the state ballet theatre of russia

school time performance series the state ballet theatre of russia c i n d e r e l l a Generous support for SchoolTime provided, in part, by New jersey performing arts center

about the performance in the spotlight: an interview with The State Ballet Theatre of Russia The story of Cinderella is one that every child grows up with. It is an ancient story told in multiple variations across the globe, but the basic story is that of a girl whose underlying character goes unrecognized, and who unexpectedly achieves great fortune after being neglected and mistreated. American children are largely familiar with one or more of the Disney versions, which are themselves mainly derived from the French fairy tale Cendrillon by Charles Perrault. Set to the music of Prokofiev, Cinderella is one of the most magical and hopeful of the storybook ballets, the enchanting story of wishes that really do come true. This full-scale production by the State Ballet Theatre of Russia is choreographed by Vladimir Vasiliev, former principal dancer with the Bolshoi Theater Ballet. The State Ballet Theatre of Russia, the touring name of the Voronezh State Theater of Opera and Ballet, was formed in 1961 by legendary dancer and former prima ballerina of The Bolshoi Ballet, Maya Plisetskaya. The company is now under the direction of award-winning dancer and Moiseyev Dance Company soloist Nikolay Anokhin. The theatre s repertoire of includes work by both modern Russian choreographers as well as such classics as Swan Lake, The Sleeping Beauty, The Nutcracker, and Romeo and Juliet. The company has showcased the unparalleled art of Russian ballet to countries throughout the world, and now tours the U.S. with 55 of Russia s finest dancers in Cinderella. It has also brought productions of traditional Russian classics to France, Germany, Holland, the Czech Republic, India and Africa, with engagements in Tunisia, Zimbabwe, and Ethiopia. Many of the company's 65 dancers are distinguished winners of international ballet competitions. Artistic Staff Sergei Prokofiev, Composer, was born in the Ukraine in 1891. After private study, he enrolled at the St. Petersburg Conservatory, where one of his teachers was Rimsky Korsakov. By the time of his graduation, he had already composed a considerable body of music including his first ballet, The Buffoon. He wrote some of his best works including the fairy tale set to music, Peter and the Wolf (1936), and two of the greatest ballets of the twentieth century Romeo and Juliet (1935) and Cinderella (1945). He composed seven symphonies in all. Prokofiev s music is characterized by percussiveness, lyricism and neoclassical structure. As one of the principal Russian figures in classical music during the period of the Second World War, his work also reflects the needs of national self-unity and support for the national struggle. Anatoly Emelianov, Artistic Director of the Ballet, is a Knight of Second Diaghilev Order for his Contributions to Russian Culture. Mr. Emelianov graduated from Perm State Choreography College in 1991. In 2001, he also earned a degree at the Faculty of Choreography of The Russian Academy of Theater Art. His career began at the Nizhny Novgorod Opera and Ballet Theatre and continued at the Moscow Children s Music Theater directed by Natalia Sats, at the Festival Theater directed by Sergei Radchenko, and the Moscow City Ballet by Victor Smirnov-Golovanov. He is Artistic Director and choreographer at The Crown of Russian Ballet Theater, and he became Artistic Director of The State Ballet Theatre of Russia in 2009. Mr. Emelianov s repertory includes leading roles in Cinderella, The Nutcracker, Don Quixote, Sleeping Beauty, Swan Lake, Spartacus, Petit Prince, Scarlet Sails, Juno and Avos, Daylight Leaves the Earth, Blue Bird, Gypsy Motives, Esenin and Aysedora, Carmen, Prodigal Son, Tristan and Isolde, Kursk Song, The Time, Daphnis et Chloé, and Vasilisa. Anastasia Emelianova, Soloist, Ballet Master, Coach, was born in the city of Odessa, Ukraine in 1988. She graduated from the Natalia Trishina and Yuly Medvedev School of Classic Dance in 2004. Anastasia is a Laureate of the Rosse International Ballet Competition. Ms. Emelianova has danced with the following ballet companies: Moscow City Ballet, Imperial Ballet, The Crown of Russian Ballet. Her repertoire includes: The Nutcracker, Cinderella, Carmen, Sleeping Beauty, Tristan and Isolde, Vasilisa, Romeo and Juliet, Time, Don Quixote, Cross Winds, etc. Anastasia Emelianova worked as a Ballet Master and Coach for many classical ballet productions such as C. Pugni Pas de Quatre, S. Prokofiev Cinderella, The Stone Flower, P. Tchaikovsky Sleeping Beauty, Swan Lake and The Nutcracker. Ms. Emelianova performed on tour in many countries, including Poland, Hungary, Romania, Germany, Holland, Austria, Switzerland, Belgium, Ireland, Canada, and the United States of America. Tell us more about your company s history. The State Ballet Theatre of Russia, the touring name of the Voronezh State Theatre of Opera and Ballet, was established in 1961. The director is the Honored Artist of Russia, Igor Nepomnyashchy. The artistic director of the ballet since the early 1990s is People s Artist of Russia Nabilya Valitova. The repertoire of the Theatre includes work by both classical and modern Russian composers including Swan Lake, The Sleeping Beauty, Cinderella, The Nutcracker, Giselle, Don Quixote, Le Sylphide, Scheherazade, Gavalry Halt, The Stone Flower, 1001 Nights, Carmen-suite, Cipollino, Doctor Aubolit, Francesca di Rimini and The Fountain of Bakhchisarai. The State Ballet Theatre of Russia has toured with productions of traditional Russian classics throughout France (performing Sleeping Beauty in 38 cities), Germany, Holland and the Czech Republic, as well as in India and throughout Africa with engagements in Tunisia, Zimbabwe, and Ethiopia. Tell us about your dancers origins and training. All dancers of the State Ballet Theatre of Russia are graduates of prominent Russian choreographic schools. Children are carefully selected during the initial admittance process at the age of 8-9. Their next 10 years in school are extremely challenging and competitive. Ballet training becomes a major part of their everyday life. While in school many students start to regularly perform on stage in the local theaters. Many talented dancers are invited to join ballet companies promptly upon their graduation. How do you feel about touring in the United States? It s always a pleasure to come to the United States. American audiences are always very welcoming and have the highest appreciation for classical ballet. American ballet was greatly influenced by many international ballet choreographers and prominent dancers such as George Balanchine, the founder of the School of American Ballet and the New York City Ballet, Rudolph Nureyev, and Mikhail Baryshnikov, to name just a few. How do you feel about bringing the Russian ballet heritage into the modern age? Traditional Russian classical ballet had been crystallized and brought to its immaculate form by many generations of accomplished, brilliant ballet masters. The classical ballet technique with its emphasis on precise execution of every movement is responsible for the aesthetics of ballet performance. Rigorous practice helps students develop the desired high-level technical skill, expressiveness, and prevents injury. The techniques found in classical ballet are a framework for many other styles of dance, including jazz and contemporary ballet.. What advice would you give to aspiring dancers? Love what you do with passion, endure hard work with a smile and the elegance of a dancer, and make sure you build on a good classical foundation, as it will allow you the freedom to become an artist and achieve greatness. 2 The State Ballet Theatre of Russia: Cinderella www.njpac.org/education The State Ballet Theatre of Russia: Cinderella www.njpac.org/education 3

The P.E.R.F.O.R.M. activities will enable students to get the most out of a SchoolTime performance Prepare for the performance Experience the performance Reflect, respond and read Focus Originate Rehearse Make magic teacher focus Prepare your students for the performance by familiarizing them with ballet and comparing it with other dance forms like jazz, modern dance, hip-hop and tap. Have them take a look at the history in which ballet evolved, from courtly dances in Italy and France into the highly technical art form of today. As you are waiting for the performance to begin, ask your students to listen and view the performance with all of their senses. Ask the students: How does the performance make you feel? What parts of the performance speak to you most strongly? Reflect on and lead the class in a discussion How did the performance make you feel? Discuss both the dance performances and the dramatic tension of the story. Could you identify with a particular character? Was there a passage of music you enjoyed? Could you imagine moving like the ballet dancers? Break your students into small groups and introduce the concept of re-telling a story. Have your students brainstorm new ideas inspired by the story of Cinderella. Talk to the students about using their imagination and life experiences to create a new artistic piece inspired by the art form they ve just created. Have the students write a scene that plays on these themes in a personal and meaningful way. Introduce the concept of rehearsal which allows students to build confidence and grow as an artist. Your students have created a new version of an age-old fairy tale just has been done for generations. Prepare a stage area and audience area so they can perform what they ve done. Introduce and reinforce positive response and constructive critiquing. student activity Learn more about the strenuous training for ballet dancers using online resources, especially video samples. How well do you know the story of Cinderella? How many different versions of Cinderella do you know? Recount what you recollect of the story and discuss its underlying themes Observe the movements, listen to the music, and feel the drama of the characters unfolding before you. Observe how the audience around you reacts. How does this performance make you feel? Now that you have seen the performance, re-read the materials you have found on ballet and dig more into the fairy tale of Cinderella, including variations from other countries. Go online and watch other performances. How successfully does dance illustrate this story as opposed to reading about it or watching one of the many film versions? Discuss in your groups: How have modern-day versions changed the story? If you were writing the fairy tale today, how would you change it? Consider how the story of Cinderella would be best illustrated in a new way. Work together to create a new fairy tale, in any artistic form you wish, that is relevant to your own personal experiences. It s time to practice. You might have improvised at first, but now it s time to share with an audience. Make a video recording to help you remember what you ve done. Watch the recording and critique your performance as a group. Practice again, to refine and polish your ideas. It s time to share your creation. After you re done, be sure to talk with your audience to hear what they thought. Listen to their reactions. Were they were inspired by your creation? NJ Arts Standards National Arts Standards NJ Arts Standards 1.1 The Creative Process 1.2 History of Arts & Culture 1.3 Performance 1.4 Aesthetic Response & Critique National Arts Standards 1: Generate and conceptualize artistic ideas and work. 5: Develop and refine artistic techniques and work for presentation. 6: Convey meaning through the presentation of artistic work. 7: Perceive and analyze artistic work 8: Interpret intent and meaning in artistic work. 11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding New Jersey Student Learning Standards English Language Arts SL 3-8.1 Engage effectively in a range of collaborative discussions SL 3-8.2 Interpret information presented in diverse media SL 3-8.4 Presentation of Knowledge and Ideas RL.3-8.2. Determine the key details in a story, drama or poem to identify the theme and to summarize the text. RL.3-8.3. Compare and contrast two or more characters, settings, or events in a story or drama, drawing on specific details in the text (e.g., how characters interact). RL.3-8.7. Analyze how visual and multimedia elements contribute to the meaning, tone, or beauty of a text (e.g., graphic novel, multimedia presentation of fiction, folktale, myth, poem). RL.3-8.9. Compare, contrast and reflect on (e.g. practical knowledge, historical/cultural context, and background knowledge) the treatment of similar themes and topics (e.g., opposition of good and evil) and patterns of events (e.g., the quest) in stories, myths, and traditional literature from different cultures. Social Studies 6.1.12.D.14.f Determine the influence of multicultural beliefs, products and practices in shaping contemporary American culture. FIND THE STANDARDS For more detailed information on the standards, visit these websites: NJ LEARNING STANDARDS ELA - http://www.state.nj.us/education/cccs/2016/ela/ NJ SOCIAL STUDIES STANDARDS - http://www.state.nj.us/education/cccs/2014/ss/ NJ ARTS STANDARDS - http://www.state.nj.us/education/cccs/2009/1.pdf NATIONAL ARTS STANDARDS - www.nationalartsstandards.org Resources videos Vaganova Ballet Academy. Classical Dance Exam. Girls, 4th class. 2015 https://www.youtube.com/watch?v=rq2rgszqre8 Inside the Bolshoi Ballet's daily class https://www.youtube.com/watch?v=c723_fqedo4 Cinderella: Bolshoi ballet film of Prokofiev's Cinderella with Raisa Struchkova, Gennadi Lediakh, and Ekaterina Maximova as Spring. https://www.youtube.com/watch?v=2gnlumoymnm Cinderella trailer, 2016, The National Ballet of Canada https://www.youtube.com/watch?v=relwjcr2dt0 music Prokofiev Cinderella Suite No.1 (includes a photo of the composer) https://www.youtube.com/watch?v=8owg5ny9zda Other versions Cinderella Versions Around the World http://fourthgradespace.weebly.com/cinderella-stories -around-the-world.html Multicultural Cinderella Stories from the American Library Association http://www.ala.org/offices/resources/multicultural Disney s 1950 vezrsion of Cinderella https://www.youtube. Disney's Cinderella Official US Trailer 2015 https://www.youtube.com/watch?v=20df6u1hcgq Ella Enchanted by Gail Carson Levine Various Cinderella Books https://www.goodreads.com/shelf/show/cinderella On the Steps of the Palace, Into the Woods https://www.youtube.com/watch?v=p3-swl7y_sy Disney's Cinderella Official US Trailer 2015 https://www.youtube.com/watch?v=20df6u1hcgq Ella Enchanted by Gail Carson Levine https://www.goodreads.com/shelf/show/cinderella History of ballet Tracing Ballet's Cultural History Over 400 Years http://www.npr.org/2011/12/16/143775428/tracingballets-cultural-history-over-400-years 4 The State Ballet Theatre of Russia: Cinderella www.njpac.org/education The State Ballet Theatre of Russia: Cinderella www.njpac.org/education 5

cultural connections vocabulary Cinderella, or The Little Glass Slipper, is a folk tale telling the story of a girl who is unjustly oppressed and who eventually receives her just reward. This original rags to riches theme includes thousands of variations on the fairly tale worldwide. The oldest documented version comes from China, and the oldest European version from Italy. The most popular versions, and those best known to American readers, were first published by Charles Perrault in Histoires ou contes du temps passé in 1697 and later by the Brothers Grimm in their folk tale collection Grimms' Fairy Tales. Although the story's title and main character's name change in different languages, in English-language folklore Cinderella is well-known as an archetype. Say Cinderella story to most people, and they immediately recognize that it refers to a person who suffered neglect, only to unexpectedly be recognized and rewarded. Variations of the story are drawn from the eastern folk legends of China, Indonesia, Malaysia, the Philippines, Vietnam, and Korea, as well as Iranian and Middle Eastern sources. Western versions are found in Great Britain, Italy, and France. Among the differences in the plot are whether the famous lost shoe was a glass slipper or one of fur, whether Cinderella leaves a slipper as a clue or instead an anklet or ring, whether it was the stepmother who oppressed her or Cinderella s own father, whether the fairy godmother gifted Cinderella with the items she needed to go to the ball or if it was her mother s spirit who did so, and whether the spell cast ended at the stroke of midnight or if Cinderella simply left the ball because she was tired. Russian composer Sergei Prokofiev s 1944 ballet Cinderella (Russian:, Zolushka) Op. 87, is one of his most popular and melodious compositions, inspiring a many choreographers since its premiere. The piece, composed between 1940 and 1944, was interrupted when Prokofiev broke off to write his opera, War and Peace. The world premiere was conducted on November 21, 1945 at the Bolshoi Theatre, with choreography by Rostislav Zakharov and Galina Ulanova in the title role. The ballet is notable for its joyous music, lush scenery, and for the comic double-roles of Cinderella's two stepsisters and Cinderella's stepmother, who are portrayed as more mad than bad. The fairy tale has been reconceived in several different art forms, including multiple ballets, symphonies, operas, plays, books, and movie versions. Prokofiev s ballet explores the question when is a fairy tale not a fairy tale. Students may recognize this theme from other more modern versions, such as Stephen Sondheim s Into the Woods, released as a major motion film in 2015 by Disney, where the familiar phrase happily ever after is turned on its head in the second act. Disney s original 1950 animated classic is well known, and the movie was remade in a life-action version in 2015, starring Lily James. Arabesque (Ah rah besk) a position on one leg with the other leg raised behind the body and extended in a straight line. Barre a horizontal bar (usually made of wood) along a studio wall for class exercises. Every ballet class begins with barre exercises. Bolshoi Big in Russian. The Bolshoi Ballet is an internationally renowned classical ballet company, based at the Bolshoi Theatre in Moscow, Russia. Founded in 1776, the Bolshoi is among the world's oldest ballet companies. It only achieved worldwide acclaim, however, in the early 20th century when Moscow became the capital of Soviet Russia. Along with the Mariinsky Ballet in Saint Petersburg, the Bolshoi is recognised as one of the foremost ballet companies in Russia. Choreography describes the steps, combinations and patterns of a ballet or dance. Composer a person who writes music, especially as a professional occupation. Fairy tale a children's story about magical and imaginary beings and lands. Grande Jeté (grand jeh tay) a big jump from one foot to the other in which the working leg is brushed into the air and appears to have been thrown. Pas de deux a dance for two. Pirouette (peer o wet) a rotation or spin - a complete turn of the body on one foot, on point or demi-pointe (halfpointe). inte shoes The satin ballet shoes used by dancers when dancing on their pointes (toes). Pointe shoes are reinforced with a box constructed of numerous layers of strong glue in between layers of material. Pointe shoes are not made of cement or wood. Prima ballerina the chief female dancer in a ballet or ballet company. Prima ballerina assoluta is a title awarded to the most notable of female ballet dancers. To be recognised as a prima ballerina assoluta is a rare honour, traditionally reserved only for the most exceptional dancers of their generation. Symphony an elaborate musical composition for full orchestra, typically in four movements, at least one of which is traditionally in sonata form. 6 The State Ballet Theatre of Russia: Cinderella www.njpac.org/education The State Ballet Theatre of Russia: Cinderella www.njpac.org/education 7

njpac staff listing (Partial Listing) John R. Strangfeld, Chair John Schreiber, President & CEO Alison Scott-Williams, Vice President of Arts Education Danielle Thompson, Administrative Assistant to the Vice President of Arts Education Kristina Watters, Manager of Operations and Systems Caitlin Evans-Jones, Director of Partnerships, Performances, and Professional Development Rosa Hyde, Manager Arts Education Performances Patricia Sweeting, Coordinator, Performances and Recruitment Jennifer Tsukayama, Senior Director of Arts Education Jamie M. Mayer, Director of In-School Programs Victoria Revesz, Manager of In-School Programs Kyle Conner, Coordinator of In-School Programs Mark Gross, Director of Jazz Instruction Alexis Almeida, Coordinator of Music Programs and New Initiatives Tara Baker, Office Manager, Arts Education Raven Oppong-Boateng, Assistant, Arts Education Teacher Resource Guides Michelle Cameron, The Writers Circle LLC Judith Lindbergh, The Writers Circle LLC Lia DiStefano, Graphic Design liadidadesign.com BRING THE ARTS TO YOUR SCHOOL In-School Residencies: Drama + Social Studies. Dance + Math. It all adds up in NJPAC s In-School Residencies in which professional teaching artists partner with educators to bring the arts into the classroom. Each 7- to 10-week program culminates in a student performance or an interactive family workshop. All programs address state and national standards. NJPAC is the regional provider in New Jersey for international arts programs like the Wolf Trap Institute s Early Learning Through the Arts Program and Dancing Classrooms Global. Assemblies: NJPAC presents engaging school assembly programs that are presented by professional artists that invite students into the enchanting world of live performance. NJPAC s assembly series promotes cultural awareness and invigorates learning by presenting works that are connected to your s school s curriculum. STUDY THE ARTS AT NJPAC After School and Saturday Programs: NJPAC s after school and Saturday programs are geared towards students at every level from those who dream of starring on Broadway to those who are still learning their scales. Students work with professional artists to build technique and develop their own creative style in chorus, contemporary modern dance, hip hop, jazz, musical theater and symphonic band. Summer Programs: Want to begin to explore the arts? Or immerse yourself in the study of one genre? Then join us at NJPAC next summer in one of seven programs that spark the creativity in every child through the study of music, dance and theater. THE FOUNDATION NJPAC Arts Education programs are made possible through the generosity of our endowment donors: The Arts Education Endowment Fund in honor of Raymond C. Chambers, The Joan and Allen Bildner Family Fund, Toby and Leon Cooperman, Albert and Katherine Merck, and The Sagner Family Foundation Generous annual support for NJPAC Arts Education Programs is provided by: The Star-Ledger, McCrane Foundation, Inc., care of Margrit McCrane, Surdna Foundation, John and Suzanne Willian/Goldman Sachs Gives, MCJ Amelior Foundation, The Johnny Mercer Foundation, Jennifer A. Chalsty, Johnson & Johnson Family of Companies, Panasonic Corporation of America, and Atlantic, Tomorrows Office For more information or to schedule an appointment, please call our education sales team at 973-353-7058 or email us at artseducation@njpac.org. Visit us at www.njpac.org/education. New Jersey Performing Arts Center One Center Street Newark NJ 07102 New jersey performing arts center