POLLY THIN-RABB STUDYGUIDE ISSUE 33 AUSTRALIAN SCREEN EDUCATION. 50 Years On Their Toes 1

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1 STUDYGUIDE POLLY THIN-RABB 50 Years On Their Toes 1

2 2 Introduction The Royal New Zealand Ballet has survived half-a-century on passion and guts. THIS STUDY GUIDE ACCOMPA- NIES the documentary, 50 Years On Their Toes a behind-thescenes look at the Royal New Zealand Ballet (RNZB) in preparation for their 2003 production of Romeo and Juliet. Celebrating its fiftieth year, the RNZB presents the dramatic classic for the fifth time; a breathtaking new version of an old-fashioned story of sex and violence. The documentary takes the viewer through the production process from start to finish and interweaves the important historical events that have contributed to the company being what it is today. The purpose of this guide is to make relevant links to Dance in the New Zealand Arts Curriculum and to provide possible learning ideas and examples for teachers to use in collaboration with this documentary. This resource is aimed at level 6 of the curriculum and makes direct reference to NCEA Level 1 Achievement Standards. Curriculum Links Strands Developing Practical Knowledge in Dance Developing Ideas in Dance Communicating and Interpreting in Dance Understanding Dance in Context Achievement Objectives Students will identify and contrast the vocabularies, practices, and technologies of selected dance forms. Students will explore and use choreographic processes to give form to dance ideas. Students will apply performance skills and appropriate technologies to enhance communication through dance and will make critical responses to dance. TOP-BOTTOM: ROMEO AND JULIET, ROMEO (ALEX WAGNER) AND JULIET (JANE TURNER) PHOTO: STEPHEN A COURT

Choreographer Artistic Director Process Dancers Royal New Zealand Ballet Dancers Personal Professional RELATIONSHIPS Dancers Audience Dancer Dancer Royal New Zealand Ballet Props Costume/Set

(see chart 02) Romeo tries his best to avoid confrontation with his old enemies, who have become his relations without their knowledge.

3 Choreographer Artistic Director Process Dancers Royal New Zealand Ballet Dancers Personal Professional RELATIONSHIPS Dancers Audience Dancer Dancer Royal New Zealand Ballet Props Costume/Set Designers Students will investigate dances from selected historical periods and describe the influences on their development. (see chart 02) Romeo tries his best to avoid confrontation with his old enemies, who have become his relations without their knowledge. Tragically he fails and is exiled from Verona after only one night with his bride. Romeo and Juliet A Synopsis In Verona, a deep love blooms between the young descendants of two powerful families that have hated each other for centuries. The handsome Romeo dares to enter the house of his enemies to attend a masked ball, where he meets Juliet and they instantly fall in love. After the ball Juliet confides her love to the moon while leaning on her balcony. Romeo, who is hiding in her garden, overhears her and consequently the two secretly marry. Meanwhile Juliet s father has decided that she will marry Paris, a wealthy nobleman, and so Juliet runs to Friar Laurence for help. A plan is devised to reunite the lovers. Juliet is to drink a potion that will cause her to appear dead for forty-eight hours. A messenger will go to Mantua to inform Romeo of the plan. It all goes horribly wrong when the messenger is unable to enter the city because of a plague, and so, on hearing the news of Juliet s death through other means, Romeo rushes to Juliet s side to give her one last kiss and then swallow poison. Soon afterwards, she awakens and sees the cup of poison still in her lover s hands. Devastated, she stabs herself with his dagger. Suggested Learning Aspects (See Chart 01) DANCE CHOREOGRAPHY 1.1: Compose movement sequences 6 credits Internal DANCE PERFORMANCE 1.2: Perform dance sequences 6 credits Internal 1.3: Perform dance as a member of a group 4 credits Internal DANCE PERSPECTIVES 1.4: View and respond to dance 4 credits External 1.5: Demonstrate knowledge of a dance genre or style 4 credits External 3 TOP-BOTTOM: CHART 01; ROMEO AND JULIET ROMEO (ALEX WAGNER) AND JULIET (JANE TURNER) PHOTO: BILL COOPER; CHART 02 NCEA LEVEL 1 DANCE MATRIX

Choreographer discusses his interpretation of and intentions for the production Audition Rehearsal - Creative process. Choreographer creates the movements on the lead couple.

Dancers becoming familiar with set and lights Last week of rehearsal. Running the show from start to finish.

The documentary outlines the choreographic process through the words of the choreographer, Christopher Hampson.

4 Choreographer discusses his interpretation of and intentions for the production Audition Rehearsal - Creative process. Choreographer creates the movements on the lead couple. Input from these and other dances. Refining. Dress rehearsal. Orchestra, makeup and costumes OPENING NIGHT Expert called in to assist e.g. film stuntman Move into theatre packing in. Dancers becoming familiar with set and lights Last week of rehearsal. Running the show from start to finish. Costume fitting and rehearsing in part costume Choreographer - Process - Dancers from them as people and really look at them as tools to facilitate the creative process. The documentary outlines the choreographic process through the words of the choreographer, Christopher Hampson. The following quotations have been taken as possible starters for class discussion points, relating to the working relationship between choreographer and dancer. A lot of the mechanics of the choreography will come from a collaboration between me and them [dancers]. I ll always have a skeleton shape or structure that I want them to achieve but often they ll add flavour and colour to it but essentially it ll be what I always wanted it to be. Standard I always get really nervous on the first day a composer can write his first note of music in the privacy of his own home I can t, I have a room full of people and that really gets to me. I think I have to disassociate myself Read the following review and ask students to brainstorm possible emotional states that are generated by the story of Romeo and Juliet. Guide students through a practical exploration process to help develop motifs that use a range of dance elements to help communicate the words and concepts. Ask them to take turns at putting themselves in the role of choreographer, working with small groups of dancers to shape and refine their dance ideas using specified choreographic devices. This learning activity could be used as one of the forty-five second choreographic tasks required for assessment in Achievement BALLET.CO 12 JULY 2003 Reviewer: Bruce Marriott Christopher Hampson s new Romeo and Juliet, premiered by Royal New Zealand Ballet on the 6th June, succeeds splendidly in finding a fresh take on the story and most pleasantly also in the vocabulary of its telling. For me it s a benchmark of a production, less about ballet sparkle and more about emotions and reality; a production that I think other companies will also want. A large part of the choreographic process relies on the music. In this version of Romeo and Juliet the music used is a traditional score by Prokofiev but it is played as a reduced orchestration by John ABOVE: CHART 03 - PRODUCTION PROCESS; ROMEO AND JULIET, MERCUTIO (JACOB SOFER) IS STABBED BY TYBALT (GRAHAM FLETCHER) PHOTO: BILL COOPER

This activity could act as another of the forty-five second choreographic tasks required for Achievement Standard 1.

5 Longstaff. Students should listen to a short portion of the soundtrack and write or draw an immediate creative response. Following this, students might explore, develop and refine these ideas into a short solo sequence that accompanies the music and uses the elements of dance in an imaginative way. This activity could act as another of the forty-five second choreographic tasks required for Achievement Standard 1.1. The production process for the 2003 version of Romeo and Juliet lasted just seven weeks. During the viewing of the documentary, ask students to note down the various phases of this process. Record these ideas in diagrammatic form (see chart 3). Ask students to share personal stories about the processes involved in being part of a school production or Stage Challenge. Discuss the similarities and differences between the RNZB s production process and your own. Dancer Personal and Professional The documentary delves into professional and personal issues that are central to the life of a dancer. One of these is the principal of safe dance practice. Before viewing the documentary, establish the students prior knowledge of the technique associated with classical ballet. Some possible starter questions might be: What are some words to describe the way a ballerina moves? Or for a male ballet dancer? What body parts are predominantly used in classical ballet? What types of movements are common in ballet? List and explain some terminology used in classical ballet. What things could a ballet dancer do to look after his/her body? How long could a classical dancers career last and what options might there be for him/her after this time? After viewing the video, discuss the above questions in greater depth with students. Use the level 5 resource, Warming Up in Unwrapping the Arts to explore techniques of safe dance practice. Students improvise movements based on stretching and contracting with a partner and develop a warm-up sequence to teach to the class. 5 TOP-BOTTOM: COMMEDIA DELL ARTE ARTISTS OF THE COMPANY; BALCONY, ROMEO (ALEX WAGNER) AND JULIET (JANE TURNER) PHOTO: BILL COOPER; BEDROOM ROMEO (ALEX WAGNER) AND JULIET (JANE TURNER) PHOTO: BILL COOPER.

6 6 Jumping and leaping are movements that we see the dancers in the documentary perform with apparent ease. In reality, there is a great deal of technical skill and safety required to demonstrate such fluidity and dynamism. Use and adapt the level 2-3 unit Jump from the Ministry of Education video resource Dancing the Long White Cloud to get students to discuss and explore safe jumping techniques. Once this has been achieved, invite a ballet expert in to teach a short (minimum thirty seconds) classical sequence that includes some jumping and leaping. Discuss the appropriate qualities associated with performing this classical sequence, for example, the use of facial expression, direction of eye focus, concentration and technique. This learning activity could be used to prepare students for assessment of Achievement Standard 1.2 Perform dance sequences. In the documentary we hear discussion of how the concept of touch becomes very natural for the dancers. This is particularly so in the pas de deux which is a dance for two performers, usually a man and a woman. The pas de deux presents an intimate relationship, often of romantic love, and should demonstrate complete harmony of the two bodies and minds so that the characters appear to be dancing as one. The role of the male dancer is to support and lift the female, while maintaining a loyal gaze. The ballerina expresses her love through the execution of graceful arabesques and supported shapes. Guide students through a workshop based on partner dance. Explore the idea of two bodies working together as one through improvising movements based on trust, symmetry and asymmetry, physical contact and weight bearing. Have each pair choreograph a 1.5 minute sequence (forty-five seconds per student) to present as an assessment task for Achievement Standard 1.1. Dancers talk candidly about the assumption that all male ballet dancers are gay. In small groups students should discuss this concept, brainstorming all possible perspectives. Prepare a mini debate to present these ideas to the class. Usually classical ballet uses a narrative structure to tell a story. Dancers become characters and sometimes women may dance as men and men as women, for a number of reasons. For example, in France in the late nineteenth century, ballet dancing became a purely female activity and women took over male lead roles. In comparison, in seventeenth and eighteenth century China and Japan, men began to specialize in female roles as it was considered improper for women to perform. Pantomime is another example of men dressing as women L-R: JULIET (JANE TURNER) PHOTO: BILL COOPER; BALLROOM, COMPANY ARTISTS NATASHA PURCELL AND NADINE TYSON PHOTO: STEPHEN A COURT

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8 8 in outrageous costumes, to produce humorous results. The Venda people of South Africa use role reversal to help confuse evil spirits who might otherwise harm dancers. View and analyse examples of classical ballet in which role reversal is evident. Some examples are, - Matthew Bourne s version of Swan Lake, choreographed in Frederick Ashton s La fille mal gardee, choreographed in Frederick Ashton s Cinderella, choreographed in 1967 These and many other videos and DVDs are available for purchase on www. Ballet.co.uk and These works could all be used as the video sample for the external Achievement Standard 1.4 and to contribute towards the study of classical ballet as a style for Achievement Standard 1.5. Use the Level 5 resource Gender Dance in Unwrapping the Arts to compare the role of gender in classical ballet to other dance forms; for example, kapa haka, classical Indian, Samoan or Cook Island dance. Invite expert teachers in gender-specific dance forms to discuss the features of the form and teach the class short sequences that could be used as learning activities for Achievement Standard 1.2. Some of the dancers in this version of Romeo and Juliet are Jane Turner, Alex Wagner, Craig Lord, Megan Futcher, Ji Hoon Yeom, Graham Fletcher, and Pieter Symonds. Ask students to write a profile of one of the dancers, locating material on Sir Jon Trimmer s involvement in the Ballet spans almost fifty years. Refer to Jennifer Shennan s A Time To Dance The Royal New Zealand Ballet at 50 for a detailed account of his influence on the company. This research is relevant to the study of classical ballet as a style for the external Achievement Standard 1.5. Dancer Props In the story of Romeo and Juliet, conflict and confrontation are central themes. One of the ways the choreographer and dancers convey this message is through stage combat, using baseball bats and flashing knives. Discuss, as a class, possible reasons why the choreographer chose to use real weaponry. View the fight scenes in any of the following videos: West Side Story, Burn The Floor or Pirates of Penzance (available from a local video store). Compare similarities and differences in the way weapons have been used to the use in Romeo and Juliet. Students should brainstorm a list of easily accessible and nondangerous props that could be used in stage combat; for example, rubbish bin lids, chairs, plastic bottles, broomsticks, etc. Workshop activities that explore safe ways for individuals, pairs and groups to use the props in combat. Collaboratively create a class dance that communicates the idea of confrontation and focuses on performer interaction. This activity could be used to assess Achievement Standard 1.3 Perform dance as a member of a group. Each dancer is to be actively involved in performance for two or three minutes. Refer to the level 5 resource Confrontation in Unwrapping the Arts Dancer Costume/Set - Designer The success of a ballet like Romeo and Juliet can be affected by the choice of design concepts. In this RNZB version, the costumes and set have been skilfully designed by Tracy Grant. As students view portions of the documentary that relate to the set and costumes, ask them to imagine that they are either the costume or set designer. Note down the things that each would need to consider before starting; for example, the type of character that the dancer is attempting to portray; the range of movement that the dancer needs; the choreographers intentions in staging the performance; the emotions and ideas that are central to the performance, etc. Students might then interview and share ideas with someone who has chosen the other role. While viewing the documentary, discuss aspects of set and costume design. Use the below quotations to assist. This research is relevant to the study of classical ballet as a style for the external Achievement Standard 1.5. ROMEO AND JULIET AT THE ST JAMES THEATRE The Independent (UK), 11 July Reviewer: John Percival He (Christopher Hampson) and his Kiwi designer, Tracy Grant, have transferred the action to the past halfcentury; costumes range from 1950s la dolce vita movies to present-day street clothes. The cinematic look is carried through into the mostly black, white and grey designs, with selected characters standing out for their touches of colour, predominantly red. Another strong design feature is that only Juliet and two chums wear ballet shoes and dance on point; the other women wear heels. ROMEO AND JULIET AT THE AOTEA CENTRE New Zealand Herald, 27 June Reviewer: Bernadette Rae Then there is the interplay of light and dark. Grant s set creates two alternate worlds, one black, one white, which revolve cleverly There are, of course, the two clans, Capulets and the Montagues, parading in their sharp 50s-flavoured Italian high fashion. There is the intense love and the hate. Audience Royal New Zealand Ballet In 2003 the Royal New Zealand Ballet celebrates its fiftieth birthday. The Ballet has experienced many threats of closure, devastating fires and financial crises. In spite of all this, the New Zealand public has, in one way or another, provided constant support to

9 enable the company to evolve into the success that it is today. In the early days the Ballet was very small and was much like a travelling circus, in that it did all the production set-up itself. The members relied completely on the support of the public for the private billeting of dancers and financial assistance. The documentary refers to the positive effect the six o clock swill had on the company. Sir Jon Trimmer says: The pubs would close and audiences would come to the performance either men were dragged along by their wives or they stayed at home to look after their family. Research in small groups any other social, cultural or political events that could have affected the success of the RNZB. Share and discuss as a class. The government now provides the RNZB with financial assistance but recent Creative New Zealand surveys (from Know Your Audience) suggest that only one per cent of the total population attend ballet performances. Of this one percent it is people with high incomes, tertiary qualifications, children, and of European descent, who tend to have the highest rate of attendance (and of these classes it is largely women who attend). To ensure a stable future, the RNZB has had to evaluate these key demographics to change and grow along with our everevolving country. The company s style has become more contemporary and embraces our bi-cultural and multicultural nation. View the Ministry of Education Ihi FrENZy video resource and discuss the following ideas. What types of audiences would the Ihi FrENZy performances have attracted? Why is this? What messages are being communicated to the audience in having kapa haka along side ballet. Analyse the similarities and differences between the two dance forms. How has each dance form broken from tradition and been made more contemporary in Ihi FrENZy? Were you satisfied with the way the performance finished? If you were the choreographer would you make any changes to the end and if so, what would they be? The above is relevant to the study of classical ballet as a style for the external Achievement Standard 1.5. The Ihi FrENZy resource could also be used for Achievement Standard 1.4 View and respond to dance. Artistic Director - Royal New Zealand Ballet This is the fifth time the Ballet has performed a version of Romeo and Juliet. The first was in 1954, under the legendary Poul Gnatt. The documentary informs us of the ways that the various artistic directors have been of major influence during the last fifty years. Ask students to make a timeline of the last fifty years that includes major events, artistic directors, and other versions of Romeo and Juliet. *Note: the 1954 version of Romeo and Juliet was a pas de deux only it appeared in a mixed-bill programme. The company s first full-length production of Romeo and Juliet wasn t until Refer to Jennifer Shennan s A Time To Dance for more in-depth profiles of all the artistic directors. As a class, choose one to research and create a wall chart that in some way records how he or she has contributed towards an evolving RNZB. Other Useful Web Sites RNZB The National Exemplars The Arts: Dance exemplars/arts/dance DANZ A Dance is worth Ten Thousand Words Cyber Dance Ballet on the Net Yahoo, performing arts, dance arts/dance Artslynx International Dance Resources Useful Books Dr A. Grau, Dance, A Dorling Kindersley Book, London, Jennifer Shennan, A Time To Dance: The Royal New Zealand Ballet at 50, (Available from the RNZB) Louis Untermeyer, Shakespeare, Sampson Low, England, Mary Clarke and Clement Crisp, The Ballet Goers Guide, Dorling Kindersley, London, Other Useful Videos Tutus & Town Halls: Royal New Zealand Ballet: Available from DANZ, Wellington. Acknowledgements Thanks to Leona Lenore Robinson and Catherine Brown. Polly Thin-Rabb is the Adviser in Dance for School Support Services, University of Waikato. This study guide was produced by ATOM. For more information about ATOM study guides, The Speakers Bureau or ScreenHub (the daily online film and television newsletter) visit our web site: or damned@netspace.net.au 9

OCT / ACADEMY OF MUSIC ROMEO & JULIET

OCT / ACADEMY OF MUSIC ROMEO & JULIET OCT 11-21 / ACADEMY OF MUSIC ROMEO & JULIET SUMMARY This ballet brings to life Shakespeare s famous tale of family feuds and starcrossed lovers. Set to Prokofiev s s0aring score the ballet is set in Verona,