Giselle (Act 1) SchoolTime Performance Series de la Dance Company. Study Guide

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1 SchoolTime Performance Series de la Dance Company Giselle (Act 1) Study Guide Contributions by Cincinnati Arts Association, The Kennedy Center, and Linda Reiff Cincinnati Arts Association, Education/Community Relations, 650 Walnut St., Cincinnati, OH Phone , Fax

2 de la Dance Company de la Dance Company s mission is to offer high quality, professional performances and a diverse repertory varying from contemporary to full length classical works. To encourage creativity, experimentation, and cooperation within the dance community. de la Dance company strives to present dance that is at once compelling, entertaining and relevant. We aim to present the highest quality dance driven by passion and energy. de la Dance Company is a newer professional dance company under the direction of Artistic Directors Mario de la Nuez and Meridith Benson, both formerly of the Cincinnati Ballet and former directors of Ballet Theater of Chicago. Giselle The ballet Giselle was first performed in Paris in The storyline was developed by Théophile Gautier and Jules-Henri Vernoy de Saint-Georges. They based it on the poem Fantômes in Les Orientales by Victor Hugo, about a girl who dies after an all-night ball, and an essay on folklore by Heinrich Heine, Elementargeister, describing supernatural young women called Wilis who make men dance until they die. Adolphe Adam composed the original music for the ballet, which was unique at the time since most music for ballets was a combination of classical melodies. Jean Coralli and Jules Perrot choreographed the original production. However, most modern productions of Giselle are based on the staging by Marius Petipa for the Imperial Ballet (now known as Kirov/Mariinsky Ballet) in 1884 and From its debut in 1841 Giselle was a popular ballet and in the following years was performed throughout Europe. In the United States, it debuted in 1846 at Boston s Howard Atheneum. The ballet is about love and betrayal. A young peasant Giselle falls in love with Loys, the Duke Albrecht disguised as a peasant. Albrecht is engaged to the noblewoman Bathilde. Hilarion, a gamekeeper, is in love with Giselle and desires to marry her, but she refuses because she loves Loys. When Loys true identity is revealed Giselle goes mad and dies of heart break. This is the end of Act One. In Act Two (which is not part of the SchoolTime performance), the spirit of Giselle is accepted into the Wilis, spirits of women jilted by their lovers and who haunt the forest making men dance until exhausted to death. Both Hilarion and Albrecht visit Giselle s grave to mourn her death. The Wilis make Hilarion dance until near death then drown him in the lake. Albrecht is also subjected to the Wilis vengeance but Giselle s love for him breaks their spell. They bid each other farewell and Giselle returns to her grave to rest in peace. Cincinnati Arts Association 2 Giselle (Act 1)

3 Dancing When people dance they move their bodies rhythmically to express ideas or emotions. Most of the time dance has a structure. Sometimes it is improvised. All dances are made up of sequences of steps and gestures called phrases, like words put together to form a sentence. In tribal societies where dances are mostly religious, people usually dance in a group or in a circle. In societies where people dance mostly for their own amusement, two people usually dance together, and sometimes people dance in small groups. When people dance to entertain others, they usually do so in groups called companies. There are different kinds of dance companies, such as ballet, ethnic, modern, and jazz. Dance performed for audiences are almost always choreographed, or made up by one person, just as a composer makes up a piece of music. These dances may also be passed from generation to generation within companies. While dance companies perform some dances over a long period of time, new dances are still being choreographed. Each culture has its own dance form. Chinese, Indian, Native American, and cultures throughout the continent of Africa all have their own unique dance styles that are different from dances of Europe and the United States. Wherever it occurs, and whatever form it takes, dance is one of the most powerful and interesting ways humans express themselves. Ballet How It All Began Once upon a time there was a king who liked to dance. It may sound like the beginning of a fairy tale, but it s not. The king was Louis XIV, who ruled France from The king gave great balls in which everyone danced in fancy clothes. Sometimes, dances, called ballets, were performed for the king. They were stories about Greek myths and Roman history, and other important events or people. Sometimes Louis would dance in the ballets. The ballets became more and more complicated and difficult to perform. The king liked watching the ballets and moved them from ballrooms into theaters so everyone could see them better. He started the first school to train professional ballet dancers. During the 18th century, the Empress of Russia, Catherine the Great, invited French ballet dancers to Russia. Soon that country became the center of ballet. Ballet became popular in the United States during the 20th century. George Balanchine, a Russian dancer and choreographer who became an American, did much to make it well known. Toe Shoes Dance is the art of dealing with movement through space and is regulated by time. Dance is movement in a rhythmic manner. Dance has been a part of the human experience throughout history. Any human movement can be used in dance and anyone can dance. Depending on the style of dance, more or less training is required. In the 1800s, female dancers called ballerinas began dancing on the tips of their toes. In this way they appear to be weightless, gently hovering above the ground. By the end of the 1800s every female dancer had to learn to dance on her toes, called en pointe. Modern pointe shoes are made with support under the sole of the shoe, called the shank, and have layers of hardened glue in the tip of the shoe, called the box, to protect the toes. Pointe shoes usually come in pink satin, but in some dance companies ballerinas have specially colored toe shoes to match their skin tones. Cincinnati Arts Association 3 Giselle (Act 1)

4 Creating Dance Movement The use of the body to convey emotions, and non-verbal communication. For example, by frowning, shaking your finger, and tapping your foot: What emotions are these movements conveying? The Body The body is an instrument one uses to express or communicate an idea, action, or experience through movement. All parts of the body are included and must work as a unit for the greater expression and range of movement. 1. Locomotion is moving through space from one point to another 2. Non-locomotion is when you are anchored to one spot using only the space in any direction without losing the initial body contact 3. Shapes symmetrical, asymmetrical, bent Space The area where movement occurs (above, below, around, bigger/smaller, inward, outward, up, down, high, and low). 1. Personal space surrounds the body in stillness and motion in all directions 2. General space is the body moving through space, relating to persons and objects Choreography Choreography the art of inventing dances Choreographers imagine how dancers can Choreographers the people who create dances move, alone and with others. Then they work with dancers to make what they have imagined become real. They organize phrases, a sequence of steps and gestures, into dances. Usually choreographers are dancers as well. Choreographers must know about many things besides dancing. They must be able to select music and be able to work with the people who design costumes, sets and lights. The choreographer is responsible for everything seen in a dance performance. Music Body Movements movements that require no training and are part of our human experience Choreography combines music and movement to create dance. Sometimes a choreographer already has an idea or feeling he/she wants to show the audience. When a choreographer chooses his music it is important to him that the elements of the music convey the same sort of feelings he wants to display in his dance. Other times, a choreographer will listen to music and it will make him feel a certain way and he will begin to see images in his mind. The music has inspired him to create a dance. Music and choreography go hand-in-hand to create a mood, a feeling, and entertainment. Cincinnati Arts Association 4 Giselle (Act 1)

5 Activities Dance and music lessons are also available at The Kennedy Center s website, Scroll down to the Lesson Finder box and select grade level, arts subject, or other subject. Movement Activities Blind Leading In pairs, one person leads the other, who has his/her eyes closed, around the room. This activity is based on trust and will only work with a high level of concentration from the students. Clay In pairs, one person is the sculpture and sculpts the other person into a shape. Each sculptor can name their sculpture and show the class. Mirror In pairs, one person leads the other as in a mirror. The movements should be slow and controlled. Use of music is recommended for this activity. Observation of inanimate objects Observe an inanimate object and create the shape of the object with your body. Now observe an animate object. Notice the movement qualities and recreate them with your body. Perform for the class in a game of charades. Part of a Whole One person comes up with a setting, like a playground, zoo, etc., and becomes a part of this scene. As each student understands where the scene is, one at a time they may enter the scene and become a part of the scene. All can join in, but try to keep the activity nonverbal. Remember that they can be inanimate or animate objects. Tableau A tableau is a still picture, created by using the body. Select a scene either from a story or lesson plan. Students recreate that scene with students portraying various persons or elements. Add props for the tableau. Extension: create a series of tableaux to tell a story or sequences of events. Time, Space, and Locomotion Can you walk around the room slowly and softly? Can you do that walking backwards? How about sideways? Let your arms also move from side to side. Can you skip very high? Can you jump in a low position? Run as fast as you can and stop. Can you move around the room in a very rounded, curved, soft form? How about in a straight position? Walk as if you were made out of sticks. Continue in this way, using different combinations of the following: Locomotor movements: walk, run, skip, jump, hop, leap Levels: high, medium, low. Time: quickly, slowly Shapes: round, straight Directions: forward, backward, sideways This will increase the student s range of variations to use in other sculpture experiences. Cincinnati Arts Association 5 Giselle (Act 1)

6 Verbs and Adverbs Have verbs and adverbs printed on flash cards. (Have one list longer than the other so that the combinations can continually change.) Two people will hold the cards and flash them to the group on the opposite side of the room. Individuals will move across the room in response to the combinations such as: run quickly, skip gaily, angrily hop, quietly leap, walk slowly, jump twitchingly, sleepily wiggle, hostility turn, slide smoothly, tiptoe quickly, arrogantly tumble, shyly roll. Make It a Dance Have one hand tap the other, setting it into motion and letting it go as far as it can. Tap another part of your body such as your shoulder, hip, head, or other arm. Allow that movement to flow on, with the rest of the body giving in to it. The impulse starts a movement, which is taken as far as it can go. Then you begin a new impulse. Once movement flows into the next. You may want to think of a quality or feeling such as your love, your talents, intelligence or creative spirit and take it into the world as fast as it can possibly go. This is done from a stationary place on the floor, using only personal space. Weather Conditions How would you move if it were very cold? Would your body be open or closed? Do a cold dance. How would you move if you were hot? If it were raining? Windy? A blizzard? How would you move if you were chest-high in water? Create a dance out of these movements. Have others guess by your movements what kind of weather conditions they are. Entension: Create three different types of environments city, jungle, and desert have students move among each other while staying in their own environment. Divide the Group in Half Half the class will be the environment, such as a forest. Create many different shapes on different levels and directions, being the trees, bushes, etc. The other half will move through this created space as themselves, insects, or animals. Be aware of the spaces. Are they large or small? How can you move in a forest? Do you have to move slowly or quickly? Do you have to get on different levels? Be aware of needing to go under branches or around bushes. Other environments: a circus, the zoo, the desert, jail, a supermarket, our planetary system, the beach, a jungle. Select a subject matter/lesson plan and have students (in groups) create dance moves to describe/ interpret it. Since dance is prevalent in commercials, music videos, movies and TV shows, students probably are familiar with different dance moves. Have student demonstrate what they know. Cincinnati Arts Association 6 Giselle (Act 1)

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