Reading: Literature Standards Arts & Humanity Program Review Key Ideas and details 1. Read closely to determine what the text says explicitly and to make logical inferences from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. 2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas. 3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text. Integration of Knowledge and Ideas 7. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words.* 8. Delineate and evaluate the argument and specific claims in a text, including the validity of the reasoning as well as the relevance and sufficiency of the evidence. 9. Analyze how two or more texts address similar themes or topics in order to build knowledge or to compare the approaches the authors take. Curriculum and Instruction Proficient, Demonstrator 1: Student Access (A, B) Proficient, Demonstrator 2: Aligned & Rigorous Curriculum (A, B, C, D, E) Proficient, Demonstrator 3: Instructional Strategies (A, B, C, D) Proficient, Demonstrator4: Student Performance (A, B, C, D, E) Formative & Summative Assessment Proficient, Demonstrator 2: Expectations for Student Learning(A) Page 3

4 Dance Me a Story: Middle/High School Lesson Plans KY Core Academic Standards: Middle/High School Arts & Humanities Common Core Reading Literature Standards Big Idea: Structure in the Arts 1.15 Students make sense of and communicate ideas with movement. High School Skills and Concepts Dance Students will use appropriate terminology to analyze and evaluate the use of elements in a variety of dance (space, time, force) apply elements of dance and principles of movement (e.g., balance, initiation of movement, weight shift) to: o expressively create and perform a range of patterns of movement o analyze and evaluate the use of choreographic forms in dance (theme and variation, rondo, narrative) o analyze and describe how themes in dances and styles of dance communicate ideas and feelings o identify and explain characteristics of dance styles (ballet, tap, jazz, modern) describe and analyze the relationships between and among music, costumes, lighting, props/scenery and choreography Big Idea: Processes in the Arts 1.15 Students make sense of and communicate ideas with movement Students create works of art and make presentations to convey a point of view. High School Skills and Concepts Dance Students will be actively involved (individually and in groups) in creating and performing dance (using the elements of dance: space, time and force) in a variety of choreographic forms (theme and variation, rondo, narrative) demonstrate appropriate alignment, strength and flexibility while performing dance movement apply knowledge of dance elements and dance terminology to: o expressively create and perform dance to communicate thoughts, ideas and/or feelings o describe and critique their own performances and the performances of others identify and apply criteria for evaluating dance (e.g., skill of performers, originality, emotional impact, variety, interest) demonstrate behavior appropriate for observing the particular context and style of dance being performed; discuss opinions with peers in a supportive and constructive way explore skills and training necessary for a variety of careers related to dance College and Career Readiness Anchor Standards for Reading: Key Ideas and Details 1. Read closely to determine what the text says explicitly and to make logical inferences from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. 2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas. 3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text. Page 4

5 Integration of Knowledge and Ideas 7. Integrate and evaluate content presented in diverse formats and media, including visually and quantitatively, as well as in words. 8. Delineate and evaluate the argument and specific claims in a text, including the validity of the reasoning as well as the relevance and sufficiency of the evidence. 9. Analyze how two or more texts address similar themes or topics in order to build knowledge or to compare the approaches the authors take. Arts & Humanity Program Review Curriculum and Instruction Proficient, Demonstrator 1: Student Access (A, B) Proficient, Demonstrator 2: Aligned & Rigorous Curriculum (A, B, C, D, E) Proficient, Demonstrator 3: Instructional Strategies (A, B, C, D) Proficient, Demonstrator4: Student Performance (A, B, C, D, E) Formative & Summative Assessment Proficient, Demonstrator 2: Expectations for Student Learning(A) Page 5

6 The Story of Snow White The story of Snow White is well known today thanks to the vision of Walt Disney s full length animated feature film which debuted in However, the story of Little Snow White was originally published in 1812 by Jacob and Wilhelm Grimm as one of many stories contained in their book Children s and Household Tales, or what is today more commonly known as Grimm s Fairy Tales. In all likelihood, older versions of the Snow White story began long before as folktales that were verbally handed down through the generations. The modern Disney version of Snow White that we are most familiar with, contains all the classic elements of a make believe fairy tale; the story happens once upon a time & long ago, is filled with magic, an evil stepmother, and contains a happily ever after ending. The original brothers Grimm version, while still a fairytale, is a slightly more grim account. While the Disney version contains a romanticized awakening of Snow White by the Prince s kiss, the Prince in Grimm s tale bargains with the dwarves for Snow White s body in its glass coffin because he is so taken by her beauty. Snow White only awakes when the Prince s servants stumble while carrying the coffin and a piece of the poison apple is dislodged from her throat. Another departure between these versions is found when Disney s Evil Queen tries to do away with Snow White with a poisoned apple and meets her end when she is chased to a cliff s edge and falls to her death. In the Grimm account, the Evil Queen makes several failed attempts to kill Snow White (including lacing her corset too tightly, see image below) before enticing her with the poisoned apple. When the magic mirror tells of a young queen s beauty, the Evil Queen attends the wedding to find the young queen is none other than Snow White. Red hot iron shoes are pulled from the fire and the Evil Queen is forced to wear them and dance to her death. Find more information for your students on the Brothers Grimm & Snow White at the links below, Page 6

7 The Lexington Ballet s Presentation of Snow White The Lexington Ballet s Snow White features original choreography by Artistic Director Luis Dominguez. LBC first presented its Snow White in 2006 but it has been restaged for the 2014 season with new choreography. No original musical score was ever composed for the ballet Snow White. The music used in this production is a compilation of pieces all composed by the Finnish composer Jean Sibelius. Find more information on composer Jean Sibelius here, The Lexington Ballet s Snow White production is a family friendly version that fans of the Grimm and Disney versions will both recognize. Students will see Snow grow up with her father the King, meet her prince, and be sought after by the Evil Queen who envies her innocence and beauty. They will join Snow as she escapes from the Evil Queen, meets the dwarfs, and falls into death-like sleep when she it tricked into taking a bite of the poisoned apple. In true fairytale fashion, Snow White will be saved by true love and return to the castle while the Evil Queen meets her end. Attending a Ballet Performance Ballet is an art form that everyone can enjoy. Simply stated, ballet is fascinating movement set to music. Sometimes it tells a story. Sometimes it evokes a mood. Sometimes it should be observed simply for its sheer athleticism. While there is a rich history to ballet, and many technical terms for a dancer s movements, there is no trick to enjoying a performance. Great dance should seem effortless, displaying a certain physical lightness and freedom. Dancers should perform with ease, with confidence, bravura and freedom. A good dancer who has years of training, and is properly rehearsed will be able to let go - forget about the particulars, and be able to think only about human body moving through space. Great dancers, perhaps, will not be thinking at all, but will become the dance they perform. The word Ballet comes from the Italian word ballare meaning to spring or jump about or to move in rhythm. Many subtleties separate a good ballet performance from the truly inspiring. Watch for: o Variations in speed o Direction changes o The height of leaps o Quiet landings o Body extension & flexibility o Smooth movement between partners o Dramatic ability to create a mood or express emotion o Movement in connection with the music o The ability to make it all look easy Page 7

8 Ballet Audience Etiquette Do s & Don ts 1. As an audience member it is appropriate for students to express their admiration or approval for the dance performance they are watching by clapping for the dancers when they see something they like! Applause is always welcomed by the dancers as it lets them know the audience is enjoying the performance. 2. It can also be appropriate to laugh during a performance as a response to story being told on stage. Humor is often an element of the story on stage. 3. Photography of any kind, but especially flash photography, is prohibited during the performance as the flash cane a hazard to the dancers while performing on stage. 4. Student should not yell or cheer like they might at a sporting event at least not during the performance. At the end of the show shouting out Bravo or Brava for the male and female principle dancers is appropriate. Page 8

9 The Historic Lexington Opera House Lexington Ballet s presentation of Snow White is taking place in the historic Lexington Opera House located in the heart of Downtown Lexington. The Lexington Opera House is listed on the National Register of Historic Places and was designed by Oscar Cobb, a well-known theater architect of the late 19 th century. The Opera House held its inaugural performance in the summer of The auditorium and stage of the Opera House were a marvel for the times having been engineered to include trap doors, and even support special effects such as continual rainfall, and an on stage chariot race for a production of Ben Hur. Over course of years, and changing time, the Lexington Opera House fell on hard times and into disrepair. It was saved from demolition by a group of philanthropists who successfully campaigned for its restoration. Since its original restoration was completed in 1976, the Opera House has remained the heart of the city s arts community. To share additional Opera House history and images of this historic venue with your students follow the link below. Page 9

10 Dance Me a Story Elementary Lesson Plans Content Addressed: Academic Expectations 1.15 Students make sense of and communicate ideas with movement. Big Idea: Structure in the Arts: Skills and Concepts Dance Students will analyze and explain the use of elements of dance (space, time, force) and basic dance forms using dance terminology use the elements of dance in creating, copying and performing patterns of movement independently and with others observe, describe and demonstrate locomotor (e.g. walk, run, skip, gallop) and nonlocomotor (e.g. bend, stretch, twist, swing) movements Big Idea: Processes in the Arts: Skills and Concepts Dance Students will be actively involved in creating and performing dance (incorporating the elements of dance: space, time and force) alone and with others use knowledge of the elements of dance and dance terminology to describe and critique their own performances and the performances of others identify possible criteria for evaluating dance (e.g., skill of performers, originality, emotional impact, variety, interest) demonstrate behavior appropriate for observing the particular context and style of dance being performed; discuss opinions with peers in a supportive and constructive way Page 10

11 Goals and Objectives: Students will understand the elements of dance and their use in choreography Students will understand basic story elements Students will compare various versions of Snow White Students will create a dance phrase based on the story of Snow White. Basic Vocabulary: Space Time Force Choreography Character Setting Scenery Procedures: 1. Warm-up: Put on some music and call out various elements of dance and movements and have students move around the room demonstrating these, such as: Walk at a high level, change to a low level, medium level. Walk with large steps, small steps Skip in different pathways: straight, curved, zigzag Gallop forward, backwards and sideways Stomp with heavy force, tiptoe with light force Slide fast at a quick tempo, slide slow Add your own or let your kids throw out some ideas. 2. Create a chart of Space, Time, and Force elements of dance: Force: The use of energy while moving Heavy/light, Smooth/Sharp, etc Space: The area covered by the dance movements (This includes shape, level, directions, and pathways.) Directions: Forward, backward, sideways, up, down, etc Level: The distance from the floor high, medium, low Pathways: Patterns that the body makes as it moves through space or on the floor Shape: The design of the body as it exists in space Time: How fast or slow (tempo); even or uneven (beat); and long or short (duration) the movement is Tempo Beat Duration 3. Read through and look at different versions of the Story Snow White Page 11

12 4. Compare basic story elements that are the same in each version characters, setting, storyline, etc 5. Break students into small groups. Have them create a short dance phrase based on one of the Snow White stories. Make sure their dance uses a variety of movements and the elements of dance. This dance should also help tell part of the story through movements. No words! 6. Have groups perform their dance phrases for the class. Have other students watch and describe what is happening in the story based what they saw each group create and perform. See below for reflection and response ideas and questions. Extensions/Differentiation: 1. Several small groups can use different parts of one story and put together a performance telling the entire story beginning, middle and end through dance. 2. Groups can design and create costumes for their dance. These can be sketched on paper, created from colored construction paper or fabric scraps. Let your groups be creative. 3. Groups can design scenery for their dance. 4. Groups can create their own version of Snow White to create and perform dance phrases for. 5. Rewrite the ending to Snow White. Use the current beginning and middle of one of the Snow White Stories and have each group write and create their own ending. Page 12

13 Dance Me a Story Middle/High Lesson Plans Content Addressed: Academic Expectations: 1.15 Students make sense of and communicate ideas with movement. Big Idea: Structure in the Arts, High School Skills and Concepts Dance Students will use appropriate terminology to analyze and evaluate the use of elements in a variety of dance (space, time, force) apply elements of dance and principles of movement (e.g., balance, initiation of movement, weight shift) to: expressively create and perform a range of patterns of movement o analyze and evaluate the use of choreographic forms in dance (theme and variation, rondo, narrative) o analyze and describe how themes in dances and styles of dance communicate ideas and feelings o identify and explain characteristics of dance styles (ballet, tap, jazz, modern) describe and analyze the relationships between and among music, costumes, lighting, props/scenery and choreography Big Idea: Processes in the Arts, High School Skills and Concepts Dance Students will be actively involved (individually and in groups) in creating and performing dance (using the elements of dance: space, time and force) in a variety of choreographic forms (theme and variation, rondo, narrative) demonstrate appropriate alignment, strength and flexibility while performing dance movement apply knowledge of dance elements and dance terminology to: o expressively create and perform dance to communicate thoughts, ideas and/or feelings o describe and critique their own performances and the performances of others identify and apply criteria for evaluating dance (e.g., skill of performers, originality, emotional impact, variety, interest) demonstrate behavior appropriate for observing the particular context and style of dance being performed; discuss opinions with peers in a supportive and constructive way (See Liz Lerman Critical Response Process, Appendix B) explore skills and training necessary for a variety of careers related to dance Page 13

14 Goals and Objectives: Students will understand the elements of dance and their use in choreography Students will understand basic story elements Students will write their own version of Snow White Students will choreography/create their own version of Snow White. Basic Vocabulary: Space Time Force Choreography Character Setting Scenery Procedures: 1. Look at various versions of snow white some great resources include: Compare basic story elements that are the same and different in each version characters, setting, storyline, etc 2. Individually or in a small group, have students write their own version of snow white. Make sure students use basic story elements, complete with a beginning, middle and end 3. Break students into small groups. Have them choreograph and create their own dance performance based on one of their written Snow White stories. Make sure their dance uses a variety of movements and the elements of dance. This dance should also tell part of the story through movements. No words! Have students select their own music and songs as their score for Snow White. Music should help tell the story and emotion for each section of their story. 4. Have groups perform their Snow White dances for the class. Have other students watch and describe what is happening in the story based what they saw each group create and perform. See below for reflection and response ideas and questions. 5. Extensions/Differentiation: a. Groups can design and create costumes for their dance. These can be sketched on paper, created from colored construction paper or fabric scraps. Let your groups be creative. b. Groups can design scenery for their dance. c. Dance choreography and music does not have to be classical ballet. Groups can choose to create a hip hop snow white or another creative way to perform their story and choreography! d. Another great extension is to look at values and stereotypes portrayed in fairytales: Page 14

15 Appendix A: Glossary of Ballet Terms Terms for Movement Quality/Timing Adagio slow and sustained movements; a slow and sustained dance Allegro (uh-leh-gro) fast running and jumping movements; a fast dance Phrase a series of steps or patterns, which constitute part of an idea; a sentence in movement Ballet Steps or Positions Arabesque (ara-besk) a frequently used classical ballet position. The weight of the body is supported on one leg while the other is extended in back, the knee straight. The arabesque may be varied in many ways by changing the position of the arms, the angle of the body and the height of the leg in the air. Attitude a classical position similar to the arabesque, except that the knee of the raised leg is bent Battement (baht-mahn) extension of the leg Bourree (boo-ray) a rapid run, like a trill on the points of the toes, with the feet in fifth position. The feet move so quickly that the transfer of weight is almost imperceptible. The ballerina seems to skim across the stage. Chaine (sheh-nay) a series or chain of turns, executed in a line or in a circle, in which the feet remain close to the floor and the weight is transferred rapidly and almost imperceptibly from one foot to the other as the body revolves Chasse (shah-say) a slide in which the weight is transferred from two feet to one, or from one to another Glissade (glih-sahd) a gliding step, beginning and ending in fifth position Develope (day-vel-oh-pay) a smooth, gradual unfolding of the leg toward the front, side or back Jete (zheh-tay) a jump from one foot to the other Pas de deux (paw de duh) literally step for two ; a duet, often in several positions Pirouette (peer-oh-wet) a turn in place, on one foot. A good dancer can execute four or five continuous revolutions; a virtuoso, as many as a dozen Plie (plee-ay) a bend of the knees Rond de jambe (rohn de jahm) a circular movement of the leg, accomplished either with the toe on the floor or with the working leg raised Tour en l air (tour ahn lair) a complete single, double or triple turn in the air, usually beginning from and ending in fifth position. It is almost always executed by male dancers. Other Ballet Terminology Choreographer the person who creates, or composes, the dance Corps de ballet (cor-de-bah-lay) the supporting dancers of the ballet company Ballerina any professional female ballet dancer Page 15

16 Danseur (dan-sir) any professional male ballet dancer En pointe (on point) the ballerina rises as far from the floor as she possibly can by dancing on the tips of her toes. She carries her weight not merely high on the balls of her feet but literally on the top of her toes. Originally, dancers did this in soft slippers; today toe shoes are blocked across the front to give added support Tutu the traditional ballet skirt usually made of many layers of gathered tulle. The length of the tutu varies according to the period or style of the ballet being performed. Ballet shoes soft slippers made of flexible leather with thin, flexible soles Toe shoes soft fabric (usually satin) slippers blocked across the toes with a hard pad to give support when the dancer raises en pointe For more ballet terminology and videos examples of ballet movement go to: Page 16

17 Appendix B: Liz Lerman Critical Response Process MacArthur Award winning choreographer Liz Lerman's Critical Response Process has been a widely adopted as a tool for providing valuable critical response to the work of both professional and student artists and is a great tool to introduce to students. This method is easily adapted and applied any technical or academic subject matter! For Lesson Plan #2 this Process will use your students in two of three roles; artist (when they present their dance), and responder (when they offer feedback to their peer groups), The artist perform their dance for their peers and knows they will get to discuss with the audience afterwards; Responders, view their fellow student artist s dance and offer appropriate feedback to the dance in a dialogue with the student artists; The class instructor will serve as the facilitator, The facilitator initiates each step, keeps the process on track, and works to help the artist and responders use the Process to frame useful questions and responses. The Critical Response Process will take place after each student group presents their Everyday activity dance story. This Process can be applied to any presentation, short or long, large or small, and at any stage in its development. As facilitator, lead your student artists and responders through the following four steps: 1. Statements of Meaning: Responders give POSITIVE feedback to the performers about their dance they just observed. Statements like a. I liked how your dance showed b. My favorite part was Artist as Questioner: Now your student artists get to ask their peer audience specific questions about the dance. This gives the student artists a chance to check with their audience to see if they understood the story they were trying to tell through dance. Questions might include a. Could tell what we were doing when? b. Did we dance big (long, soft, sharp, etc ) enough? 3. Neutral Questions: Responders ask neutral (no stated or implied opinions) questions about the dance and the student artists respond. Here the audience gets to find out why the student artists did something in a particular way. For example, a. Rather than asking Why did you spinning like crazy? ask What was the reason you were spinning? 4. Direct Comments: Once all the other questions have been exhausted, the responders may state opinions, but only if the given permission by the student artists. The usual form is I have an opinion about, would you like to hear it? The student artists may answer no if they do not wish to hear the opinions for any reason. Page 17