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Curriculum Guide
ANGEL CORELLA, ARTISTIC DIRECTOR
2015–2016 SEASON
Pennsylvania Ballet Curriculum Guide 2015-­‐2016 Don Quixote Angel Corella, Choreographer Regarded as one of the finest dancers of his generation, Angel Corella was named Artistic Director of Pennsylvania Ballet, beginning with the 2014-­‐2015 Season. Corella’s talent, technique, and passion have brought him worldwide acclaim. Born in Madrid, Spain, Corella joined American Ballet Theatre in 1995 and was quickly promoted to principal dancer. In his 17-­‐year career with ABT, he established himself as one of the greatest male dancers of his time. Corella excelled in a wide range of repertory and has danced such iconic roles as Prince Siegfried in Swan Lake, Romeo in Romeo and Juliet, and The Nutcracker Prince in The Nutcracker. He has also appeared as a guest artist with the Royal Ballet in London, the Kirov Ballet in Russia, and New York City Ballet. He has received numerous awards, including First Prize in the National Ballet Competition in Spain (1991), the Prix Benois de la Danse (2000), and the National Award of Spain (2003). Corella has danced for Queen Elizabeth II, Queen Sophia of Spain, and United States Presidents Bill Clinton, George W. Bush, and Barack Obama. Corella’s onstage talent and passion translate wholly to his behind-­‐the-­‐scenes career. From 2008-­‐2014, he served as director for his own company, the Barcelona Ballet (formerly the Corella Ballet), in his native Spain, where is regarded as a national treasure. It was the first classical ballet company established in the country in 20 years. Corella retired from the ABT in June 2012 but continued to dance with his own company. A passionate teacher and mentor to young professional dancers, Corella has taught at various summer programs and leading dance schools, including the Royal Ballet School in London. (Source: http://www.paballet.org/angel-­‐corella-­‐artistic-­‐director) Marius Petipa, Choreographer (1818-­‐1910) Marius Petipa, the "father of classical ballet," was born in Marseilles, France, in 1818. He began his dance training at the age of seven with his father, Jean Petipa, the French dancer and teacher. Marius was educated at the Grand College in Brussels and also attended the Conservatoire, where he studied music. Although he disliked dancing in those early years, his progress was so great that he made his debut in 1831 in his father's production of Gardel's La Dansomanie. In 1834 Jean Petipa became Maitre de Ballet at the theatre in Bordeaux and it was there that Marius
completed his education. At the age of sixteen, he became Premier Danseur at the theatre in Nantes, where he also produced several short ballets. In 1839 Marius left Nantes to tour North America with his father, and then returned to France the Pennsylvania Ballet Curriculum Guide 2015-­‐2016 following year where he made his debut at the Comedie Francaise, partnering with Carlotte Grisi in a benefit performance. He continued his studies and became a principal dancer in Bordeaux. Petipa next went to Spain in 1845, to work at the King's Theatre. While in Madrid, he studied Spanish dance and choreographed Carmen et son Terero, La Perle de Seville, L'Aventure d'une fille de Madrid, La Fleur de Grenade, and Depart Dour la Course des Toureaux. Petipa returned to Paris as a principal dancer, but in 1847 left for Russia. He had signed a one-­‐year contract with the St. Petersburg Imperial Theatre, but would remain there for the rest of his life. As a principal dancer, Petipa often appeared with Fanny Elssler, and was much acclaimed for his
performances in such ballets as Paquita (which he restaged and in which made his debut), Giselle, La Peri, Armida, Catarina, Le Delire d'un peintre, Esmeralda, Le Corsaire and Faust. Considered an excellent dancer and partner, his acting, stage manners, and pantomime were held up as examples for many generations of dancers. When Giselle was revived in 1850, Petipa made some changes in the Wilis scenes, which became the Grand Pas des Wilis of 1884. In 1854, he married Maria Sourovshchikova, a student in the graduating class of the Imperial School, who later danced in many of her husband's ballets. (Petipa's second marriage was to Lubova Leonidovna, a member of the Moscow Ballet, in 1882.) In 1854 he became an instructor in the school, while continuing to dance and to restage ballets from the French repertoire. Sources differ on the first original work he staged for the Imperial Theatre. Some state it was The Star of Granada, others that it was A Marriage During Regency. But all sources concur that his first great success was The Daughter of Pharoh (staged in six weeks), which resulted in his appointment as Choreographer-­‐in-­‐Chief in 1862 -­‐-­‐ a position he held for nearly fifty years. In 1869 Petipa became Premier Ballet Master of the Imperial Theatre. The value of his accomplishments is inestimable; he produced more than sixty full-­‐evening ballets, innumerable shorter works, and is considered to have laid thefoundation for the entire school of Russian ballet. The ballet repertoire in the Soviet Union is still based mainly on his works. Those who felt the dramatic content of ballet should be strengthened began to oppose Petipa toward the end of his career. His noble classicism and consciousness of form was considered old-­‐fashioned, and in 1903, at age 84, Petipa was forced to retire from the Imperial Theatre as a direct result of the failure of his ballet, The Magic Mirror. His last years were filled with bitterness anddisillusionment because his beloved theatre had been taken away. Marius Petipa is considered one of the greatest choreographers of all time. He researched the subject matter of the ballets he staged, making careful and detailed preparations for each production, and then worked closely with the designer and composer. Petipa elevated the Russian ballet to Pennsylvania Ballet Curriculum Guide 2015-­‐2016 international fame and laid the cornerstone for 20th Century ballet. His classicism integrated the purity of the French school with Italian virtuosity. (Source: http://www.abt.org/education/archive/choreographers/petipa_m.html) Ludwig Minkus, Composer (1826-­‐1917) Ludwig Minkus, the ballet composer and violinist, made his first appearance as a composer in Paris in 1846, with Paquita, which was written jointly with Edward Deldevez and choreographed by Joseph Mazilier. La Fiammetta, with choreography by Saint-­‐Leon and Nemea both followed in 1864. He next collaborated with Delibes on La Source and composed music for two more ballets with Saint-­‐Leon as the choreographer -­‐-­‐ Le Poisson d'Or and Le Lys -­‐-­‐ in Paris. In 1853 he went to Russia as the conductor of Prince N. B. Yussupov's serf orchestra in St. Petersburg and was a soloist in the Moscow Bolshoi Orchestra from 1861-­‐1872. Minkus also taught at the Moscow Conservatory from 1866 to 1872. From 1864-­‐1871 Minkus was the official ballet composer at the Bolshoi Theatre in Moscow. In 1871 he was transferred to St. Petersburg, where he worked until 189, when his position was eliminated and he was retired. Discontent with his small pension (the equivalent of about $285.00 a year), the composer left Russia for Austria, where he died at the age of 91. The composer of more than twenty ballets-­‐-­‐ among them Don Quixote, Roxanna, Camargo, Papillons, The Bandits, The Adventures of Peleas, La Bayadère, The Daughter of the Snows, The Magic Pills, Mlada, Kalkabrino, and Day and Night-­‐-­‐ Minkus was an excellent craftsman in the style of ballet music of his day, melodic and distinguished by clear dance rhythms. (Source: http://www.abt.org/education/archive/composers/minkus_l.html) History and Synopsis The hero of Cervantes’ novel has been the subject of many ballets, but most surviving productions are based on Petipa’s. This has a complex history; Petipa’s first version was a four-­‐act comedy ballet, with music by Minkus and design by Isakov, Shenian, and Shagin. Don Quixote premiered at Moscow’s Bolshoi Theatre on December 26, 1869 with Sobeshanskaya, Sokolov, and Geltser. His second version was extended to five acts using the same music and designs, but with many choreographic revisions, including the addition of numerous classical ensembles. This version was premiered on November 21, 1871 in St. Petersburg. Its plot centres on the love affair between Kitri and Basillo (described in the second volume of the novel), and their attempts to escape Kitri’s arranged marriage to Gamache. Don Quixote and his servant Sancho Panza are almost incidental characters whose adventures link the plot together, for example the Pennsylvania Ballet Curriculum Guide 2015-­‐2016 famous tilting at windmills scene and the Don’s dream of his ideal woman, Dulcinea, which provides the ballet with its lyrical vision scene. In 1900 Gorsky mounted a drastically revised production for Moscow’s Bolshoi Theatre, retaining some of Petipa’s choreography but controversially introducing much more comic realism in the mime and characterization. This version was also shown in St. Petersburg in 1902, and it remained in the repertoire of both the Bolshoi and Kirov companies forming the basis of subsequent productions. It was also the basis for the first complete production of the ballet in the West staged by Witold Borkowski for Ballet Rambert (London, 1962). Other subsequent productions based on the Petipa/Gorsky version have been Nureyev’s for Vienna State Opera Ballet (Vienna, 1966, revived for Australian Ballet, 1970) and Baryshnikov’s for American Ballet Theatre (Washington, 1978, revived for Royal Ballet, 1993). One of the most robust and varied of the extant classics, Don Quixote’s mixture of Spanish dance, pure classicism, and comic farce has sustained its popular appeal. Several early ballets were choreographed on the subject of Cervantes’ hero, including Hilverding (Vienna, 1740), Noverre (Vienna, 1768), Didelot (St. Petersburg, 1808), and Bournonville (Copenhagen, 1837). Twentieth-­‐century versions of the same story include those of de Valois, Lifar, and Balanchine. Set to music by Nabakov, Balanchine’s version was created in homage to its original Dulcinea, Suzanne Farrell. Prologue: Driven by the vision of Dulcinea, the tarnished, yet inspired, Don Quixote begins his adventures with his trusty squire Sancho Panza in tow. Act I: Sevilla. Kitri, Lorenzo's daughter, is in love with Basilio. Much to herchagrin, she learns of her father's plans to marry her to Gamache, a nobleman. Don Quixote and Sancho Panza enter the village, causing great commotion. Noticing Kitri, Don Quixote wonders if he has, at last, found hisDulcinea. At the height of merriment, Kitri and Basilio, aided by their friends, Espada and Mercedes, sneak off followed by Don Quixote and Sancho Panza. Gamache and Lorenzo attempt to pursue the young couple. Act II. Scene 1: Gypsy Camp. Don Quixote and Sancho Panza discover the fleeing couple in a friendly gypsy camp. All are inspired by the romance of the night. As the vision of Dulcinea appears to him, Don Quixote realizes Kitri is not his "ideal", but indeed belongs with Basilio. Suddenly the wind gains momentum. Don Quixote foolishly attacks a windmill, believing it to be a giant threatening Dulcinea's safety. Failing miserably, he collapses into a deep sleep. Act II, Scene 2: The Dream. Don Quixote has an enchanted dream of beautiful maidens in which the image of Kitri symbolizes his Dulcinea. Act II. Scene 3: Sunrise. Lorenzo and Gamache interrupt Don Quixote's dream. Sympathetic to the plight of the young lovers, Don Quixote attempts to lead Lorenzo and Gamache astray. Act II, Scene 4: A Tavern. Finally discovered, Kitri is forced by Lorenzo to accept the attentions of Gamache. The Pennsylvania Ballet Curriculum Guide 2015-­‐2016 thwarted Basilio commits "suicide". Upon learning of the farce, Kitri implores Don Quixote to persuade Lorenzoto wed her to the "corpse". Instantly Basilio comes to "life"! Triumphantly, Kitri leaves to prepare for marriage while Don Quixote and Basilio salute Lorenzo and Gamache for stoically accepting the inevitable. Act III: The Wedding. The village celebrates the marriage. Don Quixote congratulates the couple, bids them a warm farewell, and resumes his ever-­‐lasting adventures. (Source: Oxford Dictionary of Dance, http://www.abt.org/education/archive/ballets/don_quixote.html ) Fun Facts 1. Don Quixote was written by Miguel de Cervantes Saavedra, it was published in two volumes, one in 1605, the other in 1615. 2. While there is a legend that the book was written while Cervantes was in prison, it was more that he got the idea for the book while in prison in 1602, and later writing it when he was released. 3. Movies made about Don Quixote include an unfinished Orson Welles version, released in 1992, and the Peter Yates version in 2000 starring John Lithgow. Terry Gilliam tried to make a version but after numerous problems, it didn’t work out, resulting in the documentary “Lost in La Mancha”. 4. Although Petipa's creation was not the first ballet to be made from the Don Quixote story, it is by far the most successful and well-­‐remembered through several revivals. 5. The grand pas de deux is often performed as a separate piece. Pennsylvania Ballet Curriculum Guide 2015-­‐2016 Suggested Curriculum Recommended for grades 1-­‐8 Don Quixote Crossword Puzzle
Across 5. Setting for the ballet 7. Author of Don Quixote 12. A dreamer 13. A trusty squire 15. A feeling of strong or constant affection for a person 17. A street dancer 19. The true situation that exists 20. A Spanish toreador 21. The daughter of Lorenzo Down 1. A series of thoughts, visions, or feelings that happen during sleep 2. A poor young barber 3. Original choreographer of Don Quixote 4. A wealthy nobleman 6. A long written story usually about imaginary characters and events 8. Composer 9. The system of values that knights in the Middle Ages were expected to follow 10. A structure that has parts which are turned around by the wind 11. A style of dance 14. A dance for two, a duet 16. To no longer have any hope or belief that a situation will improve or change 18. An instrument for producing a current of air Pennsylvania Ballet Curriculum Guide 2015-­‐2016 Lesson Plan Literature, Cinema, and Storytelling •
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A major theme in Don Quixote is the distinction between fantasy and reality. Have you ever been so interested in a book that the characters begin to feel real? What book or short story made you feel this way? What characters were you drawn to the most? Why? What was your favorite scene in the book? Describe the answers in vivid detail using descriptive adjectives. Have you ever been completely enthralled by a movie where you felt a part of the script? What movie made you feel this way? What characters were you drawn to the most? Why? What was your favorite scene in the movie? What makes great literature and/or cinema to draw the viewer into the story? How can you incorporate similar ideas/concepts within your own creative expressions? Write a short story including qualities from previous viewed materials including the ballet. Lesson Plan Cultural Life •
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Each character presented in Don Quixote represents historical cultural and social status from early 17th century Spain. Research the following characters and their relationship to one another during this time period. How would they have interacted with one another? Who would be the most wealthy and powerful? Poor? Middleclass? What types of homes would they have lived in? What food would they have eaten? What clothes would they have worn? Compare these characters and identities to your own culture. Who represents these characters today? Why? o Don Quixote – a poor country gentleman who’s main quest is to revive knight-­‐errantry in a world devoid of chivalric virtues and values o Sancho Panza – a peasant laborer, greedy but kind, faithful but cowardly, whom Don Quixote takes as his squire o Kitri -­‐ the daughter of Lorenzo, an innkeeper in Barcelona. o Lorenzo – an innkeeper o Basilio – a poor young barber o Gamache – a wealthy nobleman o Espada – a Spanish toreador of noble bearing o
Mercedes – a street dancer of gypsy blood Lesson plans created by Jenna Wurtzberger