Download Engagement and Learning Notes and Resources

Engagement and Learning
Notes and Resources
The Hamburg Ballet – John Neumeier
A Midsummer Night’s Dream
Introduction
These performance notes have been created to prepare and stimulate audiences for the exclusive Brisbane season
of A Midsummer Night’s Dream by The Hamburg Ballet. A Midsummer Night’s Dream has been an enduring part of
The Hamburg Ballet repertoire since 1977 and is a significant part of the modern classical ballet cannon in Europe.
We hope that this briefing will support teachers, students, parents and audience members to further enjoy and
enhance this international dance experience.
The Queensland Dance syllabus and the new Australian Curriculum: The Arts Foundation to Year 10 have been used
as guides for the planning of this document. These notes are designed to be adapted by Performing Arts, English
and Studio teachers to suit classes, their current investigations and age levels. Further materials provide reflection
and research questions for after the performance to extend the experience and to link to other discipline/study
areas.
History and Context
The Hamburg Ballet
The Hamburg Ballet is one of the great dance companies in the world. Its fame is due in no small measure to its
leadership. In 1973, American dancer and choreographer John Neumeier was appointed as Artistic Director. Under
his leadership the company has achieved two of the rarest qualities in the world of the performing arts – stability
and an unwavering commitment to innovation.
It is a truly international company, with dancers drawn not only from Germany but also from twenty three other
countries including America, France, Russia, Ukraine, Brazil and Australia.
Neumeier has choreographed ballets for companies such as the Paris Opera Ballet, the Bolshoi, the Royal Danish
Ballet, Britain’s Royal Ballet and American Ballet Theatre, and he continues to create works of great power and
beauty. His musical sensibility is unique and his love of movement and the body is evident in all of the work he
creates. Each year he presents a season as a tribute to the legendary Vaslav Nijinsky, the programs for which
attract some of the finest dancers of our time.
The Hamburg Ballet – John Neumeier
A Midsummer Night’s Dream
Shakespeare’s great comedy A Midsummer Night’s Dream is one of his most popular works, performed
innumerable times in almost every country in the world and in a myriad of interpretations, from the stage at
Stratford-upon-Avon to Hollywood’s silver screen.
It has also provided lavish inspiration for composers and choreographers, including Benjamin Britten’s eponymous
opera and George Balanchine’s ballet version using Felix Mendelssohn’s famous incidental music is also used by
Neumeier in his ravishing version.
The Hamburg Ballet’s ravishing version of THIS classic Shakespearian tale of magic, mistaken identity and lovers’
quarrels is one of Neumeier’s most joyous creations.
A rare combination of inspired concepts, exquisite, haunting choreography and broad comedy, A Midsummer
Night’s Dream features music from Mendelssohn, Hungarian Gyorgy Ligeti and familiar street tunes played on a
barrel organ. For the 2012 Brisbane Season the music will be performed by the Queensland Symphony Orchestra
under the baton of The Hamburg Ballet’s resident conductor, Brisbane-born, Simon Hewett.
Appealing to audiences of all ages, Neumeier’s A Midsummer Night’s Dream, was first seen in 1977 and has been
included in the repertoire of many internationally renowned companies including the Paris Opera Ballet.
Neumeier sees the action existing on three levels and chooses his music and movement accordingly. For the lovers
and the court scenes, it’s Mendelssohn. For the mysterious fairy world, he utilises works by Hungarian György
Ligeti, one of the most important composers of the late 20th century, and for the comic scenes, the mechanicals’
wheel on a barrel organ to grind out familiar street tunes.
This is one of Neumeier’s most joyous creations, a rare combination of inspired concept, exquisite, haunting
choreography and broad comedy.
2
Notes about the choreography
As a choreographer, Neumeier has continually focused on the preservation of the ballet tradition, while giving his
works a modern dramatic framework. Famous for turning literature into dance he creates unconventional staging
of classics. For example, his production of Sleeping Beauty is still narrative ballet, but the prince is dressed in blue
jeans. In Swan Lake the performance is placed in the court of mad King Ludwig ll of Bavaria. He searches for new
contexts to shape ballet spectacles.
“Although most companies approach revivals with reverence, some choreographers choose to give a new twist
to ballets of the past...new interpretations of the old generally attract attention through novelty or shock but
some explore intriguing possibilities or provide fresh insights. Illusions – Swan Lake (1976), which the American
choreographer John Neumeier choreographed for The Hamburg Ballet took as its hero King Ludwig of Bavaria,
known for his insanity and his obsessions with swans and is presented as a ballet-within-a-ballet, which so
enthrals the King that he takes the place of the dancer playing Siegfried.” (Ballet and Modern Dance. Au, Susan.
2003. Thames & Hudson. London).
”Many of John Neumeier’s works for The Hamburg Ballet have been large-scale undertakings. His staging of
Bach’s Saint Matthew Passion started its life in Hamburg’s landmark St. Michaelis Church and although it is now
performed in the opera house the ballet has toured through the world as a signature piece of the company. His
ballet inspired by the plays of Shakespeare form a major group of works in the Hamburg repertory, these include
Romeo and Juliet, set to the Prokofiev score; Hamlet, set to music by Michael Tippet; Othello, set to music by Arvo
Pärt and Alfred Schnittke and As You Like It set to music by Wolfgang Amadeus Mozart. Other ambitious projects
have been Peer Gynt, to an original score by Schnittke, and commissioned works by Lera Auerbach (The Little
Mermaid) and Michel Legrand (Liliom), and Odyssey, to music by George Couroupos.”
http://www.hamburgballett.de/e/uber_uns.htm accessed 13/7/12.
“A Midsummer Night’s Dream (1977) is an interpretation combining slapstick mime, character dance, modern
dance and classical ballet. The smorgasbord choreography is matched by the ballet’s score, a coarse collage of
Gyorgy Ligeti, Felix Mendelssohn and popular barrel organ tunes.”
(The Dance Hand Book. A. Robertson and D. Hutera.179-180. 1998. New York).
Other Classics ‘re-imagined’ by John Neumeier:
Swan Lake (1976)
Sleeping Beauty (1978)
The Firebird (1983)
Youtube Excerpts of Neumeier’s work:
http://www.youtube.com/watch?v=oOD8z1HViIk
http://www.youtube.com/watch?v=TQh5-mRFGsM
http://www.youtube.com/watch?v=8mj4rV9iP0c
http://www.youtube.com/watch?v=aTLIrfZ33HA
3
Notes about the text
A Midsummer Night’s Dream is a play that was written by William Shakespeare. It is believed to have been written
between 1590 and 1596. It portrays the events surrounding the marriage of the Duke of Athens, Theseus, and
the Queen of the Amazons, Hippolyta. These include the adventures of four young Athenian lovers and a group of
amateur actors, who are manipulated by the fairies who inhabit the forest in which most of the play is set. The play
is one of Shakespeare’s most popular works for the stage and is widely performed across the world.
The play features three interlocking plots, connected by a celebration of the wedding of Duke Theseus of Athens
and the Amazon queen, Hippolyta, and set simultaneously in the woodland, and in the realm of Fairyland, under the
light of the moon.
A Midsummer Night’s Dream has been presented and produced many times as theatre, opera, ballet and film since
its first performance usually dated 1594 or 1595. Legendary performances include the 1970 Royal Shakespeare
Company’s production by Peter Brook set in a blank white box, in which masculine fairies engaged in circus tricks
such as trapeze artistry.
4
Learning and Engagement Activities
Keywords and concepts
Discuss and define the following terms in relation to The Hamburg Ballet’s QPAC season of
A Midsummer Night’s Dream:
the ballet cannon spectacle
classic ballet narratives
technical and expressive skills
mime as gestural expression
character dancers
symbolism
mysticism
theatricality
adaptations
appropriation
psychological study
perfection of technique
virtuosity
re-imagining
fusing literature into dance
conventions of storytelling
conventions of staging
legacy
cultural literacy
movement vocabulary
choreographic language
company repertoire
5
Learning Activities
Timeline
The Hamburg Ballet under Neumeier’s artistic leadership has flourished whilst exploring new ideas in traditional
ballets.
The following time line has been designed to capture the history of ballet and to provide a perspective on the artistic
context and place of The Hamburg Ballet.
Court Ballet 1500s: This movement style relates to the manners fashionable in the royal court of France. Court
ballet was danced by amateurs in the aristocracy and costumes reflected the fashion of the era.
Court Ballet 1600s: Started to change and grow into pantomimic dance incorporating all the arts and elements
of acrobatics. Themes derived from literature of the time and technical standards of movement started to
develop and such dances were performed by professionals and commoners rather than nobles.
1641 ballet was performed on a proscenium stage for the first time in France.
1661 King Louis XIV founded the first dance academy formalising dance training at Academie Royale de Danse.
1672 Academie Royale de Musique et de Danse (later to become the Paris Opera Ballet) founded as a
professional dance group.
1700s under the reign of King Louis XIV, French Court Ballet reached its height at the palace of Versailles.
1725 Pierre Beauchamp codifies existing ballet technique.
1800s rise of Romantic Ballet – characterised by admiration for the wildest aspects of nature, fascination
with the ethereal and supernatural, exoticism, interest in the lives of ordinary people and introspection and
subjectivity. Women were seeking equality with men in ballet and a new style of costume emerged for women;
empire line dress and slippers without heels and as such the development of pointe work emerged.
1832 La Sylphide choreographed by Filippo Taglioni.
1841 Giselle choreographed by Jean Coralli and Jules Perrot.
1870 Coppelia choreographed by Arthur Saint-Leon.
Late 1800s rise of Classical Ballet and choreographer Marius Petipa with focus on movement for the sake
of movement. Metaphors, formulas and structure for creating a ballet were foregrounded over emotional
expression and supernatural themes. Tutus were shortened and pointe work developed into high standard of
technical proficiency.
1869 Don Quixote choreographed by Marius Petipa.
1892 The Nutcracker choreographed by Marius Petipa.
1895 Swan Lake Petipa/Ivanov/Drigo revival of Swan Lake (Originally choreographed by Julius Reisinger to the
music of Pyotr Ilyich Tchaikovsky (opus 20), it was first presented as The Lake of the Swans by the Ballet of the
Moscow Imperial Bolshoi Theatre on 20 February/4 March 1877 (Julian/Gregorian calendar dates) in Moscow,
Russia.)
1900s emergence of Modern Ballet with Michel Fokine and Serge Diaghilev with the company The Ballet Russes.
1907 Anna Pavlova performed The Dying Swan choreographed by Fokine for The Ballet Russes.
1910 Scheherazade choreographed by Fokine.
1911 Petrouchka choreographed by Fokine.
6
Timeline continued
1913 The Rite of Spring choreographed by Nijinsky.
1920 RAD syllabus founded.
1923 The Cecchetti dance method founded.
1926 The Vic-Wells Ballet school based at Sadler’s-Wells Theatres (later to become The Royal Ballet School).
1933 Robert Helpmann joins The Royal Ballet.
1939 Margot Fonteyn appointed Prima Ballerina at The Royal Ballet.
1948 New York City Ballet founded by George Balanchine.
1951 Vaganova Dance method founded in Russia.
1958 Fredrick Ashton choreographs Ondine for The Royal Ballet.
1958 Rudolf Nureyev joins the Kirov Ballet as a principal dancer.
1962 Australian Ballet gives its first performance under direction of Peggy van Praagh.
1964 Australian Ballet school founded under Margaret Scott.
1965 Robert Helpmann and Peggy van Praagh appointed Artistic Directors of the Australian Ballet.
1970 Kenneth Macmillian appointed Artistic Director of The Royal Ballet.
1973 Neumeier appointed Artistic Director of The Hamburg Ballet.
1977 Mikhail Baryshnikov dances for the New York City Ballet.
1983 Nureyev appointed Artistic Director of the Paris Opera Ballet.
1984 William Forsythe appointed Artistic Director of the Frankfurt Ballet.
Classical ballets today are performed by companies such as The Royal Ballet, the Stuttgart Ballet, The Hamburg
Ballet, Nederlands Dans Theatre, La Scala Ballet, New York City Ballet, American Ballet Theatre, San Francisco
Ballet, Australian Ballet, Paris Opera Ballet, Rambert Dance Company, The Bolshoi Ballet, Royal New Zealand
Ballet, Ballet Nacional de Cuba, Queensland Ballet; and noted Choreographers include Mats Ek, Jiri Kylian, Nacho
Duato, John Cranko, Maurice Béjart and Graeme Murphy.
7
Ballet and Dance Definitions
Classical ballet
(1) The traditional style of ballet, which stresses the academic technique developed through the centuries of the
existence of ballet.
(2) A ballet in which the style and structure adhere to the definite framework established in the nineteenth century.
Examples of classical ballets are Coppélia, The Sleeping Beauty, The Nutcracker and Swan Lake.
http://www.abt.org/education/dictionary/index.html
There are variances in the methodology of classical ballet study which are often based upon
region. Vagonova, Cecchetti, and more recently Balanchine or R.A.D. are examples. The term classical ballet is
generally used as a means of differentiating these traditional principles of study from those of contemporary ballet.
http://danceadvantage.net/2008/07/07/classic-confusion/
Modern Dance
like the art of ballet in the 17th century, was at one point in the early 1900’s a new idea
(see http://danceadvantage.net/2008/06/18/what-is-modern-dance/). The emergence of this new dance style was
led by a small group of choreographers or “founders” of Modern Dance (Martha Graham, Isadora Duncan, Jose
Limon and Christopher Bruce) who broke the rules of their predecessors by creating movement based on the
experiences of their own era.
Post Modern Dance
emerged in the 1960s and 70s as an experimentalist trend. Dance companies and artists such as Judson
Dance Theatre, Trisha Brown, Yvonne Rainer, Twyler Tharp, Merce Cunningham, Pina Bausch, Anna Teresa De
Keersmaeker, Steve Paxton were leaving the theatrical stage altogether and performing dance in public parks, on
buildings, in museums, and on busy streets. Choreographers explored improvisation as legitimate performance
and often presented performers with no dance training in their work. Audiences were asked to accept everyday
movement like dressing, walking, and playing as dance. It was a direct upheaval of the concepts and codification
that Modern dance artists had fought to develop.
Contemporary Dance
is a style of dance which emerged in the 20th century as an outgrowth of modern dance and other 20th century
dance techniques. “Defining this style of dance can be difficult, as contemporary dance is an extremely fluid and
very nebulous style of dance. Unlike traditions such as ballet, contemporary dance is not associated with specific
dance techniques, but rather with a dance philosophy. In contemporary dance, people attempt to explore the natural
energy and emotions of their bodies to produce dances which are often very personal.”
http://dancedocsthinktank.wordpress.com/2010/07/30/what-is-%E2%80%9Ccontemporary%E2%80%9D-dance/
Contemporary Dance companies and choreographers of note today include Akram Khan Company (UK), Alvin Ailey
American Dance Theatre (US), Australian Dance Theatre (Australia), Bangarra Dance Theatre (Australia), Basel
Dance Company (Switzerland), Bathsheva Dance Company (Israel), Chunky Move (Australia), Cloud Gate Dance
Theatre (Taiwan), City Contemporary Dance Company (Hong Kong), Dancenorth (Australia), Compagnie Marie
Chouinard (Canada), Mathilde Monnier (France), DV8 Dance Theatre (England), Deborah Colker Dance Company
(Brazil), Expressions Dance Company (Australia), Sydney Dance Company (Australia), Leigh Warren and Dancers
(Australia), Les Ballet C de la B (Belgium), Parsons Dance Company (US), Ultima Vez (Belgium) and many more...
8
Titania and Bottom Act 111
Scene 1 by Arthur Rackman’s
illustrations of MND
Key Questions and Provocations
If we view dance across various cultures, its functions are many and its perceived power enormous. What is the
power of The Hamburg Ballet’s performance of A Midsummer Night’s Dream and what is its role in entertainment
and culture?
Classical ballet is all about “the movement itself” with an emphasis on virtuosity. Evaluate whether or not you
consider this to be true within the performance of A Midsummer Night’s Dream.
Why do audiences still value a heritage art form such as ballet? What is its relevance in contemporary culture?
How has the culture of Hamburg fostered this type of cultural expression?
What are the similarities and differences between The Hamburg ballet and the Australian Ballet?
Many ballet companies have Artistic Directors who curate a program of performances throughout the season;
however, Neumeier choreographs and is the key artist in the company. How might this affect the art created?
The German Philosopher Georg Hegel defines successful art as “the sensuous presentation of ideas”; discuss with
reference to The Hamburg Ballet’s A Midsummer Night’s Dream.
9
Key Quotes by John Neumeier
“I’m a collector because I feel through understanding the relationships of people who stood behind me, I see the
same problems, the same challenges we face now. It fascinates me and I like to have these people, these images
around me, but I feel it’s extremely important to create new things. I believe ballet only lives if it looks towards the
future and is based on creation.
“What is always interesting to me is the possibility of the human being as the centre of dance, not the dancer as a
great technician. I’ve always tried to explain the difference between mannerism and truth, even in dealing with the
classics.” John Neumeier
The Australian Times
http://www.theaustralian.com.au/arts/review/john-neumeier-gives-his-body-and-soul-to-hamburg-ballet/storyfn9n8gph-1226278140527
New York Times Review
http://www.nytimes.com/1983/03/16/arts/ballet-hamburg-troupe-opens-season-in-dream.html
Online Dance Magazine
http://dancelines.com.au/a-summer%E2%80%99s-dream-in-a-hamburg-winter/
Key Moments and Investigations in A Midsummer Night’s Dream
The choreography of Neumeier is particularly known for its intricate foot work. Identify a pattern that captures your
attention. Discuss the technical skill of the performer and how the choreographer has used the pattern to express
emotion or mood.
Look carefully for the portrayal of the well known characters in the performance. How do you think Neumeier will
create the comical and ungraceful characters in this ballet? For example, how are Bottom and the mechanical
performed? What typifies and distinguishes the character of Puck? How is the famous scene, when Helena declares
herself a spaniel brought to life in the ballet?
“I am your spaniel; and, Demetrious the more you beat me, I will fawn on you: use me but as your spaniel, spurn
me, strike me, neglect me, lose me, only give me my leave, unworthy as I am, to follow you.” (Act 2 Scene 1)
Identify moments of classical and modern ballet in this performance. Consider geometric formal patterns, balance,
symmetry, order, gesture, expressive patterns and emotive ballet language. List the differences and consider if the
combination of styles contributes to the communication of the narrative.
How does the performance translate text into movement? What do we gain from a physical interpretation? There
are many famous lines from A Midsummer Night’s Dream, are they evident in the performance? e.g.
“The course of true love never did run smooth.” (Act 1 Scene 1)
“My Oberon, what visions have I seen! Methought I was enamour’d of an ass.’ ( Act 4 scene 4)
“If we shadows have offended, think but this and all is mended. That you have but slumber’d here while these
visions did appear.” (Act 5 Scene 5)
10
Links to Curriculum
Dance
Pre performance Activities:
Choreography
View the website http://rackham.artpassions.net/. Illustrator Arthur Rackman has created many beautiful images
for A Midsummer Night’s Dream. In pairs select one of the images and create three beats of movement; the one
before the image, the image, and the one after the image. What style of choreography do the groups present? How
is movement best used to create narratives?
Performance
In class discuss the timeline of Ballet on page 5 and allocate key ballet genres and terms to small groups around
the class. Eg classical ballet. Each group prepare a short performance that demonstrates key components of the
style.
Appreciation
Students to become experts about The Hamburg Ballet Company.
Visit their website: http://www.hamburgballett.com and view the video clips listed above in Neumeier’s biography.
Make notes about the movement components and skills; consider action, spatial and dynamic elements and form.
Compare the dancers, number, gender and build as well as the visual setting and the aural elements to other
performances you have seen this year.
Using the timeline as your starting point research other existing classical and contemporary ballet companies.
Post Performance Activities:
Choreography
After viewing the performance discuss the technical versus the expressive skills of the dancers. Does one
dominate? How might the choreography have supported or led to this? As a choreographer how would you approach
a scene from a Shakespearean play? Using the lines from the lovers’ scene (see key moments) when Helena
declares herself a spaniel, create a small scene capturing the comedy or explore some of the other lovers’ scenes
and consider the gender imbalance and how that might be parodied?
Neumeier has created three distinct worlds in this ballet; the world of the aristocrats, the workers (or mechanicals)
and the fairies. Focusing on gestures and character dancing, explore the three worlds and the types of movement
used for each. Allocate different worlds to small groups and each create a small greeting scene; how are they
different?
Performance
In groups identify a key engaging moment and together, recreate for the class to view. Discuss the effective
elements at work; the action (travelling, jumping falling etc) the use of space (shape created, level, direction, spatial
relationship etc) dynamics (tempo, accent etc).
11
Appreciation
After viewing the performance students to research the following choreographers and compare their style and
creations to Neumeier:
Mats Ek
George Balanchine
Jiri Kylian
Kenneth Macmillian
Nacho Duato
Graeme Murphy
Natalie Weir
Students to write a critical analysis in which they discuss the following:
Does the “smorgasboard choreography” evident in The Hamburg Ballet’s performance of A Midsummer
Night’s Dream work successfully? Discuss the dance components and skills evident in the various styles
throughout the performance.
The Hamburg Ballet believes in the power of an ensemble to create dynamic and creative performances.
This is different to the normal hierarchy in other companies with prima ballerinas etc. Research
other philosophies in companies towards their performers, make a list of companies with ensembles and
assess the impact on their arts practice. What are the benefits and disadvantages of this system?
Drama
Pre Performance Activities:
Australia’s landmark Sydney Opera House opened in 1973, The Adelaide Festival Theatre opened in 1973-74 and
The Victorian College of the Arts was established in 1976. Examine the comparable institutions in Hamburg; how
have these cultural institutions impacted on the arts environment in their cities?
Also during the 1970s in Australia, the Australian Performing Group (based at the Pram Factory in Carlton,
Melbourne) developed as an offspring of the La Mama theatre company. With writers such as David Williamson,
Barry Oakley, and Jack Hibberd, this collective brought many new and significant Australian plays to the stage.
The following year, Louis Nowra’s acclaimed first work, Inner Voices, was presented at Sydney’s Nimrod Theatre
and the first Festival of Sydney took place. Who were the key writers and theatre makers in Europe and in particular
Germany at this time and what were they creating work about?
Hamburg is regarded as a ‘mecca of culture’. Research what theatre performances are occurring in 2012 in
Hamburg? What conclusions can you make about theatre in Australia as compared to Hamburg, Germany?
12
Post Performance Activities:
A Midsummer Night’s Dream is an enduring classic that has been performed countless times throughout the years.
Evaluate the success of this interpretation of a classic Shakespearean text.
What new meanings did this ballet performance add to your understanding of the text?
In pairs devise two statements to share with the class:
– An aspect of this performance that really worked for me was ......
– An aspect of this performance that I found challenging was....
In pairs, describe and examine the use of dramatic languages in performance by referring to:
– Skills of Performance: set design, costumes, props, lighting, aural elements
– Elements of Drama: creation of role, tension and mood
Research famous reinterpretations throughout the eras and evaluate the directorial decisions made in terms of the
Skills of Performance and Elements of Drama.
Some examples include:
The English National Opera’s production in 2011, directed by Christopher Alden, set the opera in a mid-20th century
school, with Oberon (Lestyn Davies) and Tytania (Anna Christy) as teachers and Puck and the fairies as schoolboys.
The Donkey Show is a disco-era experience based on A Midsummer Night’s Dream that first appeared off Broadway
in 1999.
What can we learn about history and culture from the different versions created? What do these productions convey
about their place and time in history?
English
Pre Performance Activities:
What does the word ‘culture’ mean? Research different definitions of this key term. Is the definition determined by
the context in which it is used? Is culture different in Australia to Europe?
The exclusive tour of The Hamburg Ballet and the Hamburg Philharmonic Orchestra with the Hamburg State Opera
is part of QPAC’s International series promoting cultural exchange between Australia and peak cultural institutions
from around the world. What exchanges can occur through such touring? Why is it valuable?
Why has this text become a part of the cannon in Western Performing Arts Culture? Why is it used every year in a
variety of performing art forms? In groups create a list of suggestions to explain its longevity.
Post Performance Activities:
Students to compose a critical review of this performance. The following questions to be considered:
Why is it important to view key cultural art works from other countries?
Is this a valuable cultural exchange for Brisbane?
What recommendations would you make for future international touring?
13
History of The Hamburg Ballet
Excerpt by Horst Koegler. Full History can be located on The Hamburg Ballet website.
http://www.hamburgballett.de/e/uber_uns.htm
One of the first examples of German civic opera, the Hamburg Goosemarket Opera, established in 1678, offered its
clients regular ballet performances. When the opera house closed its doors in 1738, theater performances were
given by visiting troupes, who offered ballets among their mixed bills of operas, musical plays and drama. The
ballet Don Juan performed in 1769 at the Ackermannsche Komödienhaus, seems to have been the famous work by
Christoph Willibald Gluck.
Not until the Hamburg municipal theatre had a ballet company of its own, however, could Hamburg audiences see
the standard Romantic repertoire danced by such guest stars as Marie Taglioni, Lucille Grahn, Fanny Cerrito and
Fanny Elssler (who made Hamburg her residence for a few years after she retired from the stage).
For the rest of the nineteenth century, the Hamburg ballet repertoire consisted of occasional performances of
Coppelia, Die Puppenfee and other works from the Vienna Hassreiter-Bauer School. Even after World War I, the
company, named the Hamburg State Opera Ballet and led by Helga Swedlund and Erika Hanka, changed little. Nor
did Hamburg demonstrate any special enthusiasm for ballet. In the years after World War II, when, again directed
by Swedlund, the ballet company was considered mainly an adjunct to the opera. The company briefly changed
direction between 1949 and 1951 under Dore Hoyer, one of the leading figures in the German modern dance
movement, but this experiment proved frustrating for both the dancers and the public.
The company grew in size and ability when Rolf Liebermann was appointed General Manager of the Hamburg State
Opera in 1959. He collaborated with Peter van Dyk in directing the company, and although van Dyk’s choreography
proved unmemorable, he nevertheless built up a company capable of performing George Balanchine’s ballets.
When van Dyk left in 1970, standards deteriorated until John Neumeier was appointed ballet director in 1973.
Since then, the company has multiplied its performances, acquired a broad and varied repertory of classics
and contemporary works, gained some performing spaces outside the opera house and considerably enlarged
the affiliated ballet school. Today The Hamburg Ballet possesses a character all its own, thanks to Neumeier’s
dramatically oriented aesthetic.
Hamburg
The great port of Hamburg is the second largest city in Germany, the seventh largest city in the European Union and
one of the most affluent in Europe. In addition to being a mercantile powerhouse, Hamburg has an enviable cultural
life with some forty theatres, sixty museums and over one hundred music clubs. The unique socio-political context
of the city has helped to foster this expansive cultural environment. Australian Conductor, Simone Young, who is
both Musical Director of the Hamburg State Philharmonic Orchestra and General Manager of the Hamburg Sate
Opera, describes Hamburg as a mecca of culture.
“The opera here is the oldest non-royal company in Europe,” she says. “It was always a case of Hamburg
performing for its citizens and being supported by its citizens. It was never a dukedom or a kingdom, but always a
merchant’s city and the merchants were focused on creating an environment for themselves and making Hamburg
an attractive place to visit as well.”
http://www.theaustralian.com.au/arts/review/john-neumeier-gives-his-body-and-soul-to-hamburg-ballet/
story-fn9n8gph-1226278140527
14
John Neumeier - Biography
Over more than four decades, legendary American dancer and
choreographer John Neumeier has established The Hamburg
Ballet as one of the world’s great dance companies. Many of the
finest dancers from across the globe have performed an astounding
repertoire of ballets with this innovative company. He has been
described as one of the last great resident artistic directors.
©Holder Badekow
Neumeier was born in 1942 in Milwaukee, Wisconsin, U.S.A., where
he also received his first dance training. He went on to study ballet
both in Copenhagen and at the Royal Ballet School in London. He
acquired a Bachelor of Arts degree in English Literature and Theatre
Studies from Marquette University, Wisconsin, where he created his
first choreographic works. In 1963 John Cranko engaged him at the
Stuttgart Ballet, where he progressed to solo dancer.
In 1969 Ulrich Erfurth appointed Neumeier as Director of Ballet
in Frankfurt. Since 1973, Neumeier has been Artistic Director and
Chief Choreographer of The Hamburg Ballet, and since 1996 he has
been “Ballettintendant” (General Manager). The Hamburg Ballet
became one of the leading ballet companies in the German dance
scene and soon received international recognition.
In 1975, Neumeier brought The Hamburg Ballet Festival into being—a climax and end to each season. In 1978,
Neumeier founded The School of The Hamburg Ballet. In 1989, the school, together with the company, moved into
its own “Ballettzentrum” (ballet centre) provided by the city of Hamburg. Its facilities include nine studios and a
boarding school for over thirty students. Today more than 80% of the company’s dancers are graduates from the
school.
Neumeier is regarded as one of the gods of European ballet, certainly in Germany, and especially in the city of
Hamburg. As a ballet producer, Neumeier tends to think big, favouring heavyweight composers (Mahler, Stravinsky,
Tchaikovsky, Bach), with lofty themes and imposing literary, legendary or religious sources. (The Handbook of
Dance, 1988.)
Neumeier has worked as guest choreographer with many companies, including The Royal Ballet in London, The
Vienna, Munich and Dresden State Operas, The Stuttgart Ballet (for which he has created several works), The Royal
Danish Ballet, the Paris Opera Ballet, the Tokyo Ballet, American Ballet Theatre in New York, The National Ballet of
Canada, the Mariinsky Theater Ballet in Saint Petersburg Russia and the San Francisco Ballet among others.
Neumeier is holder of the Order of the Federal Republic of Germany. In 2003 he was appointed to the rank of
“Knight of the Legion of Honor” by French President Jacques Chirac. In 2006 he received the “Nijinsky Award” for
Lifetime Achievement; in 2007 the “Herbert von Karajan Music Prize”. In 2008, he was awarded his second “German
Dance Prize” on the occasion of their 25th Jubilee.
In February 2006, Neumeier established the John Neumeier Foundation with the aim of bringing together his
collection of Dance and Ballet related objects and his vast oeuvre. The John Neumeier Foundation will maintain and
secure for the city of Hamburg his life’s work.
In 2011, Neumeier founded the first National Youth Ballet in Germany. The company of eight young dancers is based
at the Ballettzentrum in Hamburg.
15
Conclusion
For the first time in 38 years, the ballet and opera companies as well as the orchestra of the Hamburg State Opera
will be on a joint tour. From 23 August to 5 September 2012, they will perform in Brisbane, following an invitation
extended by the Queensland Performing Arts Centre.
John Neumeier is looking forward to this tour: “After performing in China and Moscow, this will then be the
company’s third big tour in 2012. At the same time, this tour is a great kick-off event for our jubilee season in
2012/2013, when we will be celebrating The Hamburg Ballet’s 40th anniversary. We are happy and thankful for this
invitation.” //www.hamburgballett.de/e/index.htm The last joint tour of the three sections of the Hamburg State
Opera took place in the summer of 1974. On a tour to Israel they performed in Caesarea, Jerusalem and Tel Aviv.
This tour to QPAC in Brisbane provides an opportunity for Queensland audiences to view performances from the
classical European cannon. It offers a rich exchange of cultural literacy and a chance to enjoy and appraise our
cultural place in the world. These once rare opportunities have become a regular part of our cultural diet. In return,
the Hamburg company has an opportunity to engage in a rigorous conversation with Australian audiences, reading
and hearing our responses.
Assess the reciprocal benefits of international touring and exchange of performing arts companies
How does touring support the life of important works of art?
How does touring inform and influence aesthetic and art form practice?
We hope these notes excite you and point you in some interesting directions as you approach this cultural highlight
in Brisbane.
These learning notes have been prepared by Adrianne Jones, KITE Teacher Artist and Kate Usher, Project Officer,
QPAC with Janelle Christofis, Program Development Manager, QPAC by referring to the following:
Research and Resources
Ballet and Modern Dance. Au, Susan. 2003. Thames & Hudson. London.
The Dance Hand Book. A. Robertson and D. Hutera.179-180. 1998. New York.
Modern Ballet. J.Percival.1980. The Herbert Press Limited. New York.
KDB125 Deconstructing Dance in History Lectures 3, 5, 7-10 . Rachel Pedro. Queensland University of Technology
Creative Industries, 2006. Brisbane.
http://www.hamburgballett.de/e/uber_uns.htm
http://www.theaustralian.com.au/arts/review/john-neumeier-gives-his-body-and-soul-to-hamburg-ballet/storyfn9n8gph-1226278140527 accessed
http://danceadvantage.net/2008/07/07/classic-confusion/
16
Attachment 1: Interview from Dance Train Magazine
Columnist for dancetrain magazine, Kaitlin Bell, was lucky enough to speak with Australian dancer,
Priscilla Tselikova, member of the corps de ballet with the Hamburg Ballet. The Brisbane season of A
Midsummer Night’s Dream sees Tselikova performing as a professional dancer for the first time here in
Australia. She talks about the lowdown on auditioning for overseas companies, training for a career as a
ballet professional and her advice for those of you wanting to follow in her footsteps!
Priscilla, what about your training most prepared you for your career?
The thing that prepared me most was the fact that I moved around to different ballet schools in Sydney and Adelaide, which
gave me the opportunity to work with many different teachers and techniques of training. Each school (especially Tanya Pearson
Classical Coaching Academy) helped me in different ways, thus allowing me to progress further. My high school in Adelaide also
allowed me to skip practical gym classes so that I could attend extra ballet classes.
Another thing that prepared me, perhaps even more, was that I was lucky enough to get a lot of experience on stage. Since
3 years of age I have competed in eisteddfods, competitions and danced in many concerts. I believe it is important for a dancer
that they should feel completely comfortable on stage and not have to worry about stage fright!
During my time in the School of The Hamburg Ballet, I worked very hard to perfect my technique with the great teachers here.
How do you cope living away from home?
First of all, I couldn’t have done it without the support of my parents, my family and God. There were numerous days of feeling
homesick, ringing up my mum in tears and just wishing that I could be back in Australia! Moving so far away at a young age is
very hard especially when you’ve got no family or friends nearby and you don’t even speak the language. I was also juggling my
schoolwork by correspondence, which made it even harder!
With that in mind, I tried to make the most out of my new life here in Hamburg by making lots of friends with my classmates and
the young people at the international church, which I attend here. I also started to learn German, which actually helped a lot, as I
was then able to understand what the teachers were saying to me!
Second of all, I tried to keep very focused on my goal and what I wanted to be in a professional ballet company. It was very hard
especially the first year, but with weekly phone calls to my parents, in which my Mum would lovingly reassure me that everything
was fine, yearly trips home for the summer holidays and great friends, I persevered through. After 6 years now, I am happily
married and well adjusted to the European life! My husband, Kostya, is also a dancer with The Hamburg Ballet Company.
How did you hear about The Hamburg Ballet and what was the audition process like?
I came to Hamburg on an audition tour, auditioning for schools around Europe with my ballet school from Sydney. I had been
accepted into a number of schools but decided on the School of The Hamburg Ballet for three reasons: Firstly, because
the school is attached to, and works closely with the company. Secondly, because of the built-in boarding school which
accommodated me, and thirdly, because of the excellent reputation! After graduating from the school, I knew the company fairly
well, I knew a good deal of the repertoire, and I knew it was the company that I desperately wanted to be in! It is very hard to
get a job as the competition is very high between all the dancers who come from all around the world. However, throughout the
entire year opportunities arise as the graduating class (Theatre Class) is very much engaged with the company so Mr. Neumeier
often gets to observe how you develop and fit into his company. In the end of the year only a few make it, so I’m really happy that
I was one of them who got offered a place.
What is an average day like for you?
I wake up at 08:15 and drive 10mins on the Autobahn with my husband to the Ballettzentrum Hamburg – John Neumeier
(Ballet Centrum). Class starts at 10:00am. After class we have rehearsals from 11:30-1:30pm. Then we go to the canteen for an
hour lunch break. After lunch we head back into rehearsals from 2:30-5:30pm with 15mins break at 4:00 where I stretch or sew
pointe shoes. At the end of the day we are often very tired so we just quickly shower, change and then drive home to have dinner
and relax.
17
Of course, when we have performance, we normally run the whole ballet in the morning rehearsal till 1:30pm. We go home for a
quick nap and refreshment then drive into the city to the opera house at about 5:00pm. Most performances commence at 7:30pm
and go to about 10:30pm. After washing my hair and make-up off, we arrive home exhausted at about 11:15pm where we eat a
late dinner, then head to bed.
Are you excited about coming back to Australia to perform?
I am extremely excited about performing in my own country. I think it’s because the last time I was dancing in Australia, I was
still a student in training, not knowing if I was good enough to make it as a professional. I am really looking forward to my
parents and my family watching me, especially as it will be the first time they will have seen me dance as a professional - and
it’s in Australia!
What roles will you be playing in the two ballets being performed in Brisbane?
In Nijinsky I will be playing the part of a Swiss couple in the Suvretta-House, where Vaslav Nijinsky performed publicly for the
last time. I then change to be a Bakst dancer.
In A Midsummer Night’s Dream I am playing the part of a Sewing Lady in the prologue, A Fairy in the Fairy World and Hippolyta’s
Bridesmaid in the Wedding March.
What are your hopes for the future?
For me, dancing is very important; it makes me happy and alive. My future hope is to keep on dancing and be able to dance more
roles. My goal is to be the best dancer that I can be! Of course, as it is every little girl’s dream, it is also my dream to be a soloist
in a well-known company.
Are there any other companies or countries you want to work in?
There is no other company in Europe like this one that I would want to change to. It is increasingly rare to have a choreographer
like John Neumeier who is one of the most popular choreographers in the world. He is also a great director who works closely
with his dancers, inspiring them to grow as artists. In the end, that’s what is most important in our job! Of course I’d love to
someday be back in Australia; whether the opportunity brings me or not, I don’t know. I just know that I’m very happy here and
it’s a great experience living and working in Europe. Europe certainly has a lot to offer for the Arts and Culture Industry.
Do you have any advice for other young dancers hoping to work overseas?
From my experience, a lot of young Aussies that come to Europe to dance end up giving up, getting too homesick or getting
injured and going home. So my advice would be to stay strong and work hard, make lots of friends to keep you company, and
most importantly, don’t give up HOPE! I am a strong believer of Faith, Hope and Love. Without Hope especially, I certainly
wouldn’t be where I am today!
18